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alligatorSports Marka Picks Sütun Bugünkü sürümüdür
30 numara tarafından getirildi!

büyük 3-0 aşk hakkında sadece o kadar çok şey var.
sayısı İncil'de önem çeşit var, biz söylendi.
Ve daha da önemlisi, bu beyaz "üzerinde kaç parça's
Albüm. "

Bu Beatles, umarız siz değil bir grup tarafından bir CD
Russell tarafından fronted başka eşit üretken bant ile karıştırılmamalıdır
Crowe: Grunts 30 oldukça garip albüm Ayaklar.

spor, Michael Jordan Birmingham için oynamaya karar
30 yaşında Barons. Hall of Fame ilk meydancı Orlando Cepeda
onun 16 yıllık kariyeri boyunca 30 sayılı giydi.

O, daha çok dört basamaklı yüksek bir sayı ile ünlü olmasına rağmen
Nolan Ryan Angels 30 giydi. Ve sizin kim izlemek için birkaç
hokey: evet, biz sayı arka bulunabilir farkındayız
Devils Martin Brodeur kaleci.

Otuz da Stonehenge, uzun uzadıya dikmelerinden sayısı
Otuz Yıl Savaşı ve çinko için atom sayısı. Amerikan
sosyal aktivist Jerry Rubin kez üzerinden kimseye güvenme "uyarısında bulundu
30. "

İlgili bir kayda göre, bir ABD senatörü için asgari yaş 30 'dur.

Oh, ve o olmuştur futbolcuların sayı
Kentsel Meyer devraldı beri tutukladı. 30 Dirty.

kirli bahsetmişken, FSU (-10) yayılmasını kapsayacak olan bu çünkü
hafta sonu çünkü:

Ilk önce Miami Heat's Üç Büyük ve şimdi bu kadar FSU's.

Zaman Tyler durdurmak için gidiyor? şeylere nefret İçin zıvır
gerçekten üzücü. Bu bana acı veriyor bu şekilde görebilirsiniz.

Seminoles geçen hafta şanti Sooners sonra, yapmanız
dürüstçe BYU gelip Tally ve hatta içine gelip gidiyor olduğunu düşünüyorum
Ona yakın FSU karşı bir oyun yapmak için?

Ama, sen Florida tüm yaşamını yaşamış değil biliyorum okullar
bu durumdan biraz Utah okullar daha iyidir. Sadece
İki takım arasında geçen sezon yendi baktığımızda
Seminoles 58-24 kazandı.

Sen çok iyi tarihini anlamak gerekir. Sonuçta, sen
"Erken Cumhuriyet" adı verilen bir sınıfı dahil - her şeyin
anlamına gelir.

- ANTHONY CHIANG

BYU (10) ve stormin 'Mormonlar bir Joseph-Smith tarzı oluşturacaktır
Çünkü dayak:

Anthony Çan'ın akıl, doğru bir şey olmasa bile o olacak
kolayca kabul ediyorum. Burada bazı bağlamda's: onun gece harcama arasında
ofis ve sınıfta yaptığı gün, Çan dört sınırlıdır
saatlerce her gece uyku. Google, o birisi araştırma yaparken
sadece yazdığınız "Keith."

Ve o Perşembe gecesi bir makale yazmak istendiğinde, o
O, string düşünceler çok olamazdı açıklarken, merhamet için yalvardı
yaklaçık cümleler.

Ve şimdi o büyüdü nerede unutmaz. Diye karşı aldı
Noles 'Köpekler geçen hafta, ve şimdi için tezahürat's'. Ne olurdu
big-baba Guillermo demek?

Chiang bir felaket. Ama gerçekten, onun ruhsal durumunu anlamak için
Bu onu benimsemeye Tamam olacağını düşündüm bir adam olduğunu fark var
adı "Slater" çünkü ilk yaptığı baş harfleri satır yukarı
karakter "Bell tarafından Kaydedildi" onun en sevdiği adı.

Çan'ın güreş tekniği biraz şüpheli, ama's at
en azından bütün bu salsa dersleri sonra dans becerileri var.

- TYLER Jett

Şu an için alır!

13-6 bir kayıt ile afiş en üstünde olduğunu
Editör Yardımcısı Tyler ben Chipotle arkasında yaşıyor olsaydı "alligatorSports
Ben sonra heyecanla nefes nefese başladı deli "Jett, giderdim
gerçekleştirilmesi Chipotle arkasında daire Üniversitesi tarihinde vardı
Ave. sarı saçları ile 6-foot-5 beyaz erkek olarak, o uzak
Mexican olmaktan şey. Ama bu sipariş onu durdurmak değil
bu börek kase.

Gainesville Sun'ın Edward "Bu adam sıcak olduğunu ilk kez Tied
bu adam, kimin son atama hiçbir homo "Aschoff, değil
Güneş onun yaşam seçenekleri hakkında merak kıvılcım. O, bir kız arkadaşı var
ama SEC aracılığıyla fotoğraf şekilde daha fazla zaman kaydırma harcama's
galerileri. Biz onu. O Ryan Mallett's bakıyor sizin işiniz
gözler. Edward ne olursa olsun.

bir 11-8 kaydı ile üçüncü üç adam örgü Leading olduğunu
Timsah futbol yazar Kyle "diye, bana istediğimi veren değilse
Kendimi yanlışlıkla line "Maistri üzerinden atlama görebiliyordu
kim Chris Yağmur son zamanlarda sorunlar tespit edilmiştir. Eğer adamlar
iyi insanlar, sadece yanlış anladım. Ama, bayanlar, büyük olasılıkla gerekir
Gece yarısı ise Kyle metinler sonra polis çağırın.

Ayrıca üçüncü Timsah futbol yazar Mike olduğunu "Oh bekleyin, I've
Kılavuzuna "başlangıçta onun üzerinde mücadele McCall," orada
diye geçirdi hatırlayarak önce konuşma sınıfta Seattle "tanıtımı
bütün yaz Denizcilere kaplama. "Ve bu fotoğraf, sağ
orada, benim ... Oh! Benim eski daire. Üzgünüm. "

Ve örgü tamamladıktan olduğunu Gatorbait.net '"Keith s söyleme
Bana çıkabilir kim 140 karakter "Niebuhr, sığdıramıyorum bunu info onun
iş Keith Niebuhr's Twitter hesabına bağımsız çalışmak.
Onu takip @ igetscoops4days. Söylemeye gerek yok, o doğal düşmanları's
sosyal denilen savunma koordinatörü Teryl Austin ile
"Aptal." Ağ

09/10 bir kayıt ile altıncı yılında ikinci üç yollu kravat Başlangıç
Miami Herald Joe Goodman, "Oğlum, göz kulak" kim
onun yan çizgisi davranış son hakkındaki sorularını çıldırdı Kentsel dışarı
hafta. Meyer cevabı: "Seni beni izliyor takdir ediyorum. That's tür
garip, size karşı dürüst olmak. "

Ayrıca altıncı alligatorSports Editörü Anthony "Ben lütfen May
bir ile eşleştirilmiş olan sessiz ses bazı çikolatalı süt "Çan, var
çocuksu talep üzerine, kendi personeli yapılmış üyeleri bir kabul düşünmek
yetim. Bu korku büyüdü "verilmesi Ağacı" ve "kopyalarını If You
ofisten filizlenmiş bir fare de bir Cookie "verin.

