Written By: Lisa Melograno

In a world where music can often feel like an endless cycle of sameness, Quiet Time emerges as a refreshing breath of bubblegrunge air. Their debut EP, “Everyone’s Having More Fun Than Me,” encapsulates the spirit of a generation grappling with isolation, nostalgia, and the absurdity of modern life. Hailing from Philadelphia, this band blends the raw, emotional edge of grunge with bubblegum pop sensibilities, creating a sound that’s both familiar and strikingly unique. Quiet Time’s inception during the COVID-19 pandemic gives their music an added layer of significance. Lead singer MaiAda Carpano and her husband, guitarist Nick Tuttle, found solace in songwriting within the confines of their basement. This intimate setting is palpable throughout the EP, where vulnerability meets creativity in a raw, unfiltered manner. The band’s name, a cheeky nod to a neighbor’s plea for quiet during their practice sessions, perfectly encapsulates the juxtaposition of their sound—joyful yet tinged with the chaos of reality.

“Shout Out, Mrs. Albertson,” the first track on Quiet Time’s debut EP, encapsulates the emotional turmoil and existential musings of a generation yearning for connection and understanding. With its blend of bubblegum pop and grunge influences, the song emerges as both a catchy anthem and a poignant exploration of self-identity. The lyrics are a compelling tapestry of vulnerability and introspection. MaiAda Carpano’s voice carries a sense of urgency and sincerity as she navigates the complexities of wanting to be loved while grappling with feelings of inadequacy. The chorus’s refrain about being the “derelict darling/of the deadbeats club” speaks volumes about feelings of alienation. The reference to Mrs. Albertson and the science teacher adds a layer of irony. In seeking to be “saved” and molded into a “good girl,” the narrator recognizes that conformity will never satisfy her deeper need for authenticity and love. “Shout Out, Mrs. Albertson” strikes a perfect balance between upbeat and introspective. The infectious melody, driven by jangly guitars and punchy drums, creates a contrast to the weight of the lyrics. Oren Roth-Eisenberg’s drumming provides a steady pulse that propels the song forward, while the dual guitar contributes to the vibrant soundscape. The production is polished yet retains a raw edge, echoing the band’s roots in the ethos of the Philadelphia music scene. The song’s emotional resonance is heightened by MaiAda’s vocal delivery. Her voice oscillates between vulnerability and defiance, capturing the essence of someone caught between longing for acceptance and the harsh realities of self-doubt.

“No Stars. Just Trash,” the second track on Quiet Time’s debut EP, “Everyone’s Having More Fun Than Me,” showcases the band’s knack for blending raw emotion with an infectious, upbeat sound. Clocking in at just under three minutes, this song packs a powerful punch, both musically and lyrically, making it a standout moment on the EP. The verses are introspective, exploring feelings of inadequacy and the desire for validation. MaiAda’s vocal delivery here is particularly poignant, capturing the frustration of feeling overlooked in a world obsessed with celebrity culture. MaiAda Carpano’s voice conveys a mix of vulnerability and defiance, reflecting the internal struggle of wanting to believe in someone despite their shortcomings. The repetition of “I’d still take them” emphasizes the longing for connection, even when it’s clear that the other person is unreliable. “No Stars. Just Trash.” is anything but slow. The track bursts with energy, driven by punchy drums and vibrant guitar riffs. Oren Roth-Eisenberg’s drumming is particularly noteworthy, providing a relentless rhythm that propels the song forward. The guitars, courtesy of Nick Tuttle and Randy LoBasso (former Origivation Editor), create a melodic interplay complimenting Tom Farnham’s bass playing that is both catchy and textured, blending the upbeat energy of pop-punk with the grunge influence that Quiet Time embodies.

“No Stars. Just Trash.” is a testament to Quiet Time’s ability to craft songs that are not only catchy but also deeply reflective of the human experience. The song’s tempo and arrangement contribute to its lively feel, making it perfect for those moments when you want to scream out your frustrations but still feel a sense of joy. “No Stars. Just Trash.” serves as a perfect bridge between the playful and the profound, showcasing the band’s unique ability to convey complex emotions through their music. It’s a track that embodies the essence of bubblegrunge. “Shut Up, I’m Trying to Cry Over Here” is a striking exploration of emotional turmoil and the complexities of modern relationships. With its driving rhythm and relatable lyrics, this song captures the essence of vulnerability while maintaining an upbeat energy that keeps listeners engaged. The lyrics are a poignant reflection on the frustrations of love and the often-messy reality of emotional connections. From the outset, MaiAda Carpano’s voice conveys a mix of defiance and weariness as she confronts a relationship that is both enticing and tumultuous. “Shut Up, I’m Trying to Cry Over Here” is vibrant and energetic, striking a perfect balance between pop-punk catchiness and grunge-infused angst. The driving beat, complemented by punchy guitars and dynamic drumming creates a compelling sound that invites listeners to nod along. With its infectious sound and relatable lyrics, this track resonates with anyone who has experienced the tumultuous highs and lows of a complicated relationship.

