The House of Blues on Lansdowne Street has hosted acts such as Coheed and Cambria, 50 Cent, Grace Potter…you get the idea. Having opened in Boston in early 2009, it has attracted a plethora of talent and music lovers.

Last night that talent swayed its way onstage in the form of Zooey Deschanel, M. Ward, and a gifted band, performing a dreamy set after the Chapin Sisters warmed up the crowd.

Dreamy? I know you may be thinking this is a word reserved for self-proclaimed hunks, Ben and Jerry’s ice cream, and comfy sheets and blankets. But yes, the act was dreamy. The songs, while shifting between mellow and contemplative to playful and danceable, definitely conjure up a calm landscape. I couldn’t tell if I was more inclined to think of a warm summer’s day with the scent of fresh linen drying in the breeze, or a crisp autumn evening in an apple orchard. Did I say dreamy? Perhaps whimsical is a better fit.

The recordings of Ward and Deschanel please the ear (check out She and Him Volume One and the recently-released Volume Two), and yet critics have described their onstage performances as less-than-stellar. I can only imagine the reviewers were either harboring a predisposed dislike for this type of music or were, in fact, dead, in which case we can safely say that zombies are tone deaf and rhythmically challenged. The band was enthusiastic and the audience was beaming. While the House of Blues’ seating and standing arrangement produced some disgruntled fans who could barely see the stage, the performance itself was golden. Deschanel, standing onstage in stockings and a sparkling dress, grabbed the mic at one point to look into the audience of people wearing flowery dresses, hats, and poster board signs stating "Marry Me Zooey," to simply state "This is fun". Simple statements can sometimes sum it up quite well.

Belting out tunes such as "In the Sun," "Why Do You Let Me Stay Here?" and "Sentimental Heart," they also covered classics such as the 1962 hit "You’ve Really Got a Hold on Me" by the Miracles. “Hold me Zooey!” one fan yelled out during a downbeat, to which she responded "Hold me Boston." Queue swooning.

The encore including "Fools Rush In" (Rick Nelson) and "Roll Over Beethoven" (Chuck Berry), which incurred delighted screams from the audience.

It was great to see a band incorporating its opening act into the set, as well as a wide range of musicians. The musical accents of the ukulele, a beautiful C&C drum set, a guitar vocalized by Ward, and spot on harmonies didn’t hurt either.

All in all, a band worth seeing. It is still astonishing that many are not aware of Zooey Deschanel’s musical talent, and any comparisons to Katy Perry are unfounded, other than perhaps a retro feel. Deschanel is a triple threat in that she can sing, act and dance, and do so humbly. M. Ward exuded talent without trying to step on Deschanel’s toes or hog the spotlight, and the entire band completed the sound.

For more She and Him tour information, check out their website.

As we wave goodbye to those April showers and look forward to Summer, many locals will be searching for that perfect beach spot. True, there are many obvious choices for beach getaways-think Cape Cod, the Vineyard…and a few other beaches close enough to Boston.

Beaches such as Singing Beach, Manchester By the Sea (Listen to the sand. No, really. Do it!), Scusset Beach in Sandwich, Coffin’s Beach in Gloucester (We hear there is a pizza place that delivers to the beach. Reason for excitement), and yes, Revere Beach (Some call it a breath of fresh air, others used to less urban beach areas disagree) all get dropped into the list of ‘beach recommendations in the Boston area’ when searching through sites such as Yelp.

Many of us have fond memories of beaches we’ve visited growing up, or beaches we’ve traveled to with friends. But why not mix it up? Whether you’re a New Englander at heart, or staying in the area for school, there are plenty of ocean spots to check out.

On the lookout for some locations that may be off the path, Blast went out in search sunny spots, interesting environments, and local treats. Here are just a few to spark your interest:

Block Island, R.I.

A hop, skip, and jump off of Rhode Island sits Block Island, a tranquil and free spirited area nestled in the Atlantic. A ride on a ferry brings you to this beautiful and quaint island, full of free beaches, bed and breakfasts, lighthouses, and areas to for biking. Formed by glaciers 10,000 years ago, the island features beaches of warm and clear water, wildlife preserves and more. The Nature Conservancy has said to have named this gem “One of the 12 last great places in the Western Hemisphere.” For a place to eat, check out Mohegan Cafe Water‎. Word on the street is good food, good brews, and even vegetarian options!

Fore more information on Block Island check out http://www.blockislandinfo.com/.

Odiorne Point State Park, Rye, N.H.

The Seacoast Science Center (www.seacoastsciencecenter.org) boasts Odiorne Point as one of the most beautiful natural settings along New Hampshire’s 18-mile coastline. It is listed as the largest undeveloped stretch of land along the coast by the New Hampshire State Parks and contains several different types of habitats, old military bunkers, and bike paths. The Seacoast Science Center also holds exhibits, and cross country skiing is even listed by the park for the winter. If you’re a bird watcher get ready! Odiorne point is seen as a bird watching hot spot for the many types of species seen there, but don’t get too preoccupied with those binoculars there…the seagulls have been known to steel lunch from under your nose.

Rockport

About an hour’s drive North of Boston, Rockport offers access to the ocean and events throughout the season. Rockport’s beaches range from quiet to bustling, but beware of limited parking.

If you are in the mood for some music, don’t forget the Rockport Chamber Music Festival for some Wagner, Haydn, or Beethoven. Or if you are into some of the later stuff, the music of John Cage and Charles Ives will be featured June 18. And don’t forget the Rockport Acoustic Music Festival in August!

For some java in a cozy atmosphere, try local coffee shop the Bean and Leaf Caf©, which includes an ocean view and various espresso drinks. Or stop in to Helmut’s Strudel Shop! Both are located in Bearksin Neck of Rockport Harbor. And, because you know you will want some after spending the day at the beach, local ice cream stand (properly named The Ice Cream Store) is also located in this area, and has many happy Yelpers praising the sweet treats available there.

For more information on specific beaches, events, and more, go to Rockport’s website, http://www.rockportusa.com/.

Crane’s beach in Ipswich

Coastal dunes, sun, and the North Shore’s largest pitch pine forest. In addition, this beach is a popular site for a threatened bird-the piping plover-which had been hunted to near extinction in the 19th century. Nature lovers are sure to love Crane’s Beach!

Richard T. Crane purchased the land in 1910 that eventually became the foundation for the Crane Estate. Over generations the family has bought more land for conservation of Crane Beach and Castle Neck.

For sites to see one may visit the Great House on Castle. Miles of trails along the dunes are popular among visitors for walking. Many reviewers claim this beach to have extremely soft sand and warm water as well, and great for families. Picnics are recommended!

Castle Island

Castle Island is great for swimming, fishing and having a picnic. The South Boston beach has attracted visitors for years for these reasons. Connected to the mainland since the 1930s, Castle Island is the former site of a fort built in 1643, making it the oldest fortified military site in British North America.

On top of its historical significance, many enjoy the beach each year for the waves and to relax with loved ones.

Amanda Zayas of Canton, had only good things to say about the sunny spot, and got engaged there over the summer.

"I would have to say that Castle Island is the perfect family destination for summer time in Boston. I have been there many times (even for a family reunion!) and seen children on the swings, teenagers in the water, and families grilling up burgers and hot dogs during the warm afternoons,” Zayas said. “Castle Island is truly an amazing place" she said, adding, "Try and get there early, though, because parking does get a little crazy later on in the afternoon!"

If you’re still unsure of where to park your folding chair for a sit on the sand, more Massachusetts beaches can be found on http://www.visit-massachusetts.com/. If you’re feeling adventurous, visit http://www.visitnewengland.com/ for beaches in the surrounding area—Connecticut, Maine, New Hampshire and more!

Intense rhythm. Unique sounds. Cultural respect and musical understanding—all come together for Xavier Rudd’s latest album, "Koonyum Sun." His first time with a South African Rhythm section, this work represents the musical endeavors of Rudd, Tio Moloantoa (Bass), and Andile Nqubezelo (drums). The trio met in 2008 at Austria’s Nuke Festival, and will be hitting the United States this fall as Xavier Rudd and Izintaba.

Rudd, an accomplished guitarist, percussionist, didgeridoo and harmonica player, among other instruments, chatted with Blast from Melbourne, Australia, about the new album and his musical background

BLAST: Your new album has an African influence correct?

XAVIER RUDD: Yeah, yeah.

BLAST: Many artists had incorporated this type of influence in the 80s ( Peter Gabriel’s song, Biko, after South African activist Steve Biko, particularly stands out)  Do you feel that with so many issues going on nationally, individuals sometimes forget global conflicts not directly presented to them, and that directing your musical energy to a culture will bring awareness to it?

XR: Yes, I think so, yeah, I do. I think that over time there’s a lot of issues that are almost in and out of control. I think that music is …a way to bring awareness in society. I mean music has the ability to sort of…to break through barriers. Draw connection, connect culture…and religion and country…and people and…oppression and happiness.

So yeah, I think that it’s an important thing. Directing energy…yeah, I think that…musicians can direct their energy to a cause and bring it to their heart (to bring awareness to their cause).

BLAST: In turn, how do you think music brings awareness to another culture’s beauty, as opposed to its social issues? Which one is more difficult to bring across?

XR: I don’t know, I haven’t noticed…well I guess my music focuses on environment and cultures and a lot of my music unconsciously respects that, it’s what sort of comes in my heart. A lot of times I’m not doing it for any reason; I’m not trying to write lyrics for (any reason). It just comes naturally. I haven’t really gotten involved musically in any conflict situations. I support a lot of environmental causes, but I haven’t been really on the front line with conflict. So I’d have to say I don’t really know.

Blast: So…I have read articles suggesting that playing the didgeridoo reduces the impact of snoring and sleep apnea…

XR: All the didge players that I know snore!

Blast: But really, I have watched various performers…well, mainly music students playing the didgeridoo at recitals or jamming. Many had stated that it was difficult to convey a melody through it—versus the rhythm. True? False? I’ve seen some didgeridoo players try very much to create a melody.

XR: Oh yeah, it’s impossible to play melody, it wasn’t made for it. You can voice harmonies through it. But in a sense it’s one note.

BLAST: In respect of that, being a…didgeridoo virtuoso is deemed as very difficult in terms of breath support with circular breathing….I found records of players sustaining notes of up to forty minutes! How did you come to get involved in this instrument?

XR: I sort of played it most of my life and Yirdaki is the traditional name of an instrument that the didgeridoo derives from. (The instrument) is a message for aboriginal cultures, the strongest message that’s ever existed, and that connection is very important.

BLAST: Do you think most people are aware of the musical intricacies of this?

XR: Not a lot of people know, because it’s sort of swept under the carpet A lot of the culture is very unknown.

Blast: Now your new lineup sounds like a rhythm overload—in a good way. Is there something in particular that drew you to this?

XR: We met in Australia and had this heavy connection-spiritually, musically, emotionally. We’ve become great friends. That’s basically the story, you know, I just feel really blessed, and they’re such beautiful people to be around. I feel really, really blessed.

Blast: Do you think working with these … what many would label as ‘world beats’, as opposed to American or European styles, is something you always had an ear for? Are there certain feelings of syncopation or timing you’ve been more attuned to?

XR: I think so, yeah. The way I play, or approach my instruments is very rhythmical, more percussion based. So, I think so, for sure. This is a perfect match for the way I play.

BLAST: Are there any other types of music or cultures you see yourself delving into in the future?

