Rapture Ready by Daniel Radosh

Brandi Cameron

Editor-in-Chief & Self Immolator

Daniel Radosh, in his novel Rapture Ready, is a Jewish man writing about the parallel universe between evangelical Christianity and pop culture. Published in 2008, this book is a fascinating mix of perceptions on culture, the economy, identity politics, and so much more.

“If you are trying to communicate to people, it makes sense that you want to find a common currency, a bridge that you can communicate across […] Now, having said that, you can do it with style or you can do it tackily. But that’s true in any endeavor, not just the Christian retail world,” states Andy Butcher, editor of The Christian Retailer, in his interview with Daniel Radosh.

To which Radosh responds, “[…] from what I’ve seen, tacky is winning.”

Radosh immerses himself in Christian pop culture for a year and tells the world what he sees, what he learns, what he rejects, and what he is surprised by. The culture he examines is mainly American, but it also mirrors the growing evangelical pop culture in Canada.

“This is a book about popular culture. It’s about entertainment, leisure and shopping. It’s also about politics and the culture war that engulfs America. And it’s a little bit – not as much as you might think – about religion,” writes Radosh in the introduction.

However, this book is definitely about religion – as a manmade entity, as both an economic plan and a fascinating climb into an uncanny culture. Radosh experiences many of the hypocrisies that everyday people see in Christianity, but he also meets people along the way that shift his perspective.

This book is merely a study: including the history of evangelical pop culture, the current status, and where it may go in the future. Radosh watched Christian movies, read books, attended conferences, concerts, raves, theme parks, comedy shows conventions, and hung out with everyone and anyone he could find who is affiliated with the Christian pop culture industry.

By the end of the book, Radosh had been tricked into hearing peoples’ testimonies through comedy, caught himself buying an opinion or two and had revealed his own views to many pastors, managers, organizers and speakers involved in this industry.

Aaron Weiss, the ‘mewithoutYoufrontman,’ reveals this to Radosh in their eight-page long conversation on various controversial topics: “Most people probably never had an abortion. So you can look at that […] and say ‘That’s the “murder” [sic] that I want to draw attention to.’” He questions the lack of attention paid to other forms of “murder,” such as: death by failing to share abundance (therefore starving other people), killing in a war, or the sanctioned death penalty.

He also states, “Jesus never mentioned homosexuality once. How has it become such an issue? Strange how all things that Jesus actually did talk about fail to become issues.”

These are just some of the hundreds of topics Radosh brings up with people who are well versed in evangelical pop culture. He presents both sides of various topics, but no easy answers. This book is a thought-provoking study for any American, and I argue, Canadian academic citizen.

The Flatliners - The Great Awake

Mike St. Jean

Layout & Design Editor & Sasquatch Preserver

When many music fans see a new release from the world famous punk label Fat Wreck Chords, they often assume that the album will follow the classic mid-90’s pop-punk style that made the label, and many of its bands household names. Over the past few years, however, owner Fat Mike of NOFX fame has done an excellent job signing new, young bands that have helped Fat Wreck break away from the mold the label created in its early days.

One of these bands is The Flatliners, who joined the label after the strong performance of their 2005 release Destroy to Create on Montreal-based Stomp Records. The Richmond Hill, Ontario four-piece did not disappoint with their first Fat release, The Great Awake, which saw the group break away from their early ska punk sound.

Although all four members of the band were still in their late teens/early 20s when The Great Awake was released in 2007, the lyrical content and melodies found on the album have drastically improved in comparison to their first full-length release.

From the record’s first single, “Eulogy,” to the acoustic-driven “Mastering the World’s Smallest Violin,” The Great Awake sees the group take on a darker, more hard- hitting sound mixed with the catchy choruses and melodies found on their previous releases.

The Great Awake also shows singer/guitarist Chris Cresswell development as a song writer, with songs such as “July! August! Reno!” and crowd favourite “This Respirator” discussing the hardships, as well as the unforgettable moments of trying to make a living as a musician.

Although fans of Destroy to Create may be disappointed with the lack of ska on The Great Awake, the album is definitely worth picking up and giving an honest listen. If nothing else, the record will give listeners a new appreciation for the group, who are barely old enough to be out of high school, never mind awaiting the release of their third studio album, Cavalcade, which is set to come out on April 13^th.

