music

Greensburg ArtsWalk  

Posted on by gshslionsdenadmin

By Samarah Guy  

Photo by: Samarah Guy

On Saturday April 20th, GS students participated in the Greensburg ArtsWalk.  

The ArtsWalk is an annual event in Greensburg’s “Art Alley” where local artists and small businesses get to display and sell their work while enjoying live performances, food trucks, small activities and much more.  

“ArtsWalk is a collaborative effort between the Westmoreland Cultural Trust, Westmoreland Museum of American Art and Seton Hill Performing Arts to help showcase local artists and performers, while also generating downtown business,” Event and Program Specialist for Westmoreland Cultural Trust Ari Burkel said. “Many businesses within the cultural district of downtown Greensburg open their shops up to galleries, showcases, performances and activities that help advocate the importance of all kinds of art.”  

In the fall, students created their own individual designs and painted skateboards that are currently being displayed throughout the small businesses in Greensburg.  

The skateboards were auctioned off to raise money for two different causes: half of the funds raised went to The Giving Tree project (a GS tradition that helps students who may need financial assistance during Christmas time), while the other half went towards the art department for items like supplies, exhibition opportunities and field trips.  

Last year’s group of art students worked with partners to paint wooden chairs which were then auctioned off to raise money for the same purposes.  

“Last year we did an art auction of these chairs,” art teacher Mr. Darryl Audia said. “We didn’t make them go with the ArtsWalk because it was a month ahead. The local businesses supported this and said, ‘Why don’t we do it with something that’s already existing, which is the ArtsWalk.’”  

This year was the first year GS got to participate in the ArtsWalk. 16 students, Alexa Anker, John Ashbaugh, Sydney Dainty, Sarah Glowa, Josalynn Hayden, Adrien Isenberg, Laila Kerns, Paige Kline, Lucy McChesney, Chyna Moore, David Mori, Giavanna Rosensteel, Adrianna Scalzo, Kerrick Shaw, Tyler Shaw and Brad Skero were acknowledged for their contributions to the ArtsWalk.  

“Having my work showcased at an event like this was really cool,” Ashbaugh said. “Also, when we received our certificates from Mr. Audia, I felt honored to be recognized in front of so many people for my creativity.”  

The students were presented with certificates by Audia, after which they signed banners of their boards for display in the Art Alley.  

Photo by: Samarah Guy

 “I care very much for all my students, but it’s moments like these where I am so proud of not just their talent but also their selflessness,” he said. “It is one thing to make a killer work of art…that’s great stuff for sure.  However, it’s quite another matter to then go and give that awesome artwork away to benefit others. I have so much respect for our student skateboard design team.”  

The Clash | “London Calling”

Posted on by gshslionsdenadmin

 By Kerrick Shaw 

Photo by: Kerrick Shaw

The Clash, nicknamed “The Only Band That Matters,” formed in 1976 and quickly rose to the top of the 70s punk movement, second only to the Sex Pistols. Swimming in the musical movement of 1974, The Clash was surrounded by bands like Television, The Ramones and The Damned, all jumping from garages to the stages. 

Formed by guitarist Mick Jones, the band, then named Weak Heartdrops and Psychotic Negatives, was made up of Paul Simonon (bass guitarist) and Terry Chimes (drummer). In search of their missing piece, the energetic and rough lead singer they needed, Joe Strummer left the 101’ers and completed the puzzle of The Clash. 

They were considered the most political band stemming out of the U.K., however they thought of themselves more as social, having focused their music on the hardships they saw in people’s everyday lives – serving as a look into the world of the less fortunate.  

Their explosive debut single “White Riot” and first studio album “The Clash,” both released in 1977, were kept on the shelf in America until their eventual, and late, releases in 1978.  

In 1977, Chimes had left the band due to their chaotic nature and he was then replaced by Nicky “Topper” Headen, who went on to play with the band until 1982. 