XR: I don’t think too much about that stuff. What happens happens and you can’t really predict it. I’m interested in a lot of cultures and a lot of different music. I like to play, I like to learn about that culture and music, I don’t really have aspirations to any particular style, but at the same time I find that I am very blessed on my journey. There are a lot of cool opportunities that arise.

BLAST: Anything you’d like to add?

XR: Where are you from?

BLAST: Boston!

XR: Oh wicked! Well, Boston, Massachusetts is one of my favorite places; people are very friendly and fun and I look forward to coming through there.

BLAST: Thanks!

Blast had the opportunity to listen and learn a bit with musical artist Mishka, winner of the 2009 iTunes Best New Artist award.

His new album, "Talk About," (out March 30) which he describes as an “album of movement,” integrates steady beats, bright sounds, and lyrics woven together by consistent themes. And after a delightful spin of the newest tracks, Blast asked the artist a few questions-from working with Butch Walker, teaming up with Matthew McConaughey, and just plain musical inspiration.

BLAST: Congratulations on the iTunes Best New Artist award! How would you describe the past year for you in terms of your music career?

MISHKA: Fulfilling, with a lot of personal and musical growth.

BLAST: Was growing up around Bermuda an influence in your music? What impacted you most in becoming a musician and songwriter?

M: Bermuda, an inspiration! The people, the beauty of the place. Music and musicians have had a huge impact on me from as long as I can remember. I just love it.

BLAST: What swayed your musical tastes toward reggae?

M: The relevance of the message and the feel of the music…..I personally find it to be a complete kind of music, spiritually, historically culturally … in so many ways.

BLAST: You and your sister are both involved in music, correct? Was your family as a whole very much into music? I ask because I see so many music programs being cut now due to funding, and am wondering what you think about music being introduced at an early age.

M: Yeah, Heather [Heather Nova] is my big sister singer songwriter. We were brought up listening to a lot of good music, nothing really formal as far as music education, but I think it’s great for kids to get involved with music and making music at a young age…it helps you stay connected to the creator. It’s your heartbeat.

BLAST: Reggae has been used as a powerful tool, as music in general often has, in relation to politics and social issues. What do you think about using music in this way? We saw in an interview you mentioned thinking of future generations. Do you think this is something that has been ignored for too long? What do you think is something we need to focus on in order to help future generations?

M: It’s a duty to sing or write with conscience . Political is a very broad term, but I think people can find the truth of a situation if they check a musical vibe as it relates to any given situation.
Future generations are all we have and all that we are, we are telling them of a time that we are living in. I listen to the music of those gone before us and the relevance of the message still stands today, maybe even more than it did at the time. So yes, it’s important to keep the future generations in mind… what (will) they make of us or our works? Only time will tell.

BLAST: I see Matthew McConaughey has been a major help with your label-what has working with him been like?

M: Matthew is a big part of the label, he started it and is the head of it (record label, j.k. livin). Working with him has been really good in that he really wants to get the music out to as many ears as possible, and he is a big fan of my music.

BLAST: How was it to collaborate with Butch Walker? How was his musical approach different?

M: Really cool. Easy going guy, but very focused and professional as a producer.

BLAST: What is your songwriting approach?

M: It just flows when it flows, sometimes, it’s a pen and paper, sometimes it’s a guitar and a melody… inspiration.

BLAST: Do you have any aspirations for future projects?

M: Just to keep on playing music, maybe work with some other artists on collaborations…

BLAST: Anything else you would like to add?

M: Thanks and praises to the most high. Jah rastafari live!

Blast got the word on Grammy award winning artist Ziggy Marley’s latest collaboration: an iPhone application that lets fans and music lovers alike a chance to observe the music from the production side of things. Providing tools to mix tracks, beats, dub sounds, interchangeable parts for drums, melody, bass, and vocals, the iPhone application is bridging the gap between the music industry and its audience.

We chatted with Chevon Hicks, CEO of Heavenspot, the independent digital creative agency that worked along with its sister company AppWagon, to create the application and bring a unique experience for users.

BLAST: How has this evolved? Bands have offered fans the opportunity to remix their work before (for contests and such) and with technology now being available in our homes (Garage Band, even ProTools and home studios) people who would never have thought of mixing or arranging before are now diving in.

CHEVON HICKS: We wanted to create a remix application that was easy enough for novices, but had enough features to keep aficionados entertained. We wanted to work with an artist who was first and foremost “cool”, especially since we knew it would be a long process. We needed someone with international name recognition with a broad appeal across multiple genres. Ziggy Marley was the perfect fit. We are also big fans of exclusive content, we knew right away that we wanted to create music specifically for the iPhone app – not just old singles. It took quite a bit of R&D to figure out how to get 50 different song parts to work together musically, as well as getting everything to playback in perfect sync on the iPhone’s processor. Six months, thousands of dollars, and three developers later we had a fully functioning proof of concept.

Since nearly everyone at Heavenspot is a musician of some kind, it was important to us to put our artistic stamp on the music. These Ziggy Marley tracks don’t sound like the Ziggy you’re used to. We figured it would be even more interesting to take him in a different direction, so we went old school. We were inspired by movies like Rockers, and Harder They Come. Really good rootsy 70′s reggae. I instructed our composer to listen to Rocksteady artists from the 50′s and 60′s like Alton Ellis, U-Roy, Freddie MacGregor, Dennis Brown, and of course Bob Marley and The Wailers. We’ve had people walk into our conference room while we’re demoing the app and ask where we got these new Bob Marley tracks – it sounds that good. That is one thing we will insist on as a company – we make the tracks. There is also a practical reason for this, as the technology dictates that the music is constructed in a very specific manner. It is possible to retro-engineer existing songs, but we will need to control the remix process.

BLAST: Is this positive for the recording industry? Are we surrendering our power, or offering insight to fans?

CH: Agencies, Record Companies, and Brands are all a little afraid of crowd sourcing – that is giving creative control to your audience. We believe user generated content is the wave of the future. Instead of marketers putting all of their eggs in the basket of one big idea, all we need to do is to give users to the tools to create what they want. This serves two purposes – 1. it decreases the risk associated with putting a bunch of money behind an unproven idea, and 2. it serves as a research platform as the metrics (that is the tracking of what users create) will tell us volumes about what they like, what they don’t, and how to best communicate with them.

I think it’s a positive thing for the recording industry, and our app specifically represents the future of customization. Imagine being able to remix any song with any artist? Or being able to remix and create duets between your favorite crooners? Or simply extending the bridge in that Steely Dan song you love? Or just getting something completely new with a flick of the wrist? We realize that humans aren’t always in the mood to interact. Sometimes you just want to sit back and be passively entertained. Well, we’ve accounted for that too, with our “DJ For Me” mode, which uses proprietary AI to randomly remix any of the songs included on the app. This also offers a unique experience as the remix of any song will be different each time “DJ For Me” is engaged. In the end, this will sell more product, and the recording industry should be excited by that.

BLAST: Also, this is seen as a personal gesture from an artist to fans. How do you think more artists will get involved in this way?

CH: We are hoping to reskin this app with everything from country to classical music. We would love to create some old school Patsy Cline music for an artist like Tim McGraw, then have someone like Maxwell come in to provide the hook. We’d love to create a classical version where you remix Mozart’s Piano Conciertos. Our process requires very little commitment from the artist – Ziggy came in a freestyled everything in less than two hours. He heard the tracks, made some quick suggestions, and went to town. At one point, I was in the vocal booth with him capturing video. When I closed my eyes it was like being the room with Bob Marley – that same voice burns through in our application.

BLAST: How does Heavenspot view the future of music technology and the recording industry?

CH: We can see that music technology is all about simplifying the experience for the artist. What used to take tons of equipment and space can now be done on a laptop, without a noticeable degradation of quality. In the end, it’s all about ideas and no amount of technology will ever— wait, I shouldn’t speak too soon – have you heard of Ray Kurzweil’s Poetry Writing Software? Apparently even creativity can be deduced in 1s and 0s!

The recording industry needs to focus on two things, IP and Digital Distribution. They fought it for too long which hurt them gravely, but I think the right people are steering the ship these days. Finally, and Apple is testament to this, the future is in micro-transactions. Nobody thinks twice about spending 1 dollar ten times a day, but spending 10 dollars at once is scary. Our application attempts to equalize the divide with it’s low price point of .99¢, which is not an accurate reflection of it’s value. That’s exactly what we want – high value for low cost, and to get it into as many hands as possible. The more people that have it, the larger the community grows.

Three Massachusetts high school students recently made it into the eastern region semifinals of the Siemens Competition, which will head into National Finals in New York in early December. One of them, Minhye Kim, a Brookline High School senior, took a moment with Blast Magazine to discuss her findings as a young researcher.

Blast: Congratulations on your research studies! Could you explain briefly what your research focused on?

Minhye Kim: Thank you! The title of my project is "Hepatitis B Virus Infection Increases the Risk for Developing Diabetes." I studied and found the mechanism that links the two diseases together.

Blast: What was your inspiration for this research?

MK: I was actually having a conversation with my mentor and he… mentioned something very interesting. He said that over 350 million people worldwide are infected with HBV. I had no idea HBV was such a serious health problem. So, I did a little research on my own and found out HBV leads to different liver diseases. I knew from past knowledge that glucose production happens in the liver and glucose production is very important in type 2 diabetes. So, I was curious whether HBV had anything to do with type 2 diabetes.

Blast: What is the goal of your research?

MK: The goal of my research was to find whether HBV and type 2 diabetes were linked at all. Actually, no previous research had been done about my topic of research. So there really wasn’t anything known about the link between the two diseases.

Blast: How long did it take you to come up with all the background information and analysis for your study?

MK: There were definitely lots of readings to do! There were a few days when I would just read manuscripts and not do anything else, like running experiments. I would say the entire project took about a year. It spanned throughout my junior year.

Blast: And being so young and talented in this field, do you feel or hope that more young people will get involved in research like this?

MK: Yeah! I think it would great for young people to go out there and have research internships because it’s an awesome experience. You find out what is like to be a scientist in a real-life setting and it’s worth it!

Blast: What is your ambition for the future? Do you plan on studying science or medicine?

MK: I definitely want to go to medical school. I want to become a pediatrician and have my own diabetic clinic for children… if there is no cure for diabetes by then.

Winners of the regional event are invited to compete at the National Finals at New York University December 3 — 7. For more info visit http://www.siemens-foundation.org.

The Siemens Foundation contributes over $7 million annually to support the field of science, math, engineering and technology in the United States. The Siemens Competition in Math, Science & Technology encourages and recognizes high school students who challenge themselves through their studies and research, and may obtain national recognition for their high school research projects in science and technology.

One may have assumed the entire audience around Massachusetts Ave. would have consisted solely of flower clad, patchouli wearing, twenty somethings, but this was not the case. Standing at the stage, one could see that the audience for Devendra Banhart’s Friday night show ranged in age and attire-though yes, many flower and bead wearing individuals were present. Despite this, the show seemed to have attracted a vast and still varying group of music lovers.

Devendra Banhart and his band, the Grogs, performed at the Berklee Performance Center Friday night to a lively and well received audience. At one point during a rather upbeat song, an audience member jumped up from his seat and began to dance. And, no, it was not a Berklee student.

Banhart and the band maintained a friendly and laid back mood during the show, starting out the evening with tunes such as "Long Haired Child" and newer compositions such as "Baby" and "Angelika".

