NEWS; HOLIDAY PARTY FOR CHILDREN

Underprivileged Children Celebrate Holidays

The Nassau County Youth Board sponsored a Holiday Celebration for underprivileged youth in the University’s Multipurpose Room Tuesday. It was the eleventh-annual celebration; the University has held it every year.

The celebration is nondenominational, and it had events celebrating Christmas, Chanukah, Kwanzaa and Three Kings. Over 260 children were in attendance, along with over 40 volunteers, parents and sponsors. The children were predominately minorities.

“Young people from over 30 communities in Nassau County are here,” said Angela Zimmerman, Director of Training and Advocacy for the Youth Board. “This is a cultural mosaic for children of all backgrounds to come together, learn, celebrate and have fun.”

University Relations also sponsored the event, by giving it a place to be held. “insert quote here,” said Stu Vincent.

Community organizations, including the Glen Cove Boy’s and Girl’s Club, were in attendance. HSBC Bank USA was one of many new corporate sponsors of the Holiday celebration. “[The celebration] is funded by private donations, foundations and corporations,” said Zimmerman.

Many youth organizations were represented at the celebration, including Copay Inc., a not-for-profit organization that offers after school care and tutoring for underprivileged youth in Great Neck. “I want to thank Hofstra University for holding the event,” said Sheryl Luna, an Academic Instructor from Copay.

Martin Kramer, who was a member of the board of the Nassau County Youth Board when it started 11-years ago, organized the event. “The Youth Board has 42 after-school agencies, which each submit a list of names for kids they think should go to the party,” he said. “The volunteers are affiliates of the Youth Board.”

Youthful community volunteers helped as well. “The event is really great because it is giving kids a holiday celebration,” said Abigail Agoglia, a high school senior and member of the Nassau County Executive Youth Committee. “We hope they had a good time,” said JoAnna Datz, another high school senior and member of the committee.

Some adults volunteered whatever time they could to the Board, and also chaperoned the party. “It’s all about giving back and remembering how blessed you really are,” said Wilfredo Maldonado, a 51-year-old retiree.

At the celebration, each holiday had its own arts and crafts booth. Children could color Chanukah menorahs, make paper bag reindeer, spinners with the colors of Kwanzaa and make picture frames for Three Kings. The high school students had organized the arts and crafts.

A DJ provided musical entertainment, and assorted volunteers came to perform for the children, including a STOMP group from Freeport, a magician and the I Support Roosevelt “Six Black Diamonds” dancers.

The children loved the activities and were having a great time. “I love the candy,” said Jabbai, age 9.

Most of the children, however, loved the youth volunteer art programs. “I loved the arts and crafts!” said Joannah, 6. “So do I,” said Cherish, also 6 years old.

“We want to help the kids out,” said Sue Bennett, a volunteer for the past five years. “It’s all about them, after all.”

OP-ED; THE STORY OF THE MEMOS

The Story of the Memos

Memoranda run through offices everyday. Whether they are for new policies concerning dental care, or they are to announce the hiring of a new employee, their ubiquity in the office is astounding. Memos have taken on a new significance in the hyper-secret world of the Bush administration, as they are the only real insight into the inner workings and dealings of the offices of this administration.

These memos from administration officials are the closest thing the press has to a leak, thus the flurry of attention. The content found inside these memos is worth looking at regardless, but the rarity makes it all the more important.

Two memos have recently examined the issue of Iraq head on. National Security Adviser Stephen J. Hadley wrote one dated Nov. 8 in which he expresses doubt in the legitimacy and power of Iraqi Prime Minister Nouri al-Maliki. The memo states that Maliki, could be participating in some of the sectarian violence, wittingly or unwittingly.

There were reports, according to the memo, of undelivered services to Sunni areas, and an active campaign to “consolidate Shia power in Baghdad.” The memo speaks of good intentions and nice words for Washington, but not of pure action. In order for Maliki to be successful, Hadley makes a list of suggestions, including working with the Saudis to curtail Sunni insurgency and the creation of an American National Strike Force, a large group of advisers to work with the Iraqi police force.

The candid nature of the memo was astounding, especially since the President was about to meet with Maliki in Amman to discuss his future as Prime Minister. Maliki subsequently snubbed the President by uninviting him to a meeting with King Abdullah of Jordan, and Maliki testily met with the president afterwards. Maliki was the candidate endorsed by the Americans in the elections of the newest “unity” government, but the memo illustrated reluctance in continuing the support.

