Did Moss really force his way out?

Photo: Footballbabble.com

By Trevor Medeiros

Because everyone has beaten this subject of Randy Moss’s (not so) sudden departure to Minnesota into the ground since it happened a few days ago, I’ll only give one thought on the whole situation.

First off, after the deal went down, news came to light that Moss was becoming a real problem in the locker room. Apparently, he had a heated confrontation with offensive coordinator Bill O’Brien during halftime of Monday night’s win in Miami. Then on the plane ride home when head coach Bill Belichick tried to confront Moss on the confrontation, he received the cold shoulder.

Look, if this is all true, then Moss had to go, and fast. The best way to defeat cancer is with early detection. Belichick got rid of that cancer that was Moss before he ended up killing a young Patriots locker room.

But I’m not sure what to believe here. For the past three years, all we heard about was how great of a teammate Moss was with the Pats, even from sources like Belichick. Now all of a sudden, he’s blowing up at halftime and is a locker room cancer? Sounds like a smear campaign by the Boston media to me.

All I’m saying is take what you’ve heard about Moss’s final days in New England with a grain of salt.

OMG! EVERYBODY READ MY ALBUM REVIEW OF WEEZER'S HURLEY!

Photo: www.hypetrack.com

To those diehard Weezer fans who are frustrated with the direction the band has taken recently: Rivers Cuomo hears you. Or maybe he doesn’t.

Whether consciously or not, a nostalgic Cuomo proclaims in the first song of Weezer’s eighth and newest album “Hurley,” that the “memories make me want to go back there.” The album was released last Tuesday (September 14). While it’s not exactly a return to the glory days of the blue album and “Pinkerton,” the band’s latest effort is at least on the right path, compared to the antics they’ve been pulling the last few years.

During this time, Cuomo and company covered Lady Gaga, jammed with Paramore’s Hayley Williams, penned an atrocious Indian-themed song, and if that’s not bad enough, the quartet even collaborated with Lil’ Wayne on its last studio album (2009’s “Raditude”).

Even before the release of “Hurley,” Weezer enthusiasts must’ve been pleased with the band’s return to its roots. That’s because Weezer left its longtime label Geffen over the summer to join forces with the legendary Indie label Epitaph records, which sparked the careers of The Offspring and Bad Religion.

The aforementioned opening song-and lead single-“Memories” brings back the good ol’ days of great Weezer pop rock. The chorus is very catchy, with a violin-tinged synthesizer riff matching its melody.

The song definitely isn’t short on Cuomo’s typically quirky lyrics, with lines like “Pissing in plastic cups, before we went on stage/ playing hacky sack back when Audioslave was still Rage.”

The album hits a high point with “Unspoken” and “Where’s My Sex?” Both songs would easily have a place on “Pinkerton.” The former begins with a simple acoustic guitar riff, backed by a psychedelic-sounding flute. This combination gives the song an awesome 60’s pop vibe.

Following the bridge, “Unspoken” explodes and releases all this boiling tension via electric guitars. The tension comes from the dark Cuomo’s dark lyrics. For one, he states in the chorus that “if you take this away from me, I’ll never forgive you, can’t you see/ our life will be broken, our hate will be unspoken.”

“Where’s My Sex?” is just a pure musical guilty pleasure. This number features heavy electric guitars, but in a pleasantly poppy style. And Cuomo’s play on words is genius. Throughout the song, he’s clearly describing socks, not sex.

“Mom made my sex, she knitted it with her hands…I can’t go outside without my sex, it’s cold outside and my toes get wet.”

Cuomo collaborated with many decorated songwriters on this album. These include pop star Ryan Adams; Desmond Child, co-writer of Bon Jovi’s “Livin’ on a Prayer”; Linda Perry, writer of Pink’s “Get the Party Started”; and Mac Davis, who published songs for Elvis Presley.

The end result is mediocre songs like “Run Away,” “Time Flies,” and “Trainwrecks.” They’re not bad songs, but given the resumes, you would expect the works to be more impressive. That being said, there really isn’t any one song on “Hurley” that you can single out and say “wow, that’s dreadful.”

You can say that about a handful of songs on the band’s last two albums, “Raditude,” and the red album. And this alone is enough to declare that Weezer is slowly but surely on its way back to the glory days.

