Peter seeks guidance from Dr. (not a real doctor) Dixon.
Ever since February 7, 1964, The Beatles have been all the music world could ever talk about.
Since the infamous Beatles split in 1970, the band has grown larger and larger, and yet they’ve managed to keep themselves not only relevant, but timeless in the eyes of younger generations. Even today, with the recent release of Paul McCartney’s new album, Egypt Station, the British Invasion continues.
The new album has reached Number 1 on the charts, McCartney’s first number one in 36 years. McCartney’s album is paired with the Freshen Up World Tour, which has stops throughout the U.S. Despite the release of Egypt Station, the former Beatle is known for performing songs from both The Beatles and Wings on this tour, forcing listeners to reminisce about these wonder years.
On the new album you can find his two latest singles “Fuh You,” an upbeat pop tune that sounds nothing like any of McCartney’s previous music, and “Come On To Me,” a song filled with McCartney shouts which harkens back to the nostalgia from The Beatles bowl cut beginnings. In addition to the new album, McCartney has released a Spotify Singles album Under the Staircase, complete with newly recorded songs from Abbey Road Studios. The Spotify record includes tracks like, “Love Me Do“, “We Can Work It Out“, “Nineteen Hundred and Eighty Five” “My Valentine” and more, extending fans fresh takes on Beatles, Wings and solo album hits.
In addition to the upcoming tour McCartney has made stops on both The Late Late Show and The Tonight Show Staring Jimmy Fallon. On The Late Late Show, McCartney took his swing with host James Corden in Carpool Karaoke, where he stopped at his childhood home in Liverpool and surprised guests at a local tavern.
Watching McCartney play along with James Corden is something that can bring a smile to anyone’s face, even my dad, who has disapproved of my Beatles obsession since the 7th grade. Overall, it’s probably McCartney’s drive to continue making new music, despite conforming slightly with contemporary pop sounds, which draws the world back into the never ending obsession and fascination with Beatlemania. Even when I was younger, I was instilled a passion for The Beatles, my Papa’s favorite band, and since then I feel as though I have seen their fan base grow larger year after year. How is it possible for a band that ended in the seventies to continue with such a large music presence, one that former members John Lennon and George Harrison disapproved of so much after the breakup? You cannot go a day in your life without seeing something about The Beatles; merchandise at a store, headlines about John and Paul, music on the radio. The Beatles came to America unaware of the impact they would have on the music industry, and it’s remarkable to think that this could continue through the rest of music’s existence.
McCartney’s presence on talk shows and social media continues to lure younger audiences into learning what the Beatles were all about, while simultaneously giving them a taste of McCartney’s pure lyrical brilliance. Although the relationship between the band members was not always the greatest post-breakup, the legacy of the Beatles is one that will never die and with the success over McCartney’s new album, it is proven that Beatles fans and music lovers will listen to whatever the late Beatles releases.
Written by: Kelly Kerrigan
Game of Thrones Live at the Viejas Arena was a phenomenal experience which allowed fans to relive all the highlights from the series.
If you don’t watch Game of Thrones… you are definitely missing out! After the concert, my excitement for season 8 has reached unprecedented heights. For those unfamiliar, German composer Ramin Djawadi is the mind behind all the beautiful, heartbreaking, and intense scores we hear during the show that always leaves us wanting more.
In addition to his work on Game of Thrones, Djawadi attended Berklee College of Music, worked with Hans Zimmer. and even won an Emmy for his work on the Season 7 Finale “The Dragon and the Wolf.” His contributions to Game of Thrones are embedded within the show’s DNA; Just as the characters and houses have evolved over time, so too has his themes. For example, Daenerys Targaryen’s theme started small, but became progressively more powerful after each season. Daenerys has proven herself to be a “Khaleesi” to many, so it’s only fitting her song grew with her. Her theme was initially built with only a cello, and has progressed into the powerful and strong song that it is now. During the concert, as Daenerys became stronger, she would say ‘dracarys’ and the stage would glow in flames.
Djawadi conducted an 80-piece orchestra along with a local choir. The set up included a screen that projected the show and multiple stages that separated parts of the world in the series. There was a stage dedicated to King’s Landing and one to Winterfell, with the Iron Throne directly in the middle.
Several soloists surrounded the stage, each dedicating their mastery to a specific song. Violin soloist Molly Rogers performed the House Stark theme while ascending into the air with a huge dress on, as rose petals fell from the sky! Some instruments were even specially crafted for the tour, including a 14-ft Wildling horn, which was used during a scene on the attack of the Wall. A lovely soloist brought fans to heaven (and tears) when they heard “The Rains of Castamere.” With scenes as heartwarming as Ygritte and Jon Snow’s cave scene, to the bloody and heart wrenching The Red Wedding, you are thrown headfirst into the very best moments of Game of Thrones. As “The Light of the Seven” was playing, the whole audience held their breath knowing the Wildfire was about to be lit. I intensely cried during a specific scene of Hodor’s (if you know, you know) as my fellow KCR member Peter Swan comforted me.