It was refreshing to see a lead singer who acknowledged his band members’ talent, and let various members showcase their own songwriting and singing skills as he explained that all of his band members are his favorite songwriters. Props to Devendra for not having ‘lead singer syndrome’, and even more props to the entire band displaying complex musical talent.

At times the performance sailed along at a lower key as songs such as the newer, powerful "Last Song for B", and Banhart’s slightly revised "Little Yellow Spider" (Banhart was practicing his edited version for the next day’s performance for Yo Gabba Gabba Live! In New York), to the wildly cheered on "Carmensita" and "Rats", which one audience member described as ‘heavy’, but noticeably sparked a sea of head bobbing, arm waving audience members.

As gracious and personable performers, the band also received a standing ovation at the end of the set and was strongly encouraged for the encore.

As Banhart thanked the audience and expressed his gratitude for playing at the music school’s performance center, it was apparent that thanks and gratitude were also exuded from the audience – a very happy and energized audience.

Innovator and musician Les Paul once said about playing guitar, "It’s not technique — it’s what you have to say".

Judging from her music, guitarist and singer Anna Rose has a lot to say. From everything to music technology, gender gaps in the industry, musical theater and sight reading-she hits the nail on the head.

The daughter of a ballet dancer and composer Alan Menken, Anna Rose grew up in an artistic and musical environment. First introduced to the guitar at age 5, she is now wowing audiences with her solid voice and musical skill. Her upcoming debut, ‘Nomad’, was co-produced with William (Billy) Sullivan, and includes five songs from her current EP.

BLAST: I appreciated that in your bio you mention that your musical process includes “full takes, no Auto-Tune, and maybe one synthesizer”. What do you think of the use of technology in music and recording these days?

Anna Rose: You know, I think the use of technology is wonderful, but personally I don’t think I have the experience to put it to its full use. My experience lies in playing guitar and singing and doing things live. The best way to capture what I do is capturing things in full takes…I don’t think there is anything wrong with Auto-tune (but) I choose not to use it in my work…it’s dishonest for me.

BLAST: I also like your quote about wearing dresses. It really struck me because as a drummer…wearing a dress is not much of an option, which people sometimes forget. Do you feel like there is an assumption of how a female musician should look on stage?

AR: Absolutely. I think that there is still that stigma of female musicians kinda just being the figurehead of a great operation…the puppet. I don’t think that’s the case with every musician…I think every great female artist has fought against it…I fight against it all the time. Keith Richards can get up in a T-shirt and jeans…if a girl does that it’s like she didn’t get dressed up for the occasion.

BLAST: That being said, do you feel there is a divide between men and women in the field of rock and music? Or does bringing it up create that divide?

AR: You know, I work really well with male musicians, my band is all guys. Personally, I’ve found I end up working with male musicians. That being said I know of some brilliant female musicians I would love to work with. Good music is good music. The important thing is to let your music be the most important part of it…and that’s what bridges the gap. It’s important for music to just be music, and not just an industry of people trying to be cool.

BLAST: So you started on piano. Do you read music or do you feel you learn and write more by ear?

AR: I don’t read music, I read tablature for guitar, but I really do everything by ear primarily. I don’t want to advocate people not learning music, it’s important for certain paths….my particular path as a writer doesn’t necessarily require that.

BLAST: A lot of guitarists strive on soloing. (The solo on Picture is awesome—reminds me of Voodoo Child Slight Return there) What do you think about that? Do you think there is too much of a focus on soloing in the guitar world?

AR: Well, first, that solo isn’t me…that solo is my lead guitarist, Adam Stoler, he’s my musical director for my band. My whole band is comprised of some (great) musicians…but I’m a rhythm player through and through. I think soloing is important …it’s a different animal than playing rhythm guitar. You’re kind of born to be a solo player or a rhythm player…its just never been my thing. But I envision for sure.

BLAST: Ok, random question. Are there any guitar riffs you’d rather not hear again?

AR: I can’t think of any off the top of my head! That’s an awesome question! I hate guitar riffs with a lot of chorus on them or chamber…anything ‘chorusy’ or ethereal…unless it’s meant for a certain sound effect. Oh! The theme from the original Beverly Hills 90210…but I also obsessively watch it. Maybe that’s my own fault.

BLAST: I noticed in another interview you stated that though you idolize a lot of artists from the ‘50s, ‘60s, and ’70s that you listen to, and recording one of their songs would be blasphemous in a way. What do you think of all the remakes of Beatles songs and the all the things like Rockband and even the film Across the Universe, which take from these artists?

AR: Across the Universe was really really well done…with unique takes (on those songs). Covering someone else’s song, when it’s your own take on it….is an homage to that artist. When you’re redoing a song that was made famous by Johnny Cash or something…you need to have your own unique stance on it. Personally I think I’m too young and early in my career to have the right to do that. I need to explore my own creativity and have a couple of pieces of my own work out there before I can say I am good enough to cover someone’s song. I have too much respect of that work to even go near it, though I do cover things live but I won’t record them

BLAST: Your father has written many pieces for film and musical theater. If you could cover a musical theater piece, which show would you work from?

AR: I grew up with so much musical theater, there’s a song that my dad wrote for the live musical for Beauty and the Beast, called "The Change in Me" that is a really beautiful song. In terms of shows that are really kickass, Little Shop of Horrors. I think musicals come and go in popularity but…I think they are really wonderful expressions of our culture.

BLAST: Another random question for you-do you look at the fretboard in terms of notes or shapes?

AR: I look at it in terms of shapes, absolutely. Despite the fact that I consider myself as a guitarist, I don’t consider myself an incredible guitarist…I wouldn’t presume myself as an incredible guitarist, and I definitely look more toward shapes.

BLAST: Anything else?

Next thing coming up is my first music video, filming on Nov 14 on Connie Island (look on Youtube or her website and Myspace page: http://www.annarosemusic.com and www.myspace.com/annarosemusic) and I’m really excited! I’m doing a show on December 7 at Rockwood Music Hall on the Lower East Side of Manhattan. My EP is five songs that are taken from my full length album that will come out in February called Nomad. And hopefully a tour in the spring!

BLAST: Come to Boston!

Definitely!

Anna Rose’s band is comprised of Adam “The Splendor” Stoler, Tyler McDiarmid, Jamie Bishop and
Jordan Perlson. To check out music and more, go to www.annarosemusic.com.

This year marks the 22nd year of one of Boston’s most exciting musical festivities, Steppin’ Out, a fundraising and gala event.

Based on Boston’s rich musical history (Boston boasts one of the oldest choral companies in the United States, and one of the most acoustically exact concert halls in the world), Steppin’ Out focuses on the city’s tradition of jazz. Past headliners of the event include famed percussionist Tito Puente (2007), jazz and R&B singer Roberta Flack (2003), and contemporary R&B singer Lalah Hathaway (2008).

This year will bring as many as 20 musicians to feature the talent of local and national artists. Included with the amazing evening of music is dinner, community and corporate awards, and an evening of socializing. Last year nearly 3,000 music lovers and community supporters came out to the event for the Dimock Center.

The Dimock Center, which the Steppin’ Out event benefits, was originally founded in 1862 as the New England Hospital for Women and Children and is considered a National Historic Landmark. It holds nine acres in Roxbury in order to deliver sincere care for over 46,000 patients and clients in its Health Center alone each year. The Center offers services ranging from health screenings, immunizations, women’s health, HIV/AIDS services and more.

Steppin’ Out provides the Dimock Center with funding that is vital to maintaining the center’s outstanding service.

Ruth Ellen Fitch, President and CEO of the Dimock Center, began work at the center in August of 2004, and was previously practicing law with Palmer & Dodge LLP. There she became the first Black female partner at a large Boston law firm.

Before practicing law, Fitch was Director of the METCO program for the Brookline Public Schools and taught at University of Massachusetts, Boston. She has contributed to the community as serving as a member of the Board of the Boston Public Health Commission, Director of Health Law Advocates and as a Director of the Boston Municipal Research Bureau. Now she continues to provide in the health field at the Dimock Center, whose vision is a healthy community, and whose mission is to "commit to enhance the quality of life of each individual (they) serve".

The Dimock Center has announced this year’s Honorary Chairs for Steppin’ Out as Governor Deval L. Patrick and First Lady Diane B. Patrick, with the Gala Chair being Clayton H. W. Turnbull (The Waldwin Group, Founder and CEO).

The event will take place November 7 at The Westin Boston Waterfront Hotel.

To purchase tickets online, click here.

Sire Records will be releasing “Dear Jack” today, a DVD documentary shot by Andrew McMahon of Jack’s Mannequin. The documentary tells the story of his personal battle with leukemia.

The documentary began as a means to capture the making of the band’s debut, “Everything in Transit”, when he was diagnosed with cancer at 22 years old in May 2005. The film is directed by filmmaker Corey Moss and Josh Morrisroe and narrated by Tommy Lee.

The film will be available in-stores, on the Jack’s Mannequin website www.jacksmannequin.com and via digital download through iTunes, and the Standard Edition Dear Jack DVD is available for pre-order at the website as well. On November 3rd, the Dear Jack EP will be available on iTunes with previously unreleased tracks, as well as a limited edition art book. The book, which includes artwork that became a part of the "Swim" music video, can be purchased exclusively at the band’s website. A portion of the proceeds will go to the non-profit charitable organization that McMahon founded in 2006, The Dear Jack Foundation.

Andrew McMahon will also participate in Stand Up To Cancer in December 2009. Stand Up To Cancer strives to accelerate cancer research and hopes to bring the best and the brightest individuals in the community together in order to do so. The group has raised over $100 million for cancer research thus far.

On October 29, the Stella Artois World Draught Master competition crowned a new winner in New York to epitomize the company’s never ending dedication and passion for superior beer.

Avril Maxwell of New Zealand won the competition, now in its 13th year, and will now embark on a journey to more than 20 different countries as a Stella Artois ambassador, guaranteeing that every chalice of Stella Artois is poured properly and served just right.

The competition included a jury panel to select individuals who could display true dedication and perfection in the “Passion Test”, and saw contestants from 26 countries, converging in New York to compete for the nine step pouring ritual.

Global Marketing Manager of Stella Artois, Alexander Lambrecht, said: “The World Draught Master competition is integral to our ongoing quest to deliver superior beer experiences the world over, ensuring that Stella Artois is served with the same care, consideration and craftsmanship as has gone into more than 600 years of brewing…we (also) wanted to create a global conversation about the Stella Artois World Draught Master competition by inviting people into the event via live streaming and providing an opportunity for them to decide on what competitor embodied perfection.”

Maxwell’s trophy was designed by New York fashion designer Tim Hamilton as part of a unique collaboration with Stella Artois. Hamilton also created a limited edition chalice glass in honor of the World Draught Master 2009 competition.

Runners up included Joe Oppedisano of Canada (2nd), who also won Online Fans’ Choice award, and Alexey Shtukarev of Russia (3rd).

Who says shy kids from small towns can’t make it big?

Owl City/Adam Young has made an impression on the airwaves and the internet, recently making his way to the top of the Billboard Hot 100 Singles Chart, and a number one single score on iTunes for the single “Fireflies.” The 80s synthpop and electronic sound of Owl City has also found its way to the Top 40 and Hot AC formats on the radio, along with various other formats.

Let’s not forget the #1 song in North America, a sold out tour and huge record sales (Universal Republic Records) — that’s 200,000 digital singles and a jump from #20 to #8 in the Top Ten Nielsen Soundscan Top 200 Albums Tally for the album Ocean Eyes.

