Da Musically Inclined Bomb

DePauw University's First Year Seminar on Writing about Music

Saturday, September 02, 2006

Modest Mouse review

Modest Mouse - Good News For People Who Love Bad News

For this band's eighth CD in ten years, one might have hoped they'd grown up a bit. While generally this is not the case, by no means is this album a reason to give up on the band altogether.

For one, the vocals, although mediocre at best, are supported by curiously melodic instrumentals. And by instrumentals, I mean all instruments - yes, there is guitar, but also horns, piano, strings, and even an organ (during "Interlude"). These unique backups are mellow enough for an afternoon of studying, but also interesting enough to stand alone when focused upon.

Lyrically, the band has made progress - there are more words now than there were ten years ago to fill four minutes - but are largely by no means inspired. Too wacky to be righteous, and too amateur to be profound, the band members' choruses often exist of a single repeated line, or abstract couplets. Take the opening chorus of "Float On":

And we'll all float on ok
And we'll all float on ok
And we'll all float on ok
And we'll all float on any way well


Catchy? Yes. The stuff of legend? Hardly.

While the song set isn't terribly cohesive, it does get better as it goes on. The opener is a "Horn Intro", vaguely jazzy until an irreverent glissando. Following are "The World at Large" and "Float On", which manage to say enough to convince the listener that they have indeed said something. (What that is, exactly, is up for speculation.) In "The Ocean Breathes Salty", the listener can breathe easy with this poppy, bluesy, radio-worthy tune. The lyrics are still a bit insubstantial, but memorable enough to stay in your head in a good way. Next we get "Bury Me With It" after its thirteen second sitar-like intro, "Dig Your Grave". The verses make this song worthwhile, when the songwriter makes admirable steps toward candor. All hope looks lost in “Dance Hall”, which besides a catchy rhythm has few redeeming values. In a complete switch, hope is restored with “Bukowski”, even more poetically inclined and complemented nicely with agreeable instrumentals.

With that, the first half is ended, as we are reminded with a horn introduction to “This Devil’s Workday” so like the opening it brings déjà vu. As for the rest of this song, its best rationale is comic relief – but by now the album has grown on the listener, so this moment of silliness prompts a smile and a warmer anticipation for the remaining songs. As a good wine, the listener won’t be disappointed as the album comes to a close. Things definitely start to look up in “The View” (no pun intended) and continue through “Satin In A Coffin”; lyrics and melodies, respectively, improve until – after the hymn-like “Interlude” – a graceful climax is reached in “Blame It On The Tetons”. The crooning vocals and smooth jazz feel of the accompaniment achieve a respectable sincerity most indie bands strive for. In this gem of a song, all hope for the band’s future is resolvedly reaffirmed. The last three, “Black Cadillacs”, “One Chance” and “The Good Times Are Killing Me” pick up the pace and let some of the emotional heaviness go, but finish out sixteen tracks nicely.

The chorus of “Float On” is actually a good quote for the album as a whole. "Good News For People Who Love Bad News" - sung in the chorus of "Bury Me With It" - is a tad ironic, given the mellow, slightly whimsical tone and sound. "Float On" seems more appropriate, for this is what the band and album does. It’s never too depressing, but avoids the richness of emotional depth. While the lyricist is no Shakespeare, the melodies are musically satisfying, and speak eloquently to ten years’ development for Modest Mouse. So don’t despair. Fans will enjoy this for its quirks, and all can look forward to further installments. Modest Mouse will reach indie nirvana someday. After all, slow and steady wins the race.

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Sources: AZ Lyrics, Wikipedia