Ve bir ile (dead-ass son yerde, ama gerçekten) altıncı için bağlı
OK (ama, gerçekten, piss-yoksul) 09/10 rekor olduğunu FightinGators.com 's
olan sevgi kolej spor İncil'de Cody "SEC Play" Jones,
kemer tek boyutlu bir görüşmeci onu dönüşmüştür. Konuşmak
Bir çaylak? Peki nasıl heyecanlı SEC konuda senin başlangıç oynamak? Konuşma
Üst düzey bir mi? Ne SEC oyun hakkında birinci sınıf anlattım mı?

-30 -

• MADDE: Florida Invitational kazanır altıncı Mountain Dew








• MADDE: Gators Invitational Gator günün ilk yenilgisiz sonra








• MADDE: Florida Kentucky yenmek başlatmak için yavaştan ribaund

Eğlence

Brian Kelly Tarafından gönderildi

Posted 1 gün önce

Brian Dunn yolda hayatı hakkında künt olduğunu.

"Bu çok sert."

Fallout incelenmesi Sudbury müzisyenin yeni albümü 11 halk deneysel şarkılar, yaklaşık yarısı, o dolaşıyordu zaman yazılmıştır.

O uçak ve otobüs, minibüs ve otellerde üzerinde parça kaleme aldı. Boston Barlar Chicago iken yazılmıştı. Açılış parçası, Myself Die dinliyor, Dunn ev kendini uzak bir Aylar streç sonra geldi.

"Yalnızlık bir yeri vardır," diye Nikel City yeni bir telefon röportajda söyledi.

Davulcu Nathan Lawr (Minotaurs) Fallout 2009 yılında yerden canlı incelenmesi kayıt bir hafta boyunca ona katıldı. yaptıkları müzik hiç rötuş değildi.

"Gerçekten iyi oluk ayarlayabilirsiniz," Dunn dedi. "Üç ya da dört dakika dakika, özellikle o sadece çok iyi cepler bulur Nathan ile oynarken o, gerçekten ritim için kilitleyebilirsiniz vardır.

"Ritm içine kilitlenmesi size şeyler söylemek yöntemini değiştirir. Size satırları ifade konum nasıl değiştirir. Sen ne yaptığını hakkında heyecanlandırıyor. "

Albüm oldu co-Dave Mackinnon (Fembots) tarafından üretilmiştir.

Mackinnon o Loplops Cumartesi çalarken Dunn katılacak.

"Ona bir şey getirebilir ve ikimiz biz oldukça kısa sürede, onu üreten yeni bir yol, yeni bir spin koyabilirsiniz arasında," Dunn dedi.

Ne övünme geribildirim, değişik düzeylerde bu parça dönüştü "halk ditties" olarak başladı. Mackinnon ile itti sonik Ayrıca, müzik "ambiyans yeni bir tür" oluşturmak oldu.

"Kendilerini şarkılarda neler yansıtacak temel kaos bazı tür ihtiyaç vardır," Dunn dedi.

"Gerçekten onları da itmek için yardımcı olur. O ilginç çok dinlemek için yapar. Oldukça garip albüm zaman bu garip gürültü veya bas garip tür duyarsınız. Biz etrafında bükülme şeyler çalışıyoruz. "

Disk üzerindeki diğer konukları eski Ox Mark Browning ve Ryan Piskoposlar grup arkadaşları vardır.

Fallout incelenmesi Dunn ilk solo çabadır. geçici Hash Ülke denilen bir önceki denemesinde, 2006 yılında işe yaramadı.

"Biz kayıt edildi, ama biz çok üretken olmak değildi," Dunn dedi. "Sadece ben onu istediğim gibi kapalı geliyor değildi."

Kasım All-Stars ve Ox ile dolaşıyor onu meşgul ve uzak stüdyo 2009 yılına kadar sürdürdü. Bu onun albüm "kaşıntı" idi budur. Dunn's 2011 takvim zaten Mart ayında denizaşırı bir tarih de dahil olmak üzere, yukarı dolduruyor. Ağustos ayı sonlarında yılında gelecek sonbahar için saptanmış bir çaba izlemek için 12 yeni şarkı kaydetti.

Web'de: www.briandunn.ca

Eylül 17

* Loplops de Weber Brothers;

* Craig Batı ve Lounge Up Bottoms Keith Conway;

* Rüstem McCarthy, Rick Charbonneau, Wawa Columbia Restaurant'ta Enn Poldmaa.

Eylül 18

Kanadalı Bushplane Heritage Centre * Midway. 02:30;

Büyük Tekerlek ve Loplops de Spokes ile * Brian Dunn Band;

Lounge kadar Bottoms de * Al Ağaç ve Brian Tremblay ile Lindsay Pugh;

* Pierre Schryer ve Arkadaşlar yardım konseri Old Town Hall konser desteklemek. 08:00 Hilton Beach Salonu.

Eylül 19

Soo Tiyatro Sault Ste de * Kid ve Nic göster. Marie, Mich 10 $. Çocukların 12 ve 5 $ altında. (906) 632-1930.

Eylül 22

Essar Merkezi'nde * Hedley.

Eylül 23

* Lounge Up Bottoms de Simon Duvarlar;

Lake Superior Devlet Üniversitesi * Jeff Daniels.

Eylül 24

* Lounge Up Altlar Jean-Paul DeRoover;

Bellevue Vadisi'nde * Ken Whiteley Goulais River Lodge. 08:00 15 $. Çağrı 649-2880 veya e-mail

bellevue@soonet.ca

Eylül 25

Marconi Lounge * Midway. 09:00;

Jean-Paul Loplops De Roover ile * Sayıştay Başkanı;

* Sault Senfoni Orkestrası Sault Ste Soo Tiyatrosu'nda Orkestra Kaleidoscope sunuyor. Marie, Mich 20:00 $ 32 yetişkin. $ 12 öğrenci.