Quiet Time successfully captures the essence of navigating love in a modern world, making “Shut Up, I’m Trying to Cry Over Here” a must-listen for fans of emotionally charged music that doesn’t shy away from the complexities of the heart. This song invites listeners to embrace their feelings, dance through the chaos, and find solace in the shared experience of longing and vulnerability. “Scheherazade” is a bold and provocative exploration of gender dynamics, power, and the complexities of victimhood. Drawing inspiration from the legendary storyteller of “One Thousand and One Nights,” the song intertwines themes of survival and deception, making a powerful statement about the narratives surrounding women in a patriarchal society. The lyrics delve into the manipulation of perception: “She set up a hoax and married a rich man/ Slayed him with her wit.” Here, the protagonist uses her intelligence in a world that often underestimates women, showcasing the theme of cunning as a survival mechanism. “Scheherazade” combines energetic instrumentation with a driving rhythm that complements its urgent themes. The arrangement features a blend of catchy melodies and grunge-inspired elements, creating a compelling sound that draws listeners in. The dynamic interplay between the musicians adds a layer of intensity that mirrors the emotional weight of the lyrics. “Scheherazade” is a track that sets the stage for Quiet Time’s ambitious debut EP. With its incisive lyrics, infectious melodies, and a potent social message, the song challenges listeners to confront uncomfortable truths about gender dynamics and societal expectations. “Scheherazade” is not just a song but a call to action for anyone willing to listen. It invites reflection on the complexities of female agency and the narratives that shape our understanding of victimhood. In a world that often silences women’s voices, Quiet Time’s bold proclamation through this track is both timely and necessary, ensuring that “Scheherazade” resonates long after the final note fades.

“Last Year at Elf Camp,” the closing track on Quiet Time’s debut EP “Everyone’s Having More Fun Than Me,” is a poignant and introspective examination of nostalgia, growth, and the struggles of navigating a world filled with uncertainty. The song captures a complex emotional landscape, blending vivid imagery with reflective lyrics that resonate deeply. As the song unfolds, themes of disillusionment and the passage of time emerge. This sentiment resonates with anyone who has grappled with the weight of the future and the fears that accompany maturity. The contrast between youthful idealism and the sobering realities of adulthood is a central theme, underscoring the struggle to maintain hope in a world that often feels broken. The chorus reflects this tension beautifully: “How do broken people save a broken world? We couldn’t even save ourselves.” It encapsulates a feeling of helplessness while yearning for agency—a relatable struggle for many in today’s chaotic landscape. “Last Year at Elf Camp” combines a driving rhythm with melodic elements that enhance its emotional depth. The instrumentation is layered and textured, allowing MaiAda Carpano’s vocals to shine. Her delivery is both heartfelt and earnest, perfectly capturing the song’s reflective tone. The arrangement builds gradually, creating a sense of urgency that mirrors the lyrical themes of change and liberation. The interplay between guitars and drums contributes to a sound that feels both organic and dynamic. The chorus bursts with energy, reflecting the enthusiastic yearning for change and connection that permeates the song. This blend of melodic hooks and rhythmic intensity makes it an engaging listen, inviting repeated plays. “Last Year at Elf Camp” is a compelling closer for “Everyone’s Having More Fun Than Me,” encapsulating Quiet Time’s ability to tackle profound themes with honesty and emotional depth. With its rich imagery, engaging instrumentation, and heartfelt lyrics, the song resonates on multiple levels, making it a powerful anthem for anyone grappling with the complexities of life, growth, and the desire for change.

The chemistry among the band members shines through every note. Their collaborative effort is evident, with each member contributing to the band’s distinct sound. Tom Farnham’s bass playing and Oren Roth-Eisenberg’s drumming are both energetic and nuanced, providing the perfect backdrop for the melodic explorations of the guitars. Nick and Randy’s guitar work complements MaiAda’s vocals beautifully, creating a rich tapestry of sound that is both intricate and accessible. “Everyone’s Having More Fun Than Me” is not just an EP; it’s a reflection of a moment in time. Quiet Time captures the essence of a generation navigating uncertainty and isolation while yearning for connection and joy. The band’s ability to blend introspection and catchy melodies makes this debut a must-listen for fans of both grunge and pop. For anyone looking to find solace in music or simply a good time, “Everyone’s Having More Fun Than Me” is an EP that deserves a spot in your playlist.

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Written by : Lisa Melograno

Quiet Time’s “Scheherazade“ is an electrifying, dance-punk anthem that reimagines the ancient tale of Scheherazade through a contemporary lens. As the second single off their upcoming EP “Everyone Is Having More Fun Than Me,” the Philadelphia-based emo band skillfully combines their unique sound with thought-provoking commentary on modern society. The song delves into themes of victimhood, power dynamics, and societal double standards, inviting listeners to question their biases and challenge preconceived notions of victimhood. Lead singer MaiAda’s lyrics offer a powerful critique of modern society, reimagining Scheherazade navigating today’s social media landscape, where public scrutiny and misinformation campaigns are all too common. Driven by gritty instrumentation and MaiAda’s incisive lyrics, “Scheherazade” demonstrates Quiet Time’s commitment to addressing important social issues through their music. MaiAda’s exploration of “feminine rage” serves as a poignant reminder of the ongoing struggle for equality and understanding faced by women today, both in the story of Scheherazade and in the present day. As Quiet Time continues to make their mark in the emo and punk scenes, “Scheherazade” stands as a testament to their ability to craft bold, introspective anthems that resonate with audiences. The band’s fearless approach to storytelling and their distinctive sound have garnered them attention and acclaim, positioning them as a compelling act to watch in the alternative music landscape. With their unique blend of engaging narratives and punk-inspired sound, Quiet Time proves that they are not only skilled musicians but also thoughtful storytellers, addressing pressing social issues through their art. As fans eagerly await the release of their upcoming EP, “Scheherazade” offers a tantalizing glimpse of what’s to come, cementing Quiet Time’s status as a rising force in the world of emo and punk music.

