issue #36: one hit wonderland
hi! how are you? ~~~ welcome to the latest installment of the BEAT! We spent this issue trying to remember the names of the artists that no one remembers. one hit wonders, of course. whether you’re a “who let the dogs out?” kid, a “macarena” honey, or an “i’m too sexy” babe, we got the grooves here in boston. so join us! grab some hot cocoa and kick back! ~~~~ <3 The BEAT One Hit Wonder Word Search! Q Q Q S S T Q I R P L P P N S
P C D H P Y N H S K B Z E S P
I B I S I R Y U R E P N O K Z
C A A M N C E A L F A R C I S
A W P R D D X T Z B K W J F Y
S J S T O M T Q D S S S J A F
R L O Q C Z J R S A L E K Q E
C L M W T W U I E C H L M G E
Y D Y J O D R V D Q A G T A U
H J Q H R K N I S H N G E Y J
B O H J S E Q C Q O M U R O N
K E V I N L Y T T L E B H D H
Y A R G Y C A M F E D E W O X
F C B G L F V D Y P X H Z S H
C C X U B L O I B C S T J J X
JAMES BLUNT (“You’re Beautiful”)
KEVIN LYTTLE (“Turn Me On”)
KRISS KROSS (“Jump”)
MACY GRAY (“I Try”)
SPIN DOCTORS (“Two Princes”)
(“Video Killed the Radio Star”)
ONE HIT WONDERLAND
14 The Black Souls / CRUNCHTIME / I Wish I Could Skateboard / Vanishing Point @ Midway Cafe 4pm
21 Tennis / Overcoats @ Royale 7pm
28 Cuco / Helado Negro / Lida Pimienta @ Brighton Music Hall 7pm
heppy new year!
30 Benjamin Clementine @ Berklee Performance Center 7:30pm
23 Ozlo / Bluffs / Prior Panic / Honeyfitz / Lydia Deetz @ Blockbuster Video 6pm
9 Sam Moss & the Half Moons / Squirrel Flower @ Atwood’s Tavern 9:15pm*
2 Red Ledger / Devon Goods / Babylawns / Deep Hole @ O’Brien’s 8pm
31 Tapestries / Saccharine / Strange Mangers @ O’Brien’s 8pm
24 AllegrA / Baby! / Prior Panic / Temporary Eyesore @ Great Scott 8:30pm
17 Mint Green / Ugly Sun / Tony Bullets @ O’Brien’s 8pm
10 All Talk / Kelsey Rose Francis / Aerial View / Printing Shed @ O’Brien’s 8pm
3 The Endorphins / Fat Randy / Where’s Walden / Dust From 1000 Years @ O’Brien’s 8pm
25 Snail Mail / Lomelda @ Great Scott 8:30pm
11 Lina Tullgren / Alexander / Judy Chong / Community College @ ask brookline 7pm
4 Photocomfort / Parks / Mines Falls @ Great Scott 8pm
Calico Blue / TBA @ ER 8pm
Fish House / Squitch / The Water Cycle / Final Girl @ The Swamp 7pm
12 Edgar Clinks / Strange Mangers / Beverly Tender / Squitch @ Trixie’s Palace 9pm
5 Kal Marks / NE Patriots / Don Gero / Evicshen @ Trixie’s Palace 8pm
Goodbye Modesthaus @ Modesthaus 7pm
27 Ozlo / Prior Panic / Neck / Vince @ Make Out Point 8pm
20 Black Beach / Wimp / Nick Owen / CYBERBULLY @ Makeout Point 8pm
13 Pink Navel / Karman Voh / Frigid / Floricane @ the planet 8pm
Beeef / Dark Tones / Dodgeball / Baby! @ Ted’s Place 8pm
Lilith / Alien Girls / Dump Him @ Dyke Palace 9pm