Bize mekanda neler bildirin. yayın için öğle Cuma Çarşamba tarafından yazılı olarak değerlendirilmek üzere öğeleri gönderin. Dahil isminizi ve telefon numarası. Faks 759-0102. E-posta

onthetown@saultstar.com veya posta: PO Box 460, Sault Ste. Marie, Ont. P6A 5M5.

Heywood Bankalar birinin bir sınıfında benzersiz bir müzisyen.

Müzisyenler genellikle bir tost solo davul rip yok.

Bankalar, Stuart Mitchell tarafından bir karakter, bıçaklar silecek için pankreas kadar uzanan konular hakkında akılda kalan melodileri yarattı.

He always had music in his life, in part because his mother was a “frustrated big-band singer.” He started singing at 8 years of age and began writing his own tunes and playing guitar at age 14 years. Yet it was an old album from legendary satirist Tom Lehrer that introduced him to a world of satire and silly lyrics.

“He had such a warped sense of humor and I just like that,” said Banks in a phone interview in advance of a weekend gig in Ogden today and Saturday. “But the idea was to write a pretty melody with a subversive lyric, so people end up humming some tune and then they realize it's about dust mites.”

The topics and the pretty odd album persona have made him a cultural icon. His music was featured heavily on the old Dr. Demento radio show and the popular national morning radio program “The Bob & Tom Show.”

His song list boasted several dozen clean and goofy musicals.

“Whenever I am on 'Bob & Tom,” I try to write a song for being on the show,” Banks said. “They're in Indianapolis, which is 275 miles from my house. I am left-handed so I can play guitar in the car. So I can drive with my knee and make up a song. I'm quite a knee driver.”

Yeah, 'Toast'

The creation of one of Banks' most popular songs started inside a Salvation Army. He found a toaster and thought it could be nice to bring it onstage and actually make toast for the audience.

“When I first started to be Heywood, performance art was a big thing,” Banks said. “So people would do just some pretty odd album things onstage.”

He was waiting backstage before a show at a comedy club in the Bronx, with his box of stage pretty odd albumities beside him, when he started tapping a rhythm on the toaster. Next, he needed the lyrics — which came from his wife.

“I have a very unique wife. Some say she is not of this world,” Banks said. “I remember that she said one time, 'I can't wait to go to sleep so I can get up tomorrow and have some toast.' "

So he started beating on a toaster singing “All around the world from coast to coast/ people always say what do you like most/ I don't want to brag, I don't want to boast/ I always tell them I like toast” on the Bronx stage.

“The audience loved that and then they hated everything I did after that,” Banks said. “I thought, 'Oh, maybe I should move this farther into the show.' "

Banks later performed the song on “Bob & Tom,” and “Toast” became an instant hit — especially with the younger population.

“If you go to YouTube, there are probably 300 kids who have done a version of the song and 10 percent say it's a Heywood Banks song. Another 40 percent say it's a 'Bob & Tom' song and Weird Al (Yankovic) gets the rest of them,” Banks said.

Starmakers

The “Bob & Tom” radio show gave him an outlet for his music for years, as well as producing five albums for him. The show went into syndication in 1995, and Banks said it was “perfect timing” as audiences become reacquainted with him just as his career stalled.

The radio show has become well-known for launching careers.

"Sadece benim için ama (için) komedyenler ton, insanların bir bacak kalkarken, yeni sinemacıları desteklemek koruyucu azizi gibi olmuştur," Bankalar dedi.

Michael Formanek durumunda düşünün. Basçı 20 yaşındayken 1978 yılında New York'a memleketi Kuzey California taşındı. sonraki 23 yıl boyunca o ve / veya kayıtlı Fred Hersch, Freddie Hubbard, Uri Caine, Gary Thomas, Dave Ballou, Tim Berne, Lee Konitz, Chet Baker ve Marty Ehrlich ve seviyor ve serbest beş iyi alınan albümleri altında gezdi kendi adını. 2001 yılına rağmen, o her zaman gigging veya konser için aceleyle bir sideman's treadmill yorgun vardı. O, Baltimore Peabody Konservatuarı'nda yeni kurulan caz bölümünde part-time hocalık kabul iş 2003 yılında tam zamanlı olunca, o Towson, bir iç--Beltway banliyösü ailesi aşağı taşındı. Formanek kısa bir süre sonra, yerel bir müzik sahnesi daha az New York'un ama kendi karakter ve varlıkları ile birlikte bir çok ünlü küçük değil, sadece akademik bir kurum değil, aynı zamanda katıldı olduğunu keşfetti.

Formanek yakında yerel mekanlarda düzenli bir varlığı idi. O bir tuz ve biber keçi sakalı, kalın gözlüklü, asi kahverengi saç ve onun büyük karınlı dik olarak geniş bir çerçeve olan bir adam büyük bir ayının. O da büyük ilgi talep sağlam, ritmik yaratıcı ifadeler içine onun enstrüman güreşmek onun minatorun gövde kullanan grup-Bern ve Ehrlich veya David Murray piyanist Lafayette Gilchrist veya saksofoncu John Dierker gibi Baltimore tabanlı oyuncular gibi New York arkadaşlarınızı ziyaret ile olsun . George garzone Aralık 2006'da Baltimore geldiğinde, örneğin, saksafoncu ama kendi grubunu getirmek vermedi, bunun yerine bir grubu monte Formanek istedi. Gilchrist;; basçı eski Manhattan dostum Dave Ballou, bir trompetçi ve göçmen Yakın Towson Üniversitesi'nde öğretim görevlisi aldı Gilchrist yerel grup saksofoncu Greg Tekin itibaren, Yeni Volkanlar ve davulcu Dan Marcellus, Peabody de Formanek öğrencisi.

