“Rock Soldiers”

Currently, I am curled up on the couch ignoring my homework in favour of watching a new Tv series that started last night on Max. Rock Soldiers follows the backstage antics and roles of roadies, stage managers, tech guys and all the other unsung heroes who make music concerts and festivals come alive.

I warn you, the following post will most likely read like a bad attempt at a plug, but there is no other way for me to point out what this show is about. I guess if you’re like me, anything that offers an insight into the world of music, and especially the goings on behind the curtain, is something worth sharing. So bear with me….

Already, 30 seconds in, the show has documented the dismantling, transporting and rebuilding of  Australia’s very own Big Day Out festival from Adelaide to Perth. Watching these men unloading truck after truck of heavy and complex puzzle pieces that will soon form a monolithic stage, I am somewhat floored, for want of a better word. I am also slightly ashamed of my apparent ignorance.

Having attended the very BDO festival that is being put together before my eyes, I cannot help but feel somewhat guilty that at the time, I didn’t spare a single thought for the backstage army that made everything possible. It never occurred to me during Tool’s amazing laser display what difficulties the cooling system of said lasers would pose. That the backstage mazes of Rammstein, Birds of Tokyo and Airbourne guitars would require constant monitoring.

Despite the fact that a standard stage set up takes 30hours, the crew highlighted in this show managed to set up Perth BDO in only 7. The meticulous planning, time and space management that goes into a stage that a musician only sees for an hour at most. The blood, sweat and choice swear words that these men offer to ensure that thousands of music fans nation wide are entertained, and on time too.

While not overly dramatic, or long for that matter, Rock Soldiers is an amazing piece of insight into the extreme behind the scenes of the music world, and it’s refreshing to see it on an Australian stage too (pun intended). Focusing not on the bands themselves, but the crews that make their shows happen, Rock Soldiers is well worth a watch for anyone interested in the music industry, or even just enjoys music festivals.

The Soldiers of Rock.

Also, as pointed out by narrator Shane Jacobson, himself an ex-roadie, there is often very little care for crews like this when faced with injury or loss of work. If you’re feeling particularly generous, help these tough guys out. Head to supportact.com.au, a charity that provides help and care for men injured on the road.

Mötley Mösh

Last weekend I attended a Mötley Crüe concert. Being my favourite band, I was more than excited to get into the mosh and dance my little heart out, maybe even get a decent perv at Mr Nikki Sixx. However, upon Mötley taking to the stage, I was dismayed to find my path blocked. But before you think I’m here to re-hash my previous blog about Mosh Pits, think again. I am about to blow your minds by introducing a NEW breed of mosh-annoyances. Ladies and gentlemen, I give you:

The Mosh-Cock-Blocker.

I know what you’re thinking: What strange manner of beast is this?

Let me break it down:

This curious beast is rare, but not uncommon at older music events, where the age-group is generally between 25-40. The beast makes their presence known by attempting to take up the most space within a crowded area. However, should any other breed of mosh-beast move into the Mosh-Cock-Bloacker’s) space, it is of great injustice.

The Mosh-Cock-Blocker (or MCB) is very territorially, and will often lay claim to a space that he has vacated several times over the last 10minutes to make trips to the toilet or to forage drinks for himself and his mate.

I can’t keep this sarcastic David Attenborough shit up, but I digress.

Basically, myself, and the group of friends I was with at the concert (including my mother and twin-brother) found any hopes we had of enjoying the concert were marred, but what I have come to call the Mosh-Cock-Blocker. During the support band (Mr. Brett Michaels, thank you very much) every attempt I made to dance (not punch blindly and maim all with in reach, but DANCE) was suppressed. On both sides of my were two tall men, who wanted to make it clear to everyone that they meant business.

And that business did not involve enjoying a single second of the concert.You guessed it, sport fans…. I had encountered an MCB!

In fact, lucky me, I’d managed to find myself stuck in the middle of a whole crowd of them. In front of me was a little old lady in a leather jacket, on my right Beardy McBearderson and the King of MCB’s on my right, who was so intent on spending the entire evening being a dullard along with his dullard of a girlfriend. It was like standing in an ocean of Kristen Stewart clones.

"OMG. THIS IS MY FAVOURITE SONG. I'M SO EXCITED"

Initially, I thought:

‘Okay, these dudes are annoying, but when the bands start, I’m sure they’ll get into it, or I’ll just slip in front of them.’