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Written and Photographed by : Lisa Melograno

On September 10, 2024, the iconic punk rock band Bikini Kill graced the stage at Franklin Music Hall in Philadelphia, delivering a performance that was as electrifying as it was nostalgic. The venue was brimming with energy, a testament to the band’s enduring influence on multiple generations. Fans, spanning ages from sixteen to seventy, filled the room, embodying the spirit of rebellion that Bikini Kill has championed since their inception. From combat boots paired with short skirts to casual jeans and T-shirts, the diverse crowd was ready to unleash their inner punk for a night that promised to be unforgettable.

Before the show began, I had the pleasure of meeting a mother who was there with her 16-year-old daughter, both of whom were excited about seeing Bikini Kill live for the first time. The mother shared her own history with the band, revealing that Bikini Kill was her favorite when she was sixteen years old. However, she had never had the chance to witness them live. Her daughter, having discovered the band on her own, had quickly become a devoted fan. This beautiful generational connection highlighted the band’s ability to resonate across ages, proving that their message of empowerment and resistance is timeless.

As the lights dimmed and the crowd buzzed with anticipation, the members of Bikini Kill took the stage, each one a visual representation of the punk ethos. Kathleen Hanna, the band’s charismatic lead singer, wore a whimsical dress with a poofy skirt paired with a sparkling green sequin top that caught the stage lights beautifully. Tobi Vail, the drummer, sported bright pink hair and oversized funky sunglasses, while the bassist, Kathi Wilcox, donned a black dress coupled with bright pink leotards and sneakers. Sara Landeau, the guitarist, completed the eclectic ensemble with a sleek black blouse and pants. Their vibrant wardrobe mirrored the colorful energy of the audience, creating an atmosphere of self-expression and defiance.

The show kicked off with Hanna’s warm and engaging presence. She instantly connected with the audience, spotting a fan in the front row wearing a homemade T-shirt, inspired by one of her original designs. Recognizing the effort and creativity, Hanna praised the girl and dedicated the first song, “Double Dare Ya,” to her. This moment set the tone for the night: a celebration of individuality and the strong bond between the band and their fans.

Hanna also took a moment to acknowledge the political climate outside the venue. With a presidential debate occurring just four blocks away, she expressed her surprise at the packed house. She expressed gratitude to the fans for attending despite the closures and traffic alerts, highlighting their rebellious spirit in choosing punk rock over politics for the night. The atmosphere in Franklin Music Hall was charged with a sense of camaraderie, a reminder that music often serves as a powerful form of protest and connection.

Bikini Kill’s setlist was a delightful journey through their most beloved tracks, creating an atmosphere of nostalgia and empowerment. The band performed fan favorites, including “Carnival,” “Reject All American,” “Alien She,” “Lil Red,” “Jigsaw Youth,” and “Suck My Left One” (a tribute to Hanna’s sister, nicknamed “Good Times”)

Each song resonated with the audience’s collective energy, making it clear that Bikini Kill’s message of empowerment was still incredibly relevant. One particularly touching moment came during “Suck My Left One,” where Hanna drew from her memoir, *Rebel Girl*, released earlier this year, to share a heartfelt story about her sister’s strength and defiance. Her sister, known as “Goodtimes,” embodied resilience and often declared “suck my left one” as a way of refusing to take any nonsense. This song serves as a tribute to her sister’s spirit, capturing the essence of defiance that permeates Bikini Kill’s work. Hanna’s storytelling added depth to the performance, showcasing her eloquence and ability to connect with the audience on a personal level.

Throughout the performance, the band members displayed their versatility by alternately switching instruments and taking on vocal duties. Vail even left her drum set to come to the front and sing, further enriching the dynamic of the show. This fluidity not only highlighted their musical talent but also embodied the spirit of collaboration and empowerment that the Riot Grrl movement represents, highlighting that punk is not just about the music but about community, solidarity, and shared experiences.

As the concert reached its climax, the audience erupted in cheers for the band’s anthem, “Rebel Girl.” The atmosphere was electric as fans chanted the song’s name, hoping for an encore of this beloved Riot Grrl anthem. Bikini Kill did not disappoint. They returned to the stage, and Hanna encouraged everyone to sing along, creating a euphoric moment where thousands of voices united in celebration. The sheer volume of the crowd singing together was a powerful reminder of the community that punk music fosters—a space where individuals come together, regardless of their backgrounds, to share in a collective experience.

The song “Rebel Girl” encapsulates the essence of Bikini Kill’s message: empowerment, rebellion, and pride in one’s identity. As the chorus echoed through Franklin Music Hall, it felt as if the very walls were vibrating with the collective spirit of empowerment that the band has inspired for decades. The energy in the room was palpable, with fans jumping, singing, and celebrating the moment, creating a sense of unity that transcended generations.

