Word: keyboarding
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Morgan Hildreth, 24, jerks back from the keyboard as a loud burst of automatic gunfire erupts on his computer screen. "I got somebody!" shouts a nearby player, as a body explodes in a red mist. Around them, a few dozen spectators in baggy T shirts and oversize shoes watch in a trance as grown men with joysticks stalk one another through underground mazes, firing guns and blowing one another to bits. When chunks of bloody body parts thump to the ground, some of the onlookers laugh out loud. "This is gonna sell like hot cakes," chortles...
...best albums, the winsome songwriting team of Chris Collingwood and Adam Schlesinger returns with a14-track album about being either lost or on the go. It is fed with the Byrds, Simon and Garfunkel, Steve Miller, Devo, the Cars; it is dished out with lush harmony vocals, broad keyboard textures, generous acoustic guitars, rich percussion tracks, even string, and delightfully subtle twists of sounds. Fountains of Wayne are hip, well-bred and deft at slinging pop culture saturation through suburban rockers, witty ballads and sincere lovesongs with equal flair. The lyrics are sometimes distant, but that does not detract from...
Everyone agrees that the most effective way to monitor kids' online activity is...to monitor it. Literally. To stand beside the computer from time to time when your son is at the keyboard, watching his every mouse click, mindful, of course, that when he starts typing numerals--1,2,3,4--he could be using the chat signal that says "parental unit nearby." If the count reaches five, he's telling his chat partners there's a parent reading the screen...
...Rebeca Salmon (vocals, senior at Boston University), Neal Padte (alto sax, junior at BU), Dorian Ramirez '99 (tenor sax), Jeff Weinshenker '00 (trumpet), Annie Durston '01 (keyboard), Eliot Wadsworth '00 (guitar), Brett Sherman '00 (a.k.a. Sherm, a.k.a. Shermy, bass), Michael Blaugrund '00 (drums, percussion, back-up vocals, turntables, sitar...
...observance of tempi would also have been in order; this was Chopin, not Debussy. In any case the risks he took at high speeds were admirable, and his confident, blind leaps across three octaves are a reproach to showier pianists who conduct their business at unnecessary altitudes above the keyboard. The Three Mazurkas Op. 56 were a satisfying palate cleanser, so to speak. The first sounded at one moment like the bustling "Of Foreign Lands and Peoples" from Schumann's "Scenes from Childhood," and the second had the robust smack of Schubert laendler. Zimerman was subtle at highlighting the ternary...