But no. Brett Michaels came and went, without so much as a facial tick from the MCB’s. During the set up of Mötley Crüe‘s stage, the male of the couple MCB left, to get refreshments or kill some babies or something. Upon returning, he attempted to return to his ‘rightful place’ and wormed his way through the crowd to get to it. However, when he happened upone my mother in the crowd (yes, my mother went with me to Mötley Crüe), a simple ‘Excuse me, my head is up my arse and I simply must attend to my girlfriend’ was not sufficient. Oh no. The MCB felt it was best to TUG ON MY MOTHER’S HAIR IN ORDER TO GET HER TO MOVE. Fortunately for him, she was too shocked to slug him one. Unfortunately for him, from then on it was war.

Suffice to say, through some crafty (and mostly forceful) pushing and some artful hair whipping, I banished all MCB’s from my sight. There was much rejoicing. A statue was raised in my honour.

Okay, maybe not that. But people were able to dance to their hearts content in a safe space, free of Mosh-Cock-Blockers.

'Personal space, guize.'

I know what you’re all thinking: Goddamn this girl complains about everything. Nothing is good enough.

Well, yes, I am highly critical of resident douchebags in public places, but my point is bigger than that. The point I’m making is that one of the main ideas of a mosh pit is unity. Again, I know this sounds like wank, but if you really think about what a mosh pit is, it’s a collection of people who enjoy the same music and the same songs and want react to that. Similar to my original mosh post, my problem is not with the way people enjoy music. It’s the way they interact with others in the crowd. When they way they react to music is stopping or affecting the way other people react, it’s not fair and it’s not right. The actions of these MCB’s was purposeful and they were aware of the annoyance they were creating. Pulling my mother’s hair was a deliberate and douchey act, and this guy knew what he was doing.

And that’s taking things too far.

To end, here’s a pretty picture of the Crüe boys:

 

What kind of motley crew it his?

Australian Festivals a No-Go

Recently, online ticketing distributor Moshtix released their annual ‘State of the Festival Market’ report. The findings were not hope inspiring. Prepare yourself, Bucky’s about to drop some stats.

Of the 2,949 people that were polled, 41.6% said that the fun at festivals had declined over the last 5 years. 24.9% said that the experience had simply remained the same.

The survey also found:

• 52.7% of people said Australia had enough music festivals, while 27.2% said there was too many.
• 83.7% of punters felt that the steep cost of tickets was behind low festival attendance
• The survey found most people were happy to pay more for food and drinks at a festival, to help the environment.
• Despite efforts to improve festivals, only 23.4% of people said festivals were their favourite place to see live music acts. 56.3% of people said the local pub was preferred.

The news is not good for the Australian music scene. Surrounding the release of these statistics is the cancellation of several festivals, including Soundwave Revolution, Southern Blues Festival, Funk N Grooves and Raggamuffin. This also follows the postponement of Good Vibrations festival until December 2013.

Given this review of the state of Australian music festivals, one has to ask the eternal question: What gives?

In this article Adam McArthur, News Ticketing CEO, was quoted as blaming these poor statistics on the “disappointing behaviour of a new generation of festival goers [that] has discouraged other regulars from returning”.

An article from News.com.au, who shares an owner with Moshtix, included some examples of the new generation who felt that being at festivals was more about being ‘cool’ than about the music. In the article, survey respondents said that it was inconsiderate behaviour of others, violence and drugs and alcohol that put them off returning to festivals.

Yesterday, the Herald Sun released police arrest rates following Parklife music festival over the weekend. Police arrested 42 patrons and ejected 11 after being found with drugs. Some girls even went so far as to hide pills in their hair.

"I want my mummy."

Does all this spell out the end of the Australian music festival? Or does it simply mean the beginning of a new era?

I personally think that this means the beginning of a new breed of Australian music festival, but one that I am no willing to be a part of. While there has usually been a stereotypical distinction between music festivals and the people that attend them, this distinction is becoming blurred. The has been a shift from music festivals being focused on bringing different types of music to Australian audiences, to festivals being a seemingly haphazard Pick N’ Mix of genres or hugely based on one. Now days, festivals hosting dance artists or DJ’s are more common than heavier style music. Most people can go to a nightclub and hear dance tracks and DJ’s, where as now they are able to go to festivals and see them. While the heavy metal fans are left to shrink back into the shadows and wait for Opeth’s next tour (FYI: tickets went on sale yesterday, people!).

While drugs have never been completely out of place at music festivals, there is a different drug culture than was present at, say, Woodstock. With a growing abundance of the afore mentioned nightclub patrons going to music festivals to enjoy more of a dance-scene, it seems they have brought their drug and alcohol culture with them. Instead of having one or two drinks and enjoying some good music, this generation is treating the festival like a night out; drinking far too much, stumbling around and starting fights.