Altı müzisyen An die Musik, şehir merkezindeki bir rekor mağaza yukarıdaki ikinci kat performans alanı için uzun dik merdivenleri tırmandı. alan içinde 15 metre yüksekliğindeki tavan, sarı-ahşap sahne ve 80 pembe-beyaz çizgili kol sandalye vardı. Hissediyorum, ama bir barroom caz kulübü daha Avrupalı bir salon daha oldu sandalye birçok Formanek's ve Ballou öğrencileri tarafından dolduruldu. Bu undergrads iki öğretmen uzun altılı's kümesinin çalkantılı eylem uygulanan tüm dönem yapmak için çalışmıştı her noktada duyabiliyordu. Onlar, ancak grubun eşit üyeleri olmak ritim bölümünde ilgili tüm duymuştu burada Formanek yeni yönlere boynuzları itti hatları ile yaptığı uzay dışarı Staking oldu. Öğrenciler, ancak tematik malzeme bir doğaçlama binanın kavramı aşağı kopyalanan vardı burada kayıtsız soloları da baş garzone ve Ballou geri dönüşüm parçaları idi. Öğrenciler, her müzisyen her oyuncunun dinler ve ona göre tepki verir toplu doğaçlama teorisini absorbe vardı ama burada Gilchrist sonra birkaç korolarda sonra ve zaman yeni bir bölünme ile yeni bir yöne Marcellus müzik aktarmak istiyorsunuz uzun parçalardı Aynı yapardı.

"Ben öğrenci big band ile Cuma atölye ve konser yapmak Peabody aşağı George getirmişti," Formanek ve "hatırlar o kadar güzel oldu. Yaptığımız şey gibi, biz, ama mümkün olduğunca gerçek yapmaya yine de bir okul gig's. Benim için takip etmek önemli olduğunu kadar o George gerçek bir mekan Akranları küçük bir grup ile darbe olabilecek bir Cumartesi konser ile Cuma göstermektedir. Bu öğrenciler bir gece önce deneyimli şeyi tam olanaklarını kavramak için iyi oldu. Sanırım gerçekten sahip düşünüyorum: 'Vay, bu sadece bir big-band düzeninde 32 bar yalnız oyun değil, bu gerçekten bir tema geliştiriyor ve tüm diğer müzisyenler ile etkileşim. "

An die Musik göstermek ya Peabody veya Towson University hiçbir resmi bağlantısı yoktu, ama bu okullardaki Formanek ve Ballou işe olmasaydı mümkün olmazdı. Ama sadece okullarından yerel müzik sahnesinde parası yoktu; okullar ayrıca yerel sahne Faydalanıcıların. Bir üniversitede Taking caz içerisinde kulis konuşmaları veya prova-break hikaye herhangi bir sayı daha etkili daha fazla teori ve daha tarih verebilir. Fakat deneyimli profesyoneller tarafından yönetilen bir grup yabancılarla bir ödeme dinleyici kitlesi önünde eyleme bu bilgiyi dönüm herhangi bir yerini tutamaz var. Formanek en iyi caz eğitimi hem-sınıf ve kulüp, teori ve dahil olduğu taviz vermiyor uygulama-ve o yapamazdım, çünkü o hem Peabody ve An die Musik olmasaydı.

"Ben 18 yaşındayken Dave Liebman oynamaya başladığını hatırlıyorum," Formanek hatırlıyor. "Birdenbire bambaşka bir lig oldu, ben duymadım hiç polychords oynamak isteniyor. Birinin oturup bana açıklamak zorunda çok isterdim. Bu caz eğitimi gerçekten iyi ne şu: bu kaynakların verimli ve öğretmenlerin bu bilgileri teslim etmek zorundadır, çünkü öğrencilerin teori, tarih ve tekniği verir. çok bir caz müzisyeni bu gün-daha repertuar, daha yaklaşımlar, nasıl bir plak şirketi veya bir Web sitesine çalıştırmak için daha fazla tarih, emme orada var çünkü ve verimlilik önemlidir. Ancak tüm bu bilgileri nasıl orkestranın yeri üzerinde uygulamak için bilmiyorsanız sınırlı bir değere sahiptir. Eğer caz derecenizi gelirse, ilk konser gitmek lideri ', bir refakatsiz intro Play' ya da 'baş sonra, özgür doğaçlama içine gideceğim' ya da 'Biz 7 bu oynayacağız diyor / 4, Şey, okulda bize ders vermemiştir sana söylemek istemiyorum '.' çocuklar Peabody gelirdi ve çok para harcamak gidiyoruz, ben bu yüzden onlar o ilk konserine çıktı almak zaman hazırız, onları gerçek anlaşma vermek istiyorum. "

Peabody's caz bölümü hala oldukça yeni; vardır o henüz bir on yıl yaşlı, ve bugün bile sadece tam zamanlı öğretim's Formanek ve Bölüm Başkanı Gary Thomas. Bu yenilik hem bir avantaj ve dezavantaj olabilir. O Formanek teori ve pratik birleştirerek hakkında fikirlerini takip edebilirsiniz mazisi temiz sağlar. Ancak programın eksikliği tarih ve mezunlar-açık-ayrıca sert fon, uygulamaları ve tanınması için yapar yıldız. "Daha fazla oda öğretim cazın farklı yollar denemek için yeni bir programı var," Formanek açıklıyor. "Gary çok farklı güçleri ile fakülte, işe alma ve onları değil, onları şeyler yapıyor bir dizi yolu uygun hale göre bu güçlü vurgu izin hakkında iyi oldu. Bu demokratik bir caz müzisyen kimdir kurallar koyan bir caz orkestrası daha combo benziyor.

"Sonuç olarak," diye devam ediyor, "programı aracılığıyla gelen öğrencileri belli bir yaklaşım vurgulayan bazı programların aksine, öğretme ve caz tarzlarını farklı stilleri çok maruz kalmaktadır. Sorun olsa da, Peabody güçlü bir program olduğunu ve Baltimore caz için serin bir kent olduğunu, dünyanın geri kalanına kelime çıkıyor. Ben öğrenciler, buraya geldiklerinde ancak birisine Portland, Oregon'da bir lise öğrencisi olarak anlamaya gidiyor olmadığını almak düşünüyorum. "

Dave Ballou has done a good deal to promote Baltimore's jazz stature; this past December, for instance, Towson University presented John Hollenbeck's Claudia Quintet as part of the drummer's week-long residency. Ballou shares Formanek's sentiments about how jazz education should balance the classroom and the bandstand. “It's a real interesting time in jazz education,” he explains, “because most students realize there's a gap between traditional jazz education and what actually happens at a gig. The old, informal system of jazz education—where you learned by sitting in at jam sessions and talking to older musicians—often left gaps in your knowledge. Schools are real good at filling in those gaps, but they're weak on the practical experience that the old system was so good at. One of the ways to bridge the two is to push students to make decisions in real playing situations rather than giving them tests where there are right and wrong answers. When I get calls for student musicians, for example, I'll ask one of the more responsible kids to be the bandleader and have them hire and run the band and handle the money. I keep an eye on it to make sure things don't fall apart, but it's worked pretty well so far.”