The Flatliners will be making yet another stop in Thunder Bay on April 16^th at the Black Pirates Pub.

Shane Morissey

Argus

The interview started off pretty formal. I prepared hard, thinking of some questions ranging from Bizarre’s thoughts on the rebirth of hip-hop and the influence D12 had on the Detroit scene. I mean, I know not a lot of people cop the albums up in Canada, but outside of being Slim Shady associated they tore up that part of the North Eastern states. They also got a shout out from all-star producer/rapper Black Milk who touches on his experience touring with D12.

D12: The same state J Dilla started in and beats that feel so Detroit. J Dilla’s First Draft album echoes that same grit and rawness Detroit created.

Although cut short of Legendary Status, as those who carved the Golden Era of hip hop, D12 are one of the few groups to embrace it and keep the movement pushing forward. For what is being called ‘the rebirth of hip hop,’ D12 can be thanked for keeping it on life support.

In the interview, he first thing heard is a worn out man; Bizarre just sounded beat and tired. Every question was answered in a mixtape shout out way.

He said what every smart rapper says when asked what they did to get Detroit on the map for hip hop: “We been grinding, just moving and hard work that’s all you know, just get up on your grind.”

He has an album coming out called Live From St. Andrews and the single is Believe with Tech N9ne.

The concert is March 27th at the Outpost.

I saw them last year, like I mentioned, and it was one hell of a show. Even if you hate hip-hop, go, these guys are entertainers. Take advantage of what it’s like to see a professional rap group and take note. It’s back and forth like you wouldn’t believe.

The Dirty Love Band set to play The Office

Esa Keltamaki

Copy Editor & Master Jouster

Music fans are in for a treat. The Dirty Love Band’s [DLB] cross-Canadian tour makes its way to Thunder Bay this week.

This Thursday, April 1^st, The Dirty Love Band will rock the downtown bar The Office. The show will mark the band’s first appearance in Thunder Bay. Hopefully, the first of many.

The London-based band comes to town with consecutive Most Popular Blues/R&B Group London Music Awards. If the DLB wins a third this year, they will be inducted into the London Music Hall-of-Fame. The fivesome is also a current Fan Favourite nominee for the Jack Richardson Music Awards.

A brand-new video for Moon Boy, the first single from the band’s recently released second album Generation Sex will also be available for preview at the show.

The well-liked DLB, a group that began five years ago with guitarist Dennis Habel and keyboardist Kent Merkley, is rounded-out by drummer Teddy Feica, multi-instrumentalist Sean Thomson, and bassist Lucas Johnson. Johnson, who joined the band for the current tour, works in former Our Lady Peace guitarist Mike Turner’s The Pocket Studio.

The group is known for wild, energetic shows involving “gang buster vocals” and keyboardists nearly falling from the stage. The band’s raucous tunes extend from traditional blues tracks to rock and punk influenced blues; their catalogue of music is rife with smash-tastic awesome.

In addition, opening for the DLB is… you? The Office will be holding an open-mic night prior to the main event, so feel free to bring a guitar and hop up on stage.

Doobsie’s Band returns to Jacks with a vengeance

Anthony Marrelli

Argus

Crammed onto a stage that can barely contain their full horn ensemble, two singers, pianist, bassist and two percussionists, Doobsie’s Band is one of the largest local bands in Thunder Bay. Their setup is impressive and their music is just as remarkable, with no expense spared, this is a show you don’t want to miss in the future.

The band was formed over six years ago with two sets of brothers forming the initial skeleton of what became a massive ensemble. To think of them just as a band, although they do themselves, is an understatement to the complexity of their music and performances. With 8 total members and several guest performers, their eclectic and synergistic style of blues, folk, rock and funk delivers a show that is unique among Thunder Bay’s ostentatious music scene.

The show itself was outstanding as their brass ensemble “The Dirty Horns”, featuring Mike Trevisanutto, Joe Petch and special guests Mike Kennedy and Jason Caron, riff hard with vibes accenting before the trumpet takes over or the tuba governs the beats. A showing by a guest saxophonist blazed their songs with a streak of colour never before seen in songs such as “Sweet Virginia” and “Superstition”. While lead vocalist Deryk Fournier’s voice melded with his brother, Conrad’s, harmonica and backup vocals to create an unprecedented sound.