A Little Bit Brilliant

Singer/Songwriter/Comedian Stephen Lynch’s A Little Bit Special is much more than special, but extraordinary. His smooth guitar licks and rhythms make his jokes all the more shocking. His debut album covers satirical looks at an inadequate father, obsessive fans, and Jim Henson’s Muppet characters. Lynch’s angelic voice is perfect for the music’s hard hitting lyrics. His songs can be offensive if they are taken too literally. If you are easily offended you should not listen to this CD, however, if one would like to experience great music and witty humor, then Stephen Lynch is just for you.
The CD begins with a lullaby, titled Lullaby (The Divorce Song), which has a sweet and dreamy feeling with the narrator trying to explain to his daughter why her mom is not around anymore. The following lyrics are as follows: “Cause Daddy likes porno and ten dollar wh**es, Daddy gets wasted and robs liquor stores, Daddy likes rubbing against little boys on the bus, I think that’s why your mommy left us.” These lyrics that are so truly disgusting are easy to sing based on Lynch’s catchy song writing abilities. Instead of playing notes sounded together in chords, Lynch uses his fingers to hit every note of the chord giving the peaceful feeling. To compound the beauty of the song, the last verse uses the cello accompaniment that is spectacular. The song is so beautiful, had the lyrics not been for comedic purposes, the music would be a standard for any children’s lullaby.
Two more songs on the CD that deserve special attention are “Special” and “RDC (Opie’s Lament).” “Special” is about a friend named Ed, that is mentally handicapped. Lynch uses “Free Bird” style guitar part to give an anthem to his friend. The lyrics go from Stephen’s daily life to Ed’s daily life. An example being: “I ran track, hung out in malls. Ed ran headfirst into walls. As for “RDC (Opie’s Lament),” is about an obsessive fan of Rae Dawn Chong. The lyrics become more and more intense with obsession until he says: “and here inside my prison cell, just lying in my bed, I wonder if you loved me when I shot you in the head.” Remember to keep a sense of humor when listening.
Every song on the CD is worth listening to, especially the above mentioned and Jim Henson’s Dead, Gay, Half a Man, Priest and the hidden track Kill a Kitten. By many standards Stephen Lynch is a musician before a comedian. His blending of beautifully crafted music and utterly jaw-dropping lyrics sets him apart from almost all others. Do not be alarmed after listening if you are singing his songs; you are not sick or unsensitive, Lynch is just a very talented songwriter.

A Different Kind of Pop

Chapter 6's second album, Swingshift, reaches out to all audiences. The christian accapella group, aware of their diverse listeners, targets not only christians, but non-believers as well. As a followup to their debut album Live, Swingshift pleases both old and new listeners.
Their eight minute version of "The Wizard of Oz" is something both the young and the young at heart can enjoy. Other classics include "What a Wonderful World" and "Don't You Worry 'Bout a Thing".
But don't worry, they are not a cover band. The CD includes originals such as "Lost in Canada", the tale of the aftermaths of a wrong turn in Ohio, and "The 7th Wheel", the woe-is-me story of their seventh member.
There is even something for those who enjoy standard songs with a twist. "Variations on It Don't Mean a Thing if it Ain't Got That Swing" features the great jazz song sang in ways most people wouldn't think, such as hip hop, salsa, a love ballad, and even a gregorian chant.
While Chapter 6 also sticks to their Christian roots for songs like "God's Love", Swingshift is definately an album everyone can appreciate, even those who aren't usually into accapella. The classically trained musicians create a new kind of pop, one pleasing to everyone's ear.

Bernard Melts Faces

Artist: Bernard
Album: A view beyond a cave
Label: Floodgate Records
Myspace.com/Bernard
Reviewed by: Tommy Good

I have never so instinctively bought a CD after hearing only half of a song live. I heard a few of their last chords just because I went to see the band playing after them, and I started kicking myself as soon as I walked under the tent that I hadn’t come to hear them. Bernard is a fairly new band under the fairly new Floodgate Records, which is a “new-age” ambient Christian rock.
I expected a lot from the album after I heard them live, and I got just that, and then some. “A view beyond a cave” is best described as ambient, atmospheric rock that completely sweeps you away into another world. Bernard’s melodies are so beautiful and melodic, whether I am happy, down, spiritual, or angry, there is never a time when they are not the perfect band to listen to.
Bernard kicks off their awe-inspiring album with a 54 second intro with a continuous crescendo of dazzling synth and stunning guitar, which ends with a subtle cymbal splash to begin their first real song. After hearing their first song with the steady build up of piano, guitar, synth, Jonathan’s mollifying voice, and eventually an amazing drum and bass combo, you think that the rest must be downhill. You soon discover how painfully mistaken you are when the rest of the album plays and you find yourself nodding and tapping along, stopping whatever you were doing to give them both of your ears to experience all the beauty and bliss that Bernard has to offer in this album.
The only negative thing I can say about this album is that it is too short, having only 7 songs, not including the intro. I definitely would not have minded a couple more spine-tingling tracks.
You will be seeing big things from this trio!