Eddy Leiva, 1982-2017 If you’ve ever seen stunning photos of shows you went to in Boston, chances are that those moments were captured by Vanyaland’s Eddy Leiva. Leiva had a knack for snapping photos at pinnacle moments, getting artists at their most intense, most vulnerable. For members of Boston’s music community, he garnered not only admiration for his talent, but close friendships as well. And for fans at shows, even if you didn’t know Leiva by name, you knew who he was: reliably the most respectful and professional photographer present. He did his job first, then slid out quietly from the front row after the first few songs to make room for the crowd. Losing Leiva has left a massive hole in Boston’s music scene, the stream of concert photos noticeably slimmer. But maybe now he’s snapping photos of the late greats up above. RIP, Eddy. <3 Olivia Gehrke
one hit wonder dance playlist “tell him” - the exciters “got to be real” - cheryl lynn “two of hearts” - stacey q “its raining men” - the weather girls “genius of love” - tom tom girls “the rhythm of the night” - corona “rebirth of slick (cool like that)” digable planets “we don’t have to take our clothes off” - jermaine stewart “in my house” - the maryjane girls <3 ER ONE HIT WONDERLAND
AN INTERVIEW WITH
LOZADA-OL A S S I LI
I caught up with Melissa Lozada-Oliva after her poetry reading at the GSU in late November. I can’t tell if she gets better every time I see her, or if she has always been able to captivate the room. Her poetry is honest and self-deprecating. She gracefully dances JF: So, like, between facets of her identity: femme, you’re “that’s Latina, hairy.
famous now! I remember the first time I saw you was in a basement in Allston and now you’re preforming on actual stages and getting a master’s degree at NYU and it’s amazing! Do you feel famous? MLO: Well, I thought someone was approaching me at a Forever 21 and I was like “wow, they know me from Button Poetry! They know me cus I’m so famous!” and they’re like, “do you work here?” and I was like “shit.” But it is super cool seeing people be able to pronounce my last name and paying attention to me and it’s a good feeling.
JF: What’s the weirdest place you’ve ever taken inspiration from for your poems? MLO: There’s like, many dirty bathrooms I take inspiration from. There’s one in Brooklyn where there’s lyrics from a My Chemical Romance song and I’m like “Hmm that’s real. Maybe I’ll write a poem.” The other day I saw a little girl holding balloons in Central Park and the balloons fell out of her hands and I was
her first heart-
JF: Speaking of heartbreak, if you could break anyone’s heart, who would it be and why? MLO: I would break Gael García Bernal’s heart because I want the feeling of being able to walk away from him, the most beautiful man in the world. JF: What is your favorite one hit wonder? MLO: My favorite one hit wonder is “Last Kiss” by Pearl Jam. To me, that’s the only song Pearl Jam has ever made and I love it.
Melissa’s poetry can be found through her Facebook page, or in bookstores and on Amazon in the form of her new book, Peluda. To me, her work is best absorbed aurally, so catch her next time she’s back in Boston!
<3 Julia Finestone
ONE HIT WONDERLAND
a l b u m h o r o s c o p e s
<3 Sophie Sachar, Dane Persky, Maya Maburn, Melissa Dalarossa, Emma Simonoff, Audrey Sutter
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Some say it’s always been one man.