During the show, Djawadi even admitted that he had to write the music for season 7 before the writing for the show was even released. He also acknowledged that putting together the Game of Thrones Live Tour took over 3 years. This means they were continuously adding the music as the show was being released!
I am extremely lucky to have had this opportunity to see Ramin Djawadi in action and the unique experience of how the series was brought to life. If you ever have the opportunity to see or hear Djawadi’s work, whether from Game of Thrones, or any of his other work, I strongly recommend it.
The Frights Sell Out The North Park Observatory to Sweaty Teens, Bringing True All Their Frightening Dreams.
San Diego’s own The Frights played a sold-out show at The Observatory North Park on August 24th, which served as the kickoff date for their fall tour featuring HUNNY and Hot Flash Heat Wave. This hometown show served as a record release party for The Frights’ third full-length album, Hypochondriac, and, unbeknownst to all, as a birthday party for lead vocalist Mikey Carnevale. And what a party it was.
Hypochondriac is The Frights’ first record released on Epitaph Records since signing with the established punk rock label earlier this year. For the most part, the tracks feel softer and more personal than those on The Frights (2013) or You Are Going To Hate This (2016). “Goodbyes” and “Alone” are acoustic and full of raw emotion. Conversely, “Crutch” stands out as pure pop-punk, even bordering on emo territory. Gone is the “dirty doo-wop” sound The Frights were first known for, now replaced with slower, sadder songs about heartbreak.
I started my evening at M-Theory Records for a surprise acoustic set prior to the Observatory show. The Frights played through a lot of their new songs from Hypochondriac (a sound well-suited for an acoustic record store show), as well as some older favorites, such as “Of Age” from You Are Going To Hate This. The show felt intimate and wholesome, standing in stark contrast to what I’d experience later on.
At 8:00 P.M., I embarked to the Observatory for the real show. Supporting The Frights were Orange County’s The Grinns and Los Angeles’s The Marias. Typically, opening bands play for an unenthusiastic or nonexistent audience. Thankfully, tonight was not one of those times. Towards the end of The Marias’ set, the band announced that they’d never had crowd-surfers at one of their shows and invited us to change that. The crowd obliged, establishing the rowdy energy that would continue for the rest of the night.
Around 9:30 PM, The Frights took the stage. Numerous floor lamps and suitcases had been arranged between the instruments and equipment, creating a visual reminiscent of the album cover for Hypochondriac. The floor was tightly packed as the sold-out crowd moved in for the main attraction.
It had been a while since I’d been to a show like this – Southern California, all ages, that perfect blend of surf/garage/punk rock that you can’t help but move around to. In my usual concert-going locale (Vancouver, British Columbia, Canada, eh?), all-ages shows are rare. Furthermore, the stereotype of Canadian politeness usually extends to concert-going and mosh pit etiquette. “Excuse me, sorry, may I bump into you a bit here, bud?” “Sorry, of course, give’r.” Perhaps that’s a slight exaggeration, but the crowds I’m typically in are either of the mid-twenties hipster or late-thirties dad-punk variety, and it’s never anything I can’t handle. Based on these experiences and the level of “punk” that I ascribe to The Frights (maybe a 4/10 – sorry, guys), I thought that at most I’d be doing some low-key jumping around and singing, with a mosh-pit or two thrown in for some of their faster songs.
I was immediately proven wrong, as three seconds into The Frights’ first song, “Kids” (from You Are Going To Hate This), and I was inadvertently screaming for the first time in years and grasping valiantly (and unsuccessfully) for whatever nearby seventeen year old’s limb I can find to avoid drowning. There was a fleeting moment where I felt myself being swallowed up by the crowd and I wondered “Is this it? Is this how it ends? Trampled to death by teenagers at the Observatory, a mere nine days after arriving in San Diego for my second study abroad semester?” A sense of calmness washed over me as I accepted my fate. Thankfully, I quickly remembered that I’m a grown adult as I found my footing, and forced myself to push around with the best of ’em.
For the rest of the night, the crowd didn’t relent in their rowdiness, which the band reciprocated by putting on a wild show. The setlist felt like an even distribution of songs from their discography, including older favorites like “Makeout Point” (from 2013’s Fur Sure EP) as well as the surf punk tunes from their self-titled debut record that The Frights are most known for. The songs just seemed to keep coming, extending the set for almost a full hour. By the end of the show, crowd and band had bonded in hoarse voices and sweat-soaked t-shirts.
After the requisite chanting of “one more song,” The Frights returned for their encore and played through the entirety of their debut EP, 2013’s Dead Beach. Additionally, two wacky waving inflatable arm flailing tubemen (staples at any Frights show) were revealed and erected, mirroring the crowd’s enthusiasm as the final crowd-surfers of the night sailed overhead. Sweaty and bruised, we all used the last of our energy for one last hurrah in the mosh pit. As the show ended, I had no other wish in the world than to do it all over again.