With their self-titled release considered too raw and disorderly for American audiences, their second album, “Give ‘Em Enough Rope” (1978), was overseen by an American producer in an attempt to make it more appealing for that potential audience. 

Regardless of their efforts, The Clash didn’t make their big breakthrough in America until the release of their third studio album, “London Calling,” which was released in 1979 in the U.K. and 1980 in the U.S. 

The album dips into multiple genres, stacking songs of blues and jazz on top of ska and dreary punk. Although the combinations may sound overbearing, they managed to make each song go together perfectly. To work around their controversially literal lyrics, “London Calling” displayed their growth in writing through hiding clever metaphors in the stories of each song.  

After reaching their definitive peak with “London Calling,” The Clash tried replicating the same feel with the following album, “Sandinista!” which came out in 1980. Unfortunately, it failed to spawn the same reaction. Their next release, “Combat Rock,” released in 1982, the last album featuring Jones as the lead guitarist, thankfully included “Rock the Casbah,” one of the band’s most popular songs today. 

However, they only put out one more, poorly received, album before disbanding in 1986. 

Although The Clash had a rough ending to their story, “London Calling” stands today as one of the most recognizable and popular punk albums, especially with its iconic cover: a photo of Simonon smashing his bass guitar. 

To throw a little spice into the album, some songs feature organ and piano (“The Card Cheat,” “Wrong ‘Em Boyo” and “Clampdown”), as well as horns poking through, especially noticeable on “Rudie Can’t Fail.”  

“London Calling” is essentially a greatest hits, only missing a few songs from their debut and future albums, such as “Should I Stay or Should I Go” from “Combat Rock.” 

Regardless of the many different attributes I’ve explained for individual songs, a full listen through is the only way of understanding the level this album is on. As per usual with the albums I review, this one is another go-to pick when I need an album to play at room-filling volume. In my opinion, although The Clash aren’t at the top of my list for the best punk bands, “London Calling” is one of my favorite punk albums of all time.   

David Bowie | “The Rise and Fall of Ziggy Stardust and the Spiders from Mars” 

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By Kerrick Shaw

Photo by: Kerrick Shaw

David Bowie, born in 1947, was not one to take criticism to heart. He was able to switch personas as quickly as they came to him, allowing himself to express his creative mind to the absolute fullest. 

He managed to make the world more diverse and more accepting of those who were unique; with his flashy makeup, glitzy costumes and ambiguous sexuality, he inspired fans to be confident in who and what they were. Affecting the lives of hundreds of millions, Bowie literally – and figuratively – changed the world. 

The influence he spread throughout the music industry can be found within just about any genre. His work was sampled by Hip Hop artists such as A Tribe Called Quest, Public Enemy and Dr. Dre. He accumulated an incredible list of collaborations with artists like The Rolling Stones, Queen and Iggy Pop.  

He never stopped making music, continuing to record into the 21st century, releasing “Reality” (2003), “The Next Day” (2013), and his final album, “Blackstar” (2016), just two days before his death from cancer.  

During the modernist era of the 1960s, Bowie released what’s considered the kickstart of his career, “Space Oddity.” Although it made its way to the Top Ten in Britain in 1969, it, as well as his first two studio albums, failed to make his name a radio staple.  

“The Rise and Fall of Ziggy Stardust and the Spiders from Mars” (1972) was what truly placed Bowie in the center of the dance floor. Using the boundaries of rock as a starting point and pushing past their limits with the flamboyant fashion and his seamless blending of genres, he transformed into what he is remembered as today. 

Although it may not be his best album in a technical sense, meaning others were more compositionally groundbreaking, none, in my opinion, sit on the same level as “Ziggy Stardust.”  

Kicking off with “Five Years” – one of my favorite songs of all time, let alone off the album – should immediately capture the ears of the listeners. It immerses you with its gloomy piano melody and simple drum beat and pulls you along as Bowie’s vocals and instrumentals build up to a sweeping end. 