More candid was the memo from outgoing Secretary of Defense Donald Rumsfeld. He is known for his controversial memos, meant to spark debate by his deputies, including one he wrote in 2003 about Iraq possibly becoming a “long, hard slog,” as well as posing this question to his subordinates: are we creating more terrorists in Iraq than we are killing? Foreshadowing ex post facto (the invasion to now) really helped the US, now didn’t it?

His latest memo, dated Nov. 6 but leaked Sunday, calls for a “major adjustment” to Iraq policy. “Clearly, what U.S. forces are currently doing in Iraq is not working well enough or fast enough,” he said. Throughout the war, Rumsfeld has been the most steadfast proponent of Bush’s “stay-the-course” strategy, but the memo signaled a significant change of heart.

Rumsfeld considers the redeployment of troops in the region, proposing the movement of troops from the most sensitive areas of Iraq, to Kuwait and surrounding nations, for the US to act as a rapid-deployment force, to aid the forming Iraqi army. Call this a Rumsfeldian spin on Congressman John Murtha’s policy.

The suggestions for new policy in Iraq found in Rumsfeld’s memo are divided into two sections: those that are feasible or “above the line,” and those that are considerably less so or “below the line.” “Below The Line” policies include a timetable for withdrawal, while “above the line” suggestions include a phased drawdown of troops.

The departing Secretary of Defense strikes a surprisingly parallel tone to that of the provisions of Bush’s No Child Left Behind Act, Bush’s education law, when he considers abandoning regions fractured by “bad behavior” and rewarding those with good. This is not working with the American education system, and it is just as likely to work in Iraq.

The memos reveal something extremely important: there is substantive debate going on throughout the administration on the extremely important issue of Iraq. The White House staff is not necessarily in lockstep with each other, and such exhaustive debate may lead to better policy, better governance and finally, an exit strategy.

INTERVIEW; ANDY STRACHAN,THE LIVING END

Interview
Andy Strachan, Drummer, The Living End

Was finding a label to distribute State of Emergency difficult?

Yes.

Now that you found Adeline, what have they done that Reprise wasn’t doing before?

Well, it’s pretty early days, but the reason we went with Adeline is just because they kind of understand where we’re at, and they’re not all caught up in the whole, uh, you know, ‘a million copies isn’t enough’ mentality.

They are letting you guys do your thing, essentially?

Essentially, yeah, they are willing to sort of let the band grow in a natural way, rather than, you know pushing all the money in one area.

Do you think Billie Joe’s early support helped this?

Yeah, you know this sort of goes without saying, that the guys have been sort of helpful for many years now, but Billie Joe isn’t really incredibly involved with this deal, but he has some part in the label, I’m sure, but he doesn’t really get involved with the day-to day runnings.

How has the tour gone throughout the world? Europe, Japan, New Zealand, how has it gone for you guys?

It’s been great; it’s been a busy year. It’s been very busy, but Japan’s always amazing for us, one of our favorite places outside of Australia, you know. New Zealand was great, it was very sweaty and very back to basics kind of punk rock.

That must have been wonderful.

Yeah, it was awesome. Anytime in the UK is good time, but you know, we got to play in places that we haven’t been before, to brand new audiences in Dublin, Scotland.

You guys have played Warped Tour, actually before your time in 1998, and again recently. How did you enjoy the Tour, for your first time?

Yeah, it was great, and a pain in the ass at the same time. It was so hot, and miserable, but um, you get to play in front of great crowds every day, and you get to meet a lot of great people, but you know, it was, as you know, it was a heat wave for the entire time. This was coming straight out of an Australian winter.

That must have been rough.

Yeah, the first show of that was, you know, a great slap in the face. Once we got used to it, it was great.

For the song “Wake Up,” why did you guys choose to use children at the end? To me, it sounds a lot like Pink Floyd’s “Another Brick in the Wall”; the damning indictment made in the same context.

You know, I mean, you can certainly draw parallels to that, it’s basically, as the title of the song says, we’re trying to get a point across. Some of the crazy stuff that’s gone on in the world in the last few years, it’s absolutely insane, and our kids, and our kid’s kids; it’s never going to be the same again now. You know, Scott and I just walked around Ground Zero…

Oh wow. How riveting was that?

It was fucking amazing. I was trying not to cry, choking back tears. It’s just amazing that people can make a decision like that to cause such a…you know, so many lives were lost, and so many lives are still affected today.

The war never ends.

Exactly. It’s never gonna be the same again. So with the whole “suicidal education, it’s been sold to our generation” and generations to come, you know, that would bring you back to that original question, to have kids sing that lyric, it just brings it home in a way—for me at least. That was the reason behind it, it’s a creepy kind of a song.

You guys have horns on a lot of your songs, especially on State of Emergency. Why didn’t you bring them here?