Of course, who would believe that? One man can’t work for countless record companies, make contracts with what, hundreds, thousands of artists? It’s just not possible, and I’d wager that anyone who buys into the idea that one man can single handedly bring a band into the Top 40 spotlight and then immediately thrust them into obscurity has no business trying to stick their fingers in the industry. There’s never just one man involved; it’s a matter of talent, of making sure all your other music lives up to that one masterpiece that gets circulated through radio stations across the globe (or at least the States). Well, for the most part–not to sound like a hypocrite. We called ourselves “Nuclear Paradise” back in the day. It was a stupid, overzealous name, but I’m still fond of it: so are Smirnov and Rocky, last I heard from them. None of us have heard from Jackson. None of us are sure where he went off to after ‘99. But we were sure that Nuclear Paradise was the next big thing–spiritual successors to Depeche Mode, to Queen. It was us two Americans, Jackson the Englishman, Smirnov the Soviet. There was maybe something symbolic about it, but that never went anywhere after we signed with (the now-defunct) Foxwall Records. And Vogler. Not expressly part of Foxtwall, he spent a number of long nights working on sound mixing with us, offering pointers in his weirdly calming monotone voice and teaching us how to really use a Moog synthesizer. “I worked with Flock of Seagulls, y’know,” he said to me at 2:47 a.m., while we were working on a track entitled “Berlin Busboy.” What an odd thing to say. Sure, “I Ran” was a catchy song, but who could remember much else they’d done? “Yeah?” “Mmh. Norman Greenbaum, too. You know him, yeah?” “Course I do. Loved ‘Spirit in the
Sky.’” “Me too, man.” A lopsided grin. “What about Delibes? Know about him--Lakmé?” Couldn’t say I did. He told me I might not have heard of it; it was before my time. (Which was bizarre. I figured we were the same age.) After that, he talked less and less. Vogler and his Lennonesque sunglasses and monotone voice slowly faded out of our lives post-“Berlin Busboy.” We were left with the recognition as the name behind the summer hit of 1989. And try as we might, none of our work ever got the love that “Berlin Busboy” did; Jackson got real bitter about that. We all did, I think...and things just started to fall apart after that. At least one of us tossed around the idea of getting “real jobs” every week. And in the end, we did. The magic in making music had just...gone. When? Don’t ask me. Maybe Vogler knows. “Wonder where that weird bastard is,” the other three would say. I never asked. I still don’t ask. Just like I don’t ask where Jackson is (probably Australia, where all good British rebels go). Just like I don’t ask about getting the band back together. All I can think of when I recall Vogler is Lakmé–an opera, Romantic era–and of Flock of Seagulls’ “I Ran.” Maybe that wasn’t just a one-hit wonder, but some warning about a guy behind the soundboard. Maybe he had tawny eyes, like in the song. I never knew; I never saw him take off those sunglasses. Maybe I should’ve run. But it’s never just one man. I’d be crazy if I said out loud that it was. <3 Molly Neylan
ONE HIT WONDERLAND
Crammed into the sweaty basement of the Massasoit Elks Lodge in Cambridge, The Electrician, Ryan Power, and Guerilla Toss put on an electrifying show. The Electrician kicked things off with a performance that was as truly odd as it was strangely captivating. Mixing post-rock, industrial, and noise rock into one amalgam adorned with whispered and screamed falsetto (as well as a yoga ball in the percussion section) the trio were like nothing you often see in the Boston underground. After their two lengthy compositions finished, Ryan Power took the stage, celebrating the release of his new album. His 80s dance pop and singer songwriter stylings kept the crowd warmed up for the main event: Guerilla Toss. Taking the stage after an extended sound check (which could have been a performance in and of itself), the band broke into their set with the same energy one finds on their studio recordings. Shrill shouted vocals, bright sawtooth synths, and off-kilter, world-influenced percussion filled the venue with beautiful noise for a nearly hour long set, and by the end there wasn’t a single person in the crowd not drenched in sweat from dancing their heart out. It was clear from the beginning that Guerilla Toss were worthy of the hype surrounding them, as they perform with a contagious and frenetic energy. Though new members of legendary dancepunk label DFA Records, they have surely earned their spot among some of the generation’s most essential acts without completely breaking into the mainstream themselves. It isn’t often that a set comes packed with three bands that each have a totally distinct sound from one another, let alone one that stays entertaining to the end. While Guerilla Toss stole the show in a big way, each group felt worthy of sharing a stage. <3 Paul Stokes
ONE HIT WONDERLAND
The BEAT’s own Dane Persky sat down for a chat with local musician Hannah Liuzzo of the band Lilith. Check it out.