Young has stated that he started writing music in the small town of Owatonna, Minnesota in his parents’ basement, which can be seen depicted in the video for “Fireflies.” The video can be seen widely on Youtube and on rotation on VH-1.

Owl City is currently winding town the sold out door and will be in Houston on Halloween night.

Composers. Radio Djs. Record Storeowners. Producers. Musicians. People with musical knowledge. These are the types of people you would go to for musical advice and recommendations, right? ‚ On October 8^th, a new relationship between music and technology was launched. Darius Fong was inspired by his experiences growing up in Hong Kong and discovering new artists and genres in record stores, and founded Panel to provide that experience to other music lovers.

Panel, a new iPhone app, founded by Darius Fong, is aiming to bring back the record store experience of yesteryear, when music industry professionals and music buffs were present at your point of purchase to give you insight on what you might like or look forward to for the next addition to your record collection.

Panel is different than other music applications or online players. While many online music sites can match a playlist to your liking very well, like the engine at Last.fm, nothing is strictly personal, like press releases or ads. It’s by music lovers, for music lovers. Each Panelist can explain their choice and their influences to help users find out more about the album.

The Panel App streams two full albums each week in various categories, including rock, pop, indie, jazz and more. Curators of the Panel App will be featured panelists that are composers, radio DJs, record storeowners, producers, musicians, and others with a musical background, every month to feature music that they love.

The iPhone application will also feature interviews with the Panelists, album descriptions, and a one-touch process will be made available to users in order to purchase albums they like. In addition, these users may then comment on selections and invite friends to join, listen, and create a fan-supported community.

To find out more, go to WearePANEL.com for images of panelists and photo journals of each week’s content, interviews, “Panel Blog”, videos, podcasts, and links from featured albums to iTunes and Amazon.

Ever listen to an album that just sucks you in?

Devendra Banhart’s newest release, What Will We Be, which is his label debut for Warner Brother’s, may do just that.

Fans of Banhart will be content with the upbeat yet eclectic tunes along with funkier tracks and peaceful pieces as well. For those who are first time listeners of his work, one may be a bit confused at first with the span of musical skills ranging from a song intro which simulates the sounds of a jazz standard to folksy ballads, but ultimately intrigued, and in some cases, blown away.

Songs like “Angelika” and “Baby” are not only uplifting, but have interesting lyrics-any song that incorporates ‘holy moly’, ‘choo choo train’, ‘kangaroo’ and ‘goofy’, while still making lyrical sense gets a plus in musical expression.

In terms of catchiness, while the whole album is indeed memorable, tracks like “16th & Valencia” and “Rats” certainly stand out. The first starting out with a drumbeat reminiscent of early 60s rock, turns into a pop-like tune with a funky bass line and smooth guitar melody, while the latter, “Rats”, utilizes

one of the grooviest bass lines one may have heard in a while. Haunting vocals, similar to that of Jim Morrison and Iron Butterfly carry the tune along with a unique guitar riff.

On the other hand, the two back to back tracks, “First Song for B” and “Last Song for B” are clever and powerful.

“First Song” draws you in with an ethereal crescendo, then transforms with distant percussion, while piano and vocals reverberate in the forefront. Lines like “Now I take everything as a good sign/ because I’m in love”, are emphasized by the piano melody, and the track ends with a strong outro.

“Last Song” incorporates a creative sound design and produces beautiful imagery, all the while producing the exact emotions of what the lyrics describe.

Both tracks truly express what words cannot alone, and are somewhat cinematic in their composition.

While it may be easy to try and compare Banhart to artists such as Cat Stevens or Simon and Garfunkel on tracks such as “Angelika” and “Goin’ Back to the Place”, or The Doors for aforementioned tracks such as “Rats”, this isn’t an artists trying to imitate or recreate an era of music. We’ve all heard that with artists trying to recreate the musical styles of the Grateful Dead or Led Zeppelin, and its never as effective as creating one’s own style. One can most certainly say that with the different genres and world music influences winding their way into this album, that this is something unique in of itself.

The album, which was co-produced by Paul Butler, includes Banhart on vocals and guitar; Noah Georgeson (producer of Banhart’s last two albums) on guitar and backing vocals, Greg Rogove (Priestbird) on drums and backing vocals; Luckey Remington (The Pleased) on bass and vocals and Rodrigo Amarante (Los Hermanos, Little Joy) on guitar and backing vocals.

Devendra Banhart moved with his parents to live in Venezuela at an early age., then moved to California during his teenage years, where he first became involved in music. Banhart studied at the San Francisco Art Institute, then traveled from San Francisco to cities such as Los Angeles, Paris, and New York City, before moving back to Los Angeles, where he currently resides.

Blast recently chatted with Michael Wallen, the vice president and creative director of Fox Mobile Studios, about one of their newest mobile series, “Brainstorm.”

The portable Internet series has already logged about 1.7 million viewers for the eight episodes available (with six pieces of viral content used to promote the series with marketing partner Altoids).

Comedy Central’s “Secret Girlfriend,” which began as a mobile series, shares actor Michael Blaiklock wth “Brainstorm,” where he plays Marty Waxer, a copywriter who is defined as “always stuck in a haze between last night’s party and his morning coffee.”

Between Marty’s procrastination and lack of seriousness, and the new marketing genius in the office, named Rock, an advertising conundrum ensues.

BLAST: First, we’d like to get a feel for how you decided to go with a mobile series, and how that benefits the audience. How are mobile series becoming more popular for audiences?

MICHAEL WALLEN: We really wanted to create a series-not just a mobile series-but a great short form series. We really thought of all cross platform ideas, and we did take into consideration stream size, viewing habits, and technical considerations, so that when somebody did view it (as a mobile series), it would be as a pleasant experience. We wanted to up the value of mobile content by delivering an entertaining series on that platform.

BLAST: How was the idea for Brainstorm started?

MW: It started with the idea of how do we get our skin in the game on the brand integration side of the business and create an organic concept that enables this brand integration without being intrusive to the viewer … organic and upfront. Transparent with the integration. So a show about advertising seemed to make a lot of sense and also poke fun of the brand, and tell a story at the same time. How do we fit a brand into a piece of entertainment? (The idea) was certainly influenced by what was happening in the economy, we thought we could make it relevant because (of smaller agencies struggling) it would resonate with viewers and also be a platform for comedy. Maybe some relief if you will.

BLAST: Was it fun to incorporate Altoids as a brand partner?

MW: Yeah, it was great. They were a fantastic partner. They got the jokes, they got the concepts, they recognized that in order to ..they had to play ball and let their brand be the center of some of the jokes. I commend them for doing that. A lot of brands will (say that they will) do that but will start to pull back. Altoids pushed us further, it was a wonderful partnership

BLAST: Were characters such as Marty and Rock inspired by real life office extremes, or solely developed for the purpose of the plot?

MW: Without blowing anyone’s cover, I’ve worked with every single one of those guys at some point in my career. I think the guru, Rock type is prevalent in the advertising field. These ‘everything turns to gold’ ad whizzes are either lucky or leaned on talented people to get where they are. There are millions of examples in every work environment, not just advertising. Advertising is such an interesting environment and breeds so many types of egos. The lead character was kind of your advertising every man. That’s definitely there in the agencies and the Marty character, but i think we try to capture characteristics of employees all over the world, someone everyone can relate to.

BLAST: Was the series influenced by any workplace sitcoms?

MW: Not directly, just that it’s there. There have been a lot of these office sitcoms, so there is a lot to draw on or draw away from. What’s different (is that) we tried to solve a business problem with a brand while also telling a story. Other shows are doing that — 30 Rock with Snapple. It’s just ‘how can you make advertising entertaining and enjoyable at the same time’?

“Brainstorm” is available on various online and mobile destinations, including MySpace, Yahoo! Video, YouTube, Veoh, blip.tv, Break, eBaum’s World, Howcast, Imeem, Metacafe, Sevenload, StupidVideos.com, Viddler, Vimeo, and most mobile phone networks.

Blast caught some insight on Halloween’s history by local expert, Lesley Bannatyne, who helped us separate some fact from fiction on everything from witches, vampires, and the holiday itself.

Bannatyne, of Somerville, is the author of several books about the October holiday.

Blast: You were voted one of the most interesting women in Boston by Boston’s Women’s Journal. Tell us a little bit about yourself.

Lesley Bannatyne: I came to college in Boston and never left. During my twenties I co-founded a touring theater company called Studebaker Theater, which had a good, long (25-year) run — our last production, under the name Invisible Cities Group, was done in 2003; it was a collaboration with local musician Rick Berlin. For my day job, I took every kind of writing job you can imagine from writing text for fashion shows to commercials to writing journalistic pieces for the Christian Science Monitor and the Globe. My first Halloween book came out in 1990.

Blast: We hear you started your career as a writer-how did you become so involved in researching Halloween?

LB: I can honestly say that I’ve always loved Halloween, from the time I was a kid until now, and I’ve always celebrated it.

In fact, people often ask me why adults have started celebrating Halloween, and the truth of it is that many adults never stopped celebrating. It’s just that there are so many more of us now. The market has taken notice, which means more products-decorations, music, events, costumes-and a much more visible adult celebration.

I started looking into the history of Halloween when I couldn’t find a source that had good detail on American celebrations of the last 100 years. That research became “Halloween: An American Holiday, An American History.” After that, it was like falling down a rabbit hole; everything you turn up leads to something else, which leads to something else. In fact one of the hardest points in working on a book is knowing when to draw the line and say, “I’m finished.”

Blast: You became involved in a pagan organization in order to learn more, correct? What are some of the important ideas or concepts you took from this experience?

LB: Yes, I joined the Earthspirit community for a few years and have attended many of their Samhain rituals (which occur around Halloween) which I always find very beautiful. I suppose one of the most striking aspects of paganism as I know it (Bannatyne is not pagan) is how attuned to the natural world it makes you. The Earthspirit Samhain rituals also made the idea of death very personal. You spend time thinking about your dead, your losses, the lives lived by those you love, rather than thinking about death in a more general way, like we might on Memorial Day.

Blast: Do you feel pagan societies are often misrepresented in society or the media? If yes, how so?

LB: I think it’s actually gotten much better. The early pieces on witchcraft in the States, say those that came out in the 1960s, were written in a way that sensationalized some aspects of neopaganism (like nudity). The most out-of-the-box coverage we have now comes from extreme religious groups and tends to be published on the internet or privately. In general, the mainstream news media is factual on paganism, and the articles that appear around Halloween usually give pagans a chance to detail their lives and rituals.

I know what you’re getting at, though…there’s a lot of misinformation on the internet about what witchcraft is (for example, devil-worship, which of course it is not), and even on its history (She points to the fact that 9 million women were said to have been killed by the church during the “Burning Times”; scholars now know it was likely more like 60,000, both women and men, and that secular courts were just as culpable as the church). Things are always more complicated that they seem

Blast: You are a Halloween advisor to the Vampire Empire. What does this entail?

LB: Ah! The Empire is a collection of fans of vampires and I supply them with Halloween information. We don’t meet in person, under a full moon, or anything like that.

Blast: What do you think of the current vampire hype in Hollywood? Do you think our fascination with vampires will ever fade?

LB: I think it’s fascinating how much we’re mesmerized by the undead. You can see this in the current zombie explosion as well. Hollywood can only feed on a live vein, if you pardon my terrible pun. People love the forbidden, the mysterious, the Other; it appeals to our rebellious side. So too, we no longer sit with our dead as we did even 50 years ago. Wakes, open coffins, funeral home visitations are fading in lieu of cremation where there’s no body to witness. I think the deep morbid streak in American culture may have something to do with trying to process death in an age where it’s mostly hidden from us.