As the final notes of “Rebel Girl” reverberated through the venue, it was clear that this concert was more than just a performance; it was a reaffirmation of Bikini Kill’s legacy and their ongoing influence in the music world. For many in attendance, it was a night of liberation, nostalgia, and empowerment, where the past and present collided in a celebration of punk culture. The powerful connection between the band and their fans, coupled with the vibrant energy of the crowd, made for an unforgettable evening.

Bikini Kill continues to inspire new generations, proving that their message of feminism, activism, and rebellion is as relevant today as it ever was. In a world that often feels divided, their music reminds us of the importance of unity, self-expression, and the relentless pursuit of change. The concert at Franklin Music Hall was not just a reminder of where punk has been, but a bold statement of where it is going. As the lights dimmed and the echoes of their final song faded, it was evident that Bikini Kill had once again ignited a fire in the hearts of their fans, encouraging everyone to embrace their inner rebel.

With each note played and every lyric sung, Bikini Kill reaffirmed their place in punk history, not just as musicians but as activists who continue to inspire and provoke thought through their art. The night served as a powerful reminder that punk is not merely a genre of music but a movement—a call to arms for anyone who dares to stand against the status quo. The echoes of this concert will undoubtedly linger long after the last chord was struck, reminding us of all that the spirit of rebellion is alive and well.

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Written & Photographed by: Lisa Melograno

The Freedom Mortgage Pavilion was buzzing with excitement on Sunday, September 8th, 2024, as concertgoers of all ages, dressed in an eclectic mix of t-shirts, jeans, Alice Cooper-inspired top hats, and gothic costumes, assembled for the highly anticipated Freaks in Parade tour. The anticipation for the legendary lineup of artists was palpable as fans filled the venue, eager for the night’s unforgettable performances.

Setting the stage ablaze with their infectious energy, Filter emerged on stage, kicking off the night with an electrifying performance that instantly captivated the audience. Lead singer Richard Patrick led the band through a powerful set filled with fan favorites like “Obliteration,” “Take a Picture,” and “Hey Man, Nice Shot.” The band allured the audience with their unique dynamic performance, and their performance drew everyone in, setting a high bar for the evening.

As Filter’s enigmatic set came to a close, the atmosphere shifted to a thrilling intensity with the arrival of industrial metal pioneers, Ministry. Led by the legendary Al Jourgensen, the band’s lineup featured esteemed musicians such as guitarists Monte Pittman and Cesar Soto, bassist Paul D’Amour, drummer Roy Moyorga, and keyboardist John Bechdel. Together, they unleashed a performance that spanned over 40 years of their iconic discography, highlighting their unparalleled experience and expertise in the industrial metal genre.

Fans roared with excitement as Ministry blasted through hits such as “N.W.O.,” “Thieves,” and “Jesus Built My Hotrod.” The venue’s sound system expertly managed their powerful sound, further amplifying the audience’s exhilaration. Al Jourgensen’s commanding presence and relentless energy kept the crowd enthralled throughout the full set, reaching a peak as they debuted their new anthem, “Goddamn White Trash.” With relentless energy and musicianship that only decades of experience can bring, Ministry delivered a masterclass in industrial metal prowess, solidifying their status as industrial metal icons.

As the stage transformed into a ghoulish wonderland complete with staircases, a guillotine, and other macabre elements, Alice Cooper and his band, featuring Nita Strauss and Ryan Roxie on guitars, Chuck Garric on bass, Tommy Henriksen on guitar, and Glen Sobel on drums, emerged, and immediately the audience went wild. The band’s chemistry was infectious, with each member shining on their own and contributing to an already thrilling performance. Nita Strauss’s virtuosic guitar playing and dynamic stage presence added an extra layer of excitement, further elevating the atmosphere created by Alice Cooper.

Theatrical, mesmerizing, and bursting with unparalleled showmanship, Alice Cooper’s performance transported fans through his storied career, featuring classic hits like “No More Mr. Nice Guy,” “I’m Eighteen,” “Feed my Frankenstein,” and “School’s Out,” fused with Pink Floyd’s “Another Brick in the Wall.” The result was a powerful and unforgettable show that left the audience in awe, exemplifying the unparalleled showmanship and talent for which Alice Cooper is renowned.

As the night reached its climax, the legendary Rob Zombie took the stage, flanked by a megaplex of LCD props and risers that created an otherworldly atmosphere. His band, comprised of Ginger Fish on drums, Piggy D on bass, and Mike Riggs on guitar, delivered a relentless performance that perfectly complemented Zombie’s larger-than-life persona. The stage came alive with fire, demonic statues, and otherworldly beings, all expertly lit to create an unforgettable atmosphere, mesmerizing the fans.