I almost forgot to do this CD review....at yet I'm the first one to post

Artist: Celine Dion
Album: All the Way...A Decade of Song
Released: 1999
Label: Epic/550 Music
Tracks: 14
Reviewed by: Kathryn Hoffman


"All the Way...A Decade of Song" by Celine Dion is a collection of her top ten hits, plus four new additions. This CD is meant not only for her, but for her fans. This is the first time her best songs like the "Titanic" Theme Song, "My Heart Will Go On", "Because You Loved Me", "Beauty and the Beast", and many others.

The best part of this album is that it is not only a compilation of her top hits of the past, but it has new songs too. You can hear the difference of old and new.

Dion's voice is a force to be reconed with, it is so versitle. It soars over great jumps in "I Want You to Need Me", while there is a more popular feel to "If Walls Could Talk". She has a great traditional tone in her duet with Frank Sinatra in "All the Way".

The one disappointing track of the album is "Love Can Move Mountains". The piece does not show off her vocal talents and does not match the tone of the other songs. It is very gospel and cramps her rich voice.

All in all, "All the Way...A Decade of Song" is a winner. It is a bunch of Dion's top songs along with seven new additions to her collection. A great purcase of r avid fans and new comers alike.

Friday, September 01, 2006

MacGamut Part Six

Hey Kids... and Dennis.

Those of you who helped me out with the online deal for MacGamut, they have arrived. I got them to some of you but not all. Please remind me the next time you see me that I owe you a copy.

Speaking of owing. Everyone who ordered MG owes $28. Preferably, write a check made out to Yvonne Janvrin (my mom). If you only have cash, that works too. I need the money together by Monday.

Questions? You know where to find me.

Becca

Wednesday, August 30, 2006

My edited CD review

Piper At The Gates Of DawnLime and limpid green the soundsurrounds the icy waters underground- Astronomy Domine

For people who are on the same quantities of drugs as Syd Barret was during most of this recording, this album is Pink Floyd's great lost masterpiece. For the rest of the world it is an interesting footnote to the career of a band that went on to record truly classic stuff like Dark Side Of The Moon and The Wall. For me, I think this album's true worth is somewhere in between these two assessments. For all the brilliance of Barret's concepts and lyrics and for all the raw talent of the band backing him on this, the simple fact is that a lot of this material sounds dated and juvenile compared to what Pink Floyd was doing a few years later. Syd Barret has some fairly dedicated fans who believe this is the greatest album ever released. Most people aren't even aware that it exists. The casual Pink Floyd fan isn't going to get this. Some random steakhead who picks this album up because he likes to listen to that "we don't need no education" song while warming up for wrestling practice is going to be horrified by most of this. In fact he's probably going to have to beat the crap out of somebody to feel better about himself after listening to fruity songs like The Gnome and Flaming.

Barret was a screwed up drug addict who for some reason had a really big thing for nursery rhymes and Lewis Carroll books. That type of thing will happen when you drop that much high grade acid in a short period of time. It's pretty obvious listening to this that Barret was completely out of his mind by the time this was recorded. The lyrics are mostly centered around fairy tales with elves and castles and stuff like that, with some eastern philosophy ( Chapter 24) and space rock (Astronomy Domine) thrown into the mix for good measure. Barret likes to play around with wording and concepts so that a lot of things have double meanings and sentences and phrases don't really seem to make any sense. A good deal of this is purely psychedelic and that is played out to maximum effect on the album. Pink Floyd doesn't sound anything like this today, they are too modern rock oriented to be able to write off the wall experimental stuff like this. Random instrumentation is scattered across the entire album without much meaning or sense of continuity. Atonal jarring sound collages and tape effects are thrown in at times as if to fully illustrate the insanity of the author behind this music. Barret was good for writing hit singles when Pink Floyd was playing clubs, but at this point he was almost through writing music altogether. It reminds me of a story that I once heard about his last tour with the band when Barret would stand mute on stage playing a single note over and over again for the whole show while the rest of the band would try to play their songs. Barret by this point was more interested in dropping acid and reciting nursery rhymes than playing in a rock band.