Blast: What about witchcraft? Being so close to Salem, witches are very much included in the history of Massachusetts. We often see witches portrayed in a bad light, though this has changed a bit. Do you think the stigma will ever go away?<

LB: I think the stigma attached to modern witchcraft will only go away with the controversy between a pantheistic worldview and a monotheistic worldview. In other words, this religious argument has been part of human history for a very long time. I don’t think we’ll need mittens in hell any time soon.

Blast: And you’ve written various books about Halloween-from history to costumes. Personally, Halloween is one of my favorite holidays due to the costumes! What has been one of the most creative costumes you have ever seen?

LB: I have seen so very many wonderful costumes. Off the top of my head, there was a tornado complete with thunder, lightning and a mist bottle for rain; there were the 30 people who went as Imelda Marcos’s shoes, an oven with a witch inside, a wrapped meal for a spider, a present with a tag reading: “To women, love God” a trio who were dressed as Alaska, Russia, and a “Narrow Maritime Divide” and a foursome dressed as a rapper, two prostitutes and a bottle…

Blast: What is one of the oddest things about how Halloween has developed into a modern holiday, in relation to how it originated?

LB: If you take this from the time Halloween came to be known in America, I’d say the oddest thing is how public it is. At first –‚ mid 19th century — Halloween was more or less a loose collection of superstitions and folk games. If you marked Halloween, it was most likely a private or family event. But now, Halloween’s become a litmus test for our culture. Because it’s not tied to an event, religion, person, or even ethnicity, Halloween can shape shift a bit, reacting to who we are as a culture; what we value, what we fear.

Lesley Bannatyne will appear on the History Channel’s “Haunted History of Halloween”‚  and is the author of books such as Halloween: An American Holiday, An American History, Witches’ Night Before Halloween, and supplied the Halloween article found in the “World Book Encyclopedia.”

Fresh corn and cucumbers, strawberries, delicious bread and, this time of year, apple cider doughnuts. Pie, jam, cherries? No, this isn’t a random grocery shopping list. All of these items can be found at various farmer’s markets in Massachusetts. Fresh and local, farmer’s markets are often a great way to support farms and skip the middle man. You can even buy apple cider at the market. After all, if it’s made locally…

…Did we forget a certain type of locally made beverage here? Massachusetts boasts wonderful products from many local wineries, yet this is a product you can’t go ahead and grab along with those yummy fruits and vegetables at the market stand.

However, that may all change soon if the current push to change state law goes through. This would allow wine to be sold at hundreds of farmer’s markets, and it’s being supported by local winemakers and agricultural officials from within Massachusetts. Because current liquor laws in Massachusetts are more restrictive than some other states, this would mean that farmer’s markets would have to obtain liquor licenses from the town or state they are selling in, and enforce underage drinking laws.

But not all winery owners feel that this would be an easy feat.

“The bill as written now would require that wineries receive approval…for a liquor license and wouldn’t be workable for small wineries. (The bill) as written would not be beneficial to small wineries. We don’t have to go to the local towns to get liquor licenses we are licensed by the state to sell direct to consumers at the winery. It does not require approval as long as we are in a wet town. If it were to pass, the ability to sell at the farmer’s market would be moot” says Linda Shumway, owner of the Plymouth Winery.

As an example she states, “To sell in Newton, and to get a Newton license, the licensing process would be cumbersome just to sell at a farmer’s market. The ability to sell at farmer’s market would be terrific because we are local producers…It’s a great idea, (but there) needs to be a way for us to circumvent local control/approval” she adds, due to time, and legal fees that would stall the process.

Yet this opinion is not agreed upon by all.

Kip Kumler, owner of Turtle Creek Winery in Lincoln and chairman of the Massachusetts Farm Winery and Growers Association doesn’t agree. “Our members drafted this legislation…I don’t think there is any way to avoid allowing local jurisdiction of selling.” He explains.

Liquor store owners have been strongly opposed to the proposed bill, stating that wineries are not trained to pick out minors from purchasing alcohol. Many liquor stores were also opposed to the 2006 ballot question which offered the expansion of selling wine in Massachusetts supermarkets.

Kumler calls the opposition by liquor stores a ‘total red herring’.

“I think there’s two issues. One is, it’s not as if there are teenagers cruising farmers markets. People go there to (get quality)…its not the local package store, where someone is getting cheap alcohol for a friend.”

He adds, “you’ll find that package stores have almost all of the citations, wineries have almost zero to none. The real issue there is also…that the package stores are (feeling that) any additional opportunity to purchase wine will come at their own expense. I think they’re just burying their head in the sand.”

He explains that farmer’s markets operate less than a full year, one day a week, and that new markets for local wines should be of an interest to package stores. “They’re in place more often, if people want more of the wine, they will go to the package store. It’s a misrepresentation of reality.

Joseph Sullivan, one of the owners of the Chester Hill Winery in Chester, Massachusetts feels that the ability to sell at farmer’s markets would have helped his winery, which had been open for ten years and is now closed. Their website states that the Chester Hill Winery is closing not due to the economy, but “because it is time to slow down and “smell the roses.” However, Sullivan says that “it is very difficult for a small winery to exist, with shipping laws and other requirements.” He explains that other states allow the ability to sell under different venues under one license, and that the farmer’s market would have been a real help to the small winery, stating that “the ability to do that…would have been a real asset to the business”.

The lead sponsor of the bill in Massachusetts is Senator Jamie Eldridge, D-Acton, and the current legislation is mainly focused on wine, though the possibility of beer has been mentioned. Massachusetts has just about doubled in the amount of licensed wineries over the last decade.

Richard Auffrey, writer of the Passionate Foodie (http://passionatefoodie.blogspot.com ), and food/wine columnist for the Stoneham Sun newspaper, in support of the option to change state law to support wineries said, “We should support this small, local industry and allow them an additional chance to let the public see their products…(they) don’t have enough visibility in most local wine stores. Many local wineries also cannot afford to sell their products through wine stores because of the discount they must give to those stores. The primary opposition comes from wine stores, alleging it will make it easier for underage teenagers to obtain alcohol. But there is no evidence supporting that allegation”

All in all, Kumler doesn’t find the opportunity unreasonable.

“I think that farmers markets represent an important opportunity for wineries to increase their sales. There are 34 farm wineries in the commonwealth. There is already a lot of growth and interest in local wine…I think it’s very important.”

Oh, September. The air is getting crisp. Sweaters are finding their way back into your wardrobe…

and Boston has yet again been inundated with college students.

This leaves two challenges to those in the midst of it all. First challenge, to the college students: Stuff to do, places to go…without breaking the bank (Does Sallie Mae own your soul? Maybe just a part of it). And the second challenge, to those out of college, hoping to now escape the College Bubble: avoiding the college kids – there are places you’ll have to proceed with caution.

Luckily for us, Places to Go/Proceed with Caution all fit into one category.

After all, college is getting more and more impossibly expensive, and not every student has mommy and daddy’s plastic. To those of you who busted your butt for scholarships and worked summers and weekends to save money, fear not! There are things to do that won’t make you fear graduating with only enough money left to buy your cap and gown.

And, for those who want to forget or let go of the College Bubble, you will certainly enjoy these places, but here is a warning: The College Bubble may find its way in.

Boloco:

The ultra-popular burrito company has been Certified Green, the meat that they do use has no added growth hormones, no antibiotics, and is vegetarian fed, and the fact that their menu itself offers gluten-free, vegan, and vegetarian options…

For one, I have never been in a Boloco where the people working there weren’t way too friendly and nice for people whose job it is to wrap up burritos all day long. I don’t know if it’s the music, the food or happy pills…everyone is always courteous and smiling.

I once ordered a burrito unaware that its ingredients were not all vegetarian-friendly. Not only did the girl taking my order notify me before I paid, she gave me an email address to contact the company with, since many vegetarians had tried to order the menu item. I thought, why not? Not only did the company let me know they were in the process of making a vegetarian option, they gave me a free burrito!

Last, but not least: discounts. Though, let’s face it, Boloco’s prices are much better than some other city options, especially for the quality you get in return, but it doesn’t stop there! Even if you can’t get Boloco with your student meal plan, you don’t have to feel guilty. Boloco is often included in student coupon books, and if you sign up for a Boloco card, you get perks: free birthday burrito, the chance to try new types of burritos for free, and you can build points toward…you guessed it, free food.

Bookstore:

Ok, anti-College Bubble-ites, I know you’re probably thinking ‘bookstores? How dare you stop me from going to the bookstore!’ but let’s not jump to conclusions. We’ll just give you a ‘be prepared’, that’s all.

Think about it. Most bookstores have coffee shops (caffeine!), comfy chairs (not a dorm chair!) and lots of different things to read (not your research paper!). Be warned, once you find a good book, you’re either stuck on that comfy chair until that last drop of espresso runs dry, or you may (gasp!) purchase something. I’m talking to you, freshman-who-just-paid-for-that-latte-with-all-dimes.

Come on, support bookstores! Support the magazine and newspaper industry!

MFA:

Aside from the fact that many college students may want to visit the MFA if they are attending an art school or are genuinely interested in art, some schools in the Boston area are offered free general admittance for students with a student ID.

For full info on admission to the museum, community days and more, visit http://mfa.org/visit/

But wait! There’s more!

The MFA has a theater, where you can view films from all over for the cost of $6-10.

ICA:

In general, the ICA is an interesting way to spend an evening, from its exhibits and programs to its unique location. Just keep in mind, if you want to avoid the college crowd you may want to watch out for…
Target Free Thursday Nights! Every Thursday from 5-9PM when admission is free. Go ahead and turn on your iPod to drown out the student reflections on last night’s episode of Gossip Girl. After all, a museum visit is a great way to relax and reflect after work.

The Otherside Cafe:

Loud noises!

The music, the food, the waitstaff…and yes, the very loud music is one-of-a-kind in this terminally hip joint across the street from Berklee. If you’re trying to avoid college students you might be in trouble, but if you are longing for some good food an earful of an entire album on full blast, by all means get to the other side of that street and wait for a table (because you’ll almost definitely have to wait)! While the prices may be slightly more, it’s not outrageous for the location or the portion of food you get. And I’ve never heard a complaint about the food, whether it be breakfast, sandwich, baked goods…and oh yes, I’ve spent more than a few minutes debating over the Brie Cheese Sandwich or a slice of Pecan Pie.

…I know, I know, why not get both?

College students – grab those student coupon books. Grab a buy one, get one free coupon to a coffee shop and go with a friend! Get a few dollars off your next ice cream sundae! You can even get deals on hair cuts and manicures, or you could always go to Blaine Beauty School for a reduced rate on hair and nail treatments. If you’re interested in theater, there are always student rush tickets and student discounts. Or if you’d like to listen to some spectacular music in one of the best sounding music halls in the world, The Boston Symphony offers tickets to open rehearsals for $19, a college card for $25 dollars (see up to 25 performances), and rush tickets for $9.

Have a Charlie Card? Use it! And we don’t just mean for hoppin’ on the B line. Many places accept the Charlie Card for discounts.

So there you have it. Even if you’re trying to avoid a swarm of college students, you may find it difficult to avoid any of these favorite places. We don’t blame you. Who doesn’t love burritos, art and music? Take advantage of some of the offers here as well – we won’t tell anyone.