One of the theories that Formanek emphasizes to his students is the complicated relationship between composition and improvisation in jazz. On Oct. 12 his students will be able to hear their teacher put that theory into action on his first album as a leader in a dozen years: The Rub and Spare Change , his debut for the acclaimed ECM label. The disc features his New York quartet (alto saxophonist Tim Berne, pianist Craig Taborn and drummer Gerald Cleaver) rather than his Baltimore quartet (Ballou, Dierker and drummer Will Redman), but the approach is the same. A lifelong admirer of composers such as Duke Ellington, Charles Mingus and Sam Rivers, Formanek wants to write more than a short head that leads to a series of solos that may or may not have much to do with the opening theme; he wants to write music that informs and channels the improvisation. On the other hand, he doesn't want the music to be so structured that it eliminates the possibility of surprise. It's a tricky balance to strike, but Formanek nails it on his new record.

“It's one thing to improvise freely,” Formanek says, “but it's another to have music that generates ideas and shapes the improvisation. That's what I'm interested in: improvisation that develops an idea for a long time. Musicians will often be throwing ideas out there to see what will stick, but one of the signs of mature improvisers is the ability to stay with an idea and not bale when something else comes along; instead they incorporate that something else into the original idea. I'ma bass player and I tend to approach things rhythmically because that's the way I think. I'm interested in the way subdivisions of time—triplets or 16th notes—work against a slower, implied groove. It's nice when a band keeps that groove in mind all the way through a piece. That doesn't mean they keep playing the same thing, but that they will play all the different aspects of that groove. The band on this record can do that. They play the composed music like it was improvised and they improvise like they were composing.”

You can hear what he means on the new album's key piece, the 17-minute “Tonal Suite,” cobbled together from three earlier unrecorded tunes. It begins with a muscular descending line from the bass, and for the first 75 seconds the quartet traverses a tricky notated section where each musician plays a slightly altered version of that motif—adding or displacing notes—but fitting it all together like a puzzle. The shift into collective improvisation is subtle; the alterations become more pronounced but the theme is always implied. As the band nears the five-minute mark, a crescendo dwindles away, creating room for Formanek to introduce his second theme, a different descending line with a pause and leap at the end. Again a tightly wound notated section gradually unravels into improvisation, but the dangling strands are still audible, especially in Berne's melancholy lower-register meanderings.

There aren't solos and comping in the traditional sense; it's more that one voice steps forward for a while from the collective improvisation and then steps back again. Around the 11-minute mark, the meditative tempo begins to quicken as if building toward the next notated section at the 13-minute mark. That introduces a jittery, rambunctious theme that will inform the next stretch of improvisation, especially Taborn's stop-and-go bursts of 16th notes. Finally all the strands are woven together again for a jaunty march at the end. What's exciting about the piece is the way the written material—which traces an emotional arc from agitated to regretful to renewed—provides a common topic for musical conversation. It's that topic that makes it a four-way discussion and not just four monologues.

“In this music,” Formanek explains, “it's more important to know where you're going than where you are. If I know at some point I have to play this bassline at this tempo, I try to develop a logical improvisation that will get me there. When I compose a piece like 'Tonal Suite,' I want it to start here and go there, so I have to trust that the musicians will respect that. I don't say, 'Tim will solo at the 48th bar,' but I will say, 'It's going to start as a collective with Craig playing eighth notes while Gerald and I play dotted quarters and then it will break down into improvisation. It will come back together for a middle section with an implied Motown groove, then it will break down again. The last part starts slow in five then starts to groove in seven.' pretty odd album time signatures are not something I use to be hip; that's just the way I hear time. After I've invented a line, I go back and count it, and it's always a five or seven. Maybe I have arrhythmia of the heart.”

“If you have notated music and then just go ahead and play whatever you want,” Berne asks, “what's the point of having the notated music in the first place? I'm interested in connecting the dots in Mike's music, in discovering its logic, so I can take advantage of that when I improvise. Playing with Mike requires a certain selflessness, where you don't care about getting applause for yourself. I don't even think of solos and comping, or of frontline and rhythm section. I think of us as four strong opinions each having his say. Mike gets to put his stamp on the group with his compositions, but then he's smart enough to hire good musicians and let them run with it.”

"Ben doğaçlamacıları için yazıyorum ise," Formanek ekliyor, "Ben ne yaptıklarını dikte etmek istemiyorum. If I want to hear everything the way I hear it, I'll write for a big band or classical group; I'll write every note and articulation. That can be exciting but not as exciting as writing for improvisers. You hire musicians like Tim, Craig and Gerald because they will change what you give them and make something new out of it. But even my pieces for improvisers usually have a beginning, middle and end, and the drama depends on all three happening.”

The quartet played its first show at the Stone on Manhattan's Lower East Side in August 2008, but Formanek had been playing with Berne for 20 years and with Taborn and Cleaver for roughly 10 years apiece. “The Stone was started by John Zorn as a musician-run club,” Formanek explains. “It's not much bigger than my living room; it's hot and tight, like a pressure cooker. That was a terrific gig. All the things happened that you can never plan, because there was so much confidence and trust on that stage. Tim and I share a lot of the same aesthetics; we have a lot of vamps and grooves in common. Craig is a walking encyclopedia of music; he's always telling my son Peter about some underground metal band to check out. Gerald's from Detroit, so he's versed in Motown, bop and free improvisation. They're all very creative, but that creativity is rooted in tradition and composition.”

Formanek was so inspired after that gig that he wanted to record the band. He hadn't released a CD since his unaccompanied bass project from 1998, Am I Bothering You? , and he hadn't released a band project since 1997's Nature of the Beast with Berne, Dave Douglas and others. He had made a conscious decision to not do a recording project while settled in at Peabody, but by 2008 he felt he had a good handle on the teaching gig and started looking around for opportunities. Because his teaching job allowed him to stay in one place for most of the year without constant touring, he found that he was composing a lot more music than he ever had and he wanted to document it with the New York quartet. He didn't have a label deal but he did have a small professional-development grant from Peabody, so he took the group into a studio in rural New Jersey in June 2009. Berne's wife, Sara, works in the ECM office and she sent a copy of the session to the label's founder, Manfred Eicher. Eicher responded quickly and said he wanted to release the record after he remixed it. Formanek, astounded by this unexpected break, eagerly joined Eicher in the studio that fall. “Manfred has very specific ideas about sound,” Formanek reports. “He was hearing everything and created space in the sound that allowed the music to breathe more, to be more open and inviting.”