There are times however when Barret's unusual approach does work with the rest of the band and a few good songs actually do emerge. The results are phenomenal and illustrate the true genius that he had for writing music. The menacing surf guitar tone and heavy bass on Lucifer Sam shows off Pink Floyd's dexterity for taking psychedelic source material and writing great hard rock songs with it. Likewise the instrumental freakouts on Astronomy Domine and Interstellar Overdrive make today's space rock bands sound like amateurs by comparison. These songs make the album a worthwhile purchase for dedicated fans of this band. The unfortunate fact is that due to Barret's drug induced psychosis, a lot of the material is just too strange even for a Pink Floyd album, relegating it strictly to cult status. Most people who don't know much about Pink Floyd won't understand or appreciate much of this, but there is true genius at work here.
* * * *Reviewed: March, 2003

http://www.geocities.com/fallenempire2000/trendy/floyd.html

Tuesday, August 29, 2006

the review i chose:

Hello ADULTS,

Heres a link to the review for Wednesday's class.

And since we talked about in Tuesday's class, heres a couple of links to sights with info pertaining to people/bands/terms in the article you may not be familiar with:

The Shaggs

Carrie-Brownstein/Sleater-Kinney

Ziggy Modeliste

Gertrude Stein

-Dennis Fuller


don't you want to know how we keep startin fires??

For class tomorrow

Hey kids.

I figure we'll have to share our musical critique examples, and rather than print off a gazillion copies, you can find my article here.

Thanks!

Becca

Sunday, August 27, 2006

The first time I heard the theme song to “Barney,” it's loving message enveloped me, and I knew I was destined to be a musician.

Just Kidding.

Actually, in an episode of the television version of “Madeline,” one of the characters takes up the violin. You’d think one of the Parisian friends of Madeline would be a natural at the instrument. She sucked. It was comparable to handing Garfield a violin. I remember flowers drooping in reaction to the squawks she produced. The girl continued to practice as her music began to draw crowds. I was attracted to this concept of improvement and wanted it for myself.

This, combined with desires to show up the kid at school who played “twinkle twinkle” at the talent show each year, sparked my interest in Violin. I began lessons.

I slithered through the Suzuki books, admiring my development as a musician. But I felt physically uncomfortable with the instrument. I was terribly aware of the violin itself; each day became a battle to see how long I could stand the teeter-tottering of the instrument on my collarbone.

Meanwhile, I became a fifth-grader. I joined band because I thought it was cool. We were sent home with instrument forms, and my mom granted me permission to try trumpet (my idea) and flute (her idea).

Although I couldn’t get a sound out of it, I chose the flute because my mom spent a week telling mournful stories about her childhood wish to play the instrument. I became the proud owner of an instrument I couldn’t make a sound on.

Three weeks into flute class I became the last person to make a sound, but from there the music came naturally. Regardless, the next few years were the dark ages of my musical history. My middle school mind was preoccupied with strawberry-coconut lip-gloss and whoever had first chair. Then, one month before high school I decided I wanted to be the best flute player in school. It’s a matter of opinion whether I accomplished that, but I won first chair in our top band (we had 7). A rash crawled up my arms and neck the moment I finished my first band solo ever (fortunately, the rash was a one time occurrence). I set up my first flute lessons after freshman year and joined my first honor bands and college bands sophomore year. I learned about the Minnesota Youth Symphonies, and earned a spot for my last two years of high school. I had always enjoyed playing flute, but when I corresponded with a symphony for the first time I was on the high of a lifetime. I couldn’t shake the feeling I was in love and realized it was the music. Playing was no longer about competition and improvement (though they make good motivators) I spent the next two years filling a resume of summer programs, competitions, conventions and other various performance opportunities to thrust myself toward the orchestra world.

Unless I get bitten by snakes on a plane and need my arm amputated, I will one day be in a symphony orchestra. It will be a long road- but the whole point to a roadtrip is the drive along the way.

