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The Starlight is a kind of permanent fixture for any Waterloo student who takes to live performances by indie rock acts. On Thursday November 5, The Most Serene Republic and Meligrove Band took the stage there.
I recall hearing the Mississauga-based Meligrove Band’s Planets Conspire in a high school cafeteria four years ago, which remains their most recent record. I recognized the lead singer walking on to the stage because he looked the same as he did when they performed at The Mod Club a few years ago; like this, on the left:
Meligrove Band
My favourite moments of their set were their old songs – it was a conspiracy between the familiarity of the old album and the catchy hooks that made it perfect for live performance. With the new songs, Meligrove for me became a band with greater depth and thoughtfulness that reached beyond those hooks. I’ve never owned any of their albums, but when their new one is released, I might.
Headliners The Most Serene Republic took stage shortly after Meligrove Band’s finale with “Our Love Will Make The World Go Around”. The first time I listened to this Milton-based band was on an Arts & Crafts 2006 compilation. The Most Serene Republic recently released their third studio release … And The Ever Expanding Universe. It has an aesthetic that is unmistakably Arts & Crafts, much like their previous works. As such, the music has the property of being intensely uplifting and at the same time mellow, which translated very well into performance that night.
The band enjoyed themselves during the set and put on a very cohesive show. Adrian Jewett made clear his beliefs on the rate of consumption of marijuana in Waterloo (very high). He also stressed the significance of Starlight’s disco ball:
Adrian Jewett
The exchanges between the vocal lines of Emma Ditchburn and Adrian Jewett somehow had the effect of creating unity amongst audience and performers. Naturally, the new record was the focal point of the evening and the crowd was very receptive. There were cheers all around when the band started up their new single,“Heavens to Purgatory”.
The Most Serene Republic & Crowd
The Most Serene Republic played “In Places Empty Spaces” for their encore to finish up the night. The band began it slowly and it built itself up. It reached through the crowd and lifted them up with its crescendos. When it ended so did the night, and we were gently let back down.
Meligrove Band
Adrian Jewett
The Most Serene Republic & Crowd
Meligrove Band and Electronic Gadgets
Emma Ditchburn
Isabel
Observer – a new artist-driven vision to capture campus style and the brilliance of an outfit. Enjoy.
For more work by Conan Lai please visit his flikr page.
Image Courtesy of Sandy Phimester
Dance Mix 666 is a radio show that airs on 100.3 SoundFM.ca from 4 to 6 PM on Fridays. It is hosted by Andrew LaVey, a fourth-year urban planning student. It loves you, but with that “sinister kind of hungry Satanic love”, not that “sweet kind of Christian love”. Or, at least, that’s the gimmick.
I have my apprehensions about how sinister this mix truly is. In fact, this is a mix that is mainly designed to facilitate your spiritual growth. It’s ten tracks of glorious melancholy that should help temporarily lower gravity as you drop into the dark and frightening season of fall. Enjoy, and remember to tune in to SoundFM.
You can download the entire playlist here.
1. Choir of Young Believers – “These Rituals of Mine” (Official Website and Myspace Page)
Forget the name for a second because you’ll notice a religious quality to the music if you listen hard enough. “These Rituals of Mine” is a beautiful ode to our insecurities and neuroses. It finds weightless joy in catharsis. As the tightrope of life becomes increasingly wobbly, this song helps you glide along it.
2. Townes Van Zandt – “Kathleen” (Official Website)
From one of the great melancholic songwriters comes a tune about finding momentary respite from the darkness in our lives. “Maybe I’ll go insane; I need to stop the pain. Maybe I’ll go down and see Kathleen.”
3. The Beach Boys – “I Just Wasn’t Made For These Times” (Official Website)
The great Beach Boys story: the fall and redemption of Brian Wilson. This song beautifully captures the doubt and uncertainty of Mr. Wilson’s early success. It poignantly communicates a certain sad vulnerability.
4. Mercury Rev – “Moving On” (Official Website and Myspace Page)
Grasshopper and the gang here craft one minute and twenty-two seconds of glowing magic. “You gotta start moving on, it’ll be brighter in the sun.” This is the perfect track to complement one of those flying dreams where you float above the city with not a care in the world.
5. The xx – “Heart Skipped a Beat” (Official Website and Myspace Page)
There is a certain innocent beauty in the music made by these four London youth. The confident yet overwhelmed simplicity in which they craft their music is breathtaking. There are certain moments in their songs when you wish it would last just a little bit longer.