I’ll be the first to admit I am an absolute dork when it comes to music festivals. I pack my shoulder bag with sunscreen, panadol and ensure I drink plenty of water throughout the day. It’s dorky, but when one of my friends gets dropped crowd surfing or the music gives them a headache, no one complains when I produce pain killers. I offer no sympathy when I see girls lying under trees or fainting from dehydration, because I’ve been chugging water like a champion. BDO last year was held on one of the hottest day of the year, but while everyone was having naps in the shade, I scored a front row view for Andrew W.K. I offer my thanks to the drunk girls who passed out before his set.

The transfer from club to crowds has not been a smooth one. Festival veterans have resisted the influx of fake tans & Vodka Cruisers taking over festivals, but, based on the findings of Moshtix, their efforts were in vain. While they fought valiantly, the death march is sounding for music festivals as we know them.

Are the festivals we’ve come to know and love a thing of the past? Does the future hold a dance-rave type music festival rather than a diverse display of genres?

If so, the future is indeed a terrifying one.

Same old song and Flying Burger Monsters…

The other day, during one of my many meanderings of the cyberspace that is The Interwebz, I stumbled across this article by self confessed ‘music snob’ This Is Absurd. Based on an article he read in The New York Times, Mr Absurd asserted fears for the future of album artwork.

Citing Lady Gaga’s latest & Lil’ Wayne’s Tha Carter III as examples for lacklustre album covers, when compared to the Beatles’ Revolver album, Absurd guessed it was iPods & digital music as the culprits behind it all (not Professor Plum in the dining room with the candlestick).

Being someone who works in a CD store I completely agree. Majority of CDs released now days are very simple. They will usually have a simple close up image of the artist or an understated image. Both Kings of Leon & Eskimo Joe have released albums that feature landscapes as the album art for crying out loud, and The Living End channelled Led Zep. by covering their latest in mystic looking rune symbols.

However, I think it’s not so much a death of album art as a trend. If you look closely, while most mainstream covers are simple portraits or not-so-complex graphics, most alternative covers can be quite remarkable. Muse’s The Resistance was quite a colourful geometric piece and (although I’m not a fan of the music) the new Jay Z and Kanye West album Watch The Throne is an amazing gold and metallic …thing.

Having said that, you cannot deny the evidence that simple sells. Michael Jackson’s Thriller is the best selling album in the world. And all it features is Jacko lying on his side. Ac/Dc’s album Back in Black is the second highest selling album of all time, the best selling album of any heavy metal or hard rock group, and the highest selling album of any Australian band. The cover design is completely black save for the band name and album title.

Michael's back in black too....

Acca Dacca

 

 

 

 

 

 

 

Similarly, Metallica’s self-titled, or “Black Album” as it has been nicknamed, is considered one of the best albums from the band, with six singles coming from the album including ‘Enter Sandman’ and ‘Nothing Else Matters’.

"What's blacker than black?"

Although Mister Absurd makes a valid point and there is evidence that album art is not the masterpieces it once was, one has to realise that not every album released is going to be a work of art. I think that Lady Gaga’s close-up portrait or her head super-imposed onto a motorbike will simply be another title for the ‘weird and wacky’  pile of album’s gone by. But if you look a little closer, hope is not lost. At any one time, great and terrible album covers happily co-exist. I think it unfair to say that the death of album art is upon us. Current albums are simply, well…. simple. It’s a trend in the market and nothing more.

 

To end, I will leave you with a small sample of the ‘weird and wacky’ album cover pile…. I cannot fathom why these albums are not being revered today…

Not all albums can be as cool as this, guize.

Why stop your daily routine for art?

Mrs. Groucho Marx was a well respected recording artist.

RE: Moshing Is The Pits

What it took me to say in near 1000 words & two blog posts, ska-punk masters Reel Big Fish have managed in one sarcasm laden song. Watch, dance & enjoy.

Note: I do not own this video or this song. Some lovely chappy on youtube made the video, with pretty ponies, which he does not own either. This song also contains language.

Moshing Is The Pits: Part 2

In the current climate it’s not unusual to go to gigs & come home with an injury of varying severity. With increased violence within certain concert audiences as part of moshing, injury is almost accepted as the inevitable. In fact, it’s rarer to escape unscathed. I have seen friends knocked out, been personally kicked in the stomach, kicked in the head. And all for the sake of seeing a band they love.

