Singer / Songwriter V.V. Brown talks touring with Maroon 5, her upcoming album, and why she misses London

By Liz Newman

So things have really been taking off for you lately, and there was a time you were considering just chucking it all and head back to London – what has made you stick with it and adjust to the hurtles?

I think the success of how things were going in Europe gave me the confidence to believe in myself again – so coming to America was a lot different the second time around.  I was a lot older too, so I knew who I was.  Also, this time around I had a different record company who I think was a better fit.  And generally, it just worked out.

This is your biggest tour to date, correct?

Yes, this is the biggest tour I have done in America; I’ve done tours like this in the UK.  But America is definitely different because America is massive.  And it is really hot because we are touring in the summer.  A lot of the places we go to it is 100 degrees – it is definitely, whoa.

How has it been touring with Maroon 5 – were you nervous at all?

No, I’m not nervous – I am quite relaxed, actually. They’ve treated us really well, and they’re lovely guys. I think it is more a small apprehension because we are still a new band here; I am still a new artist, so not everyone knows the songs so we always have our fingers crossed hoping that there will be some sort of connection with the crowd. But we are here to spread the word, get it out there – so I am grateful to just be on this tour.

I know your music has been featured on popular T.V. shows like “The City”  and “Cougar Town” – but is there anything else you have done up to this point that has been a big turning point for you career-wise?

For me, David Letterman was massively big thing; I have always wanted o go on that show.  And I think the Degrassi connection – where the songs played on the show – that has been a massive help to people finding out about the songs, so I am really grateful to Nickelodeon for that.

Now that you are getting more and more recognition, have you had any issues adjusting to limelight?

No, I don’t really go to all the clubs and bars where there this paparazzi…I am a quite private person. I don’t think we are big enough yet to have them swarm us.   Life has obviously changed because I am traveling a lot and sometimes it is a bit weird when people treat you like they know who you are – even though they haven’t even met me. But I take everything with a pinch of salt, it doesn’t feel too drastic because everything I’m doing is very gradual, everything is a stepping stone.

You have also become known as a fashion icon.  Does that show in your music or vice versa?

I think the two are married’ they are very much connected.  Both bounce off each other – the music and fashion both come from the individual so it is all coming from me and my identity.  I think am moving more into a simplistic sense of fashion, I have just bought loads and loads of black clothes and I think the next album I am going to where black all the time; I really like that simplicity. The next album is gong to be a bit more serious, this one is very fun, colorful and very pop – there is quite a youthful nature to it.  The second album is going to reflect where I am at now, I am a much more mature individual know and learned a lot more about life than I did before.

Any pop icons that influence you or you hope to collaborate with?

I love Daevid Allen, he is a fantastic producer and artist and think he’d be a really great collaboration.  I am huge fan of Imogen Heap and I do love Lady Gaga as well.  I think she is fantastic; she is a great songwriter. And Grace Jones – there’s lots of different people out there.

What about Lady Gaga’s outfit risks?

I am not a huge fan of her fashion sense, but I do respect her boldness and I love the fact she is herself completely and I think she is a true artist and she does what she wants.  And she is very hands on with her projects and I think that is a very inspiring things she gives off; you have to respect her for that.

You’ve called yourself a control freak in the past – do you think that helps you maintain calmness on stage?

I am definitely a control freak, it is something that I am dealing with.  I think I just really, really want to make sure everything we do is represented correctly.  But we have really great team of managers, record company, my band is really fun and great too – so you don’t have to worry so much because everyone is so great at what they do and I just have to make sure that I do my bit as well and then the train moves smoothly.  I think the more success we’ve had, the less I’ve felt the need to control everything because it makes me have trust in other people that they can do their job properly.

You’ve been a long way from home for a while now – what’s your favorite part about being on tour?

The traveling part is really fun because you get to see so much of America, but at the same time the traveling is the worst part because you’re not traveling and actually seeing the towns you are waiting around in your tour bus to do your sound checks.  So, on he flip side, it can get a bit boring.  But I love meeting new people and I love playing the songs.  But I am really looking forward to going home; I have been in the states for nearly a year now.  I miss London. I miss my cat, my boyfriend and my family – I need a week of normality like cups of tea. But anytime you get homesick, you always kind of remember to be grateful for where you are and what you are doing because at the end of the day, despite it being difficult, you are doing what you love.

Upon first glance of “School Gyrls”, I thought “Dear God, spare me the agony of yet another wannabe girl group.” My thoughts were semi-correct.

