T he Pabst & T he RiversidE
The Pabst Fa l l 2 012
A RO CK Y M O U N TA I N LIFE
2 012 - 2 013 S ch e d u l e
An Inside Look at J o h n M ay e r â€™ s new CD
T he Pabst
The Pabst - 3
D BORN AN RAISED ade m s c i s s a cl new
Fa l l 2 012
A Tradition Of Music A look through 118 years of history of the Pabst, the Riverside, and Turner Hall.
John Denver: A Rocky Mountain Life 12
Whose Line WAS It Anyway? The show that captured millions of americans- how it impacted comedy forever and put improv on the map.
15 Years after his death, a look at what made john denver who he was and what inspired his life of music.
The Music Of Satire As a new fused genre of music and comedy arises, what is the impact on each and what does the future hold?
Pabst Brewing Company The Largest American-Owned Brewery 0 Serving You Since 1844
There have always been two John Mayers. There’s John the Musician, the neo-James Taylor of “Daughters” and “No Such Thing,” and the blues-guitar omnivore who can back Jay-Z and cover “Sweet Child o’ Mine.” Then there’s John the Dude, sloshing his TMI all over TMZ, blazing a trail of famous exgirlfriends, big-upping his supposedly racist johnson in a disastrous 2010 Playboy interview. Usually, Mayer fastidiously cordons off his music from his slash-and-burn public persona. But on his fifth album, he forces them into the same room and demands they work things out. Mayer is confessional and a little chastened on Born and Raised, sometimes affectingly so. “It sucks to be honest and it hurts to be real,” he sings on “Shadow Days,” about being burned by bad behavior. Mayer, who in the past couple of years gave up Twitter, saw his parents divorce and moved into a house in Montana, says he wants Born and Raised to evoke a drifting cowboy sitting on the open range, strumming his guitar by the fire. And it does, assuming the fire was built with old CSNY and Allman Brothers records. (David Crosby and Graham Nash even add harmonies to “Born and Raised,” an ode to hard-won self-awareness.) On “Queen of California,” Mayer sets the amiably introspective tone for the album: “Looking for the song that Neil Young hummed after the gold rush in 1971,” he sings, pointing his horse to the Laurel Canyon of the mind. After the Gold Rush actually came out in 1970, but you get the point: This is a record about how hard it is to make arrangements with yourself when you’re old enough to repay but young enough to sell. “Whiskey, Whiskey, Whiskey” is a Cali-country song about the tolls of sport-boozing; the gentle-rolling “Speak for Me” laments that rock doesn’t produce heroes like it once did: “Now the cover of a Rolling Stone ain’t the cover of a Rolling Stone,” he observes.
A ROCKY MOUNTAIN LIFE Henry John Deutchendorf started his career in music as a guitar-strumming folkie who got his first big break as a member of The Chad Mitchell Trio in the early 1960s; with the dawn of the 1970s, as John Denver he became one of the biggest and most recognizable figures in popular music. Born the son of an Air Force pilot, John Denver sought the approval of his father, who didn’t think much of his son’s desire to become a musician. But once Denver heard his calling, he hit the road. Along the way, Denver met Annie, whom he would later marry and who would inspire one of his best-known songs. After several years of struggle, Denver finally found commercial success with the song &”Take Me Home, Country Roads” in 1972.