Their music hews closely to the blues but plays them in different styles, an up-tempo blues rock with the help of drummer James Otto and hand drummer Darren Desa pulsing and pushing the music along. Mike Otto played the piano like he was taming a wild animal, while Chris Dorota’s base lines resonated throughout downtown Thunder Bay. The band mixes in some nice soulful numbers and acoustic blues for a well rounded sound that allows for a show with a great pace.

So what’s it like to be in a band like this? It’s no easy task to get 8 members’ and several guest performers’ schedules organized for jam sessions and recordings. However, their passion for what they do has allowed them to reach the last stages of recording for their first album. The band hasn’t been on a regular show schedule in Thunder Bay over the past 6 months due to marriages, births and other milestones for its members. These life changing events have brought the members closer and helped inspire their music.

The future of Doobsie’s Band is bright, with their first album being released in the coming months and new guest performances at their concerts helping to deliver songs in a new exhilarating way. Their next show is in the works marking over five years of bringing down many houses in Thunder Bay, with shows taking them all over Ontario. You can track them on Facebook and their upcoming website.

Alice in Wonderland is a mixed bag of nuts

Derek Wall

A&E Editor

There is much to like about the film Alice in Wonderland, aesthetically speaking; Tim Burton has added his unique flair to all of Wonderland’s inhabitants, including the Queen of Hearts, the Cheshire Cat, and The Jabberwocky to name a few. The Cheshire Cat especially, and the way he vaporizes in and out of scenes, is particularly breathtaking. If this was a stand-alone film, I might have been thoroughly satisfied.

However, Alice in Wonderland is not a stand-alone film, it is the sequel to Lewis Carroll’s classic novel from 1865, Alice’s Adventures in Wonderland.

And that was one of the first issues with the script, or rather the title. Despite being entitled “Alice in Wonderland,” the title that Carroll’s novel is often nicknamed and the name of the classic Disney cartoon that is based off of said novel, Burton’s “Alice” takes place 13 years after the original story. This would be like titling Spielberg’s sequel of Barrie’s Peter Pan as “Peter Pan,” not “Hook.”

Speaking of Hook, Burton’s Alice draws many parallels to Spielberg’s film. They are both sequels of classic works of children’s literature, for a start, but they also both feature a protagonist that returns to their childhood fantasy world yet cannot recollect their initial visit.

Another issue with the script is that it feels as though Burton’s Alice has a difficult time remembering what exactly it is a sequel to. Whereas Barrie’s Peter Pan focused on the dichotomy between childhood and adulthood, as did Hook but added the additional layer of adult Peter struggling to remember his childhood and the importance of it. Lewis Carroll’s “Alice’s Adventure in Wonderland” is primarily about language.

Aside from the episodic and often unrelated experiences Alice has in Carroll’s novel, the story offers young readers insight into limericks, wordplay, puns, riddles, and fables. However, none of that was present in Burton’s adaptation. I am not suggesting that the scenes in the film should have been detached and episodic like the book, as I understand that a film needs to have an arc and complete story in order to appeal to an audience, but none of the wordplay found in the original novel was brought forward to the film.

The movie was also plagued by the formulaic staleness that seems to have been haunting Tim Burton lately. Many have commented on the repetitive qualities Burton’s movies have taken on lately. Johnny Depp has appeared in the last four consecutive films by Burton making a grand total of seven appearances in Burton’s entire filmography. Depp is also scheduled to appear in the next film directed by Burton, Dark Shadows. Helena Bonham Carter (also Burton’s wife) has been appearing a bit too regularly in Burton’s film.

Speaking as one who considers himself a true Burton fan, the repetitive nature his films have taken are quite saddening. While growing up, the prospect of a new Burton film being released was akin to being invited to meet with an old insightful friend. The magic and morbid curiosity that was Tim Burton’s trademark was something that I felt spoke to me directly. I recall the sense of wonder that washed over me after completing Edward Scissorhands, the sheer horror that surged through me during Sleepy Hollow, and the dark morbid side of my own sense of humour that Beetlejuice wrung from me.

I still consider myself a Burton fan and I do still look forward to his upcoming features. I hope that Burton returns to a method of experimentation rather than sticking to a successful (or not so successful) formula. The future also foretells that next year Burton will be directing an animated feature film entitled Frankenweenie based on the short film Burton created in 1984.