There are historical cases of moshing getting out of hand. In 1996 Bernadette O’Brien was killed at a Smashing Pumpkin’s concert in Ireland when she was crushed by a surge of moshers. As a result, the band publicly denounced moshing.

Most mosh enthusiasts are adamant that there is a code of conduct for the pit. The rules are not defined but are based on general goodness; ie: Should someone fall down in the mosh, kindly help the fellow up etc. Another idea is that those who do not wish to take part in the mosh, should not have it forced upon them. However, this rule is becoming more and more ignored. Most often at concerts, people have little choice when it comes to joining in or becoming a victim of a mosh pit. Simply dancing & jumping around along with the crowd is safe enough, but when a handful take it upon themselves to swing their fists wildly & start kicking like a drunken mule, there is little anyone can do to stop them. I find, when it comes to situations like this, the general response is ‘If you don’t want to be involved, move out of the way.’ Personally, if I have paid for my ticket & chosen my spot, I should be free to enjoy the music without fear of a concussion. Should you find yourself overcome with the urge to collide with your friends and strangers and destroy what little brain cells you hold dear, I say take it to the back of the venue.

Sadly, with some styles of music, this kind of rough housing comes with the territory, and, for me, certain injury is too high a price for me to risk a concert. There are heavy metal or “hard core” bands that I do enjoy listening to, but would, & have done, pass on the opportunity to see live. While bands themselves incite such frenzies in their audience, others don’t (I’m sure you’re all aware of the famous Yellowcard Vs Lamb of God Wall of Death incident. If not Google it). However, even with out coercion from the band, audiences can be trusted to cause trouble on their own.

To me, it seems a sad state of affairs when fans are too fearful of attending a concert. Everyone has the right to enjoy a concert in their own way, but when that not only interferes with another’s enjoyment & could even cause them harm, it goes past the point of self expression. And enters a realm of ‘buzz-kill’.

 

And no one wants to be that.

Moshing Is the Pits: Part 1

Seeing a band live is one the best parts of music. The atmosphere of a concert is so exhilarating & seeing the music you love created before you is an inspiring thing. This is a very deep (& somewhat wanky) analysis of concerts. They’re also just an awesome place to go & dance your lil’ heart out to some decent tunes.

But I’ve noticed that concerts are becoming an increasingly dangerous place. With new variations of “moshing” being employed by audience members, like Wall of Death & Circle Pits, floors are being dominated by rough & often violent dances. There has been a shift from using the dance style to enjoy the music & interact with other audience members, to using to intentionally inflict pain on a stranger.

But first, the facts:

When moshing first started in the 1980′s (the exact date is questionable) it was a mild form of Pogo-dancing, where audience members simply jumped up & down. Sid Vicious claimed he invented the dance move, as a means of attacking non-punk kids at Sex Pistols concerts.

                                                             Look Ma! No hands!

Since then, moshing has turned into a much more violent & exuberant, with dance moves now including punching, kicking, running in circles & colliding with other audience members. The name ‘mosh’ itself came from people mishearing lead singer of hardcore punk veterans Bad Brains remarked on how the audience ‘mashed together’. Due to the singers Jamaican accent, the term ‘mosh’ was created.

Now I am all for a decent mosh. But there is a point where things just get a little bit silly. In part 2 of this blog post I will discuss the dangers faced in concert attendance and get on my soap box just a lil’ bit.

Stay tuned.

Music Makes The World Go Round

Today, whilst in the stairwell at University, a complete stranger commented on the band shirt I was wearing.

“Cool Mötley Crüe shirt. Do you have tickets to their concert?”

What followed was a rushed conversation about the impending concert, which era of Nikki Sixx was sexier (let’s face it, all of them) and desires of meeting the members.

It was a brief and fleeting friendship, but it reaffirms why, in my mind, music journalism is the best place to be. For those 3minutes, a complete stranger transformed into my best friend, sharing with me her secret plans to abduct band members.

Such a response elicited by the image of Vince Neil’s crotch emblazoned across my chest just demonstrates the power of music. I’m sure we’ve all experienced something like this. Sidling up to your favourite section in your favourite CD store, and sharing small smiles and glances with a person already there. Colliding with someone in a moshpit only to have them become your protector from other mosh-warriors.

The afore-mentioned crotch

Music is a strong uniting factor and with variation in music genre’s only intensifying, the bonds it can form are stronger than ever. For me, the opportunity to connect with people all over the world, or even in one small town, would be a dream come true. To listen to great music, talk to interesting people and talk about what I love all day? Sounds like heaven.