With the music turned up so loud the bass reverberates and in the lights flashing in spectrums of orange and blue, the O’Shaughnessy Performance Space looked like a hot music scene for the newest and brightest bands. On March 26, SFUAD student band Get Safe promoted the recording of its new song “Murphy’s Law,” and opened for a touring band, The Boxers. Get Safe formed in 2013 and has been working on playing gigs and recording songs. When asked about its name, Trevor Snow, the guitar player, simply states, “It’s good advice.” When describing its genre, Colton Liberatore, a drum player who recently joined Get Safe, admits that he doesn’t know how to define the band’s sound. The members of Get Safe pitch in genres to describe the genre. “We play instrumental Rock, Indie Rock, and alternative rock,” said Kevin Johnson, the Get Safe bass player. “Groovy alternative,” added Snow. “We aim to spread good vibes and positivity,” Liberatore said. Their main inspirations come from people they’ve previously played with such as Mothercoat—a Japanese band, and Chipper Jones. Snow added that the latter inspired the band’s newest song “Murphy’s Law,” which fans could download for free using a code given out at the concert. The Boxers, on the other hand, are a four-piece rock band from Chicago, which plays Basement Rock—its self described genre. Get Safe band members explained that though they and The Boxers hadn’t previously heard each other’s music and only met at the event, they were introduced through a mutual friend who suggested they perform together. Johnson added that getting a first impression from a live performance was definitely preferable. “It’s more raw and organic this way,” he said. Snow commented after the show that jamming with The Boxers was fun. He said...

Sam Armstrong-Zickefoose and Konor Hunter-Crump discuss their new duo Zickey and the Condor.

In an office hidden in the twists and turns of Benildus, the walls are covered with posters, awards and articles. They include an autographed poster of Whitney Houston, a Gold Record commemorating a million copies sold by Regina Belle and several promotional posters of performances from around the globe. It takes a while to notice, but every single one is addressed to or features Horace Young, the new chairman of the Contemporary Music Program. “My parents weren’t musicians but they believed it was essential, they knew its worth,” Young says about his beginnings. “My two elder sisters played the piano so I got to take classes too. I cheated at practicing. I memorized the melody from the way my sisters played and watched the way their fingers moved on the keys. I didn’t know it then but this was a clear sign of having a high aptitude. Now I am able to tell a kid to get involved in music because I can see the signs I experienced myself.” Young had different plans for his future, though, hoping to become a sports journalist as a springboard into writing. He ended up playing the saxophone on a whim and turning it into a career. This return to music led him to collaborate with numerous acclaimed artists such as B.B. King and Nancy Williams. In 1993 he conducted the National Symphony of South Africa; the first person of African descent to do so. “I started as an adult musician not being able to read music,” Young says. “I learned to celebrate my limitations in being able to overcome them.” His role conducting the National Symphony of South Africa was broadcasted on national television. As a teacher, Young encourages the exploration of various skills and jobs in the...

Since 2001, High Mayhem Emerging Arts has provided a space for what it describes on its website as “creative tinkerers who challenge our notions of aesthetics in music and art.” Though its mission will continue through one iteration or another, the group will be moving on from its long-standing space at 2811 Siler Lane. Steve Paxton, the chair of the contemporary music program, will perform during one of the space’s final concerts in its annual Fall Series. In an interview with Paxton, he shares insights into his upcoming performance as well as some of his thoughts on the tenets of High Mayhem’s philosophy as a community. Paxton’s piece samples music from artists ranging from Frank Sinatra toFrank Zappa in an interwoven sound collage. He intends the piece as a sort of “ofrenda,” a spiritual offering to the voices of musicians who have passed away. The mix of styles, which blend the worlds of pop and more classically-influenced music, is intended as a chance to “step outside of the history of music,” Paxton says. During the sound installation, Paxton will include a performance art element. He demonstrates how he will unravel and pass along a large roll of paper through the audience, writing the names of the memorialized artists and speaking them out loud. He says he intends for the audience to join in the naming of the dead, allowing his performance to become a part of the community mindset of the space. Regarding influence, Paxton cites John Cage saying he feels the intention of the piece is to “set up a process and observe the results… without manipulating the results.” While the philosophical and intellectual qualities of experimental music are important, Paxton says he also hopes the emotional content of his work resonates with...