6. Arthur Russell – “This is How We Walk on the Moon” (Myspace Page)
The tragically dead Russell was a musical visionary who crafted many of his best songs (including this blissful slice of the beyond) as both an extension and a part of the evolution of his training as a classical cellist. His otherworldly genius will likely lift you up and fly you to another space. This is indeed how we walk on the moon; this song will lower gravity beneath you.
7. Kate Bush – “Pull Out the Pin” (Official Website)
This divinely attuned chanteuse walks the line between YHWH and Pan. It’s obvious she’s deeply in touch with her inner grace, but when she howls “I LOVE LIFE” you can’t help but feel chills as she channels erotic, Bacchanal, and ultimately powerful forces.
8. Subway – “Simplex” (Myspace Page)
With this song, we pause and contemplate. “Simplex” explores the rhythm and hum of modern life with a special kind of hypnotic beauty.
9. Suicide – “Be Bop Kid” (Myspace Page)
I’m still not sure if I comprehend the early 80s New York underground in any way that can be expressed in words. Yet in the neighbourhood that invented postpunk and new wave, that blew up off of spastic Contortions and post-everything hipness, Alan Vega was the Grand Vizier of the scene. Much like I don’t quite understand the scene, I don’t get this track either. But on some level, I understand where Suicide fits in, and maybe that means I understand where this song belongs too.
10. Fontän – “Nightrider” (Official Website and Myspace Page)
Sure, you can write this off as just another note in the grand symphony of Balearic revival, but “Nightrider” is at least a full movement in and of itself. Song titles are great when they are well thought out, and it’s obvious that Gothenburg maestros Fontän tried to carefully concoct the perfect night-riding song. Wide-eyed smiling music like that of the xx does create a certain wonder, but it’s groups like Subway and Fontän that truly capture the unique beauty of our modern age.
If you would like to submit a playlist, please email (pub@theboar.ca) a list of 7-10 songs with 3-5 sentences of description for each song. Also add a brief introduction about yourself, such as your program and musical interests. Please indicate in the e-mail’s subject line that you’re submitting a playlist, and please do not use .docx formatting for Word documents.
This week, we have three quick reviews for three artist driven films. From a documentary on guitar legends, to a biopic on one of the greatest English poets ever, to a film adaptation of a beloved children’s book: three amazing films about three amazing journeys. Enjoy.
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It Might Get Loud Review by Aaron Humphrey
A Sony Pictures Classics Film – Official Website
Directed By: Davis Guggenheim
Starring: Jack White, Jimmy Page, and The Edge
On the evening of Saturday, October 10th while the vast majority of university students were attending Oktoberfest halls, I was lowering myself into a theatre seat at the Princess Cinemas eagerly awaiting the house lights to drop, why? Davis Guggenheim’s latest documentary film was gracing the theatres with its presence; from the director of such films as Training Day, An Inconvenient Truth, and most recently Barack Obama’s biographical film People’s President comes It Might Get Loud. The film follows the history of rock ‘n roll’s most distinctive instrument – the guitar. The film focuses on three of rocks most influential guitarists Jack White (The White Stripes and The Raconteurs), Jimmy Page (Led Zeppelin), and The Edge (U2).
It begins on a quiet farm estate with Jack White constructing a blues slide guitar out of a piece of wood, nails, string, a single pick-up, and a coke bottle. From the first blistering notes played out of the “instrument” to the very last notes of the three artists performing a cover of The Band’s “The Weight” on acoustic guitars, the film plays like the instrument they’re discussing – hard and to the note. The movie interweaves the individual artists’ stories concerning their guitars with the unification of the three artists sharing tales at what is dubbed “the Summit”.
Image Courtesy of Sony Pictures Classics
Being a big Jimmy Page fan and a HUGE Jack White fan (and also a fellow musician), It Might Get Loud was everything I was hoping it to be. While some fans may have been expecting stories from the road concerning Led Zeppelin or U2, the feature stuck tightly and justly to what it was about: the electric guitar. For those of you who were unable to make it down to Princess to watch it don’t despair, the DVD will be released in early 2010. Just look for my face waiting in line because I’m buying it.
***
Bright Star Review by Sonia Laposi
A Pathé Distribution Film – Official Website
Directed and Written by: Jane Campion
Starring: Ben Whishaw and Abbie Cornish
I didn’t want to see Bright Star because I knew that a love affair involving the poet John Keats would not end happily. But then I watched the trailer and it was captivating. The score is like a botanical chant that sinks into and then fades out of the very fine cinematic work of Greig Fraser (Director of Photography). The film opens with a hands-down amazing moment where Keats (Whishaw) slings a brilliant comeback to Mr. Brown (Paul Schneider) , and it is this sort of poetic strength that gives a power to the film and to Keats as a character.