Rob Zombie led the audience through a setlist of iconic hits, including “Demon Speeding,” “Superbeast,” and “More Human Than Human.” Fans passionately sang along to “Living Dead Girl” and “Dragula,” reaching a fever pitch of energy and enthusiasm that brought the Freaks on Parade tour to a triumphant conclusion while solidifying the night as a truly unforgettable experience. The Freaks on Parade tour brought together an incredible lineup of artists, each highlighting their unique talents and contributing to a night of unmatched energy, theatrics, and unforgettable memories. With its thrilling performances, ghoulish characters, andF larger-than-life stage setups, the event proved to be a fitting kickoff to the Halloween season. The powerful performances, elaborate stage setups, and unforgettable atmosphere solidified the event as a truly extraordinary experience for all in attendance.

Filter

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Ministry

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Alice Cooper

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Rob Zombie

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Written and Photographed by: Lisa Melograno

On Sunday, July 14th, The Pretenders, with Chrissie Hynde leading on vocals and guitar, Kris Sonne on drums, Dave Page rocking the bass, and James Walbourne completing the lineup on guitar, captivated a sold-out crowd at Philadelphia’s historic Fillmore. The venue’s intimate and lively vibe, steeped in rich history, contributed to the evening’s enchantment. Fans, primarily aged forty and older, turned up in jeans and a variety of ’80s band t-shirts, creating a nostalgic atmosphere that transported attendees back to the golden age of rock.

The Pretenders’ exhilarating performance at The Fillmore was a masterclass in stage presence and raw musical talent. The intimate setting of the venue allowed fans to fully immerse themselves in the band’s captivating sound as they delivered hit after hit with palpable passion and energy. Their chemistry on stage was undeniable, and as the show unfolded, it became clear that The Pretenders’ status as rock legends was as solid as ever, leaving an indelible impression on the hearts of those lucky enough to witness their unforgettable performance at the Fillmore.

From the electrifying first note to the final round of applause, the band’s dynamic performance captivated the audience. Chrissie Hynde’s iconic voice, with her undeniable stage presence, was phenomenally complemented by James Walbourne‘s electrifying guitar riffs, Dave Page’s rich, pulsating bass lines, and the thunderous beats from Kris Sonne on the drums. The synergy of their skilled talent reaffirmed their legendary status in the world of rock, proving that they remain as vibrant and powerful as ever.

Kicking off the night with “Losing My Sense of Taste,” the band immediately showcased their iconic sound and captivating stage presence. As they transitioned seamlessly into “A Love,” the crowd was treated to a powerful testament to The Pretenders’ unique sound and enduring chemistry. The atmosphere buzzed with increasing energy during the performances of “Turf Accountant” and “Hate for Sale,” setting the stage for a vibrant sing-along from the audience to the timeless classics “Kid” and “Precious.”

The Pretenders’ setlist served as a sonic journey through their storied career, with each song evoking a wave of nostalgia that created an emotional resonance throughout the audience. The performance of “The Buzz” offered a nuanced, mellow vibe, engaging the audience with its intricate melodies, while “My City Was Gone” prompted a moment of reflection on the band’s enduring legacy and their contributions to music.

Chrissie’s rapport with the audience added a personal touch to the evening, as she unveiled a pink box and tossed a gift to the crowd after concluding their set. This simple gesture exemplified the connection between The Pretenders and their fans, as Chrissie’s warmth and charisma radiated throughout the venue. The fans, not willing to let the night end, chanted for an encore, and The Pretenders obliged.

The concert reached a thrilling climax with a two-part encore that showcased The Pretenders at their absolute best. The first encore ignited with the raw emotional appeal of “Stop Your Sobbing,” followed by the melodic resonance of “Back on the Chain Gang,” and then seamlessly transitioned into “Let the Sun Come In,” from their new album “Relentless,” crafting a blend of classic sounds and vibrant melodies that resonated with the audience. This set the perfect stage for the second encore, amplifying the anticipation for what was to come.

As anticipation built, The Pretenders returned to the stage for their second encore, unleashing “Mystery Achievement” in a powerhouse performance that solidified the night as unforgettable. This final song, with its driving beat and compelling rhythm, encapsulated the band’s dynamic range and musical prowess, leaving the audience in awe. The strategic arrangement of these encores, from the emotive beginning to the robust conclusion, highlighted The Pretenders’ mastery in creating a dynamic musical journey, providing a performance that was rich in depth and profoundly gratifying.

As I turned to leave for the night, I spotted a group of ardent fans approaching the stage, seeking keepsakes from the stagehands. Much like The Pretenders concerts of the ’80s that I had attended, a stagehand with a broad smile began distributing setlists and guitar picks to the fastest hands reaching forward. In that instant, the crowd, many of whom were of middle age and beyond, momentarily recaptured the exuberance of their teenage selves, alight with youth and excitement.

The strong bond They share with their fans ensures every performance is as captivating as their debut, fortifying their perpetual mark on the rock and roll genre. Their concerts stand as a vivid showcase of their immense talent and their unbreakable connection with the audience, affirming that their passion and energy remain as vibrant and profound as ever. The Pretenders continue to serve as a reminder of the power of live music, proving that rock and roll will always thrive and connect people through shared experiences and unforgettable performances.