Um, money. But we did do a big tour at home, around Australia, and we brought them with us then.

Okay, so then you were able to play more of your back catalogue, like “Blood on Your Hands” and others.

Well, we could have, but we didn’t. We played a lot of the State of Emergency songs that had horns, and played “Uncle Harry” with the horns, and you know, a few songs like that. We used a horn section from a band called the Hunters and Collectors, who are just basically gods from where we come from, so it was a real honor and privilege to play with them.

This is your second time in the US this year alone. How do you feel you have been treated in the United States? How have the crowds been?

It’s up and down for us, I think. I mean, it’s been great, but, you know, it’s really hard to gain a momentum over here, I think, just because it’s so far away, and we can’t tour here all year round—we have other markets, and family, and things like that to consider. You know, I think the fans, the people that do go to the shows, truly love us, or truly love the music, and we get a great reaction I think, once a fan, always a fan kind of thing. We really appreciative of that, but it’s be nice to, sort of step up.

Do you think it has anything to do with the, sort of, obsession with dance-rock? Do you think it makes it more difficult, or is it just another obstacle the band has to overcome?

Well, I think, you know, every year there’s a new flavor, that’s just never going to change. We are happy doing what we do, and I think, like I said before, once you’ve seen the band and you’ve got the records, or whatever, then you can make your own mind up, and I think we’ve got fans for life. It’s, I guess it’s hard, because we’re not a fad band, and we’re not riding on someone else’s coattails, I suppose.

The one’s that have lasting power are the one’s that don’t ride coattails, though.

Yeah, yeah. I think it might have something to do with the fact that we don’t have millions of dollars to put ourselves on billboards, and things like that. In this generation, the advertising is so hard to promote yourselves without lots of money.

You’re right. I’ve heard from others that you’re music has been featured on network and cable television. In fact, someone said you’re music was on “Laguna Beach” (a show on MTV) and that’s how they came to find you. Now she’s an obsessed fan. Any avenue, I guess, would work.

Yeah, I guess we’ve just got to keep pushing away. We believe really strongly in what we do, and you know, it goes back to that, I guess you’ve got to see the band live to really understand what it’s all about. Hopefully, you know, when we play to small crowds each time, that small crowd tells another couple hundred people, and who knows what will happen.

How do you choose which songs to put on the setlist? Given your large catalogue, what would make you choose one track over another?

[Laughs] That’s the bane of our existence, really. It’s always a really hard thing to choose a setlist, you know, because there are so many songs, and, at the moment, we are trying to play as many State of Emergency songs as possible, obviously. It’s a day-to-day thing, we always have to think, we should play this song there, that one there… We do listen to people on the street, who say, you know ‘Can you play this song?’ and you know, we did that last night, we played ‘Monday,” and we played something else we hadn’t done in a while, though I can’t remember what it was at the moment. We do have a core set, a list of songs we have to play.

How rigorous is the touring schedule? How do you guys bring the fire and desire to play every night with the same level of energy?

I think the three of us have, uh, we’re still hungry, we want to sell records, and, for me, it’s like playing in a team sport like football or something. You’re up on stage and if you’re not giving 110%, you are letting your team down, so we have that mentality of going out as a band, and playing as a band. Our music doesn’t sound right if you don’t play it with intensity. We sort of dug our own grave in a way, you know, we have to put in 110% or it doesn’t sound right. That’s what I enjoy about music: sweating my ass off and getting blisters and locking in.

For us, it doesn’t matter if there are 30 people, or 30,000, because that’s the kind of spectrum we’re under. At home we play massive festivals, and in Japan [as well], but we come to small places like this in the States and we play small crowds.

How do you like the dichotomy of that; how does that play in your heads?

Playing to small crowds?

Playing to small crowds versus the 30,000 person festivals, I mean.

It doesn’t really change. We still have the same, you know, nervous tension before the show, and we still play 100mph and, you know, we all love the intimacy of the small crowd, but there’s nothing like the chant of 30,000 people. It’s a nice balance, I think. It’s a completely different gig, but for us, it’s just playing live. It’s what we do, and it’s what we love about music, so it doesn’t matter to us.

One last question, on a much lighter note. A friend of mine asked me to ask the band members, chicken or beef?

Shit, it depends on who’s cooking, doesn’t it? [Laughs] We’re all fans of both, we really are; it depends on who’s cooking, you know—but it has to be chicken breast. Can’t be those thighs—they are dodgy. Food is another one of our passions in life, so, you know, we’re pretty happy to eat whatever’s on the table.

CONCERT REVIEW; THE LIVING END F/THE SHAKE

Concert Review: The Living End f/The Shake
Grade: A

If you were at the Main Space of the Knitting Factory in Manhattan on the night Nov. 19, then you were sore the next day. Period.