Image Courtesy of Pathé Distribution
The movie is honest; it just is. In comparison to other biographical pieces that generate distancing airs of self-importance, it tells a story about a person whose perceived strength does not come from celebrity but from a continuing realization that this was a very sensitive and unique human being. In fact it is enforced by the caring treatment of Keats from the other characters such as Fanny Brawne (Cornish) and Mr. Brown. I, as an audience member, likewise felt that I was witnessing something very special.
The film inspires and praises the notion of the true self in which one can witness in Fanny Brawne, who despite the period she was alive in, was immensely personal and authentic, and therefore strong. From the very beginning, the film follows her stitching passion through the close-up shots of her needle-work and in the homemade outfits she wears. There is a dimension of quirkiness in her clothing, which is visually delicious and inspiring. For example, her clown-collared red and white dress manages to penetrate into the sensibility of our era. It makes you feel as though you are watching someone from the 21st century live in a very odd reality, as opposed to watching that reality birth it’s logical counterparts. This is impart due to the Indie-Romantic visual which the film employs, but also to Fanny’s very down-to-earth mother (Kerry Fox), and her peasant-faced sister Margaret a.k.a. Toots (Edie Martin). But aside from the fantastical fashion found in the film, Bright Star was an inspirational film, which really tried to genuinely depict the great Romantic poet.
***
Where the Wild Things Are Review by Vincent Lai
A Warner Bros. Film – Official Website
Directed by: Spike Jonze
Written by: Spike Jonze and Dave Eggers
Picture Book by: Maurice Sendak
Starring: Max Records and Kathleen Keener
Voiced by: James Gandolfini, James Cooper, and Forrest Whitaker
“Let the wild rumpus start!”
Where the Wild Things Are was for the most part a vivid childhood memory where one probably sat in elementary school reading Maurice Sendak’s tale in which misbehaviour doesn’t always turn out so bad. Director Spike Jonze’s adaptation was a brilliant translation of a children’s story of less than two hundred words and instills the beautiful realm from long lost bedtime stories. However, Jonze had help on the screenplay by author Dave Eggers who recently wrote The Wild Things, a novel inspired by Sendak’s picture book. Not only was it well directed and written, Max Records provided a stellar performance as the protagonist Max – a young boy full of emotions, imagination, and love.
The Wild Things were fabulously integrated in the film, each with their own specific personalities, which reflect Max’s own personas. I admit that I found that the film was a lot darker than I had initially imagined as there was always a creepy uncertainty of what Carol (Gandolfini) was going to do. Would he devour poor little Max or rip him apart limb to limb? However, the Wild Things prove to be loveable as they are relatable, especially my favourites Ira (Whitaker) and Alexander (Paul Dano) who were adoringly insecure and bashful.
Image Courtesy of Warner Bros.
Karen O of the Yeah Yeah Yeahs was responsible for much of the soundtrack due to her close affiliation with Jonze. A majority of the tracks were wholly befitting of the scenes, specifically where the Wild Things race across the forest and share a group howl. How could one not enjoy a film where a bunch of monsters smash trees, hurl mud balls, and build the most amazing fortress that makes the Forbidden City look like a fort built out of sofa cushions?
If you’ve recently watched a film and would like to review it, please send it to pub@theboar.ca. Please no .docx files for Word documents. Cheers!
Photo by Aubrey Arenas
Hi! The semester is about to begin and all I can really think about is how September is this pretty little lull between the summer and the fall. I spent most of my summer listening to dreamy songs that perfectly complement the sways of a hammock. So, I think it is only fitting that I dedicate this week’s mixtape to the songs that have constantly been on the “Recently Played” playlist of my iPod this past summer. Enjoy friends.
1. The Velvet Underground – “Pale Blue Eyes” (Fan Site)
It’s simple, pretty, and so damn sad. And while I kind of want to say that Adventureland has ruined the song for me, Lou Reed’s genius trumps Kristen Stewart’s terrible acting any day.
2. Death Cab for Cutie – “Photobooth” (Official Website and Myspace Page)
This was my first Death Cab song and it has always remained my favourite. The innocence and naivete found in the lyrics always fills my mind with grainy images of past summers that never really existed. For anyone who wants the perfect song to end the summer, look no further.