Self-proclaimed musician

According to legend, I started my musical life in first grade. The director of the “young strings” program came to class one day and described her orchestra program for students in elementary school. Well, I was pretty excited. Both of my older sisters played violin, and I always wanted to play like them. I went home that day and asked my parents if I could join the program. My parents finally decided I was too young to begin such an expensive undertaking, especially if I would just get sick of it and give it up in a few days.
However, I have never been one to listen whole-heartedly to my parents, and in this case the benefit was immeasurable. I singed myself up for the class at age six. I remember my teacher, Mrs. Farlow, handing me a small, hideous sounding school instrument every other day, and she always asked, “Emily why don’t you have an instrument of your own yet?” I usually made up some lie because I didn’t want her to know that my parents were unaware of my activities.
Eventually, she called home. I remember my parents’ shock at my determination to play the violin. They agreed if I wanted to play that badly, they would buy me an instrument. I was ecstatic. I have continued playing violin ever since, and I still do. I even brought it to college with me.
My foray into orchestra led me to want to be involved in music forever. In fifth grade I entered the ISSMA contest for singers. I had never sung solo before and I was terrified, but despite my doubts I learned the piece, “Getting to Know You” and won a first place ribbon. It was then that I discovered how much I truly loved to perform. I loved to portray a character through song, and I placed first in the contest the following year as well.
Once again, I took matters into my own hands. I decided that along with violin lessons, I wanted to have private voice lessons. I had to sign myself up for lessons again. This time, my parents trusted my judgment. I began lessons with Barbara Horine, at my school, in seventh grade. I tried really hard. However, I never felt like I was enjoying my singing. I didn’t know what I was doing wrong. My improvement was inconsistent and I knew I had not found my niche. Then, I tried out for the junior high school musical, Oliver!. I received the part of Nancy, and it was a huge scandal. A seventh grader getting the lead in the musical! The student body was really mad.
When I performed that role I realized what I had missed in my singing. When I was onstage, the music came to life. The music and I became one in the same. I loved the expressiveness of the theatre. I loved entertaining the whole auditorium. The musical was a huge success, and I managed to make a name for myself before entering high school. Since then, I have performed in many musicals at school and in the Indianapolis community.
The theatre made me relate and embrace the passion found in music. Suddenly, I wanted to do everything. I started to play the guitar, and later the piano. I couldn’t, and still can’t, get enough music in my life. Whether it is just sitting in my room listening to rock, or attending an opera, I love the concept of performance. I love being part of a room full of people who are all swept away by the beauty of music. To me, music is truly a way for souls to connect.

Many Dreams to Come

For as long as I can remember, I had wanted to play violin. As soon as I could talk, I asked my parents to let me play. For years I asked, over and over again. Finally, when I was six, my parents decided it was time to let me try.

Unlike many beginners, at my first lesson, a real instrument was placed in my hands. I stared at it lovingly before carefully placing it under my chin. I learned to play "See Saw" that day, and practiced it over and over that week in anticipation of my next lesson.

Around the time I was in third grade, and had been playing for about two years, my teacher decided to put together a string quartet. She had a cello student, and three violin students at about the same level. I was the youngest of the group, so I got to learn and play viola. We were called KEEP the Quartet, Kathryn, Emily, Emily, and Paula. We played together for years to come, sometimes we were payed to play weddings, other times we went to music camps as a group to improve our playing.

My sixth grade year, I auditioned for the DuPage Youth Symphony on violin and viola, I ended up sitting principal viola in the less advanced orchestra, ahead of my older students. The next year I played violin in the advanced orchestra, and french horn in the lower one, needless to say, it was a long Monday night. Then, my eigth grade year, I only played violin in the top orchestra becausethe orchestra was taking up too much of my time. I stopped playing in the Youth Symphony at the end of that year, so I could play in my high school one.

High school orchestra ended up being a mistake. Most of the members had only been playing for a few years and had never had private instruction, and the director had no string experience whatsoever. I only played with them for that year.

M freshman year I also joined the DuPage Symphony, of which I was the youngest player. We played full Symphonies, not arrangements, at monthly concerts. I loved the director and the orchestra. Unfortunately, I had to quit after that year due to some psycological problems.

Throughout high school I continued to take private violin lessons and teach them. The summer between my junior and senior year, I went to a music camp in Kansas called Sound Encounters. Brian Lewis, Michael McLean, and many other professional musicians taught at the camp. I was placed in a violin quartet under the instruction the viola professor at a college in Utah. Through her instruction and playing, I realized how much I love the sound of the viola. I immediately told my violin teacher, who was at the camp, and we discussed the pros and cons of switching.

My parents were not at all pleased by my decision, but they decided to let me try to get into a music school on viola. I worked very hard my senior year to keep my grades up and get my viola playing as advanced as possible. I auditioned at three schools and knew I wanted to go to DePauw. When I heard I had gotten in to the school of music I was very excited. All I needed now was a scholarship. When I got that letter, I knew my dreams had come true.

I am at DePauw studying viola performance. My dream would be to one day become a member of the performing group Barrage. I would also love to teach private lessons and be a member of a professional symphony. Although many of my dreams have come true, I still have many more to come.