DP: Who is Lilith? HL: It was originally my recording project that I started right after I graduated college. I went to school for music, and immediately after graduating all music-making opportunities fall out from underneath you and it’s really jarring, so I started a recording project just to stay occupied. It’s kind of been a name for whatever community of people I have around me making music with me at the time. Right now I’m playing with my best friend Kelsey [Francis] and our friend Adam. DP: What originally inspired you to start the band? HL: I studied classical music, and there’s so much pressure when you’re a music major. You have deadlines, performance deadlines, recitals, you have to be learning repertoire at a really fast rate... there’s just such an overwhelming amount of work. And so when I graduated and that went away, I was so lost. I wasn’t really in an area where there was a lot of access to other people or opportunities, and so I realized the only way to keep doing music at that caliber, at that rate, and to stay occupied and interested would be if I created it myself. So I just started noodling on guitar and writing parts and then eventually found people who wanted to do that with me. It was a way to stay stimulated and entertained. It kind of grew out of boredom and then ended up being the kind of thing where we made a record and then there was a music scene and so we decided to play shows and then it turns into this whole thing, like it snowballs and becomes bigger than you and you’re like, ‘Oh, I guess this is worth treating like something that I care about.’ DP: Where did the name “Lilith” come from? HL: Lilith is the bride of Satan, and she’s the mythological character who has appearances in a bunch of different genres of mythology. In every rendition of it she’s a temptress and a power woman, so she’s really cool. I like her vibe. There was Adam and Eve and then there was Lilith; she was the temptress, she could get Adam to look away. And she’s powerful in the sense that she doesn’t require validation, she’s just fine with being a little bit evil. She’s cool. DP: I read in an interview that the name of your record Apology Plant came from an actual plant that someone gave you in place of a vocal apology. Could you elaborate on that story and how it
informed the creation of the album? HL: Yeah, I had a roommate who was kind of a scornful person, and he blew up at me one night and then never apologized and got this plant [as an apology]. I was at my wit’s end with the situation. I was like, ‘I can’t accept this. I can’t take it and I can’t forgive you,’ so it just stayed on our countertop. I didn’t take care of it and they didn’t take care of it so it just died, and it was a reminder of me being really stubborn and not wanting to forgive them. I feel like, after that phase of my life, I look back on that and am like, wow, it’s actually so important to be able to forgive people and to be able to let go of things and when someone does make some kind of attempt at an apology, it’s best to accept it even if it’s not the way you would apologize. Because I think forgiveness is really important and is more impressive and powerful and more of a sign of strength than being stubborn-willed or strong-headed about something. In any conflict, I think you can be firm about your stance but also be forgiving. I think that’s what I learned from that--always be forgiving or you’ll have to look back on it and it’ll be dead, and you’ll have to throw it in the trash. DP: What kind of plant was it? HL: It was a tulip. It was a really cute tulip. Shouldn’t have let it die. DP: I feel like if you’re going to give someone a plant as a gift, you should make it a cactus or something that doesn’t make it a responsibility, you know? HL: That’s so true! I like that as a metaphor, too, ‘cause if you give someone a plant they have to care for it, water it. [Tulips] are fickle, they are. But a cactus... you just hand it over and hope that they’ll accept it. I like that. Good extended metaphor. DP: Who would you consider to be your main influences, both in life and in music? HL: Wow, I feel like they have a lot of overlap. I think the people who influence me the most tend to be the people I’m working directly with. Right now it’d be Kelsey and Adam; we just wrote a whole record together and we spend so much time together. We’re always sharing ideas and sharing media and things like that. I feel like they’re both musical and personal influences, and because of the nature of collaboration and I think by design I like their brains. It’s nice to have them be interesting people and good collaborators. But as far as idols go, let’s see... Nicki Minaj, I worship her, I’m obsessed with her; I really like Sadie Dupuis from Speedy Ortiz, she has the
