The Post-Spring Weekend Shoes of Brown University

Shoes of Brown may have the pristine, everyday shoe game on lock, but there’s often a new kind of shoe treading the paths of campus in the days immediately following Spring Weekend: the dirt-caked, once perfect shoes that you made the poor decision to wear to a concert at which Wacka Flocka–and all his crowd-consuming energy–was performing.

The good news? If you’re panicking about the soggy brown rags that only marginally resemble the white kicks you used to own, you’re not alone. Below is a collection of Spring Weekend damaged shoes belonging to Brown students that may never see the mud of the Main Green scrubbed fully from them:

Katie's Shoes

Jackson's Shoes 2

Caitlin's Shoes

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PSA: Remaining SW ’15 tickets go on sale at 8 p.m. tonight

399834_10151296040670834_1933240393_nThis morning, as everyone was rushing to snag tickets for Spring Weekend, many experienced yet another failed purchasing experience. The BSA’s server did not send out confirmation emails with ticket links to everyone who purchased tickets. Others were barred from buying tickets because their browser was timed out of the purchasing page prematurely. A more detailed explanation of the technological malfunctions can be found on BCA’s blog. But bottom line, these things happen–a lot.

Don’t worry, though. You’ll get another chance to try your luck at the ticket game. BCA will be selling tickets for this weekend’s shows starting at 8 p.m. at this link. There are around 500 tickets left for each day.

The rest of the ticket release schedule is the same as before.

Image via Emily Gilbert ’14. 


12 Days of Spring Weekend: Modest Mouse is a very good band

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“I don’t feel, and it feels great,” Modest Mouse frontman, Isaac Brock, shouts early in the 10-minute-long, instrumental-heavy “Trucker’s Atlas,” from 1997’s The Lonesome Crowded West. This concise rallying cry points to the proud cynicism that characterizes much of the band’s music. Lonesome Crowded West was the band’s second full-length album, and the first to garner serious critical attention–Pitchfork gave it a rare perfect score–and provided Modest Mouse with its breakthrough.

Three years later, they released their major-label debut, The Moon & Antarctica, to further critical acclaim. With 2004’s Grammy-nominated Good News for People Who Love Bad News, and 2007’s well-received We Were Dead Before the Ship Even Sank, the band solidified its reputation as one of the most original and consistently strong acts in mainstream alternative rock.

Modest Mouse was first conceived by Isaac Brock, who is the only member with an uninterrupted tenure in the band since its conception. (Founding drummer Jeremiah Green was replaced briefly in 2003 after suffering a nervous breakdown, but has otherwise also lasted the entire two decades; founding bassist Eric Judy left the band in 2011.) Brock grew up in the Pacific Northwest and for a period as a child was introduced into a Christian sect that asked him to speak in tongues; Modest Mouse, perhaps as a consequence, often touches on religious themes. On “3rd Planet,” possibly one of his most complex lyrical compositions, Brock sings, “the third planet is sure that it’s being watched by an eye in the sky that can’t be stopped… when you get to the promised land, you’re gonna shake that eye’s hand.”

But “3rd Planet,” like many of the band’s songs, also maintains Brock’s default defiant-asshole-persona: “I’ve got this thing that I consider my only art: fucking people over,” he declares in the opening verse. The complexity of Modest Mouse comes in its exploration of the subtleties of that persona, as in the mournful “Broke,” in which Brock declares, almost penitently, “Sometimes I’m so full of shit it should be a crime.” And on the same album (Good News for People Who Love Bad News), in which he screams in “Bury Me With It,” “Sure as planets come, I know that they end, and if I’m here when that happens, will you promise me this, my friend? Please, bury me with it! I don’t need none of that Mad Max bullshit,” he also inquires of the eponymous subject of “Bukowski,” “Who would want to be such an asshole?”

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PSA: SW ’15 tickets go on sale tomorrow at 8 a.m.

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The time is nigh. Tomorrow marks the beginning of Spring Week. What better way to start it off than a mad dash to the virtual box office?

Tomorrow morning at 8 a.m., 3,200 tickets will go on sale for the Brown community at this link. Tickets for each day will cost $18. Community members can only buy one ticket per concert at this point. This first round of tickets comprises the indoor capacity for the concert, which hopefully is not all that this weekend’s events will be limited to. As of now, things are looking grim… but hey, wear your PJs inside out and I’m sure all will be well. That’s how it works, right?

If the weather call for the concert is in our favor, BCA will release another 2,300 tickets at 2 p.m. this Wednesday, April 15. This round of tickets will be for community members that weren’t able to score tickets in the first round, meaning people can only buy one ticket per event this time as well. BCA will open ticket sales back up to everyone on Thursday, April 16, at 8 a.m. so that community members can buy tickets for visiting friends and the like.

Looks like we’re in for an intense week, Brunonians. Make sure to wake up bright and early tomorrow to score tickets to this weekend’s concerts.

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Album Review: Sufjan Stevens’ “Carrie and Lowell”

Carrie and Lowell

It’s been four and a half years since Sufjan Stevens last released a studio album, and the folk singer’s latest offering is worth the wait. Carrie and Lowell, Stevens’ seventh album, named for his mother and step-father, is a return to more familiar sounds for Stevens.

Stevens’ 2010 album The Age of Adz was a radical departure from his previous works, blending electronic sounds with his more traditional instrumentation to create a booming and, at times, disquieting experience. While I thoroughly enjoyed the new direction, it seems that Stevens has decided to put that style on hold for Carrie and Lowell, instead favoring a more subtle acoustic approach to the music. The moniker of “folk music” certainly fits this album more than the last. Yet, Carrie and Lowell does not feel similar to Stevens’ 2005 smash hit Illinois, either, which prominently featured layered orchestration and a bombastic, energetic sound on many of its tracks. Carrie and Lowell feels most similar to his 2003 album Michigan to me. Stevens’ voice is central in most of the tracks, and the combination of it and his acoustic guitar provide a soothing atmosphere throughout the album.

Stevens’ talent for lyrics has not left him, and his curious talent for mixing his religious experiences into his songs without making “Christian music” still serves him well. Carrie and Lowell, as the name suggests, was prominently inspired by Stevens’ experiences with his family. His mother passed away in 2012, and this provides context for one of the album’s standout tracks, “The Fourth of July.” The theme of reminiscing on childhood, and about wondering if one has made the correct choices since then, is another important aspect of the album.

With eleven tracks, the longest of which just surpasses five minutes in length, Carrie and Lowell is a faster listen than other of his albums, but rewards repeated listens. Standout tracks include “Should Have Known Better,” “Fourth of July,” “The Only Thing,” and “No Shade in the Shadow of the Cross.” I can’t recommend cherry-picking songs, though; Carrie and Lowell is best experienced as a whole.

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Blogify: Happy April!

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Despite the lingering cold, this week feels like Providence’s version of the beginning of spring. New season, new songs. We’ve got you covered with our staff’s favorite recent releases!

Image via Albie Brown ’16.