Sitting on a barstool in the kitchen of his Towson home, Formanek wears a Shank's Strings T-shirt, jean shorts and silver-framed glasses. He looks out the kitchen window, past his leafy backyard and toward “the road” that he will hit once again this fall to support the new album. He knows it will be a tricky juggling act to balance a tour with his classroom obligations, but he also knows that the two are inextricably entangled. He can't prepare his students for the life of the touring musician if he doesn't keep one foot in that life himself. At the same time, he can't keep up his recent outpouring of compositions if he doesn't have the stability of the teaching gig. “I was brought to Peabody not for my longstanding contributions to jazz education,” he points out, “but because of my involvement with recording and live performance and my ability to articulate the nuts and bolts of that. So playing out keeps me on my game. I teach as much by example as by what I say.”

Adam Graham / Detroit News Pop Music Writer

Serious doubt was cast on the future of the Deftones after bassist Chi Cheng was injured in a car accident in 2008.

But, in an pretty odd album way, it whipped the group back into shape.

The hard rock band, which rose out of Sacramento, Calif., in the mid-1990s, had grown accustomed to a certain way of doing things. The band members took their time recording albums, and let the ferocity of their early live shows fall by the wayside. Lead singer Chino Moreno packed on pounds and got winded during concerts.

“We got a little lazy,” says Moreno, on the phone last month while traveling to a show in Orlando, Fla.

Not anymore, however. Deftones, which plays at DTE Energy Music Theatre on Friday along with Alice in Chains and Mastodon, is back to playing like a new band; and May's “Diamond Eyes” is its most consistent record since 2000′s “White Pony.” Moreno, meanwhile, has shed his extra pounds and is back down to his fighting weight.

Cheng had been tossed from his vehicle after a collision with another car and still hasn't regained his mobility or ability to speak. Following the accident, Moreno started running every day.

“I feel pretty strong right now,” says Moreno, 37. “When something like that happens, you kind of start evaluating life in general, how you're living your life and what you're doing. And I was just kind of like, I need to get myself together.”

Moreno says he also cut back on partying and things he says he felt he was “supposed to do” because he was in a band. As a result, he's in a much better place both physically and mentally.

“My health has gotten way better. My singing, my voice is better. I'm not winded anymore (on stage),” he says. “I feel great. I sleep great. I wake up feeling good. I don't know why I didn't do it sooner, but I feel much better. This is probably the healthiest I've been in 10, 15 years, for sure.”

The new energy carries over to the rest of the band.

Since “White Pony,” Deftones had gotten used to working at a leisurely pace, working on ideas in the studio for weeks, sometimes months after they were first floated.

After Cheng's accident, the band's attitude toward recording changed. As creativity flowed, the pace of the band's work quickened. Band members would spend eight hours in the studio and finish the day with tangible results. “There wasn't much meandering going on,” Moreno says.

The resulting album, “Diamond Eyes,” is surprising not only for the strength of the material but also for its forceful tone.

“I think a lot of people expected we would make this very morose, sad record or whatever, and while I think there are a lot of different emotions on the record, there's an aggressive sound to it,” Moreno says. “It's not like, 'Feel sorry for us.' Instead we wanted to feel really strong and confident with this batch of songs.”

Now, Moreno says the group has rediscovered its fire and is working to come back not only from Cheng's setback but from years of not playing up to its potential. (Sergio Vega took over Cheng's spot as bassist)

“We kind of feel like our foundation was shook and we had to rebuild it,” Moreno says. “Right now I feel like we're trying to prove ourselves as a new band with our records, with our performances, with everything. We're taking it day by day, but we still have people that are coming to the shows and are interested, and we ourselves are interested and still having fun doing it. So that's a good thing.”

agraham@detnews.com (313) 222-2284 Read Adam Graham's blog at detnews.com/popculture

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Edgar Winter sounded as fired-up as a kid playing his first gig.

“It means the world to me to do what I love most,” said the excitable and voluble Winter. “It's great getting to see everybody out there rockin'. Hoo-oo-oo-oo-oo. So, get ready to rock.”

At Winter's age – the blues-rock singer and multi-instrumentalist turns 63 in December – most people are content with a rocking chair.

Winter has been rocking out since he and brother Johnny were growing up in Beaumont, Texas.

He's now 45 years into a career that began at Woodstock, and brings the five-man Edgar Winter Group to the Lodi Grape Festival on Saturday.

Just mention a topic – his pioneering use of synthesizers, embracing Scientology, his affection for science fiction, music's transcendent spirituality – and Winter's off and rolling in a soft Texas accent.

“'I've always thought of music as a spiritual thing,” said Winter, a self-styled “New York Texan living in Beverly Hills.” “It really does have the ability, as all art forms do, to make us realize we are, in essence, one people. One world.

“I love Scientology, but also Christianity and Buddhism. They're all attached to the same source. Religion should be inclusive rather than divisive. That's what music does.”

Heavily influenced by sacred music, Winter was attracted to L. Ron Hubbard's Church of Scientology and “Mission Earth,” his 1986 album, included lyrics by Hubbard. Winter is “really not as avid now.”

“Religion is a personal thing,” said Winter, whose parents were Baptist and Episcopalian. “It's not something I really talk about. Life is a spiritual quest for all spiritual beings.”

Still best-known for classic-rock trademarks “Frankenstein” (No. 1, 1973) and “Free Ride” (1973), Winter started playing ukulele at 6 and teamed with Johnny in a duo styled after the Everly Brothers.

“I thought everybody played music,” said Edgar. “Like everybody learns to read, write, add and subtract. Then I realized it was something special.”

He and Johnny were weaned in a fertile, diverse musical culture on the Southern bar circuit until Edgar graduated from Beaumont High School. Then they moved to New York, where his brother played a pivotal role in Edgar's awakening.

“Jazz and classical music was very personal,” Winter said of early inspirations that were matched by the eclectic Ray Charles. “I was more introverted. It was my own private escape world. I never really took it (blues-rock) seriously. It was something that was fun.”

Edgar was playing keyboards in Johnny's band at Woodstock – the 1969 rock festival in upstate New York – when he had a musical and spiritual epiphany.

“It literally changed my life,” Edgar said. “It made me really see music in a completely different light. I'll never forget looking out on an endless sea of humanity united in such a unique way.

“I thought, 'Wow, music really has the power to bridge all these boundaries. It can be a positive force and change the world for the better.' "

Except for the drugs. Winter, like his brother, had to clean up after descending into substance abuse in the '60s and '70s.