Grrr to Emily and Kit Kat

Alrighty then! So, I was going to save the best for last but Emily and Katherine are taking to dang long. My musical journey, eh? Well, back when I was a kid ... it was common for a famous musicians or two to play at the mall by my house. I believe it was about 4th grade when I was walking through the mall and heard a beautiful noise. Who was it you ask? No one but Kenny G himself. I was convinced, I needed to become a G myself and play that sax!

Sax? You may be asking, "Whaa, she plays trumpet!" Well, haha I fooled you all! Today you will hear me play a beautiful sax solo! Fooled you again! I will really being playing trumpet. Bow and arrow! Random, I know.

It was later that week we had "instrument tryouts" for our 5th grade band. I knew as soon as I got there I was going to be bringing home the instrument that would lead me to Kenny G's success! Oh buddy was I wrong! Turns out, I couldn't even get a noise out of the darn thing. That's when I decided to test out the trumpet.

Band teacher # 1 - Mr. Rope - Mills Lawn Elementary School
Mills Lawn was a very small school. It was your decision to play in either the orchestra or band. But, either way you were guaranteed to be the only one in your section. Therefore, you were pushed to learn your part inside out. This was fine and dandy, I loved it! But then after an incident in art.... my art teacher tore up my self portriat and told me it was horrible haha... my mom transfered me to another school.

Band teacher # 2 - Mr. String - Indian Valley Middle School
Indian Valley was a drastic change for me. There were 4 different 5th grade bands! Each with 10 or more playing trumpet. But, because of such advanced playing at Mills Lawn I was still able to outplay them all! Mwhahaha! Band proved to be nothing special at Indian Valley until Mr. Stigers decided to quit the middle school and teach at only the high school.

Band teacher # 3 - Mr. Bush - Indian Valley Middle School
Mr. B was an awesome guy. My 6th grade band class was amazed by his dreads that reached his back, his gauged ears, and tattoo covered body. But apperance wasn't everything. Mr B was an instrumentalist who was teaching for some extra cash. Thus....

Band teacher # 4 - Mr. Waku - Indian Valley Middle School
Mr. Warner.... hmm. He had a temper. It was often I was sent to the office for questioning his style of teaching. I know I was only 12 but the students just weren't getting his point so I tried to take over. Nevertheless, almost every day I was forced to leave the classroom or be pelted with dry erase markers. Hence the temper. At the end of the year he was fired for throwing staplers, markers, batons, chairs, and other such objects at the students.

Now, I was about to enter my freshman year of high school and I was convinced I had had enough! But, my mom brought to my attention that high school might be different. So I gave it a try.

Alternation # 1 - Back to Mr. String - Greenon High School
Wow! Mom was right! Marching band was so much better! I loved it so much... and for once I wasn't the best in my section. I had a challenge! But, being a depressing story... you know it has to come to an abrupt hault. Marching band season ended and the real Mr String came out! He was lazy and perverted. He would pass out new music and then sit at his desk and say, "Ok, ready play," and that was it! We never rehearsed a piece! Just played straight threw until the concert. Meanwhile, Mr String sat at his desk with the pretty girls on his lap! He was fired at the end of that year.

Alternation # 2 - Guess who's back!?! Mr. Bush!
We were all very exctied to have Mr. B back. Even though we, as a band, weren't progressing whatsoever, we still had fun because Mr B was just an awesome guy. He stayed at Greenon for two years until he got a job teaching college in Hawaii. We don't blame him for leaving.

Band teacher... what is this 5? - Mr. Bloutt - Greenon High School
A fresh graduate of Miami University, OH. Mr. Bloutt seemed to know what he was doing. Our band improved so much over my senior year it was inspiring. Only one problem. Mr. Bloutt must not have gotten the memo - flirting with high school girls is against the law when you're a teacher! Before I graduated, Mr. Bloutt had already been in trouble with the district for having risque pictures of him and students on his computer, taking 2 girls golfing, and for taking another student to his country club for a "one on one dinner."

I have no idea how long Mr. Bloutt will be allowed to continue teaching. Who knows, I might take his place in four years! But regardless, I'm here at DePauw to become a music teacher. It's about time students can be assigned less than five different teachers that have their interest as their number one priority!


Note: Names have indeed been changed! :)