After a disappointing turnout in Levittown the night before, Australian legends The Living End played to a packed and raucous crowd for its second date in New York, part of a United States leg of a yearlong world tour that has taken the band throughout their native Australia, New Zealand, Japan and Europe.

The opening band, The Shake, enthusiastically ran through its set of Oasis-inspired alt-rock music. The band, with two guitars, layered harmonies and a bass player with a fondness for ridiculous faces as he rocked out, also factored in a large Buzzcocks pop-punk influence, with the result sounding like a very young Green Day. The Shake’s 45-minute set was interrupted off and on by a fan bent on ruining any opening band’s night, even getting the lead singer to challenge him to a fight, and the bassist offering to sell tickets.

The Living End took to the stage to thunderous applause, something not found in Levittown. Guitarist/vocalist Chris Cheney strolled to the mic and yelled, “New York City—alright!” and the show quickly kicked into gear with the band playing the opening track “Til The End” off their latest release State of Emergency. The punk-inspired mosh pits started instantly, and did not stop until the set ended. The band’s sound is a mixture of British punk, rockabilly and straight-up rock and roll, but in America, most of the fans are punk rockers.

Instantly feeding off the frenzied crowd was bassist Scott Owen, who moved his tremendous checker-bordered black upright bass around the stage, leaning into the fans, even standing on his bass. His animation tends to fuel the rest of the band, and Cheney, as well as drummer Andy Strachan, kept up a frenetic pace throughout the set, with the crowd seeming to drive the band faster and faster.

The set leaned heavily on new material from State of Emergency, as the band is touring in support of the album, which was released July 11 in the US, on Adeline Records, owned by Billie Joe Armstrong of Green Day fame. The band is getting promotional support from the record label and from MTV as well, as the network has played the videos for “What’s On Your Radio?” and “Wake Up” on their university-exclusive channel MTVU.

The hour-long main set featured a live staple, called “E Boogie.” This song is an instrumental that allows the band to show off their virtuosic musical talents collectively, as well as individually, as each member gets their own time to solo. Most notable is Cheney’s, as he takes a beer bottle and slides it along the neck of the guitar, making an obscene amount of noise, with beer frothing around him. Cheney chugs the remnants after his solo, much to the delight of the crowd.

The band returned to the stage for a three-song encore, and the pace slowed down a bit for the aforementioned “Wake Up.” Then the band took requests, and elected to play their fastest song, “Carry Me Home,” which includes a feverish solo by Cheney before becoming a rapid-fire song about drinking until one cannot feel anymore. “West End Riot,” a classic off the self-titled debut, ended the show, as Cheney stood on Owen’s bass while each one played their respective instruments until it appeared that they would break.

The show ended too quickly, with the crowd begging for more. The band had to move on, the tour demanded it, though The Living End will always have a second home in New York.

Setlist: Til The End, Roll On, We Want More, Who’s Gonna Save Us?, What’s On Your Radio?, All Torn Down, Into The Red, Nothing Lasts Forever, Second Solution, E Boogie, Long Live The Weekend, Prisoner of Society (Encore): Wake Up, Carry Me Home (Monday was listed but not played), West End Riot

ALBUM REVIEW; ...AND YOU WILL KNOW US BY THE TRAIL OF DEAD

...And You Will Know Us by the Trail of Dead
So Divided
Interscope Records
2.5/5

The new album from the band with the longest name ever seems as long as the band’s name. Oh, wait; ir's only 46 minutes.

So Divided, from Trail of Dead, was never supposed to happen. Rumors flew over an expected breakup after their critically panned previous release, Worlds Apart. Worlds was a commercial failure as well, selling only 60,000 albums in the United States, and it was a large contributor to the tension in the band.

When the band started recording for So Divided, it did so under the impression that it was to be an EP, and not a proper album, and it shows. Some songs are much stronger than others are.

The album is too scattershot to reveal a prevailing theme, with mall punk (“Stand in Silence”) Oasis-inspired Brit-pop (title track “So Divided”) and 70’s classic rock (“Naked Sun”) each sounding good, but unfocused, and lacking in passion.

A halfhearted Guided By Voices cover of “Gold Heart Mountain Top Queen Directory” has the strings that the original hinted at, and it forces an emotion that should be implicit, not shoved down the throat of the listener.

Trail of Dead is still struggling to understand that it may never top its opus, 2002’s Sources, Tags and Codes. For the band to succeed at that level again, the guys have to just let loose, relax, and let the music flow. Forcing an album sounds as canned as the emotion put into it.