lifestyle down that I want which I think is really impressive. As far as writers, I’m really into Rebecca Solnit... yeah, I feel like that’s a good spread of living idols. DP: I wouldn’t call Apology Plant an angry record, but it does sound like you’re venting a lot of frustrations you have with another person or people, or maybe even yourself. Do you find that to be true, and was writing the record a cathartic process at all? HL: Oh yeah, totally. I feel like I wouldn’t song-write unless it were cathartic, ‘cause it’s so much work. Unless I was getting something out of it, I don’t think I would have an interest in it. I feel like it’s the one opportunity I have to be very honest and vulnerable and open, because you end up taking what you really dislike of yourself or whatever projections you have that you don’t like and putting them outside of yourself. Then you have an opportunity to wrap it up and make it beautiful--make it something you don’t mind looking at--so instead of having things inside of you that you hate, you’re like, ‘Okay, here they are on the table. I’m going to make them lovely and hopefully other people like them too, and that makes it okay.’ It’s definitely a safe place to put all your insecurities and take care of them in a way. That’s pretty healthy, I think. Very cathartic. DP: Did you collaborate with the other band members at all, as far as the songwriting process goes? I’m just curious how being personal and also working with other people worked for you. HL: People have different roles for me, for the review process and collaborative process. I think that in general--and I feel like writers do this a lot--I have a circle of people who I’ll send immediate thoughts to. Kelsey, who plays bass with me, is one of my big reviewers. I’ll send her an idea and she’ll come back with other feedback for it, whether it’s lyrically or song structure or anything like that. She’s usually my first set of ears on something. And then we arrange together as a band, so we flesh songs out together arrangement-wise. That’s a little bit more removed from the personal aspect because you’re just building together, but definitely having Kelsey be a set of eyes on things is [helpful], [having her] review the raw footage [so I can] be like, ‘What do you think of this? Edit me.’ She’s the one who probably best understands whatever idea I’m trying to get across, or is closest to understanding the true meaning of it, initially. And then I guess it becomes something else once you arrange it with the band. DP: How has the Boston DIY or underground scene influenced you and the band? HL: Hugely, I would say, just in terms of having opportunities to perform. You learn so much from performing and watching other bands perform, and just interacting with people. You figure out so much about what you want and what kind of people you want to be working with and how to do things the right way--the right way in the sense that you’re not treading water or making things diffi-
cult for yourself or burning bridges or anything like that. I think the biggest influence from the scene would definitely be opportunity and then meeting really good people who are worth having connections with. Either they’re fans, friends, supporters, or they’re people who are also elevating themselves and so when they find success, you inevitably get to milk their success because you already have a bond. There’s a lot of opportunity here. It’s a really good city for musicians. DP: About how many shows have you guys performed? HL: A lot. In the past year, we tried to limit ourselves to doing one a month, just ‘cause you can overplay Boston really easily and basically sabotage your own market--you’re sabotaging the supply and demand of your art. So we tried to limit it to one a month, but then what will happen is we’ll be like, ‘Alright, we booked our show for January,’ and then someone else will ask us to play a show that we really want to do and so we’ll be like, ‘Aw man, we’ll do two this month.’ So I would say... probably 40 or 50 shows I would guess this year. ‘Cause some we’re out of town, and some months are busier. DP: Can you describe your favorite show that you have played so far? HL: There’s favorite in the sense of, ‘I can’t believe we believe got this opportunity,’ and then favorite in the sense that it was just magical and wholesome. We played a show a couple weeks ago with our friends Yucky Duster and Fits in Allston in a basement, and it had been six months since we’d played in a basement. It was just such a magical, wholesome night to just see our friends and play music with them. But opportunity-wise, I think the coolest show we played was probably at Brighton Music Hall with Diet Cig, that was really fun. Getting to do a show at a venue like that--you get the real treatment. A green room stocked with beer and snacks, and you get to watch the show from the green room, you play on the big stage with a really nice sound system and sound engineers who actually really care about what you sound like. Yeah, you just get the real treatment, the real deal. DP: When’s your next show? HL: We actually don’t have anything booked right now by design, because we’re finishing a record. We did a couple shows the first month that we were working on it, and it’s just hard to reserve the energy you need ‘cause it takes up your whole being to work on a record. You have to physically be there, you have to have all the material prepared, you have to pay for it. It consumes so much of you that taking away from that is really kind of dangerous, so we squeezed a couple shows in the first month but now we’re just not going to play shows until the record is done.
