Bruce Harreld is a symbol in Iowa City– a symbol of plutocracy and ignorance. He lives comfortably atop his new throne, his rich voice reigning over thousands of people within our intellectual community, far away from its previous echo within the doors of IBM and Boston Market. Beholden to a belief system that seems to demand silence, this plutocrat is already complicit in destroying our democracy, and soon enough, our community will see funding cuts, more bureaucratic discourse trumping faculty and student rights, and a continued lack of social awareness on the behalf of administrators. We, the people of the university, will crumble underneath the University of Iowa’s house of cards.

Being in the top 1%, Bruce Harreld is a barometer for privilege and status– “give him a chance” and “he needs to resign” being the polar arguments into the plunge that is the heated controversy behind University of Iowa’s new president. In many of the articles written on Harreld, we witness facts and critical analyses, but one fact has been left out: Harreld doesn’t care about the people here, and he never did. Now he has to try, as it may cost him his $590,000 a year job (plus $1 million in deferred compensation over five years).

It isn’t about Harreld’s lack of higher-education experience or his background as a corporate businessman– no, these qualities aren’t inherently negative. What this is about is the people who look to Harreld to make positive changes– the undergraduate students– and they haven’t been fed a word of good news.

Amongst announcements of redistribution of funds, and Harreld’s “????” PowerPoint bullet in regards to the source of university funding, his internal dialogue was finally revealed. It’s clear that he wasn’t hired for his ideas, but for his blank rhetoric– “great to greater” analogous to “Make America Great Again.” He seems to be veiling ignorance, but cannot admit to it. Why doesn’t a president of a university have any solid plans for moving forward? What are his motives?

To the Regents, he may have come off like a man with a vision, and probably more, but a privileged, majority white bunch as they are, they don’t understand the needs of all people; look at their backgrounds. None of them were ever forced to confront the challenges of higher education. Remember, these are people that still force us to submit all of our input on their omnipresent behavior within an hour, onto a tiny camera in a small room. We can only sit and hope that one of the Regents listens to it later, let alone mildly acknowledges the points being made. Even Harreld, who won’t push for state funding or social issues on campus, stated in his recent town hall meeting that he doesn’t think this is acceptable.

But there haven’t been any changes. The Iowa Board of Regents continues to remain distant and inept, completely lacking community engagement and transparency, two of their “core principles.” They chose a president almost no one wanted, enabling him to speak on campus before anyone else. This is enough to show the court system their inability and dysfunction, proving them an illegal and illegitimate bureaucracy, leaning plutocracy. But who has the money and time to take them on? Democracy is being thwarted here, and until the law changes (or until a lawyer works on this) we have to do the only thing we can do: take down their iconic, undemocratic talking head, Bruce Harreld.

Regent issues aside, Harreld doesn’t make people at the university feel comfortable. Ultimately, the problem isn’t with what Harreld wants, because it doesn’t seem like he has much to offer. The problem is with what he doesn’t know, and what he continues to misunderstand. He has a lot of power, and without the knowledge or adequate care it takes to be a president of a university, he will be dangerous. He’s not only dangerous to issues of funding, but dangerous in that it could spell even further disenfranchisement of minority students [UI’s hidden past], international students, lower-class students, or anyone that falls outside the category of sports, where Harreld seems to have the most motivation. He seems blind to the idea of social justice, or increasing state revenue support to take the burden of heightened tuition off of students.

In 1981, state appropriations accounted for 77.4% of the revenue for Iowa’s public universities, while tuition only accounted for 20.8%. But in 2015, state appropriations sat at a measly 34.7%, while tuition peaked to 60.7% of the total revenue. The casual kiss of financial lines in 2009 went seemingly unnoticed– their intersected paths predetermined to grow apart again, this time in the opposite direction, resulting in a youth-draining effect: students are deep in debt. Some see this inevitable future and go out of the country for education that is nearly free. But here, our lack of state funding continues to be a detriment to the future of students’ finances. To some degree, students are willing to fight for its reversal, but this drastic flip in the source of revenue is too much for them to handle on their own.

To this, Harreld insists we need a “backup plan,” “B & C,” inferring he won’t be successful in pushing Rastetter, his appointer, to appropriate more funds for the university. Bruce Rastetter, Board of Regents President, continues to pit the universities against each other, and Gov. Terry Branstad, who appointed Rastetter, has been cutting public funding from the University of Iowa for years. To quote the book of John (or Bruce), “The Son can do nothing of himself, but what he seeth the Father do: for what things soever he doeth, these also doeth the Son likewise” (5:19).

In addition to this lineage of power, Regent Mary Andringa, one of the Regents that appointed Harreld, recently resigned from the Iowa Board of Regents after she failed to submit proof that she was a director of Herman Miller, a furniture manufacturer. This manufacturer recently won a multi-million dollar contract with the University of Iowa. What other corrupt regent activities are we unaware of? Why did the Regents pick Harreld?

While the other candidates for UI presidency climbed to the title of Provost, Harreld worked for Boston Market and IBM. Now, for some reason, he’s started at the top of the higher-ed food chain, with no fundamental platform other than trying to raise funds in a yet-to-be-decided way (remember, he needs ideas from you about this). We were lucky to get one public forum this year.