The melodramatic feeling of the first track is carried throughout the album with “Starman,” “Lady Stardust,” and the fantastic album closer “Rock ‘n’ Roll Suicide.” However, showing the power of his genre fluidity, the album also had rockers of the highest order like “Suffragette City” and “Moonage Daydream.”  

Anybody can describe the sounds of the songs, but I see it best to solidify their greatness. Any time I’m packing for trips across the state, “Ziggy Stardust” manages to always find its way into my hands. 

There are countless introductions to recommend for the 70s rock era, but no matter what, “Ziggy Stardust” has to be one of the first. There is Old Wave, there is New Wave, and there is Bowie.  

The Doors | “The Doors”

Posted on by gshslionsdenadmin

 By Kerrick Shaw 

Photo by: Kerrick Shaw

The Doors, officially formed in 1965, are one of the most quintessential Rock and Roll bands of all time. With the frontman, Jim Morrison, being one of Rock’s mythic figures, it is nearly impossible to avoid his troubled life and where it led the band. 

Ray Manzarek (keyboardist), then frontman of Rick & the Ravens, immediately wanted Morrison in the band after hearing a poem of his, which later became “Moonlight Drive.” After one month of Morrison’s overshadowing role in the group, drummer John Densmore joined as well. Before the year’s end, the remaining two members of Rick & the Ravens had left, then being replaced by guitarist Robbie Krieger.  

“The Doors,” their debut album, released in 1967, immediately gave the band their reputation for pushing the boundaries of what rock was, both musically and lyrically. With his poetic nature, alluring voice and the popularity that came from his traits, Morrison embraced his role of the wild artist. 

With the continuous spotlight on him during live performances, the other members leaned back and watched the magic happen. However, with no precautions to help him, “Mr. Mojo Risin” quickly succumbed to misfortunes of his own making.  

After leading them through fire and ice over their six-year drive, Morrison joined the infamous 27 club in 1971. This “club” consists of celebrities, such as Jimi Hendrix and Kurt Cobain, who all coincidentally passed at the early age of 27.  

His many troubles with the law and his blackout concert performances stemmed from intense drinking and drug habits, one particularly famous event leading to no less than five misdemeanor charges and a felony charge to boot for public profanity and exposure during a show in 1969. He unashamedly lived the reckless rock ’n’ roll lifestyle until the end. 

“The Doors” is, in my opinion, their strongest album. Filled from start to finish with absolutely iconic songs, some of which being their most popular, I’d consider it one of the greatest debut albums of all time. It managed to reach the number two spot on the Billboard 200, beat by The Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band.” 

The opening track, “Break on Through (To the Other Side),” has consistently been my favorite Doors song since my first time listening. Other songs off the album, such as “Light My Fire” and “The Crystal Ship,” hold high rankings as well. 

The sound varies from the Chicago Blues, with “Back Door Man,” to German Opera, with “Alabama Song (Whiskey Bar).” A majority of the songs were birthed from poems written by Morrison, bringing an unmatched, almost mesmerizing feeling to each one.  

If you’re looking for not just an entrance into the world of The Doors, but also a lead into Classic Rock as a whole, “The Doors” is the perfect place to start. 

The Beatles’ “1962-1966” (The Red Album) and “1967-1970” (The Blue Album) 

Posted on by gshslionsdenadmin

By Kerrick Shaw 

Photo by: Kerrick Shaw

 Made up of John Lennon, Paul McCartney, George Harrison and Ringo Starr, The Beatles are arguably the most famous and inspirational band to ever exist.  

After forming the band in 1957, McCartney and Lennon played shows around their hometown of Liverpool, working with various bandmates before eventually adding Harrison by the end of that same year. Starting out with names like “The Quarrymen” and “The Silver Beetles,” they were soon picked up by record label Parlaphone.  