Check out Lilith on Spotify & Bandcamp <3
ONE HIT WONDERLAND
Local restaurants recommended by local musicians reviewed by local punx Restaurant: Life Alive, 765 Massachusetts Ave., Cambridge
Recommended by: Abby Heredia and Paz Mary of Miss Geo
Olivia: I kneel at the altar of the ever-so-holy grain bowl, and I’m beginning to think Life Alive is my Mecca. After “The Adventurer” grain bowl — complete with protein-packed quinoa, tender greens, veggies and a house made sesame ginger nama sauce — I was both satisfied and nostalgic (something about those tie-dye headbands and influx of hippies that reminded me of my beloved Portland, Maine). If you can’t make a trip to a green haven outside the city, I advise you take a holy trek to Life Alive, where at the very least, you can nourish yourself with the best Mother Nature has to offer us. <3 Kristen: Life Alive is probably the opposite of everything I am. Not that there’s anything wrong with that, you know, eating healthy and wanting the best natural food. That life just isn’t cut out for me. The only roots I found here were that of my childhood, specifically in “The Child”: a peanut butter and strawberry jelly grilled whole wheat wrap. It’s as gooey as it is satisfying and will leave you reminiscing about the days when life was much simpler.
Come on _________, oh I swear _________. At this moment, name
you mean ________. You in that _________, my thoughts I amount
confess verge on _________ oh, _________ you’re my adjective
_________, ah _________ _________. You are my _________ noun
_________. And you’ve got me _________. you because I verb ending in -ing
like _________ _________ and I can not lie. You other adjective
_________ can’t deny. That when a girl _________ in with plural noun
a(n) _________ _________ and a _________ thing in your adjective
face you get __________. One day, I saw you at a party verb
and it was _________. The party was _________ (Yippie Yi adjective
verb ending in -ing
Yo). And everybody was havin’ a _________ (_________). noun
3 random syllables
You _________ to me and said “who let the _________ verb
_________ (_________). Then I asked you to _________ me verb
to funkytown and you said _________. response
<3 Emma Simonoff
ONE HIT WONDERLAND
Furnsss - Furnsss EP
Can every track on an EP be a stando ut? If it were pos ble, a prime exa simple would be Con necticut band Furnsss, who have returned with a com pact set of 5 songs tha t show they’ve fou nd the perfect balanc e bet wee n gritty basement rock and groovy, danceable power-pop . The album starts with the jangly “Ro out ll with It,” which, in typical Furnss evolves halfway int s fashion, o a dirty instrumen tal jam. “Do What “Divine” are fuzzy I Want” and pop tunes reminisce nt of Furnsss’ tou buds, Joy Again. The r songs are almost hap py, but the simple yet emo tional lyrics and distorted guitars add a tinge of melancholy that tou ches every corner the EP. “Drag” and of “Frozen Body” (wh terrifically, with ich begins, a guitar riff str aig “Incinerate”) hail ht from Sonic You back to the darker th’s lo-fi rock of the ban maintain the same d’s past, but upbeat sound of the rest of the tracks Furnsss digs deep . Overall, into the feeling of having a good a bad place, or the time in nagging feeling of something wrong that you can’t qui te nail down. In the process, they succeed in mak ing ennui something you can get up and dan ce to. <3 Sophie
- Lavender Littlefoot ge to nre it’s easy
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My Love Life Is a One Hit Wonder <3 Bee Dueck
Do you know why my love life is a one hit wonder? it’s seriously because of you. Not me. You. So someone mentioned my name to you. I agreed to give it a try— a blind date— we’ll go vintage, why not. But then you keep brushing up against me, as if I’ve known you longer than a day. And then you’re talking dude, as if we’re getting married tomorrow. I’m sorry, but no. Actually I’m not that sorry. Or what about you, sir you know who you are— with your devilish grin and your trust fund. You were cute, not gonna lie. but then you spoil it all so bad— by asking me to climb on your lap. This is a first date dude!