3. Coconut Records – “Wires”(Official Website and Myspace Page)
Oh Jason Schwartzman (of Max Fischer infamy), you can do no wrong in my books. Like Coconut’s previous efforts, the sophomore album Davy has the same feel good vibe that’s reminiscent of the Beach Boys. “Wires” is one song that I particularly could not get enough.
4. Yeah Yeah Yeahs – “Hysteric” (Official Website and Myspace Page)
While I kind of long for those days when Karen O would sing blunt lyrics like “As a Fuck son, you sucked” (“Bang”), I do quite enjoy her softer side. In the YYYs latest album, the gentler side of Miss O is more apparent than ever, it probably has to do with maturity and wisdom. Nonetheless, “Hysteric” has won me over with its minimalist lyrics and end whistling. It’s the “Maps” of It’s Blitz! a.k.a. the pretty love song and the gem of the album.
5. Spiritualized – “Ladies and gentlemen we are floating in space” (Official Website and Myspace Page)
The title says it all; it’s hard to not feel like you’re floating in space when listening to this song. Not only are there multiple voices layered on top of one another, the voices all sing grand confessions of romantic gestures. It’s a lullaby about falling in love and enchanting promises.
6. The Smiths – “Unlovable” (Fan Site)
Like every song by the Smiths, Morrissey is self-deprecating. However, in “Unlovable” it’s got a nice, upbeat melody. I find it a little funny that despite the danceable sway that one can find in the instrumentals, Moz is singing about how he “wears black on the outside because black is how [he] feels on the inside”. On another note, the song that follows this track on Louder Than Bombs is “Asleep”, which is perhaps the most depressing song ever.
7. LCD Soundsystem – “New York, I Love You but You’re Bringing Me Down” (Official Website and Myspace Page)
I often have these epic fantasies about living in New York, so to even imagine NYC being a bummer is nearly impossible. Although the honesty found in these lyrics that point out the flaws of America’s pride and joy may create a little disillusionment, it does make for a lovely song.
If you would like to submit a playlist, please email (pub@theboar.ca) a list of 7-10 songs with 3-5 sentences of description for each song. Also add a brief introduction about yourself such as your program and musical interests. Please write a subject line in the email indicating that it’s a playlist and please do not use .docx formatting for Word documents.
A Fox Searchlight Film – Official Website
Directed by: Marc Webb
Written by: Scott Neustadter and Michael H. Weber
Starring: Joseph Gordon-Levitt and Zooey Deschanel
Most of my 2009 movie experiences have involved 3D animated movies (Coraline, Monsters vs. Aliens, Up) or big budget Hollywood blockbusters (Star Trek, Transformers 2, Harry Potter and the Half-Blood Prince), so I was more than elated to finally watch (500) Days of Summer, a film that I will designate as my type of movie (a.k.a. artsy, dark humoured films that fall in a league with Lost in Translation and Wes Anderson films). If the trailer has not already intrigued you or made you laugh, well precious readers my prime incentive of this review is to make you want to watch this movie – I can only rave about it.
While this is director Marc Webb’s first major motion picture, I am more than certain that many of you are already familiar with his work in music videos. He’s directed a plethora of pop-punk videos over the last decade including some early Good Charlotte videos, as well as the majority of the My Chemical Romance oeuvre. However, (500) Days is a major leap for Webb and in many cases it reflects a maturation from making three minute long music videos to an hour and a half feature film. It’s a more adult creation from Webb, he is not trying to recreate teenage angst for pretend goth kids. Instead, Webb is seeking an older, wittier audience who can empathize with the characters and the life experiences that are doled out to them. Also, the music is much much much better, but we’ll leave the soundtrack for a separate review.
The film was narrated by a second-person narrator who directly lets the viewers know that “this is not a love story”. Point taken. While a narrator is not the norm in most films these days, the film itself strays away from the traditional conventions through a number of means. Most notably, the concept of 500 days plays a consistent part throughout the movie. Scenes jump back and forth from Day 422 to Day 128 and so forth. In the end, a coherent yet non-linear story is presented to viewers. The happier scenes from the early days of Tom Hansen (Levitt) and Summer Finn’s (Deschanel) relationship are juxtaposed with similar ones from the latter days when the relationship has subsequently ended and Tom has become the depressing living embodiment of a song by The Smiths. Although the juxtaposition may cause one to feel pity for the Tom character, the stark contrast is hilariously dark humoured and hands down guaranteed to make one laugh out loud. Furthermore, the film makes beautiful use of animation with simple line drawings of LA’s city skyline. But to add to the already delectable creative energy found in the film, one of the most unconventional elements is the random dance scene to Hall and Oates’ “You Make My Dreams”. The elaborate, choreographed dance occurs after Tom and Summer have spent the night together. It can only conjure up the image of a Viagra commercial, but in a good way. Nonetheless, our beloved Tommy from 3rd Rock from the Sun can surely dance his little chicken legs off.