I’m not going to lie, the beats in this song are really, really good. But, the vocals are somewhat of overkill. It doesn’t really sound like singing, but more like whining. Also, the random guy trying to sound like Lil Jon and screaming in the background doesn’t make it any better. Plus, the lyrics aren’t anything special. The entire song is about going to a party and dancing. Nothing out of the ordinary.

Honestly, this group sounds like Ke$ha, but worse (considering that I actually like Ke$ha). They can’t really sing, and the whole “cutesy” schoolgirl image has to go. Stop trying to gain a fan base by dressing like you’re half-naked in provocative outfits and singing like the Cheetah Girls. It’s not going to work.

Utah. A state known for its outdoor activities and scenic views, not for flash and bright colors. Alternative band Neon Trees hopes to electrify their home state’s reputation.  Self-described as post-pop punk, Neon Trees’ sound is infectious, entertaining, and dance-worthy.  Lead singer Tyler Glenn accredits bands like Passion Pit and The Big Pink as well as French DJs to their enthralling music. These influences are apparent in their first single “Animal.” The catchy song is a solid debut about comparing the start of a relationship to…well, to an animal. The upcoming video for “Animal” also takes from an interesting source of influence—Batman. As a teenager, Glenn loved superheroes like X-Men and of course, The Dark Knight. The band drew from their love of the Tim-Burton-directed Batman and paid homage to the Joker scene in which he and his cronies wreak havoc in an art gallery. Whether inspired by caped-crusaders or by electronic tastemakers, prepare for Neon Trees’ forthcoming album, Habits, to be filled with seductive vocals and hard-edged tracks about the habits of a relationship. Be sure to give Habits a listen when it is released on March 23!

Recently, the United States Department of Justice confirmed the merger between two of the largest ticket retailers in the country, TicketMaster and Live Nation. For avid concert-goers like me, this is probably the worst decision ever made in the world of music. Is any good going to come out of it?

The world of government anti-trust issues dates all the way back to the mid-1800s, post-Civil War era, when corporate giants such as John D. Rockefeller and J.P. Morgan broke onto the scene with trusts and mega-corporations in the oil and banking industries. Fast-forward to 2010, and the predecessors for our anti-trust laws and governmental control over some companies sparked the beginning of this awful merger that victimizes fans across the country.

The merger clearly brings the two companies together and is now being called “Live Nation Entertainment, Inc.” to incorporate the titles of the two as well as to “reflect the combination of Live Nation’s concert promotion expertise with Ticketmaster’s world-class ticketing solutions and artist relationships,” according to the DOJ (whatever THAT means). The DOJ also states that “Through this merger, the parties believe that the combined company will have the tools to develop new products, expand access, improve transparency and deliver artists and fans more choice.  This will drive greater attendance at live events and bringing more value to all major constituents in the industry. The combined company also expects to pursue significant growth opportunities in markets around the world.” I rolled my eyes at the end of that statement.

As previously stated, I am an avid concert-goer. I attend at least three shows per year and sometimes the numbers increase, and ticket prices are already expensive to begin with, especially in the economic state that our nation is in. Throw all of the extra “service fees” and “processing charges” on top of a General Admission price and your $15.00 ticket shoots up to about twice of what it’s worth. I usually buy my tickets from Live Nation, and they charge the same fees, but the prices are usually not that bad compared to TicketMaster’s. Thus, TicketMaster merging with Live Nation is going to make the prices of tickets completely skyrocket into the clouds while simultaneously downsizing the amount of people that are going to spend their hard-earned money on tickets. TicketMaster’s so-called “ticketing solutions” are just ways to make people spend more money than they have to.

Also, how is this merger going to increase the attendance at shows? When I go to shows, they’re usually at smaller venues, such as Culture Room (Ft. Lauderdale) or Revolution Live (Ft. Lauderdale), and even then the venues don’t reach their maximum capacities. As a matter of fact, Culture Room receives more shows because they sell their tickets so cheap that it costs Revolution too much money to hold a show there. But, this merger won’t increase attendance, it’ll just decrease it, because no one has the money to go see their favorite artists anymore, and if they do go to shows then they will attend them at smaller venues that sell tickets for more affordable prices. The days of shows at sold-out arenas and theaters are far from over, and the times of shows at underground clubs or bars are ever-present.

Aside from the merger directly affecting fans, it also directly affects bands. From their perspective, the merger means less and less fans at shows since the price of renting venues is  constantly increasing and also because ticket sales are so low. According to Yahoo, artists and bands are not thrilled about this at all:

“Bruce Springsteen, already furious with Ticketmaster for directing fans to a subsidiary selling tickets for above-face value, recently posted a statement on his Web site saying a deal with Live Nation could end up ‘returning us to a near-monopoly situation in music ticketing.’”