And then there was you. with your cool major, and you knew three languages. I still think about you from time to time. Especially that time when you stroked that bumble bee. But I guess I wasn’t everything you hoped me to be. We were doomed to be a one hit wonder. I knew from the minute I finally met you face to face.
My entire love life is a one hit wonder. just a bunch of royally epic failures that I try to laugh at nostalgically when enough time has gone by. It doesn’t always work though. Yah. I’m looking at you— Mr. dweeby dweeb who left me at a stranded subway stop. In the middle of the night. You were the greatest one hit wonder of my entire existence.
ONE HIT WONDERLAND
Semisonic is arguably one of the most iconic one-hit wonders of the late 90s. Their hit “Closing Time” made a big splash in 1998, and we seemed to never hear from them again. They became the butt of jokes, just one of many 90’s bands that met a similar fate before Y2K. I’d argue, however, that Semisonic was capable of so much more. Their songs “FNT” and “Chemistry” (from 1996 and 2001, respectively) are incredibly fun and well-written, and those alone should have meant a brighter career for the band. Overall, Semisonic, and other similarly legendary one-hit wonders had pretty high quality music, but their lack of success had to do with their music coming out at the wrong time: in an era of music that favored shortlived, headbang-able tunes. <3 Maya Mabern
Boston based alternative/indie rock group, Morningbird, has a unique sound that combines the elegance and familiarity of classic rock legends like The Beatles and Queen with the new wave synth based sounds of contemporary poprock. This results in a spacey yet strong sound that captivates the listener, forcing them to return back for more. Founded by Berklee based songwriting duo, Max Challis and John Cattini, Morningbird officially formed in 2016 following their debut album, “Only Believe In Love”. The two founders initially started Morningbird during a summer music program with a couple of bedroom recording sessions that became their debut self-titled EP. It was only after they released their full-length album and needed some more members in order to perform their full productions on stage that they brought together their closest friends – Isak Kotecki, Connor Frawley, and Ian Ho – to complete the five-piece band in the fall of 2016. They are currently playing shows across New England, honing their live performance skills. They are certainly a worthwhile act to catch if you ever get the opportunity! Check out their music here: https://morningbirdmusic.bandcamp.com/ <3 Kiran Galani
You don’t have to reach back too far in Boston’s rich, musical past to find a sorry story of a one-hit wonder. In fact, you only need to reach back to 2004 when Berklee band the Click Five made their debut. These teen heartthrobs, once residents of a house on Imrie Rd. in Allston Rock City™, might be more recognizable by their *one* poppy hit, “Just the Girl.” The lyrics lusted over this “cool” but “cruel” unattainable girl of the Click Five’s dreams, making it an instant radio hit. Topping the iTunes charts, getting recognition from the Globe and Rolling Stone, being signed to Atlantic records, and touring extensively with Ashlee Simpson should be some sort of recipe for success, but the Click Five hit their peak at “Just the Girl,” and spiraled into a rapid and unexpected decline. If you were a Disney channel devotee, you may remember clips of a music video for “Jenny,” a post-”Just the Girl” tune by the Click Five. It probably was supposed to ease the pain of the commercial breaks while bolstering the Click Five’s previously promising career, but it achieved neither. The band stuck it out until 2013 (though, let’s be honest, their career was dead long before) but luckily for us, their one hit lives on in our adolescent memories and in our hearts forever. <3 Olivia Gehrke
ONE HIT WONDERLAND
The first time I was introduced to Sophia Michael, she offered me tea in her kitchen in between bands at Trixie’s Palace. The first time I was introduced to her art was the wallpaper she designed for the basement of Shed Cellar; a black and white motif of negative space in a pattern titled “stay in shape.” Her work is dreamy and and almost melancholy, with a distinct fondness for texture. JF: You’re a BU grad! What was your major, when did you graduate, and what’s your favorite experience from your time at BU? SM: I graduated in 2015 from CFA with a degree in Sculpture and Printmaking. And I actually had a radio show on WTBU too. My times hanging out in the booth playing tunes with my friend, Talia, were actually some of my favorites. We had a lot of “special guests” including my younger brother making weird sounds over Animal Collective songs… good times. JF: What kinds of media are you using for your art right now? Have you experimented with anything new recently? SM: I have mostly been working with silkscreen now. Trying to amp up my skills for some professional printing. Recently, I tried bookmaking for the first time which was really fun. I want to do more of that. JF: You do a lot of posters for local shows! Where do you draw inspiration from for these? Do you have a favorite poster? SM: I do! The posters have become a series of the void figure’s past/
present/future memories and dreams. You can follow a narrative from one to the other. I try to draw inspiration for each individual poster from the feeling of the music its promoting. My favorite so far is probably the one I made for Artificial Contact’s Tiny Hazard show.