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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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Written and Photographed by Lisa Melograno

Last Sunday, the Mann music center hosted two of the eighties’ most influential bands on their month-long Unity Tour. The Pet Shop Boys and New Order filled the crisp autumn air with their electro-pop and synthesized post-punk sounds on one of their month-long Unity Tour stops. The crowd was a mixture of fifty percent Gen X with a few Boomers who attended to relish two of their favorite bands. The other half was a combination of Millennials and Gen Z, some of whom dressed in Eighties Punk and new wave era clothes. Quite a few even wore New Order and Joy Division T-shirts. A few young girls wore short flared and pleated miniskirts (some black and some tartan), fishnet stockings, and Doc Martins. Regardless of age or clothing, everyone was united for the same reason, to listen and experience the sounds and showmanship of the artists performing.

The Pet Shop Boys made their debut in 1984 and have recorded 14 albums. Once the stage was revealed, the crowd jumped to their feet, applauded, and cheered loudly. The Pet Shop Boys were on a minimalistic set with two streetlights and microphone stands. The Boys were 8 feet apart and had long overcoats, and a mask that had what resembled a tuning fork pointed upright. “Suburbia” was the first song, followed by “Opportunities.” Neil Tennant walked the length of the stage, singing and his voice was as soothing as it ever was. He even grasped the streetlight a few times as if he were the star of a musical. Keyboardist Chris Lowe remained with his mark as still as a statue throughout the first group of songs.

Along with their hits, there were a few cover songs thrown in; “Always on My Mind” and “Where the Streets Have No Name/I Can’t Take My Eyes Off of You” had the fans join in singing in harmony. The Pet Shop Boys closed their seventeen-song set with ‘It’s a Sin,” another one of their famous hits. The Encore finished the performance with “West End Girls” and “Being Boring.” The audience remained on their feet, chanting throughout their show. When the band left the stage, the music did not stop. DJ Paul Oakenfold was off to the side, spinning dance music as the stage transformed for New Order’s performance.

New Order’s Post Punk style, combined with synth and electronic pop, laid the groundwork for the genre. Their heavy bass and synthesizer became popular club music in the eighties. The stage was simple and eclectic, focusing on their music and talent. The setlist featured a lot of their older songs which delighted the audience. New Order started with “Regret,” followed by “Age of Consent,” which became a melody of thousands of fans singing along. As the band played, the set became a spectacular laser and light show that pulsated along with the heavy bass and synthesized keyboard played by Gillian Gilbert. “Bizarre Love Triangle” and “True Faith” did not disappoint, but when the heavy bass of “Blue Monday’s” introduction started, the crowd exploded in jubilation. The six minutes song sounded just as good in person as the first time I heard it thirty years ago. 

The music and light show was spectacular, and with every flashing light, it was as though I could remember every time and place I was when I heard the song “Blue Monday.” The set concluded with “Temptation,” and then came the Encore, and just when one thought the show could not get any better, New Order finished with an encore of two Joy Division songs, “Decades” and” Love Will Tear Us Apart” The crowd went wild. Joy Division was New Order’s antecedent, but after the sudden death of their lead singer, Ian Curtis, the surviving members started New Order and added the synth-electro sound they are known for. Today’s band consists of Bernard Sumner, Stephen Morris, Gillian Gilbert, Phil Cunningham, and Tom Chapman.

The Pet Shop Boys and New Order Unity Tour were well worth the wait. I cannot think of a time I have been so mesmerized at a concert. From the Pet Shop Boys’ costumes and setting playing their electro-Pop hits, one could not help moving and singing along with two New Orders’ heavy bass and synthesized electro music with an outstanding light show. Their Unity Tour has both bands switching the headlining position on their North American tour, which considering their influential contributions to music, seems only fitting.

Pet Shop Boys

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photo credit: Lisa Melograno

Written by Lisa Melograno

Halloween arrived early this year at Ovation Hall in Atlantic City when shock rocker Alice Cooper took to the stage for the first time in eighteen months. Cooper and his band of seasoned performers did not appear to lack their skills and showmanship despite their hiatus.

Fans, young and old, filled the venue, dressed in jeans and band tee shirts, while some showed up with top hats and black tuxedo jackets, with heavy makeup mimicking the black snake eyes that Cooper is notoriously known for. The crowd roared, as the blue curtain adorned with those eyes, unveiled a set built to resemble a ghoulish haunted castle, was revealed.

Nearly 40 years ago, Cooper pioneered horror and theatrical stage concerts and brought horror and vaudeville to hard rock. Eventually, he became known as the godfather of “Shock Rock.” His shows consist of elaborate sets with electric chairs and a guillotine. His performances have featured a dark horror theme with zombies, gigantic babies, monsters, straitjackets, Frankenstein, and of course, a little fake blood is thrown in. 

This performance did not disappoint and was presented his Nightmare Castle. Seasoned fans that have attended earlier concerts knew what was coming next but still waited in anticipation and seemed just as thrilled as the first time they saw him.

The track, “Feed My Frankenstein,” which was featured in the 1992 Wayne’s World film and soundtrack opened the show. 

Cooper walked out dressed in black, wearing a top hat and spinning a cane. He transmitted the image of the rock star that he is and not a man in his 70’s. He appeared sharp and in harmony and moved about to cover every inch of the stage.

Three guitarists, Nita Strauss, Ryan Roxie, and Tommy Henriksen, joined along with bassist Chuck Garric, and drummer Glen Sobel. This lineup of accomplished musicians added to the debauchery with their stellar talent.