And if that’s a stretch, then at the very least they’re back to producing quality pop rock.

late 2010/early 2011...great time for new music

Hey everyone,

I haven't been on here in awhile, so I just decided to check in. Been busy this summer with work, and whatnot. But I will be posting again soon with a flurry of new album reviews. With great alt acts like The Offspring, Weezer, Sum 41, Bad Religion, Jimmy Eat World, Blink 182, Franz Ferdinand, and a host of others coming out with new albums in the coming months, it should be enough material to keep me busy! I'll be back with my album review of Weezer's new album "Hurley" (Sept 14 on Epitaph). See ya then!

t med

My book review of Jasper Fforde's "Shades of Grey: The Road to High Saffron"

Who knew totalitarianism could be this vibrant? British fantasy author Jasper Fforde brings a colorful perspective to this normally drab and dreary world in his newest novel “Shades of Grey: The Road to High Saffron,” the first in a new series.

Here, Fforde has created a complex and elaborative futuristic society where social classes are determined solely by one’s ability to see primarily one color. The message the novel is trying to convey may not be original (think “1984” in living color). Nevertheless, “Shades of Grey” uses a unique setting to deliver this message, and Fforde creates plenty of intrigue and suspense through the plot and his writing.

The protagonist in this series is 20-year old Eddie Russett, a Red who lives in the futuristic society of Chromatacia. Simply put, he is a Red because he can only see the color red. Chromatacia’s social class is divided into colors: Yellows can only see yellow; Blues can only see blue, and so on.

Among these classes of color, Yellows are considered to be the highest and most powerful of the classes, while the lowest class is the Greys (those who can’t see color). Eddie and his father are sent to the distant town of East Carmine. Eddie’s father is a swatchman (aka doctor) who’s been sent there to replace a swatchman who has mysteriously died.

Eddie is sent there as a mundane punishment, and quickly wears out his welcome, especially after accusing the powerful Yellow Sally Gamboge and her son Courtland of murdering another Yellow. He digs himself so big a hole that the only way out is to volunteer to lead a deadly expedition to the abandoned town of High Saffron.

Meanwhile, Eddie also falls for a rebel Jane named Grey, who has a “retrousse” nose and a hostile attitude towards others, especially Eddie. She becomes attracted to Eddie for his questioning of the system and courage to lead the trip to High Saffron.

The two make the trip to High Saffron, where Eddie discovers that Jane is leading an underground resistance against the governing body of the Head Office and its late founder Munsell, and discovers firsthand just how far the organization is willing to go to protect its hold on Chromatacia.

Totalitarianism as a theme is nothing new in this genre. Classics like “1984” and “Farenheit 451” covered it long ago, although “Shades” has less emphasis on the topic. Fforde cleverly incorporates many complex storylines (most involving Eddie) that keep the reader enticed, and only at the end are some of them influenced by the emerging theme of totalitarianism.

Both Jane and readers gain a parallel attraction for Eddie as the novel progresses. Eddie goes from obedient citizen in the beginning to everyman science-fiction hero. He musters up the courage to stand up to the Gamboges, question the system, and lead a supposedly death-defying journey to High Saffron. Winston Smith would be proud.

Fforde also adds plenty of chilling suspense through constant mentioning of Chromatacia’s deadly dangers. These include killer swans, deadly lightning strikes, man-eating plants called yateveos, and a plague-like epidemic called Mildew, among others.

But the audience is left disappointed given the deadly hype and aura surrounding High Saffron. Eddie and Jane’s trip is pretty uneventful with (unfortunately) no killer swan attacks or lightning. Fforde’s humor in the text shines, as his characters use plenty of witty sarcasm throughout, reminding readers of dialogue typically heard in an episode of “Family Guy.”

Fforde also displays humor in the ridiculous rules he describes in the beginning of each of the small chapters, like Rule 9.3.88.32.025 on page 46, which states “To assist with the dietary requirements of vegetarians, on the first Tuesday of the month a chicken is officially a vegetable.”

One contradiction comes from the narrator, Eddie. How can someone who only sees red give such vivid descriptions of his surroundings throughout the text? Readers will also have to thrash their way through lots of technical language and RGB talk in the first half of the book, cumbersome descriptions even by science-fiction standards. But overall, the plot has few holes, and Fforde should be applauded for creating this complex world based on color and enticing readers to see what happens next in the series.

The Munsell Book of Wisdom warns that “Imaginative thought is to be discouraged. No good ever comes of it-don’t.” It will be interesting to see where Eddie’s imaginative thoughts lead him before Fforde’s newest literary series is complete.

CD Review of Alkaline Trio's "This Addiction"

Punk pop is a musical genre that has always had an unjustified reputation for producing mind-numbingly simple songs (although Blink 182’s discography perhaps validates this reputation). Nevertheless, punk pop songs need the same elements as any other genre (catchy hooks, singalong choruses, etc.) to be considered hits.