After searching for a drummer to best complement their sound, Starr became part of the group in 1962, replacing Pete Best. As a result of numerous appearances on British television and their rise in popularity, the term “Beatlemania” came to fruition.  

Despite their only seven-year run, the Fab Four managed to release 12 studio albums, some popular releases being: “Sgt. Pepper’s Lonely Hearts Club Band” (1967) and “Abbey Road” (1969). All four contributed their vocals to the songs, each using a variety of instruments while exploring new and unique studio techniques that separated new releases from their previous work. 

 “1962-1966” and “1967-1970,” more often referred to as the red and blue albums respectively, are collections perfectly encapsulating their magic. The red album consists of the poppy, simple, love-filled Beatles music prior to their transition into the ‘60s hippie movement represented with the blue album.  

With a combined total of 54 tracks, they serve as the definitive Beatles collection. Being that they’re filled with the absolute essentials, and that most Beatles songs are fantastic, it’s hard to choose standouts.   

From the red album, a few favorites of mine would be “All My Loving,” “Yesterday,” and “In My Life.”  For the blue, “Ob-La-Di, Ob-La-Da,” “While My Guitar Gently Weeps,” and “Across the Universe.”  Both tracklists bring such a uniquely joyful feeling that no other band is capable of, moving me to twist and shout with the music. 

Similar to The Cure’s “Staring at the Sea,” these are the best recommendations for anybody looking to begin their journey down the long and winding road of The Beatles, as well as being perfect for any Beatle-fanatic. 

The Cure | “Staring at the Sea”

Posted on by gshslionsdenadmin

By Kerrick Shaw 

Photo by: Kerrick Shaw

Formed in 1978, The Cure, originally called Easy Cure, is a British rock band known for their varying styles in music and the frontman’s unique look.  

Through several lineup changes, the band has remained active, having released 13 studio albums and soon releasing their 14th. Robert Smith (vocalist, guitarist and primary songwriter) has remained the only constant member of The Cure, having originally formed it with Lol Tolhurst (drummer and keyboardist) and Michael Dempsey (bass guitarist). 

The 80s proved critical for the band’s success, primarily in the U.S., finding their way into rock radio channels, as well as onto the Billboard Top 100 in 1985 with songs “In Between Days” and “Close to Me,” both from their sixth album, “The Head on the Door” (1985).  

Their second album, “Seventeen Seconds” (1980), established their melancholic sound, especially apparent in “A Forest,” the seventh track. The darker style, different from the ‘70s punk feel of “Three Imaginary Boys” (1979), continued to be explored with many of their albums to come.  

Along with bands like Bauhaus, Joy Division and Siouxsie and The Banshees, The Cure helped to define gothic rock with their haunting instrumentals and sophisticated lyrics. “Disintegration” (1989), their best-selling album, is considered the greatest goth album of all time. 

Shifting between Gothic and New Wave, albums like “Kiss Me, Kiss Me, Kiss Me” (1987) and “Wish” (1992) have more upbeat tones with love-filled themes. The difference between a song such as “Lullaby,” with its long breaks of eerie guitar and synth sounds, compared to the strong and playful horns of “Why Can’t I Be You?” may make the two sound like completely different bands to those who are not familiar with them. Both albums lean more towards the Pop side of ‘80s and ‘90s music. 

When picking CDs for a long car ride or a record to play as loud as possible, “Staring at the Sea” is a go-to. Made up of all their singles released up until 1986, this compilation perfectly encapsulates their changes in sound, filled with hits such as “Boys Don’t Cry” and “The Lovecats.” 

In my opinion, The Cure has released some of the most emotion-inducing music; having equal portions of their darker goth rock music and their cheerful, keyboard led pop-like music, this collection is perfect for jumping around and flipping your hair to, as well as for sitting in a corner and moping.  

I see it as the best place to start for those interested in listening to The Cure as it appeals to different tastes as well as essential for fans of their popular songs to find lesser-known hits like “The Caterpillar.”