Clearly, this merger poses hundreds of problems and it hasn’t made people very happy. America is supposed to be a democracy, which also means that mega-corporations cannot monopolize and break our anti-trust laws just to get more money to line their overstuffed pockets. With that said, although we as fans may not have a lot of power to do something about this, the only thing we can do is continue to support our artists and try not to let the merger get in the way of what we want as an audience—real live entertainment.

By Stephanie Waldrop

John Travolta is back in action in the new movie, “From Paris with Love.”  John plays a shaved head, cocaine sniffing Secret Agent Charlie Wax who has been sent to Paris to stop a terrorist attack… Along for the ride is James Reese, played by Jonathan Rhys Meyers. Reese is a low key spy who was always hoping for a high key job and he gets just that when he’s paired up with Charlie, which begins them into a terrorist conspiracy. Director  Pierre Morel (who also directed Taken) seems like he’s just focusing on Cinematography and violence.

It’s nice to be watching a movie and seeing the beautiful sites of Paris, but you need more to a film. The camera-work used during the fight scenes is just horrific. It really hurts to see a movie with such action have poor shots. It really creates a bad movie. What didn’t lapse was the action. But too much action can be possible. This movie is just over-the-top. Don’t get me wrong, I love a fast-pace movie as the next person, but at the end of this one, I had a headache! Not to forget that half the town gets killed before the movie is half over.

Overall, if you’re a fan of Travolta I say wait till it goes onto DVD. This might be the last thrill ride movie he’ll do. If not, go see Avatar for the 5^th time. I’ll say one thing: If Travolta wasn’t in this movie; it wouldn’t be worth even mentioning. His co-star lacks mostly everything.  From Paris with Love is just another movie that could of been, but wasn’t.

Disco Biscuits “Planet Anthem”

by Dina Kolman

Have you ever wanted to time travel? Strap your shoes on and just dance upon the decades? Bask in the radiance of the times, and live throughout the history of music; the psychedelic sixties, the groovy seventies, or even immerse in the glamorous groove of dance beats in the 80s. The Disco Biscuits make that dream a reality in their 5th studio album, Planet Anthem. 
The album begins with “Loose Change,” a track that effortlessly epitomizes their style and sets the stage for a good listen. Though slightly cliche in lyrics, repeating “money is the root of all evil,” unique cries of techno emerge through the enchanting, echoing melodies. It feels like a spin off an 80s dance mix, mirroring styles of Depeche Mode. 
“On Time” proves that one can be upbeat and insightful. The refreshing, metaphoric lyrics upload the listener into a digital world where women are computers, and oh so irresistible. The blending of pop, hip-hop, and dance with electronic undertones is masterfully done. The lyrics are hypnotic and intriguing, in this riveting song. 
In their third track, “Widgets,” the Disco Biscuits bravely deviate from their usual “party jam” tempo and wander into a world of passion; the finger-picking of a classical guitar is inviting and foreboding. “I’m on the outside looking in” at a tantalizing track.

The Disco Biscuits have a tremendous way of transitioning between various styles while remaining true to themselves, and sounding natural. “You and I” is a song of heavier rock with a 70s punk influence. In a flash, the song shows hip-hop beats and visions of break dancers dance in my head. Just when you think there aren’t any more changes, they provide us with a trance-like hook. Magical!

“Konkrete” accentuates the Disco Biscuits’ eccentric, artsy side. The cool, jazzy intro captures the listener, while the lyrics and sound effects are eerie and haunting. “Uber Glue” puts a spotlight on their instrumental side. The light drum taps are lively and there are little words, allowing for free interpretation. 
“Rain Song” is unique in that it has an Asian sound, of mystery and suspense. The woman’s voice is beautiful and adds to their versatility. In “Fish Out of Water,” the Disco Biscuits share their wildest thoughts. One can see into the their electronic dreams. This track reminds me of a 70s jam. The guitar solo gives one goose-bumps as the piano plays away. “Gonna make a rebel out of me.”