The band followed up with “No More Mr. Nice Guy,” one of Cooper‘s greatest hits, and seemed to beckon the crowd when they started singing. They then continued with “Bed of Nails” and a Velvet Underground cover, “Rock & Roll.” 

Cooper and the band kept the pace upbeat. The track, “Fallen In Love,” slowed things down, as Cooper began the ballad highlighting more of his talents playing the harmonica.

Another highlight was the premiere of “Go Man Go,” a catchy tune off his recently released album, Detroit Stories.

In all, there were three songs premiered from Detroit Stories, including “Social Debris“ described by Cooper as, “a gift to Detroit, to my fans and myself.” 

The track was written by the original Alice Cooper band. 

“We never thought that we would ever fit in; the Alice Cooper band didn’t fit in with anybody, because we were doing things that no other band did. We didn’t fit in with the folk scene, we didn’t fit in with the metal scene, we didn’t fit in with anything that was going on at that time. We just always felt like we were outsiders. We felt like we were social debris, we were in our little world.”

The night progressed with songs from over the years, including “I’m Eighteen” and “Billion Dollar Babies,” which gigantic babies prancing around the stage. Strauss delivered a mesmerizing guitar solo after descending the stairs of the castle, wearing a black cape with a hood pulled over her head.

Cooper also sang the eerie song, “Steven,” in a straitjacket, followed by “Dead Babies,” while holding a baby doll. Just before he is about to attack the baby with a meat cleaver, Cooper is swiftly whisked away to a guillotine by giant babies.

Following his death, a woman in a red and black Victorian dress, who is none other than Sheryl Cooper, takes his head and dances around with it to the tune of “I Love The Dead.” Although this act has been performed for decades, it seems to never get old according to the fans’ reaction.

The show closes with the track, “Escape,” and a reappearance of the enormous Frankenstein with “Teenage Frankenstein” left the crowd wanting more. They were rewarded with an encore. The mood and setting changed to a more upbeat atmosphere as “School’s Out” began. The lighting fit the mood and the crowd sang along as bubbles and huge colorful balloons fell out of nowhere.

Alice Cooper was dressed as he was when he first appeared on stage, only this time the jacket, top hat, and cane were white. He reached out with his cane and popped the balloons as they flowed by him. As the song progressed a few bars of Pink Floyd’s “Another Brick in the Wall“ were added and the crowd responded by singing enthusiastically.

The performance lasted two hours, consisting of 22 songs plus the encore.

Alice Cooper has been leaving fans in awe for years. As the venue was clearing out, it seems as though Cooper still has the same effect, with fans chatting about scenes and songs as they exited. 

I’ve seen Alice Cooper a few times over the years and the energy feels the same, the music and theatrical experience never gets dull or mundane. Although there have been minimal changes to Alice Cooper‘s concerts over the years, he still draws an enormous crowd and puts on an astounding show. Ovation Hall was the first show of the tour, and Alice Cooper and his band delivered exactly what the fans expect from him.

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photo credit: Lisa Melograno

Written by Lisa Melograno

“HU! HU! HU! HU!” shouted the crowd, as fist pumps and chants escalated in volume, and intensity filled the air at Theater of Living Arts (TLA) last night. The TLA, with its large chandeliers and dark red draperies, is known to welcome both established bands and solo artists, as well as new and up-and-coming artists, as well, so it isn’t surprising to have such a distinctive band as The HU come through the TLA.

The TLA is located in the heart of South Street’s business and entertainment district. South Street runs East to West across the city, connecting the more suburban South Philly area to Center City, the cosmopolitan area.

As the headquarters of counterculture in the city, The HU could not have picked a better venue to perform at in Philadelphia. After all, South Street is the “hippest street in town.”

As The HU took to the stage, the chants subsided when an equally leather-clad group of men began playing their instruments and singing in their native tongue. The HU wore leather that was embellished with emblems and symbols of Mongolia. Most of the concert attendees were garbed in heavy metal attire consisting of black T-shirts, vests, and leather.

If you’re unfamiliar with who The HU is, The HU is a Mongolian folk-rock and heavy metal band that formed in 2016 from Ulaanbaatar. The band’s name translates to the Mongolian root word for “human being.”

The HU‘s four core members, Gala, Jaya, Temka, and Enkush, use traditional Mongolian instruments that date back nearly one thousand years. By utilizing such one-of-a-kind instruments, the group has created a unique and exhilarating sound and experience.

photo credit: Lisa Melograno

The Morin Khuur, a two-stringed horsehead fiddle has strings and a bow made of horsehair and can replicate the sound of horses galloping. The four-piece also uses instruments including the Tovshuur, a Mongolian guitar, and a Tumur Khuur (jaw harp) along with a technique called “khoomei,” known as throat singing. This technique of singing requires the singer to produce a low constant sound, while simultaneously produces higher tones creating harmony. The blending of these Eastern techniques with Western contemporary musical styles has produced a unique style that The HU calls “Hunna Rock, which is a blend of Mongolian traditional music and contemporary rock music.”

