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cast members, lifestyle, music, youth media

The Evils of the Merger

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by Alexandra Rivera        Boca Raton Community High School

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.

artists, cast members, music, youth media

The Disco Biscuits “Planet Anthem”

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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!


cast members, music, youth media

Haitian Benefit Show at Radio-Active 1/24/10

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by Diana Ciuca

Haitian Benefit Show at Radio-Active 1/24/10

In the quaint corner of a vinyl-ed up, toned down records store, stood two mics. Unoccupied. It wasn’t long until two ‘punks’ grabbed those mics and started jamming out. Not just singing for the sake of singing, or for commission, or even to attract a crowd. They sang, danced, yelled for charity. Thanks to Radio-Active Records, one of the only venues which allows bands to play shows without charging an entrance free, boxes of caned food and stacks of water bottle packs were gathered for a Haitian Relief Effort.
The show featured a few local bands, mainly playing ska/punk/folk music. Since its a local show, not many people in the crowd were singing along and swaying to the music. That gave them an opportunity to do their own thing, like dance around a bit. Nevertheless, the bands each played a few covers and asked audience members to join in. The lively action of the shows along with energetic band members infused the entire atmosphere with energy. Loud, fun, free… what more could anyone ask for? And you even help out charity and local mom & pop small businesses that are struggling in these rough economic times.

Special light on The Strikeouts!
As on of the bands there, you could say that their range is not so local. With a guitarists who goes to college in Miami, an Argentinian guitarist, a bassist who’s last name is Parisi, and a tenor saxist who’s name is Curtis, The Strikeouts! are definitely a mosaic of diversity that’s also reflected in their music. They describe themselves on their facebook page, the band represents “no frills South Florida Skacore.” Returning from an exhausting tour around Florida from Jacksonville to Orlando and back down to Boca, The Stikeouts! have started doing some professional recordings. Their next show is February 17th, check out their page for more information. If you’re looking to dance and jump around, you better be there.

artists, cast members, music, youth media

Orange Avenue band Q&A with Melanie

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Ubiquitous artists All American Rejects, Rhianna, Smash Mouth, Hellogoodbye all have one thing in common, they have shared the stage with Daytona Beach, Florida’s Pop/Rock sensation Orange Avenue.

Sounding unique is one of the most onerous thing a musician has to do. For Derek Anderson (vocals), Glenn Sedita (Keyboards/Piano/Percussion), Chris Yetter (Guitar), Sean Sedita (Drums), and Jamie Pohl (Bass), adding their own individual touch is clearly heard through the keyboard and percussion.

Since the release of their first self-titled record (also affectionately called “The Orange Album” by fans) in 2007, the Central Florida based quintet has been pounding the pavement to promote their music on the streets and playing gigs. Following the recent release of their second record, aptly named “Reset,” the band has seen as tremendous amount of success so far by earning recognition by many Central Floridian media publications, selling over an estimated 10,000 copies on their first album, a few singles playing of local Orlando/Daytona radio stations, and were the featured artist of the week on the cable network program MLB Tonight.

Q & A with Orange Avenue


Q: What’s the name of your band? Who came up with name? Have you changed the band’s name before?
A: Orange Avenue (Derek Anderson (Vocals), Glenn Sedita (Keyboard/Percussion), Chris Yetter (Guitar), Sean Sedita (Drums), and Jamie Pohl (Bass)– We came up with the name because we used to practice on a street called Orange Avenue in Daytona Beach.  The location of the street was not in the best of neighborhoods.  The name gave us inspiration to get out, but it also reminds us where our band started.

Q: Who are your major influences?
A: Our major influences are Radiohead, Coldplay, The Kinks, The Beatles and The Hello People (Our (Sean and Glen), father Bobby Sedita was in The Hello People).

Q: How long have you guys known each other? How did you all meet?
A: We have known each other for about 10 years.  However it wasn’t until 6 years of us knowing each other that we formed Orange Avenue (2006). Other than Glen and Sean being brothers we all knew of each other through different bands in the area.

Q: What inspired you to make music together?
A: Everyone had the same goal and we all respected each other’s musicianship.

Q: All musicians have their “go to” instrument. What can you tell me about your instruments? (i.e., Are you subject to brand loyalty? What attracted            you to the instruments you have now?
A: Derek – I like Shure mics.  I have been singing all my life.
Glenn – For keyboards/percussion I don’t really have brand loyalty its whatever sounds best.
Chris – I like to feel out which guitar sounds best for the specific song.
Sean – I like playing DW drums because of the quality.
Jamie – Like Glen and Chris I like to just feel out whatever sounds best.

Q: Where have you performed? What are your favorite and least favorite venues? Any major touring coming soon?
A: We have performed all up and down the East Coast.  Our favorite venue is any venue that we have a possibility of gaining a fan.  As far as major touring we just signed a new deal with the indie label Lovelamp Records and Michele & Group, Inc. Talent Agency.  Be on the lookout for a big push of our new “RESET” (EP) and the single “Just Refrain” that we just finished shooting a video for.  You can check out the video and info at “http://www.orangeavenuemusic.com” www.orangeavenuemusic.com

Q: Do you ever play any cover songs?
A: We like to put some covers in the set list but rearrange the cover songs to our own style.

Q: What are the main themes or topics for most of your songs? Do you think these topics will change over time?
A: We would say the most common theme in our songs is relationship driven.  For instance, our single “Just Refrain” is about a relationship between a girl and a guy and what the guy feels when his girlfriend goes out with her friends.  She isn’t picking up her phone so the guy starts to go crazy.  The message that is conveyed in the chorus though is to “Just Refrain” from saying what you want to her because in time she will come around just like she did before.  It boils down to not letting your emotions and imagination get the best of you.

We write what we are feeling or what we are going through at that point in time in our life, so yes the topics will change over time.

Q: How has your music evolved since you first began playing music together?
A: When you form a band it’s like starting a new family.  Even though we knew each other we had never performed together.  In the beginning stages it was definitely awkward and things felt a little off, but over time things have really gelled together and now we feel the “RESET” (EP) is some of the best stuff that we have written.

Q: What has been your biggest challenge as a band? Have you been able to overcome that challenge? If so, how?
A: Our biggest challenge is not letting outside influences effect us internally.  It is also a struggle being on the road financially wise.  What we try to do as a band is to just focus on the music.  Since signing the deal with Lovelamp Records and Michele & Group, Inc. Talent Agency we feel that we have a good team around us that will take care of all other aspects and if we do our job musically everything will fall into place.

Q: What’s your ultimate goal as a band?
A: That’s simple we want a Grammy Award and for our fans to enjoy our music.

Q: How can fans-to-be gain access to your music? Itunes, Demo or CD available at shows?
A: For all our “little oranges” out there.  No we are joking.  We just saw how Lady Gaga calls her fans “little monsters”.  Anyway you can access our music at  HYPERLINK “http://www.orangeavenuemusic.com” www.orangeavenuemusic.com where you will find our new video for “Just Refrain”, links to our myspace, facebook, twitter, reverbnation and youtube accounts.  We also have links on the website for street team, booking, merch, iTunes, and up-coming tour dates.  Keep checking in on the website though because a new one is in the works.

Q: What are some websites future fans can access more information about you?
A: We pretty much summed this question up on our last answer.  Saying it twice can’t hurt.   HYPERLINK “http://www.orangeavenuemusic.com” www.orangeavenuemusic.com.  Come check us out!!! New CD “RESET” (EP) and video for our single “Just Refrain”.  Thank you Swept Away Tv and Rock Star Stories for your time.

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Allison Moorer- A Review

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By Dina Kolman

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.