SM: Sibyelle Baier’s child compiled her songs into an album after her death. It is a beautiful one hit wonder that probably deserves to be its own. If you want to see her famous wallpaper, stop by the Shed Cellar next time they’re having a show. Until then, check out her Instagram, spm_art, her website, sophiapmichael.tumblr.com, and keep an eye out for show posters in her distinctive, warm style. JF: What’s your favorite one hit wonder in the visual arts? SM: Ooh, maybe Andy Goldsworthy. Most of his sculptures are fleeting, only existing in their original state for a moment. Does that count?
<3 Julia Finestone
JF: When was the last time you listened to “Teenage Dirtbag” by Wheatus? SM: On my own, maybe never? Sorry to disappoint any fans out there. JF: Is there a musician or artist you think is underrated? SM: That rabbit that can paint. JF: What’s your favorite musical one hit wonder? If you could choose one band to cover it, who would it be?
ONE HIT WONDERLAND
Chocolate Souffle In a Mug OR “The Souffle Dance” — Men Without Chef Hats Ingredients: ¼ cup Flour ¼ cup Sugar 2 Tbsp Cocoa Powder ½ tsp Baking Powder a Pinch of Salt 3 Tbsp Melted Butter 3 Tbsp Milk 1 Small Egg ½ tsp Vanilla Extract 1 oz Semi-sweet Chocolate 1 Tbsp Water
Add the flour, sugar, cocoa powder, baking powder, and salt in a mug. Mix all ingredients together well. Add in the melted butter, milk, egg, and vanilla. Mix until batter forms. Add the chocolate to the middle of the batter along with the water on top. Place mug in microwave and cook for 2 minutes.
(Very simple) Fruit Salad OR “Fruitytown” — Lipps Inc
Mix equal parts grapes, chopped pineapple, chopped strawberries, orange slices, and Ingredients: blueberries. Mix all fruit with the cup of Some Oranges fresh orange juice. Some Grapes Some Strawberries One Pineapple Some Blueberries 1 Cup Fresh Orange Juice Optional Ingredients: Sugar (for sprinkling) Whipped Cream (for decorating)
Chocolate Fondue Recipe OR “Fonduezie” - I Have A Craving Materials: Dorm room microwave (probably still smells like ramen) Spoon (stolen from the dhall) Bowl (pls clean bc i see dried cheese) Ingredients: Chocolate chips milk
<3 Ruby Schwat
<3 Hannah Shearer
Pour chocolate chips into bowl. Pour some milk in there - should not flow over the chocolate chips. Throw those suckers into the microwave for two minutes. If you take the bowl out and the chocolate looks like a weird burnt texture add some more milk into the bowl and mix with the spoon at the same time. As you mix it should become a fondue-y texture. Shovel into your mouth because damn you’ve never had something so quick and tasty. This chocolate fondue can be eaten like soup no shame - or can be dipped into with the wonders of your snack drawer.
Oh Mickey, you’re so fine. Or at least you were. In ‘82. Now? Not blowing my mind <3 Lisa Eye of the tiger Made purely for avarice And Thus not so nice <3 Eli
Awaiting the the morn Wake up, Wham! I go go! Off into my day <3 Ruby
Closing time, Every new beginning just Ends when you’re not good. <3 Olivia
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The Beat December 2017