These universal elements are what separate the punk pop behemoths (like Green Day and The Offspring) from the one-hit wonders (like Lit). Chicago’s punk pop veterans Alkaline Trio recently released their seventh and latest studio album, “This Addiction.” Yes, the songs on this compilation are pretty simple by nature, but that doesn’t mean this album doesn’t have its fair share of quality and catchy punk pop songs.

Given the self-titled opening track and lead single, one can expect a good amount of references to narcotics throughout the album. Lead singer Matt Skiba wastes no time diving in, opening the song with the lines “Well you hit me just like heroin/I feel you coursing through my veins/I once tried to kick this addiction/I swear I’ll never kick again.”

Skiba’s piercing vocals in the chorus make him genuinely seem like he’s suffering through some kind of powerful addiction, whether it be drugs, love, or both. The second song, “Dine, Dine My Darling” continues the drug/love theme, with lines like “Get a couple more days, but the drugs are lame/So I’m looking for you to be/The very last thing I see before I up and fly away.”

Instrumentally, the album explores sounds not typically heard on a punk pop album. “Lead Poisoning” has a pleasant trumpet solo that may have listeners mistaking Alkaline Trio for The Mighty, Mighty Bosstones or Reel Big Fish. The guitar tone in the intro to “Dead on the Floor” sounds just like the intro to Kings of Leon’s “Sex on Fire.”

“Eating Me Alive” is arguably the catchiest song on the album. It’s incorporation of a poppy synthesizer makes this song feel like it could be on The Killers’ next album. Despite this deviation, “Addiction” still has plenty of the stuff Trio fans have come to love with Skiba’s heavy guitar riffs and Derek Grant’s aggressive and complex percussion, a staple of a genre known for simple, yet entertaining, music.

One disappointment is the inconsistency of bassist Dan Andriano’s sounds. Some songs have the bass lines pulsating with great tone and reverb, and other songs have the bass barely audible. Producer Matt Allison could be to blame here, although it could be a number of different reasons.

Along with drugs and love, another prevalent theme is the tug of war waged between hope and hopelessness. No more is this evident than in the closer “Fine.” This song produces the brightest sounds, featuring a mixture of clean and acoustic guitars throughout. This combination gives one an optimistic feeling upon listening.

Skiba contradicts himself, declaring “It’s gonna rain like this for days/I’m gonna drown in my old ways/But I’m fine, I’m fine; It’s gonna hurt like hell/When you pull back the hammer and fire/But I’m fine, I’m fine.”

Dreary lyrics in many of the songs, combined with poppy rhythms have Alkaline Trio directly under the influence of Depeche Mode, circa 1986. Maybe “This Addiction” is the punk pop “Black Celebration” that fans have been looking for.

Whether this influence is intentional or not is debatable; but there’s no doubt that Alkaline Trio is further evidence that simple songs can be great, too. “This Addiction” proves that.

EVERYBODY, LOOK OVER HERE! IT'S MY RESTAURANT REVIEW OF STONEFORGE!!!!!!

For those foodies in the area sick of the alarming number of national chain restaurants that have emerged in Dartmouth, Stoneforge on Route 6 offers a refreshing deviation from the usual cookie-cutter menu and obnoxious restaurant décor of places like Applebee’s and TGI Friday’s.
With a relaxed atmosphere and diverse selection of both traditional and innovative entrees, Stoneforge is the culinary change of pace that Dartmouth has been in dire need of. Located next to Cardoza’s wine and spirits on Route 6 (the former home of Ixtapa Cantina), Stoneforge is the fourth and newest location for the restaurant, the other three residing in Raynham, Easton, and Foxborough.
My two guests and I made a late-night dinner trip to the establishment very recently (10 p.m., Friday), and easily found a table in the nearly-empty dining room. The restaurant oozed a rustic, casual feel from the inside, with hardwood floors, wooden tables, and simple (yet attractive) wallpaper.
A gigantic square bar takes up the center of the dining room, stocked with an extensive amount of alcohol, and a smattering of flat-screen televisions giving extensive coverage of the night’s sporting events. Of course, the most important aspect of any restaurant is its food, and the cuisine I indulged in left me satisfied, with the exception of my appetizer.
I ordered the stuffed mushrooms for a starter, intrigued by its “lemon pepper aioli.” While most appetizers allow diners to dip their toes in the water of the pool that is their meal to come, the stuffed mushrooms threw me in against my will.
The dish was pretty ambitious for a main course, never mind a starter. The combination of melted feta cheese, bacon bits, and cooked spinach saturated in the aioli was very salty, and the large portabella caps didn’t cut through that saltiness. Add a pool of mushroom and spinach water at the bottom, and this starter had too many awkward elements on the plate to be considered satisfactory. (Although I pawned it off on my friend, and he thought it was delicious).
Luckily, my entrée of chicken marsala I ordered made up for my disappointment. The dish came with a Caesar salad, and Stoneforge’s version was done right. It had the proper amount of tangy dressing to coat the crisp and vibrant romaine lettuce. The croutons and parmesan cheese left me feeling better and ready for my chicken marsala.
This dish was cooked well, as the marsala sauce had the right amount of sweetness. There were plenty of pieces of chicken that were moist and tender for the most part (with the exception of one of two dry pieces). Finally, the mushrooms tasted fresh, the linguini was thick and hearty, and the parmesan cheese topping added another pleasant layer of flavor.
The portions were very generous, although I enjoyed my meal so much that I finished in one sitting. My brother ordered a giant piece of salmon, with plenty of broccoli and asparagus to boot. He said the fish was cooked perfectly, although I found it a little dry when I tried it. And my friend had to take the other half of his burger home with him.
The service was average at best. Our waiter forgot to separate our bills like we had asked for prior to ordering. But overall, the experience was enjoyable. And with a diverse menu containing burgers, grilled pizzas, steaks, beer and wine, and seafood, Stoneforge’s attractive options will have me making a return appearance very soon.
Stoneforge is located at 466 State Road in Dartmouth. Visit stoneforge.net for restaurant hours.