Independent artists: Are you searching for a unique way to display your talent for creative projects?

Wouldn’t it be great to be able to submit your songs or instrumental music in a way for individuals to hear your work-and license it for use in media?

Or wouldn’t it be helpful to have another option for your creative media project-something other than stock music?

indieTracks, a Boston based music library, offers solutions for both in a collection which categorizes music submissions from independent artists in an easy to use format.

According to the site, “indieTracks library contains a diverse collection of songs and instrumentals from over 100 independent bands, singer/songwriters, composers and other musical artists for placement in all forms of media. Right now the library includes 900 plus songs covering a vast range of styles, themes and production qualities, with new music added weekly”.

Not only innovative and creative: organized. One can browse using a customized search engine by keyword, genre, mood, instrumentation, tempo, era, length or production quality.

The company states that “The indieTracks artist agreement is completely non-exclusive. Basically, it gives us the right to represent and promote your music and you as an artist to music supervisors in the industry. In return, we will split any licensing fees we make off of your music with you 50/50. You keep all writers’ public performance fees, while we only keep the publishing royalties that are generated from usages licensed through indieTracks. If you plan to sell exclusive rights for a piece of your music, just let us know and if it’s not being licensed by one of our clients at the time, we can just remove it from our website and it’s all yours”

Artist/Production Manager Jeff Peters explained his take on why indieTracks is beneficial to independent bands and composers.

“In my eyes, I see indieTracks as an independent promoter for these artists (bands, composers) for TV, film, advertising, and media placements. We’re not pounding the pavement trying to get these bands gigs and such, but it is a mutually beneficial relationship – essentially a low-risk promotional avenue for both sides. We don’t pay for the songs to be composed, and the artists don’t pay to have their songs featured in our library. The simple motto of “we only get paid when you do” fits quite nicely … We are just offering our website as a link between those who need music, and those who have music to supply,” said Peters.

As for musicians involved, indieTracks has proven to be helpful and not at all complicated. “indieTracks is a great resource for independent bands. It has the potential to open up new avenues of opportunity and exposure. indieTracks is also easy to enroll in and easy to use. For us, it was a no brainer.” said Dave Sicilian of The Shills, one of indieTracks’ featured bands.

“The idea for indieTracks initially came from the founder of AirCraft, Robert S. Cavicchio. indieTracks was initially thought of as a creative pursuit to both broaden AirCraft’s music offerings and showcasing the talent of various independent musicians” said Marketing/Licensing Manager Jennifer Ruggiero.

(Aircraft Music Library is a production library which has been providing music for production professionals for over 25 years, www.aircraftmusiclibrary.com)

Tim Reppert, producer/engineer explains how indieTracks impacts independent artists in a positive light by helping them to expand their reach into different markets.

“We have many friends who are blossoming composers who we have tried to include in our traditional production music library AirCraft, but this is the perfect way to work with them, to represent their own material and allow them the chance to make a profit from their hard work,” said Reppert, “something that young composers don’t always find easily because artists often struggle with the business of selling their product. We are happy to lend a hand. Our non-exclusive agreement allows artists keep the rights to their music, only sharing the rights for the jobs that we bring them. Otherwise, they are free to use it, or sell it, on their own through their own connections.”

Reppert went on to explain how indieTracks works to ensure artist freedoms, “I see this as opening up their world of possibilities. Either they can just leave it up to us and the exposure of our website, and to our clients, to get them work, giving the artists more time to create more music. Or, their freedom can be realized as they use our service and learn more about the Music License business through interacting with our site and our staff as they submit their music to our site.”

The site offers an area for musicians in the “I Want to Submit Music” area, and for clients in the “I Am Looking for Music Area” in a neat layout and organized catalog-as a client you may also listen to full length cuts, download MP3s and WAV files, keep track of your usage and request custom music searches by registering online.

“indieTracks was born from the desire to make more music available to our clients … in the process we are helping bands and composers who are struggling to find ways to get their music out in the world, and get them more exposure in places that they wouldn’t normally have access to, ie, Film, Documentaries, TV Shows, Advertising, Web media and so on,” Reppert said.

Reppert added, “This empowers the artist to go out into the world armed with what they learned to make more connections and grow their own client base. And all the while we are still working to get their music licensed to our clients. A win/win as they say.”

Indeed. Musicians helping other musicians? A creative database for clients? In a business world driven by networking, bands and composers can have the support of indieTracks, opposed to just showcasing their work on a site like MySpace, because indieTracks has the client base for you to work with.

IndieTracks is forging a new path in the music industry with a business model that partners with the artist, rather than contracting them and by approaching the business from the musician’s angle.

By the way: Because of incorrect information provided to Blast, the name of Robert S. Cavicchio was spelled incorrectly.

Blast caught up with all that is going on with Caroline D’Amore. She’s an actress, model, clothing designer and DJ. She’s staring in “Sorority Row,” which Blast screened this week for some lucky winners.

Be on the lookout for her new film and her swimwear line on the catwalk.

Blast: First we’d like to talk about your new film, “Sorority Row.” Have you worked with the horror genre before?

Caroline D’Amore: No, I did a really low budget indie horror film where I played a ghost but I’ve always been a really big horror film fanatic. This is my first big horror film so I’m really excited about it.

Blast: I recently saw on another interview that you mentioned that “Sorority Row” has elements from films such as “Mean Girls” and “Scream,” can you explain that a bit more?

CD: Yeah, honestly it’s the dry sense of humor that all these young girls have.

I feel like this people will have low expectations for this movie, but the witty dry sense of humor is so right on and funny throughout the whole thing. Without the horror, it’s a comedy, without the comedy it’s a horror film. So it’s one of the better horror films. Dry and hysterical but really scary at the same time.

Blast: Do you think you’ll do more horror movies in the future, or what genre would you like to explore more?

CD: Absolutely. Maybe not the same type but I’d love to do more-whether working, writing or..I’d just like to be involved. I love horror movies-they’re never going to win an Oscar but it’s a fun time shooting, so I’m game! And everybody loves horror films, there’s a big market for them.

Blast: I’m also interested in your DJ career-how did you get into music?

CD: Honestly, I’ve always been obsessed with DJing and DJ AM kind of showed me everything. I was always watching him and thinking he was the coolest guy in the world-I still do. And I’d annoy him — ‘whats that? what are you doing there?’ And I took a job. A guy asked for a female DJ, and I told him I was, but then I thought, ‘Oh no! What did I do?’ So I asked DJ AM, and he helped.

After that I got asked to do another show, and it kind of blew up from there. I’ve been all over the world — Egypt, I did the Olympics, and then I did the MTV awards in Japan. I DJ’ed with Will.i.am and somebody in Japan came up to me that night and asked to sign me!

(Check out the track “Love Like This One,” and her new album “J-Girls’ Celebrity Mix” on Sony)

It’s been the most amazing trippy experience ever, I never thought that is where my career would go. If I had to have a career anywhere else, Japan would be the place. It’s been a wild ride and it’s so fun, and I’m actually getting offers from really great artists to remix their stuff.

Blast: So knowing about music and rhythm must be helpful when doing fashion shows, right? How does those two aspects of your life connect?

CD: Everything is slowly connecting, it’s the weirdest thing! It’s all kind of coming together. I think my future, end goal in life would probably be just to have my own production company, make my own movies and put music to it that I like. Something where I can combine all of my talents. I’m on a good path right now.

Blast: And you have a fashion line?

CD: A swimwear line called D’Amore by Marceau and we’ve done Smashbox and Miami Fashion Week, all that.

It’s on the Dash website and featured on Kourtney & Khloe Take Miami. We used their Dash models, and it was pretty cool. Seven hundred people got turned away at the door; it was packed!

Blast: Is there a specific trend in fashion right now that you really love? Or is there a trend you don’t like for that matter?

CD: Yeah, I kind of don’t always go with the trend. I really (don’t like) the little headbands that are in right now. I kind of like cool vintage rocker shirts, I love the look of looking like you raided your boyfriends closet. It’s always cute.

Blast: Anything else you’d like to add?

CD: I just want everybody to see Sorority Row and enjoy!

Blast had a chance to speak with Ben Bornstein, a Boston native, who has contributed to over fifty projects as a special effects makeup artist. He founded Creative Initiative Makeup & FX Studio in 2005 and has worked on films like “Acts of Violence” with Leelee Sobiesky, “The Fighter” with Christian Bale and Mark Wahlberg and television pilots for VH1 and Tru TV.

Now, Bornstein is back in Boston. He’s set up shop and working with the growing local film business.

Blast: So we see that since 2003, when you moved to LA, you’ve contributed to over 50 projects in the film and television industry. How did you get your foot in the door in this industry?

Ben Bornstein: I actually had gone to LA with two hundred dollars in my pocket and I didn’t really know anybody out there at that point … I had sent out 30 press kits to makeup fx studios. I got one call three months later. A lot of people didn’t want to hire new people because they’d have to train them. It was really hard to get a job. (Eventually) I got a job creating some fake money trees for a commercial on set at Universal Studios.

Blast: What was the most exciting project you’ve ever worked on?

BB: Tough question. To be on the makeup department for “The Fighter” was a huge difference for me. (There’s a) difference between being a shop technician and doing makeup on the set with the cast and crew. I’m most proud of doing in shop for 300.

Blast: What was your most stressful project?

BB: They usually all are. It’s a high stress business and the deadlines are seemingly impossible. But it was for a short film we shot at Paramount. 18 hour days, zero days off for six weeks straight. It was crazy!‚  A huge deadline. We had enough work for 15 crew members with only five of us.

Blast: And what is your current project?

BB: Just finished up with “The Fighter.”

Blast:‚  What advice do you have for people interested in getting into special FX or film in general?

BB: As far as makeup FX, get as many books and DVDs online and research it. I don’t personally think you need to go to school for it. If you want to take a course, get the Dick Smith Advanced Makeup Course. Study anatomy the best you can. It’s all about knowing the human form to the best of your abilities.

In film, start out as a PA. If you can get a PA job-especially in a union production you might have a good shot. … Have a great attitude, never show up late. Show up early.

Blast: And you founded Creative Initiative Make-Up & FX Studio-can you tell us a bit more about that?

BB: Basically I had done a couple of little jobs while in LA. I was there a little over five years and moved back to Massachusetts. It was basically that I felt that my skill level had gone up enough to handle the fx in film.

Blast: How do you feel about the future of the film industry in Boston with Plymouth Rock Studios being built and the whole Hollywood East movement?

BB: I have a really strong feeling about it. If I didn’t I wouldn’t have moved back to Boston. I have really high hopes for this city.

There were 13 features shot in Boston in 2008, and Plymouth Rock Studios is due to open in 2010 , with plans for another studio to also open in the South Shore within that time frame (http://www.mafilm.org).

Work had really slowed down in LA, because of the strikes. I got‚  a job a week after I decided to start packing (for Boston). I was lucky enough to get a job over there to work on tThe Surrogates”¦(but I was) working in LA when I wanted to go home, for a film that would be shot in Boston. I was there six weeks and the whole crew was great. I worked on The Final Destination and Shorts, and after that I had a couple of small jobs and then decided just to move. And I’m really glad that I did! Work has really picked up a lot here. It was difficult to be a nonunion fx guy, everything is union here. Since I moved home last August I had applied to be a union makeup artist. It took me between October and February to see if I was getting in. Once you get in the union it can really change your life. And when I was in LA, my last day there I got a phone call saying I’d gotten into the Union.

Blast: Anything else you’d like to add?