Image Courtesy of Fox Searchlight
While most cliché romantic comedies establish an unrealistic and unattainable love affair, (500) Days through its offbeat and quirky ways captures an honest depiction of the rise and fall of what is seemingly a perfect relationship. The key word in that phrase is seemingly since most of us have to come to understand that love is not a Hugh Grant movie, despite the fact that some still wish to see it that way. This is the point that (500) Days emphasizes – we can either be optimists and believe in true love or we can accept the increasing divorce rates as fact and let life take its course. But, we are never set in our beliefs as life comes along to change views and give a little hope. While traditionally and stereotypically it is women that hang onto the notion of everlasting love and men who keep it casual, the gender conventions are reversed in the film. Tom’s blinding devotion to seeing Summer as the One prevents him from seeing the reality of their relationship in which she declares they have “been like Sid and Nancy for months now”. It’s phrases like that that make the break-up scene both depressing and hilariously witty. Despite the break-up, there still remains this aforementioned hope in the film.
The realistic depiction of a romance and the course that most of them take allows the film to be both approachable and charming for the average viewer. Although I won’t spoil the ending, it certainly was much more satisfying than the lame attempt found in another one of my favourite film’s, Garden State. Garden State attempts to end the film on an ellipsis where reality reins in Andrew and Sam, but thirty seconds later that attempt of honesty is copped out for a cheesy Hollywood ending. As a result, I must commend the writers of this film for keeping the conclusion truthful, unpredictable, and a little hopeful.
Aside from the grand dance number found in the film, there are a number of one line zingers, a drunken karaoke scene, an amazingly titled film called Vagiant (half vampire, half giant), and just sheer hilarity for a majority of the film. If you do not have any sort of sense of humour, I am sure you will gain one after this movie. But despite all the laughs, the film is able to present the serious topic of romantic relationships in a thoughtful and thought provoking way. Every year there’s always a little indie film that’s well written, well-directed, and well-acted, and I would have to say that honour goes to (500) Days of Summer – it’s this year’s Juno if you will. It’s charming, it’s witty, it’s clever, it’s honest, and it’s beautiful. What more could you ask for in a film?
If you’ve recently watched a film and would like to review it, please send it to pub@theboar.ca. Please no .docx files for Word documents. Cheers!
Photos by Daniel Rangel
Pitchfork Festival is an annual indie music festival in Chicago hosted by the infamous indie music site Pitchfork Media. This year’s festival took place July 17th to 19th and Kelvin Lam (a Weekly Mixtape contributor and UW student) was able to attend and report on this year’s festivities.
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Friday
I stand in the same spot for an hour and a half before the relief of my favourite Yo La Tengo song. I carefully listen from over the fence. Thirty minutes later I reach the front of the will-call line, retrieve my two-day pass, and go home.
Saturday
Saturday went by too fast. It wasn’t until 2:30 that Alex, Lauren, and I got there. Beer was first, then The Pains of Being Pure at Heart. While twee* has a special place in my heart, I was a little let down since seeing them in-person did not feel any livelier than listening to the CD. The vocals did not sound as great, like it could have used some more reverb. The day was mainly filled by floating between stages A and C with no time to spare in between. Eventually, I picked one band’s timeslot to sacrifice for food and a trip to overflowing portable toilets. It wasn’t because that time slot was any less special, but these things just sort of happen.
Yeasayer @ Pitchfork
Saturday was ethereal, in some ways. Yeasayer was in the middle of a moving set and a light rain started – not the kind that turns the ground to mud, but the refreshing kind – and it was strangely fitting. Then the band sang about the sunrise and the sun came back. Was it the way those impassioned words were sung that brought it back or was it the combined effect of their two percussionists merged with the drum machine? I wasn’t sure, but I guess you could say that it’s one of those questions for the ages. Kim called Yeasayer the “unboring Animal Collective,” but I think that they are the acoustic Animal Collective.