OMG!! IT'S THE REVIEW FOR THE NEW PLAY 'SEQUEL'!!!

New playwright David Kucher offers a fresh perspective to the timeless story of lying and its devastating consequences with “Sequel,” a play that premiered at Your Theatre in New Bedford on April 8. While the story Kucher has penned may need some tweaking before it can be considered for a sequel, the solid acting on display may just make this show worthy of a second helping.
The contemporary play, Kucher’s first to make it to the stage, centers around Joe Lyman (Eric Paradis), a cunning and desperate Los Angeles screenplay writer who garners the help of his successful investigative journalist girlfriend, Harlequin “Harry” Anderson (Caroline Cuccia); the duo writes the sequel to “Palegas,” one of the highest-grossing Bulgarian films of all time. The only problem is that there is no high-grossing Bulgarian film titled “Palegas.”
Nevertheless, Joe is able to con the homosexual Hollywood producing couple of Kyle Bix (Eddie Camara) and Thom Thompson (Gil Cardona-Erazo) into backing the project. This begins both a comedic and dramatic sequence of events where the theme of lying rears its ugly head on the very small cast of only the four aforementioned characters.
As previously stated, this is Kucher’s first play to make it to a stage, and it shows. The second act of the two act play seems a little rushed in comparison with the first act. The unraveling of the characters’ lives in the second half happens too quickly, considering that it takes longer for the story to develop in the first act. Despite a serious and somber second act, one must sit through plenty of Hollywood-themed farce throughout (including multiple references to a reality TV show called “Cooking with Porn”), and also a cliché ending. The bare set (one room with wooden chairs and tables) is a given, considering Your Theatre’s frugal budget.
But Kucher’s story does deliver some strong points. He offers a stunning amount of parallel in the romantic/professional relationships of Joe and Harry and Kyle and Thom, both of which are significantly affected by the play’s theme of lying. There’s also a suitable amount of foreshadowing (mainly through Harry) in the first act- a good balance between subtle and obvious.
Director Edward J. Maguire has a positive impact on the show’s performance. Nearly all of the movements in the scenes are very natural, with minimal distractions. But the strongest element of the play comes from the quartet of actors. The star, Paradis, gives the most genuine performance as Joe. His witty insincerity towards Harry in some scenes and manipulations in others will have audience members thinking Jerry Seinfeld has made a seamless transition from television to the stage. Not to be outdone, Camara is hilarious as Kyle; he gracefully walks a fine line between flamboyant and obnoxious with his occasional gyrations and gestures, doing an excellent portrayal of a homosexual and egotistical Hollywood movie producer.
Cuccia and Cardona-Erazo provide a much-needed balance with their characters, both of whom are emotionally held hostage by the lies from their respective partners. However, Cuccia is more enthusiastic in showing this emotional distress than is Cardona-Erazo. Kucher adds a pleasant element as Cuccia and Cardona-Erazo’s characters form a nostalgic father-daughter relationship as the play progresses. One can really appreciate the affection and empathy they show each other in the second act.
It’s only natural that these two become close; after all, they’re the characters closest to honesty and reality when compared to Joe and Kyle. “Sequel” is now playing through April 18. Each show starts at 8pm, except the April 18th performance (3pm). Tickets are $14, $15 on Saturdays.