“Shoog Shoog” was the first song on the setlist, and although the audience could not understand the lyrics, it did not stop them from rocking and moving to the music. Jaya, the lead singer whipped his long flowing hair back and forth, as he belted out lyrics. The other members had their hair tied up in traditional Mongolian ponytails.

photo credit: Lisa Melograno

When The HU performed “Wolf Totem,” the crowd went wild. The pulsating beats and rhythm that followed the whistling of the birds seemed to feel as though you were a warrior in battle; a battle that could be men in biker attire on Harleys or men in traditional warrior attire riding horses.

“Wolf Totem” topped out on Billboard’s Hard Rock Digital Song Sales at number 1 on April 11, 2019. This was the first time a Mongolian band was on any of the Billboard charts. They are also the first foreign band on this chart, which sings in their native language. 

The “Wolf Totem” video along with the “Yuve Yuve Yu’s” video together have gained over one hundred million views on YouTube. Because of their success, The HU had the privilege of meeting with the Mongolian President Khaltmaagiin Battulga, in 2019. He congratulated them on the honorable deeds that they were doing to promote their country. They were awarded the “Order of Genghis Khan,” Mongolia’s highest award.

Despite the language difference, the language posed no barrier at the show. The HU‘s lyrics are cultural references to old Mongolian war cries and poetry. Heritage and pride are important to the members of the group. Although they sang in their native tongue, The HU was able to command the attention of the audience the entire evening. When Jaya yelled out “Let’s Rock” in a thick heavy accent, the crowd went wild.

They played a mix of old and new songs, with a few that have not been released yet. The newer songs were more subdued and included more Mongolian influences and Western folk influences. They performed every song with the same passion and emotion and the crowd responded just as excited and enthusiastic as they did with the previous song.

The HU also added in a performance of Metallica’s “Sad But True” as their encore. The track was a fitting choice for these classically trained, Mongolian musicians, influenced by Western rock.

Last week, South Street was the epitome of the music subculture it has created. The HU did not disappoint and proved that music is an international language that joins people together. Their technical skill and classical Eastern training have collided with Western culture and rock music to create a fresh new sound.

The HU themselves have described their music as, “Hunnu Rock. The word Eastern meets Western, and the past meets present. The genre is very dynamic, as it can be metal, but it can also be classic rock.” Elton John, himself, described their music as, “Just the greatest new thing I’ve heard in a long time.” The HU‘s sound has had a profound effect on the West, showing us that music has no cultural, language, or national boundaries.

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Detroit Stories, Alice Cooper’s 21st album is available now, via earMusic. Born in Detroit, Cooper’s career spans over 50 years, and it shows in his new album.

Detroit Stories was produced by Bob Ezrin, a longtime collaborator of Alice Cooper‘s, and features members from MC5, The Detroit Wheels Grand Funk Railroad, and a special appearance by Joe Bonamassa. Detroit Stories is as eclectic as Cooper himself. His influences were British bands such as The Yardbirds, The Beatles, The Who, and The Rolling Stones.

In an interview with BBC2 Radio in 2007, Cooper listed his all-time favorite tracks as “Nineteenth Nervous Break Down”, “Turning Japanese,” “My Sharona,” “Beds Are Burning,” “My Generation,” “Welcome to the Jungle,” “Rebel Rebel,” “Over Under Sideways Down,” “Are You Gonna Be My Girl,” and “A Hard Day’s Night.” 

Detroit Stories encompasses the presence of these bands and the influence they have had on Alice Cooper. With this broad taste in music, it is no surprise that Cooper’s album honoring his hometown makes its roots in a variety of genres and musical styles. Detroit Stories is a mix of musically diverse originals and covers that Alice Cooper has kept tight, fun, and enjoyable. 

“Rock and Roll” a Velvet Underground cover written by Lou Reed opens Detroit Stories, setting the tone for a ride to the streets of Detroit. “I Hate You” and “Go Go Man” are punkish along the lines of the Ramones and Sex Pistols. “Go Go Man” with its simple riffs and basic hooks takes you on a ride fast wheeling through the city. soul, rhythm and blues, and funk are present in Detroit Stories with “1000 High Heel Shoes” resonating the Motown R&B sound with the presence of horns.

The track, “Drunk And In Love,” will have you thinking you are listening to a Muddy Waters or Buddy Guy song with the horns and harmonica. But Alice Cooper’s rebellious and uninhibited lyrics tell the story of a homeless man in love in a way only Cooper can.

Detroit Stories is not without hard rock and rock. Covers of “Sister Anne” and “Wonderful World” fulfill that along with “Hail Mary” another energetic rock original. 

Cooper shows a more serious side with some messages and optimism for the crazy times we are living in. “Our Love Will Change the World” is an upbeat optimistic and pleasant addition with catchy hooks. On the track, “Shut Up and Rock,” Cooper clearly states, ‘We don’t want to hear about your politics’, sending a message to celebrities. The most serious tone is in “Don’t Give Up” a track delving into mental health and suicide, with mostly spoken lyrics Alice Cooper explains to the listener, times are rough, but you are not alone.

Detroit Stories while not the typical “Godfather of Rock’s “bloody horror and the theatrical album” is a refreshing and vibrant album for the times. The eclectic, well put together, variations in the genre are a story, Alice Cooper‘s story.  The combination of covers and originals is a nostalgic walk-through time and the city of Detroit in the mind of Alice Cooper. And a pleasantly enjoyable one at that.

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