“Everybody I knew was pretty much into drugs,” said Winter, who moved from New York to California in 1990 to “change and start over again. Now, just about everybody I know has gone through that and come out the other side. Or they're dead.”

Winter's Woodstock experience led to Poor White Trash – “a good band name, especially with me in it,” said Edgar, who is albino like Johnny – and the “quintessential all-American” Edgar Winter Group in 1972.

In its first four years, that band included singer-songwriter Dan Hartman (1950-94), who co-wrote “Free Ride”; guitarist Ronnie Montrose, a San Francisco native, now 62; and guitarist-producer Rick Derringer, 63, best-known for the McCoys “Hang on Sloopy” (No. 1, 1965).

Always tuned into his formative favorites – his parents played instruments and he began on piano and organ – Winter blazed an unfamiliar trail.

In 1973, he spotted some pretty odd album gizmos at a New York music store. Synthesizer keyboards.

“Hey, the guitarist got to have all the fun,” Winter said of those adaptable Moog and ARP devices. “I wanted to get out front and boogie. It was such a simple idea. No one had thought of it. I'll never forget the first night I played one. It was one of those real rock 'n' roll moments. The crowd just went crazy.”

Winter, while “variously acclaimed and accused of ushering in the era of synthesizers,” wasn't as wild about some of the feedback.

“I did get a lot of negativity,” said Winter, who now plays 76-key KORG and Roland models. “The synthesizer was thought to have dehumanized music to an extent. My whole approach, though, was to use it to create never-before-heard sounds. Using it experimentally really was my whole interest.

“It's one of the most human instruments ever invented because of its flexibility. The only boundary is what the human imagination can think of. It's like computers: 'Garbage in, garbage out.' "

Not surprisingly, Winter is totally tuned in to the Internet, which has provided expressive vistas beyond “chorus, verse, bridge/chorus, verse, bridge and everything has to rhyme.”

Now, after 19 albums, he's writing “fantasy science-fiction” short stories with a “classical” soundtrack. Also, a “musical-comedy” stage show based on “Frankenstein.”

He still performs occasionally with Derringer and Johnny, 66, who lives in Connecticut. He'll be in Johnny's band “for the first time in 40 years” during an eight-day Blues Cruise in October.

“He's my all-time musical hero,” Edgar said. “If it hadn't been for him, I might have been a jazz guy or a classical person. I might have gone in an entirely different direction.”

After living for 20 years in New York, he did that in 1990. Dominique, his wife of 31 years, read Carlos Castaneda's “The Power of Silence” and declared, “We have to move West.”

His shows encompass Winter's career soundtrack – from vintage blues (“Tobacco Road”) to the synth-propelled “Frankenstein” (“a heavy precursor of heavy metal and jazz infusion, too”), 2008′s “Rebel Road” CD and lots of jamming.

“My first priority in the spirit of jamming and improvising is we wanna have some fun,” Winter said. “That's why I still love to play every bit as much as I did starting out.”

Contact reporter Tony Sauro at (209) 546-8267 or tsauro@recordnet.com. Visit his blog at recordnet.com/lensblog.

Bruce Springsteen hasn't played in Cincinnati since 2008,
but various iterations of him promise to keep the local concert and
record scene busy this fall.

There are at least three major acts coming to town that —
in the style and substance of their material — have been pronouncedly
influenced by The Boss. The first, Gaslight Anthem (from Springsteen's
home state of New Jersey), arrives at Bogart's Sept. 22 in support of
its latest album, American Slang .

That's followed Oct. 2 by The Hold Steady, fronted by
Craig Finn, which plays Newport's Southgate House on the strength of
its latest album, Heaven Is Anywhere .

And, on Nov. 1, one of the most successful and
longest-lived of the “next Springsteens,” John Mellencamp, arrives at
Music Hall with his rustic, mono-recorded new record, No Better Than This . It's
the nation's top-selling Americana album and represents the 58-year-old
Indiana native's ongoing interest — just like Springsteen's — in Rock's
origins in populist, humanist, scruffy Folk music.

Meanwhile, Columbia Records is preparing for the Nov. 16 release of Springsteen's six-disc (three audio, three video) The Promise: The Darkness on the Edge of Town Story package, which will inevitably posit that 1978 album as his greatest achievement.

All three of the recent records by Gaslight Anthem, The
Hold Steady and Mellencamp are likely to turn up on end-of-the-year
“best of” lists. Gaslight Anthem's American Slang , the
quartet's third album, is a particularly incendiary, passionate mixture
of extroverted, inspiring Rock & Roll energy and poetically
circumspect lyrics.

Like Springsteen, the band has a knack for ruing and
celebrating the past simultaneously. In its attention to ringing,
chiming melody and big anthemic moments, the album is definitely
Springsteen-inspired — the group's singer/lyricist, Brian Fallon, has
even shared the stage with The Boss. But it's also harder and faster
than Springsteen's Rock, owing a lot to The Clash and the post-Punk
American Rock bands inspired by The Clash, like Social Distortion,
Green Day and Rancid. On the other hand, the song “The Diamond Church
Street Choir” has that sinewy, finger-popping groove of Springsteen's
“The E Street Shuffle” or “The Fever.”

It isn't unusual for Rock & Roll's great originators
to have spawned countless derivative acts. We're still getting singers
and bands influenced by Elvis, Ray Charles, The Beatles, Stones, Dylan,
Velvet Underground, Aretha Franklin and the aforementioned Clash.

But Springsteen is different in that he isn't so much an
originator as a derivative act himself. So it's pretty odd album that he's been so
influential since his rise to stardom in the mid-1970s. In fact, some
consider his original rise a reactionary movement — a Jersey Shore
rejection of the arty glam/glitter music of British artists like Bowie
and Roxy Music and of the confrontationally minimalist, anti-superstar
ethos of Punk. As you probably know from watching a certain MTV
program, the Jersey Shore can be a backward-looking place.

But sometimes there is genius in recombining and
reinterpreting what's come before. And Springsteen did that, coming
along at the exact time — his first album, Greetings From Asbury Park NJ , was released in early 1973 — that a hierarchal canon was being formed about Rock's then-20-year history.

And almost uncannily — as if he was a Rolling Stone critic moonlighting as a Rock musician — Springsteen and his band encapsulated all the high points. As the All Music Guide to Rock
puts it, “critics hailed him as the savior of Rock & Roll, the
single artist who brought together all the exuberance of '50s Rock and
the thoughtfulness of '60s Rock, molded into a '70s style.” He also
communicated a sense of honesty, whatever that term means in recorded
music, over artifice.