BB: I’d like to thank the local makeup artists in Boston who’ve given me a chance to prove myself and thank you and good luck!

We all know about the British invasion and England’s influence on rock and roll: The Beatles. The Police. The Rolling Stones. These are familiar band names (we hope). Let’s not mention Canada-Toronto gave us Rush, and who can deny the awesomeness of songs like ‘Tom Sawyer’ and ‘YYZ’? Don’t forget Neil Young either. Even outside of England and Canada, international influence in American music has always been huge. We’re not just talking about the development of waltz or opera. What about Carlos Santana’s influence on blending rock with salsa and jazz fusion? Or the influence of Germany’s Kraftwerk on Coldplay’s track, “Talk”, or the X&Y album in general? In a nutshell, we love new ideas and trends in music, and stepping outside of the bubble of the United States never hurts. Here are some bands or artists from around this great Earth definitely worth checking out.

Fiction Plane's Joe Sumner (Blast Staff Photo/Farah Joan Fard)

Royksopp (Norway)- Royksopp’s electronic music, often accompanied by creative music videos (check them out!), incorporates heavy rhythmic beats and catchy melodies. 2005′s “The Understanding” included songs such as “What Else is There” and “Beautiful Day Without You”. “What Else There” featured Karin Dreijer Andersson doing vocals for the track, adding an eerie sound with her pitch shifting and unique vocal technique. The track reached #1 on the British Dance Chart and spawned many remixes. Their newest album, “Junior”, was released on March 23 of this year, with the counterpart to the upbeat album, “Senior”, set for release later in 2009.

Shpongle (UK)- Heard of Psybient music before? You have now. Psybient mixes electronic music with ambient, world, and psychedelic trance. Shpongle, featuring Simon Posford and Raja Ram as its two core members, incorporates music of other cultures with trippy synthetic work and interesting rhythms. Individuals who love world music will enjoy the sampling selections, with works from 2001′s Tales of the Inexpressible creating such tracks as “Around the World in a Tea Daze” and “A New Way to Say Hooray”. 2005′s “Nothing Lasts… But Nothing is Lost” incorporated Brazilian influence on songs such as “Levitation Nation” with the use of sampling as well. Their next album, “Ineffable Mysteries from Shpongleland”, is set to be released late in fall 2009, with a live performance set for the Ozora Festival in Hungary as well.

Younger Brother (England)- Going along on the Psybient genre (and Simon Posford), Younger Brother (formed by Simon Posford and Benji Vaughan) may or may not conform to this musical style. Often they are classified as not being classifiable, due to their many different types of compositions for electronic music. Their 2007 album, “The Last Days of Gravity”, was released with positive reviews, and contained tracks such as the beautifully composed “Happy Pills” and the eerie yet catchy “All I Want”. The band has been compared to Pink Floyd and Radiohead in terms of production and composition style and creativity, but Younger Brother is in a league of its own, so to speak.

Heather Nova (Bermuda) – Remember the song “London Rain” from 1998? Been wondering what happened to the singer? She’s still making music and has found mainstream success in Germany with two of her albums making their way to the top five of the album charts there. While it seems completely baffling that America has seen less of Heather Nova after the 1990′s (“Siren” was a completely chilling album, songs like “Paper Cup” and “Winterblue” being so gorgeous and wonderfully performed, with “Blood of Me” and “I’m Alive” being powerful compositions as well), she is currently touring Europe, and returned to the United States after eight years in March to play in New York.

Ariane Moffatt (Canada)- Her debut album went platinum. Need I say more? Well, no, but I’d like to. There is such clarity in her vocals to accompany wonderful melodies. Even if you don’t understand French, the music speaks for itself. The single “Rƒ©verbƒ¨re” includes a great bridge full of electronic and harmonic tonalities and arpeggios. The album, “Le C…"ur dans la Tƒªte”, from 2005, features the track “Retourne Chez Elle”, which is both dance worthy and sassy. The album “Tous Les Sens” from 2008 won a 2009 Juno Award for Francophone Album of the Year.

Swell Season (Credit: Conor Masterson)

While the next two artists aren’t necessarily considered international, the world music influences they integrate into their sound are definitely worth a mention, and more than definitely worth a listen.

Toubab Krewe (Blast Staff Photo/Farah Joan Fard)

Devendra Banhart- The story goes that the artist was named after Indra, the Hindu god of Rain and Thunder. If that weren’t interesting enough, you should take a listen to his music. The musician, born in Texas, later moved to Venezuela until he moved to California at the age of 14. “Smokey Rolls Down Thunder Canyon”, his 2007 release, made it to #19 on Rolling Stone’s Top 50 Albums of 2007. Songs like the jazzy, almost Take Five like “Seahorse” and the very danceable, interesting “Carmensita” grabbed the attention of many. Banhart is set to release his next album, “What Will We Be”, for October 2009.

There was a certain something to the female singer/songwriters of the 1990s, or at least the albums released back then. Heather Nova’s “Oyster and Siren,” Sheryl Crow’s “Tuesday Night Music Club” and her self titled 1996 album, 1993′s “The Honesty Room” from Dar Williams. Whether it was something in the production style, the song structure, who knows? It was edgy without being in your face. It had a certain vibe, and each artist was unique within this genre.

One might be happy to hear that Dar Williams has not lost that edgy, unique, creative vibe.

One might be happy to hear that Dar Williams has not lost that edgy, unique, creative vibe.

Williams is ready to set out for her latest tour this August in support of her newest album, Promised Land, and the album is refreshing among the many artists these days with compressed vocals, basic chord progressions and sometimes hackneyed lyrics.

Songs like “It’s Alright” and “Summerday” pull in listeners with foot tapping upbeat country and folk sounds, while songs like “Holly Tree” concentrate on poetic storytelling skills within the carefully crafted lyrics.

Producer Brad Wood worked with Williams on the album, and the production value is evident. Wood has worked with Liz Phair, Sunny Day Real Estate, and produced such albums as Placebo’s Placebo, and Smashing Pumpkin’s Adore. The percussive, ambient, and creative production style listeners experienced in albums like Adore weave their way into Promised Land comfortably and effectively. “Midnight Radio,” which Williams covers from the stage musical and film “Hedwig and the Angry Inch,” creates an eerie ambiance while the vocals shine. “Book of Love” incorporates driving bass and strings which contrast with the authentic vocals, while “the Tide Falls Away” brings melodic drum fills and expressive guitar riffs into the evocative waltz.

The album brings us thoughtful stories and colorful characters, blending properties of folk music into what Williams calls “the big picture of how people approach life.”

Williams will highlight the album on her tour along with works from previous albums. She will be stopping in Lowell at the Summer Music Series on August 7 before heading to L.L. Bean’s Summer Concert Series in Freeport, Maine on August 8.

The 20th Lowell Summer Music Series runs July 14 to September 18 with artists like Joan Baez, Blues Traveler, Dar Williams and the Wallflowers performing in a close knit setting north of Boston.

Blast spoke with John Marciano, the director of the Lowell Summer Music Series, who gave us some insight on how the series is progressing, while Tad Kinchla of Blues Traveler gave some musicial input on being involved with the non-profit.

BLAST: So, John, can you tell us a bit about the history of the music series?

JOHN MARCIANO: Sure, 20 years ago, Peter Aucella created the Summer Music Series. He was Executive Director of the Lowell Historical Preservation Commission, and now is Assistant Superintendent for the National Park Service. It was 100 percent paid for by the Commission. And it was created to be one of the revitalization efforts in Lowell to help bring Lowell back. It started…with local artists, and small roots. Everything was free.

The Lowell Preservation Commission doesn’t exist anymore, so the question was: What do we do with the Lowell Summer Music Series? It was getting to become popular and iconic in Lowell. It became a self sustaining, not for profit music series, that had to pay for itself to survive. Its about great entertainment in great prices in the smallest outdoor venue you’re going to see any of these artists at.

It’s helping to make Lowell a great place to live and to visit.

BLAST: Who comes up with ideas for artists to perform?

JM: What we do is we poll the audience. Our website is lowellsummermusic.org, and you can click on the survey and throw in your personal suggestions and we will get those.

BLAST: That’s great! And funding is through sponsors?

JM: Absolutely, we’ve got a number of national sponsors. Our main sponsors are Wholefoods and organic food bases. Positive type things that go well for the National Park Service.

Sponsors include 92.5 The River, Project 7, Apple & Eve, Honest Tea and Jim’s Organic Coffee. And the sponsors contributions are very evident.

Eastern bank helps get kids under 12 for free. Can you think of any other music (event) where kids under 12 go for free with their parents? We’re seeing a boost in popularity because…people are more concerned about the most for their dollar. Quality and value. So much more for so much less. Family atmosphere and environment!

BLAST: It seems that the Music Series has been getting bigger names from the music industry over the years. How has it turned in that direction, or why?

JM: We focus on blues, folk, rock or classic rock and roots music. And so that’s kind of the genres we bring in. And in those genres we try to get the very best acts that we can, that can attract a wide variety of concert goers. I want to hire acts that are very popular and that will sell well. I’m not thinking so much on demographics. Michael Franti and Spearhead is very different from Joan Baez. Each has their own audience and demographics. Spearhead goes into our roots audience, and Joan Baez has her folk audience.

The Lowell Summer Music Series has two main presenters-Lowell National Historic Park and the Lowell Festival Foundation, our non for profit organization. Those two entities make this non for profit series happen!

BLAST: What else would you like us to know about this concert series?

JM: There is also a kids series at 11 a.m. Free fun for kids — the show is free, the drinks are free and there are free art activities. Today we had about 750 people. Imagine being a mom or daycare provider and seeing how cool it is to see that the music is free, the art is free and the food and drinks are free!

Blues Traveler had not played the Lowell Summer Music Series before, but Tad Kinchla only had good things to say about the vibe and organization.

BLAST: What do you like about performing at a non-profit, self sustaining program?

TAD KINCHLA: As often as possible it’s nice to get involved in non-profit gigs. It always makes for a cool vibe. There’s a different vibe than your basic gig in New York City.

BLAST: What are you guys looking forward to for this gig?

TK: In the summer we prefer playing outside. It’s a better experience, and it’s less crowded. It’s one of the nicer experiences for us.

BLAST: And you will be performing at the end of the month?

TK: Yes! And we’d like to get back to the Northeast.

Blues Traveler stopped in Lowell last summer with Live and Collective Soul and will be performing at the series on July 31 at 7:30 p.m.

James Reinhart, one of the founders of an innovative new company, called ThredUp, came to speak with Blast recently. Reinhart and friend Oliver Lubin are on a mission to add a refresh button to your closet.

BLAST: So, James, we hear you’re a Harvard guy, correct?

JAMES REINHART: Just graduated actually, last month, with a joint degree program at Harvard Business and Harvard Kennedy School.

BLAST: And how did the idea for ThredUp come to mind for you?

JR: I was literally getting dressed last November and doing the classic “going through stuff in my closet,” and there was all kinds of stuff in there in good shape, but I was tired of wearing it. And it occurred to me; lots of people have tons of stuff and feel they have nothing to wear. I asked around and everyone said, “I have the same problem but I just let stuff pile up in my closet.” So I thought, why don’t people transact in the used clothing market place? It was really a sort of “aha” moment at seven in the morning.

BLAST: And the economy hasn’t hindered business at all? It sounds like this is the right time for something like ThredUp.

JR: Yeah and I think this is a time where Americans are trying to economize and cut back on luxury purchases. It’s accepted more; now is a great time for used stuff. You see transactions on every used marketplace and they’ve gone up. People are trying to get more value from stuff they already own.