Saturday was a lesson on how to navigate Pitchfork Fest. Do not offer sympathy for stepping on blankets, either pass on one band to wait for another or see (more like hear) both from afar, and know that meet-ups are a Herculean task. It wasn’t until the headlining band that I finally met up with Christina. We’d put a little something in the lemonade that we took with us, which we sipped between the songs that The National played. The songs were sad, but it translated into a surprisingly grandiose and lively set that was great for closing the night. Besides, there was still a whole other day for happy songs.
[*Editor's Note: twee is a type of music genre.]
Sunday
By the end of Saturday there were still a handful of areas that I had left unvisited. On Sunday, I rectified those mistakes. These secondary attractions reminded me that despite the size of the festival and the online reputation of the website, Pitchfork Festival was still deeply rooted in the city of Chicago. The food was local, as was the beer (the PBR-drinking, Parliament-smoking kids would have to settle for Goose Island this weekend), and plenty of transactions with local merchants were afoot.
Festival attendees
Stage B featured some Chicagoan bands earlier in the day. As we forced our way through the crowd to see four shirtless guys, called Killer Whale, pounding out a unique punk-reggae concoction, I realized it was also kind of a bolder stage. Dancing was a requirement and it’s hard to move your feet in the tight crowd gathered around a tiny stage, but we obliged nonetheless.
As the day wore on and people trickled in, the festival experience converged on the goal of finding a spot to see the last couple of big bands. Leaving the Walkmen set early for M83, I found that it was already physically impossible to reach Alex. He had been waiting at the front of the stage for the Lips’ set, which wasn’t due for another hour and a half. I secured a good spot to soak in the pretty sounds of M83. Their set was made of one pumping song after another and pretty much the perfect set for the sunset on a Sunday evening.
Moments after the end of the M83 set ended, a wave of Lips fans washed me involuntarily toward the front of the stage. I swam against the current to meet up again with Kim to catch some of the Grizzly Bear set. When they finished, the band tried to thank us, but a huge mechanized robot voice, heralding the start of the Flaming Lips’ performance, drowned out their feeble human voices.
The Flaming Lips have a reputation of throwing an over-the-top-show. Even before Wayne Coyle started off the set by crowd surfing from within a gigantic plastic ball, the signs were clear that that was the type of show that was going down tonight. They by far deserve to win the award for having the most balloons, confetti, eclectic costumes, people passing out, and douchebag audience members. Thanks to Pitchfork’s ‘Write the Night,’ we got to hear some songs that the band does not usually perform live. At the end of it all, tens of thousands of hipsters poured out onto Ashland Avenue.
Alex, Lauren, Kim, and I regrouped at a nearby pizza place, where we reminisced about the festival over potato and rosemary pizza. By faithfully waiting in front of the stage for hours, Alex and Lauren managed to procure the band’s set list, which they happily showed off to us. The conclusion of the festival reminded us that it’s hard to make the good things last, so I guess maybe my friends thought they would take part of it with them.
All photos are courtesy of Daniel Rangel
For more information go to the Pitchfork Festival Website or Pitchfork Media
Corey and I hit the pavement Monday once more to bring you a little fashion inspiration from the University of Waterloo. Sadly, this may be the last fashion post I do at UW as exams are beginning and I start at Western in September, but hopefully not. Enjoy the mix of casual, hipster, and glam!
I really liked this almost slip looking dressing in the shocking hot pink, with the tiny bit of lace trim at the bottom. Paired with gladiators sandals in a sky high heel, it was almost too glam for school, but nonetheless a great fashion statement.
This man has lived all over the world, New Zealand, Victoria, and is a Waterloo alum. His converse sneakers paired with his plaid shirt were just a little bit hipster, and the distressed jean a little rock and roll.
Sadly, this young lady didn't speak much English, but her clothes did all the talking for her. Denim blue heels with a peep toe are a rarity, especially on campus. Thanks to her friends who translated for us!
This outfit was a mix of everything and I just couldn't place her in a fashion genre. Contrasting prints, a skirt paired with boots, and her almost military jacket gave this outfit a lot of originality.
Here are the promised photos of the fashionable men and women of Hillside! Note the eclectic mix of rock and roll and bohemian style featured, these aren’t your parents’ hippies.
Although the photo may not show it, she was in bare feet, which seemed to be a style statement in itself. Something about the earthy colours of her floral printed dress just makes this very 1970's for me.
These two men were so well dressed for the festival, I wish I has asked where they were from. Straight tapered jeans, long sleek dress shoes, and slicked back hair that was a little John Travolta in Grease. It just simply worked for me.
I loved that this 50's era dress just randomly showed up at a heavily hippie dominated festival. From the curled hair to the white shoe, 50's housewife was the siren call.