The go-for-broke storytelling ambitions of Springsteen's
early and most Dylanesque-wordy Rock songs like “It's Hard to Be a
Saint in the City” — along with the Ben E. King-like urban romanticism
of ballads like “4 ^th of July Asbury Park (Sandy)” — are an
inspiration for the Brooklyn-based Hold Steady. And on its new album,
the band might actually have come up with the best Springsteenish take
on Rock-as-redemption ever, “We Can Get Together” (“Heaven is
whenever/We can get together/Lock your bedroom door/And listen to your
records”).

Besides inspiring other musicians, Springsteen also
inspired a pretty good movie about Rock. And it featured one of the
best — but now thoroughly forgotten — Springsteen-influenced acts, John
Cafferty and the Beaver Brown Band.

The film, 1983's Eddie and the Cruisers, had a
tantalizingly “meta” scenario. It wondered what fate would have awaited
a Top 40 Rock/Soul band if its leader had the music-making ambitions —
but not the record-making freedom — of an Album Rock-era star like
Springsteen. If that leader wanted to make fun party music and explore
life “on the dark side” — to quote the title of the movie's hit song,
itself inspired by “Darkness at the Edge of Town” — could he succeed?

In a way, that's still a pertinent question with bands
like Gaslight Anthem and The Hold Steady (as well as other
Springsteen-influenced modern rockers from The Arcade Fire to The
Killers). They have the freedom to make the record they want, but can
they ever become as big as The Boss or even Mellencamp? It's a question
that only time can answer.

Bruce Springsteen hasn't played in Cincinnati since 2008,
but various iterations of him promise to keep the local concert and
record scene busy this fall.

There are at least three major acts coming to town that —
in the style and substance of their material — have been pronouncedly
influenced by The Boss. The first, Gaslight Anthem (from Springsteen's
home state of New Jersey), arrives at Bogart's Sept. 22 in support of
its latest album, American Slang .

That's followed Oct. 2 by The Hold Steady, fronted by
Craig Finn, which plays Newport's Southgate House on the strength of
its latest album, Heaven Is Anywhere .

And, on Nov. 1, one of the most successful and
longest-lived of the “next Springsteens,” John Mellencamp, arrives at
Music Hall with his rustic, mono-recorded new record, No Better Than This . It's
the nation's top-selling Americana album and represents the 58-year-old
Indiana native's ongoing interest — just like Springsteen's — in Rock's
origins in populist, humanist, scruffy Folk music.

Meanwhile, Columbia Records is preparing for the Nov. 16 release of Springsteen's six-disc (three audio, three video) The Promise: The Darkness on the Edge of Town Story package, which will inevitably posit that 1978 album as his greatest achievement.

All three of the recent records by Gaslight Anthem, The
Hold Steady and Mellencamp are likely to turn up on end-of-the-year
“best of” lists. Gaslight Anthem's American Slang , the
quartet's third album, is a particularly incendiary, passionate mixture
of extroverted, inspiring Rock & Roll energy and poetically
circumspect lyrics.

Like Springsteen, the band has a knack for ruing and
celebrating the past simultaneously. In its attention to ringing,
chiming melody and big anthemic moments, the album is definitely
Springsteen-inspired — the group's singer/lyricist, Brian Fallon, has
even shared the stage with The Boss. But it's also harder and faster
than Springsteen's Rock, owing a lot to The Clash and the post-Punk
American Rock bands inspired by The Clash, like Social Distortion,
Green Day and Rancid. On the other hand, the song “The Diamond Church
Street Choir” has that sinewy, finger-popping groove of Springsteen's
“The E Street Shuffle” or “The Fever.”

It isn't unusual for Rock & Roll's great originators
to have spawned countless derivative acts. We're still getting singers
and bands influenced by Elvis, Ray Charles, The Beatles, Stones, Dylan,
Velvet Underground, Aretha Franklin and the aforementioned Clash.

But Springsteen is different in that he isn't so much an
originator as a derivative act himself. So it's pretty odd album that he's been so
influential since his rise to stardom in the mid-1970s. In fact, some
consider his original rise a reactionary movement — a Jersey Shore
rejection of the arty glam/glitter music of British artists like Bowie
and Roxy Music and of the confrontationally minimalist, anti-superstar
ethos of Punk. As you probably know from watching a certain MTV
program, the Jersey Shore can be a backward-looking place.

But sometimes there is genius in recombining and
reinterpreting what's come before. And Springsteen did that, coming
along at the exact time — his first album, Greetings From Asbury Park NJ , was released in early 1973 — that a hierarchal canon was being formed about Rock's then-20-year history.

And almost uncannily — as if he was a Rolling Stone critic moonlighting as a Rock musician — Springsteen and his band encapsulated all the high points. As the All Music Guide to Rock
puts it, “critics hailed him as the savior of Rock & Roll, the
single artist who brought together all the exuberance of '50s Rock and
the thoughtfulness of '60s Rock, molded into a '70s style.” He also
communicated a sense of honesty, whatever that term means in recorded
music, over artifice.

The go-for-broke storytelling ambitions of Springsteen's
early and most Dylanesque-wordy Rock songs like “It's Hard to Be a
Saint in the City” — along with the Ben E. King-like urban romanticism
of ballads like “4 ^th of July Asbury Park (Sandy)” — are an
inspiration for the Brooklyn-based Hold Steady. And on its new album,
the band might actually have come up with the best Springsteenish take
on Rock-as-redemption ever, “We Can Get Together” (“Heaven is
whenever/We can get together/Lock your bedroom door/And listen to your
records”).

Besides inspiring other musicians, Springsteen also
inspired a pretty good movie about Rock. And it featured one of the
best — but now thoroughly forgotten — Springsteen-influenced acts, John
Cafferty and the Beaver Brown Band.

The film, 1983's Eddie and the Cruisers, had a
tantalizingly “meta” scenario. It wondered what fate would have awaited
a Top 40 Rock/Soul band if its leader had the music-making ambitions —
but not the record-making freedom — of an Album Rock-era star like
Springsteen. If that leader wanted to make fun party music and explore
life “on the dark side” — to quote the title of the movie's hit song,
itself inspired by “Darkness at the Edge of Town” — could he succeed?

In a way, that's still a pertinent question with bands
like Gaslight Anthem and The Hold Steady (as well as other
Springsteen-influenced modern rockers from The Arcade Fire to The
Killers). They have the freedom to make the record they want, but can
they ever become as big as The Boss or even Mellencamp? It's a question
that only time can answer.