BLAST: How do you think ThredUp is helping the fashion world environmentally?

JR: Well, I think it’s a classic example of trying to do more of a reduce, reuse, recycle mentality. We all have enough stuff in our closets that just aren’t new to us, and if someone else were to use the item they’d be perfectly happy with it. I mean, we haven’t done a carbon footprint analysis”¦ but it’s a lot more environmentally friendly than buying new items from China. I think that matters.

BLAST: And its similar to how Netflix works?

JR: Yes, exactly, and its exactly how Netflix works with the exception that Netflix goes through its warehouse, and we are exactly peer to peer.

BLAST: So its different from consignment because you can constantly recycle and keep clothing from being wasted? Or how would you describe the biggest and best difference?

JR: Yeah, so if you compare it to a place like Second Time Around, the difference is that for most people, its not as easy to get to these consignment shops. The average person on a Saturday doesn’t have time to do vintage shopping. You can do it all online “" sizes you wear, brands you like “" all those types of things. You can do it at midnight on a Wednesday versus going to a vintage store. It’s a real time efficiency issue. And some consignment stores are set up a bit haphazardly, where you’re trying to find the diamonds in the rough. And most of those diamonds in the rough are in other people’s closets. We can help you shop from other people’s closets.

BLAST: Do you think this will effect other industries and how they operate sales, recycling, or renting? After all, movie rentals were impacted by Netflix in a huge way.

JR: I think what you’ll see is that retailers will understand that consumers want more environmentally friendly items, and want to get more value for their goods. This movement to discount and get everything cheap will (be helpful) in the long run. I’m not sure how it will change the entire industry, but you can mix and match between new and used.

BLAST: And your pilot went well?

JR: Yeah, the pilot went great. We had 160 uses in a men’s pilot, and just over several months from February to April with an 85 percent satisfaction rate. Eight out of 10 are major indicators.

BLAST: Are you going then market to men, women, children?

JR: We are relaunching with men’s and women’s and hoping to add kids in about a month later. Kids are a natural fit for us because kids grow out of their stuff so quickly. We’ll be doing the hand me down experience “" quicker, faster, and more efficiently.

BLAST: Anything else you want to say about ThredUp?

JR: I think ThredUp is a real experience product. I think people need to really give us a chance. I noticed in the pilot, a lot of people outside of the 160 signed up but then chose not to use their envelopes. And the people who did really do it liked what they got. And that’s part of the fun. You can get cool stuff delivered to your doorstep based on what you specified. Its not just great value, it has a fun aspect.

ThredUp points out to us: Why can’t it be painless to get rid of stuff you don’t wear anymore, through an easy and cheap process to get new stuff that you will wear?

Joel Williams, a ThredUp client from San Diego, recommended the service.

“So far it has been great and I think the key thing they’ve done since the beginning is using high quality items. The results have been positive for me” Williams said. “If you wanted to, you could use Ebay, but the coordination costs would be so much. They (ThredUp) do it at a price that is much lower than the value it delivers to the customer”.

Right now, the first 1,000 registrants can try ThredUp for free the first three times. You can sign up at Thredup.com and be notified when registration opens.

Blast took a moment to talk to actor Corin Nemec about his role in the chilling “Bundy,” playing the title character of serial killer Ted Bundy. We also asked Nemec what inspires him, like … “The Goonies?”

BLAST: So “Bundy” is coming out on DVD soon, and we have to ask: How did you prepare for playing a character like that?

CORIN NEMEC: Well, you know, really it’s about research. The thing that helped me out most was watching certain videos that he did. Namely the big interviews that he had “" he did several of them. What caught me most was in some of the video footage of him by news teams when they were filming them, and he was not necessarily aware that he was being filmed. He would get these looks on his face. These really jarred, sardonic looks … He would kind of break character as I call it. He would go from his social Ted Bundy to whatever is going on inside. That was kind of my peep hole … and I’d think, “this guys has got a serious dark side.”

Not that it wasn’t obvious in the first place, but that’s what was helpful to me. His motivation “" and this I can’t confirm “" it’s what I discovered in my research and what Mike Feifer had discovered in writing this script “" though we don’t address it in the film “" when he realized that he was an illegitimate child, but his father still claimed to be his father. What dawned on me was him possibly being a child of incest. And this was a discovery he’d made after college. And so that to me was the catalyst for his so-called insanity. I thought it was that point that he just completely lost it and went over the edge and really embraced all the dark fantasies that he had.

BLAST: And what attracted you to the script and the character for this role?

CN: Well, Mike Feifer and I worked on “Chicago Massacre,” where I played Richard Speck, and I had a great time working with him as a director, and I think we really gelled and work well together.

I hope to work with him again in the future. He also worked on “Boston Strangler,” and I played a small role in that, the Boston Strangler’s lawyer. And when Ted Bundy came up, and we got the green light on that and he asked me I jumped at that chance because I had the opportunity to work with Mike Feifer.

BLAST: Did you ever find it difficult or chilling to get into the mindset of the character?

CN: You know, not necessarily, but I definitely found moments; about halfway through it “" which is rare for me, because I’m not a method actor and I don’t take things home with me “" where I really felt nauseated by the guy. It wasn’t when it was necessary for me to be the character but those in between moments. I was like, “Wow. I just feel so creepy.”

BLAST: Speaking of acting and technique, we heard you were very much influenced by “The Goonies.” Is this true?

CN: Well yes, in many ways. My father was the art director in that movie and when it came out “" although the characters were about two years older than I am “" when it came out I was about the same age. My father told me it was something I would really love. I came from an artistic family … so I had been around theater and music and then film and TV. So I knew that film and TV, there was a process that went into making it. And I understood that these people were acting and that they were on sets and all this stuff and then at the end they would put it all together and these people would have this life outside of it … and I was such an imaginative kid, and I realized that, you know, it was an opportunity to do that same thing but on a much more dynamic level. And be able to watch it back. That was what blew me away the most. I can go pretend to be someone else in a real setting, someone will film that, and put it together. And then you can watch the experience that you had back, in the order its supposed to be in! And I was just ten or eleven years old and thought, “Wow! This is incredible.”

And that’s what struck me about it and inspired me to become an actor.

BLAST: So what genres attract you the most? Adventure? Sci-fi? Horror?

CN: No, I’m not really specific with what I look for in a project. Is there something I can bring to the character? Is there an arc? Do I think I can bring something to the project that is going to possibly make it better than what it already is? And if I can answer yes to those questions, then … its really about what character am I playing.

BLAST: But you have worked in sci-fi before, correct?

CN: Oh yeah, I did “Stargate SG-1,” the series. And then have done numerous of these sci-fi oriented movies for the SyFy Channel but, outside of that, my previous work before that was drama and comedy. The first time I got to do anything outside of the box was “The Stand,” playing Harold Lauder, which was my first step into that sci-fi horror kind of world.

BLAST: What character would you love to portray in a film?

CN: Well again, I don’t know what I’m looking for in a character until I read it. Its not like I’m pursuing a type of character out there that I’d like to play. If the character is something exciting for me to play that I can bring something to,then I would go for it.

BLAST: So, what are your aspirations for the future?

CN: Well, I have a production company with David Faustino. We’ve had a production company for a few years now. It’s opened up a lot of doors. We’ve been working on some reality shows and fully scripted shows and feature films. We have a lot of things in development and in the meantime I pursue my other acting projects on the side. But that’s what is exciting to me right now with the production company; it gives us the ability to write our own stories … instead of being at the whims of Hollywood.

BLAST: What is the series that your production company worked on?

CN: Star-Ving. (The series was released in January 2009)

Nemec will star in “House of Bones,” set to be released later this year, along with Charisma Carpenter (“Buffy the Vampire Slayer,” “Angel”). “Bundy” comes to DVD July 21.

Blast had the chance to chat with Josh Keaton, the voice of Peter Parker and Spider-Man, himself, for Disney XD’s Spectacular Spider-Man animated series.

Keaton’s career has spanned over many types of media, and he was kind enough to let us in on what its like to play Spider-Man, along with some thoughts on video games and comic books.

Sci-Fi and comic book geeks rejoice!

So you’ve been working on the voice of Peter Parker in The Spectacular Spider-Man — what’s is it like to be the voice of one of the most popular comic book heroes?

It’s awesome. Speaking as a geeky comic book reader and gamer, its something I’ve always wanted to do, and I’m glad it turned out this way. It’s daunting, because I know how popular (Spider-Man) is, so I wanted to put forth something I as a fan would want to watch

Do you have to get in character, or do you prepare before going into the studio?

Yes, we get scripts a few days in advance, but now that I’ve got to see how the show is put together, I can visualize how it’s going to be (while in the studio). I kind of go back to how I was in high school. I was a total dork and couldn’t get a date-but I was also a child actor … so I guess I have experience with that double life.

And you’ve been doing voice over work for quite some time now, correct?

I’d been doing on camera, it was how I got my start. I did animation for a while, and then focused on screen and music. Then after Hercules, I got a specific voice over agent.

What has been your favorite role so far?

Spider-Man without a doubt! For one, I was a lifelong reader as a kid. They way they write the story is not just for kids, and I love how it’s serialized and the supporting characters are just as interesting. But I’ve enjoyed a lot of characters.

No to mention you were in Alex Mack. I know a lot of people from my generation loved that show!

It was great, it was awesome. Larissa was great. I was supposed to be playing‚  someone older than Meredith (Annie Mack), and she was older than me … ways remember Alex Mack because I didn’t have a drivers license, but my character had to drive a stick shift. I kept thinking, “I hope I don’t stall, I hope I don’t stall!” … and I didn’t!

As for video games, what types of games do you like to play?

I like to play everything. I’m a recovering World of Warcraft addict. I like character based games and first person shooters … driving games are huge for me. I’m currently playing Fable 2. I like games with stories and, aside from driving, I’m a big fan of the Resident Evil series and the survival story. There aren’t many games I don’t like. If its a good play and a good story, I’m game.

And since you’ve been doing work with comic book stories, and you mentioned how you enjoyed reading them as a kid. What are your favorite comic books?

Spider-Man, Batman, Superman. I loved Wolverine. He was probably my second favorite, and the Logan/Wolverine stories. They’re short guys. I’m 5’9″. It’s always cool to see the short guys kicking ass. Plus, Peter Parker uses his brain and his brawn.

Your work really spans over all types of media, from music to voice-over to acting. What are your aspirations for the future?

I would like Spider-Man to do as many seasons as they can, and maybe go to DVD for more storylines. As for music, I’m in the studio working on my own stuff and there are some groups I’m working with. I love to do projects that relate to something I’m passionate about. SciFi, history, I love to do cool characters and character work.

Keaton has appeared in several films including: “Newsies,” “Horror High,” “All I Want For Christmas,” “Judge and Jury,” and “Chimera House.” His has lent his voice to “Hercules” with James Woods and Danny Devito, “The Wild” with Keifer Sutherland and Jim Belushi, and “Doctor Strange.” He has appeared in several television shows, including a role in Jerry Bruckheimer’s Skin. He has also voiced several video games besides Spider-Man titles, including Metal Gear Solid, X-Men Legends, SOCOM, Ninja Gaiden, Marvel: Ultimate Alliance, Area 51, Spider-Man, and several others.

By the way: Because of a reporting error, we incorrectly listed The CW as the network of record for the Spider-man animated series. It’s actually Disney XD.