From the Disco Biscuits’ songs, one can hear their passion and creativity. We all knew they had soulful rhymes, but in “Sweatbox,” that there is rapping! This is just another way they are unique. They are the pop art of music; they are refreshing in their mixing of old and new sounds. 
The track “The City” is a toe-tapping song with more of a story-telling style. He speaks in rhythm with a rock background, infusing chants and trumpets, with lyrics that capture the listener. It is a song of hopes, “sitting on a mountaintop”, gazing below at the city. It is a song of contemplative matter over nature, people, and of course, the safety and familiarity of “the city.” 
In “Big Wrecking Ball,” I can imagine a band like Weezer, rocking out to the upbeat, guitar-heavy rhythms. This song shows their fun, alternative side. In the closing track, “Vacation,” the Disco Biscuits, once again, fuse together differing styles successfully. It is slow, eerie, and distinguished. The lyrics are thoughtful, “don’t wait everyday my love .” The Disco Biscuits cleverly mix upbeat, catchy beats, with passionate, heartfelt lyrics.

The Disco Biscuits are truly unique, passionate, slightly quirky, and random. This seemingly clashing combination works brilliantly for them. With tasteful lyrics and a wide array of sounds, they create a medley of enjoyable tunes. Soaring through the times, they have collected the best music inspiration and have combined all of the styles into an album that showcases their eccentric ways; they have rap, electronic, rock, jazz, pop and more! Providing inspiration for future bands to come, the Disco Biscuits take creativity and uniqueness to an entire new level, even that of another planet!

Allison Moorer- Crows

Tattered threads hug her half-heatedly as she ambles along the dirt-ridden road. Tears crawl down her porcelain skin, pre-maturely wrinkled from grief and worry. She gazes off into the foreboding horizon, longing for a new life; A life of simple pleasures and harmony. Such emotion is propelled through the heart-felt poetry of singer/songwriter Allison Moorer’s music. One can imagine the agony and plead for serenity of a women, from the release of Moorer’s album, Crows.

Allison Moorer’s seventh album, Crows, is a canvas on which she paints her insightful creativity. With an emphasis on life and nature, this metaphorically driven album touches hearts and effectively transfers Moore’s emotions to her audience. Crows is the follow up to her critically acclaimed 2008 album, Mockingbird. Allison Moorer carries out the bird motif to celebrate her obsession with birds. She has been told that birds “are our messengers from the other side, so she decided that instead of letting them make her uneasy, she would consider them friendly and believe they were bringing her messages of comfort.” She even sings about these omniscient crows in the concluding track entitled “Crows.” Showing her connection to earth and natural pleasure, Moore surely sends her message to ears around. In “Easy In The Summertime,” Moorer’s nostalgic reflection on a southern lifestyle in the summertime: mother’s love, mouthwatering- melon, swinging in torn blue-jeans, and the freedom of going barefoot on the cool, hard wood, is relatable and charming. In “The Broken Girl,” Moorer depicts a solemn girl, creatively adding an upbeat catchy rhythm of drums and guitars to contrast the dramatic and sorrowful lyrics. “Just Another Fool” shows her attitude about women overcoming oppression and being independent. The sultry voice captivates listeners in the ballad “Should I be Concerned,” greatly showcasing her dynamic voice range.

Though her songs grant listeners with consoling warmth, alleviating air, and a light of hope, Moorer has the tendency for her lyrics to become disconnected with the supporting music. These heartfelt, bluesy songs of desperation and solemnity become repetitive cries, becoming mundane and melodramatic. Songs such as “Abalone Sky,” and “Goodbye to the Ground” encompass such heartfelt and optimistic words, yet posses such a repetitive, persistent meter, distracting the listener from its powerful message. “In Still The Side of Gone,” Moorer begs for a sign of hope to set her free. While not every track on Crows is a depressing ballad, the majority are woeful pleads that may be easier to listen to if they had an upbeat rhythm, like few tracks on Crows do. In those few tracks, Moorer counter-balances the solemnity with beautifully balanced acoustic guitars, precise piano, and even guest instruments such as violins. The mix is quaint but intriguingly passionate. The final transition is to a very dull, blues-like sound. In “It’s Gonna Feel Good (When It Stops Hurting),” dramatic lyrics swirl amidst the eerie melodies. Vivid images of overcoming pain dance in our heads, leaving a lasting impression of Moorer’s thoughts.

Along with Allison Moorer’s passion and thoughts, comes this warm, comfortable quilt of an album. The songs are strung together as the unique patches. Finally, holding together those patches are the threads of lyrics, running themselves in and out of this quilt. The lyrics brilliantly convey Moorer’s thoughts about life, love, hardship, and even birds. Though the tracks may seem to overlap in style and lose distinguishability, they are still creative evidence of thoughtful Allison Moorer. One must have an open ear to the sultry, soulful, and blues-like style on Crows, but it is not a quilt to be discarded and forgotten.

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