And there’s the rub. Harreld is lost; he’s completely out of his sector, and he fundamentally doesn’t connect with people on campus because he doesn’t understand the issues or adversity they encounter on a daily basis. His previous experience is capital and profit– now he’s living in a value and ethics world. And rather than someone like Joseph Steinmetz, or Michael Bernstein, Harreld has low favorability because, frankly, he doesn’t know what to do with a community that isn’t a business one. That’s why he has made his job ours, and we, studying, working, and largely unorganized, cannot actualize our ideas in Harreld’s “come visit me” input system, let alone “make real the promises of democracy” like Martin Luther King Jr. believed we ought to do.

Harreld has long ignored this; his “come and get involved” town hall rhetoric only shows his naiveté. When you’re electing a president, a fundamental leader in society, you would think that person would be highly motivated and excited to implement their idea of what a just and ethical institution looks like. But Harreld does not independently bring up issues that concern him, and even when the community brings forth issues, he doesn’t take action outside of his discussion with an advocacy group. Brief introductory meetings don’t change systemic problems; his vision is neglectful.

Why doesn’t he cut Iowa’s (well above-average) administrator pay to help offset other costs? Why didn’t he advocate for any specific issues past raising faculty salaries (a clear appeasement tactic)? Why won’t he raise the minimum wage on campus? Many universities suffer from the same systemic problems, so it’s not like the University of Iowa is absolutely unique in its faults. How has he show his awareness or care? He hasn’t, and instead, he’s resorted to supporting us through the carefully construed Iowa Now narrative. But it’s shallow and soulless. We get it Bruce, you like us, we’re great. But have you ever understood our community’s issues?

We already know the answer to this. That’s why we must fire him ourselves before our educational community is thrown into chaos with no plan for repair. The first public forum was a mess because Harreld asked us to do his job for him, but without the capabilities to actualize our needs. If he truly cared about the people here, if he truly cared about the gross number of sexual assaults on campus, if he truly cared about the rampant racism experienced by people of color, if he truly cared about any social or financial issue the university is having, he would have made a plan to begin with, or at least talked about these issues in length, outside of his secretary-written emails and speeches.

Harreld should be angry and frustrated like we are. He should have worn it on his face. But this is what plutocrats do: front our ignored issues in façade, while they bask in the comfort of their throne. All we observe from Harreld is confusion and obfuscation– the breadcrumbs of a socially ignorant, wealthy, privileged man­­– far from his core comfort zone of exploited labor and eight-digit profits.

The post Bruce Harreld: The Plutocrat That Cannot Relate appeared first on KRUI Radio.

If someone were to walk up to me today and tell me they don’t see any value in rap, this would be the song I’d show them.

“Early” starts off in a heartbeat rhythm that expands into industrial synths and slowcore electronic drums. Killer Mike highlights a police brutality scenario, an event constantly occurring across the U.S.  Heavy with race issues, the track sears its message into scrambled plastic buzzes aside El-P’s fast-paced analysis, which spotlights his own race.

“Early” begs attention to recent events around America, and Mike is there to fill you in, referencing absurd stop-and-frisk policies still enacted today, questioning authority, while stating he “respects the badge and the gun.”

Scattered bass lines, partly synthesized by previously unknown producer, BOOTS, bleed in between their words, resetting the focus to Mike and El’s pulsing rap patterns, while the hook solidifies the emotional tone: “Get out / feeling this too early.”

Watch the live performance of “Early” on Letterman here:

https://www.youtube.com/watch?v=2dqGLhW3VVA

Listen to the studio recording here:

https://www.youtube.com/watch?v=ZeR41A4w69Y

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The post Track of the Week: “Early (ft. BOOTS)” by Run the Jewels appeared first on KRUI Radio.

A Walk Through Wondrous Bughouse

This lo-fi, noise-pop album created by Idaho native Trevor Powers is a note-packed compilation of eerie ambiguity and luminous nostalgia. Within its oscillating intonations, it creates a confusingly pleasant atmosphere of sound. Its atonal note pattern is matched with seemingly perfect psychedelic reverbs, which elevate its songs to a powerful euphoric experience.

The first track, “Through Mind and Back,” settles you deep into a world of unknowns. Powers alludes to a foreign, parallel realm where all previously held notions of modern sonic revelations are completely obsolete. He has created his own universe within this album, and this piece slowly gestures you into its grandiose landscape.

After being thrown into “Mute,” the listener begins to understand the vast phenomenal field Powers has built from the ground up. His echoic voice, nasally and child-like in nature, battles an evil construct, and his dualist mindset has nowhere to go but deeper into its own self-referential conscience. The album seems to open hidden doors and bring the listener somewhere completely new. “Attic Door” coincides with this idea as its waltz beat lulls the listener farther into Wondrous Bughouse. “You can trust me like you would trust your own brother. Maybe even better,” claims Powers.

“The Bath” opens with the sound of a microphone going underwater, continuing on with various sonar sounds. His words are lost in a sea of sound and you gently float to the unheard maniacal lyrics until smooth guitar riffs wash over the naturalistic soundscape and resolve into a dizzying tone, where the more audible, “Pelican Man” comes to light. This song, the most uplifting and progressive on the album, builds on itself until it erupts into an audacious statement of existence. It continues on in a downward spiral of repeating tones prior to the solidified structure of “Dropla.”

“You’ll never die,” repeats Powers, ingraining the nonsensical mantra until you believe him. His surrealist parables seem like fairy-tales, but they emit a sense of nostalgia and simultaneously break new ground. The dreamland continues through the scary mansion-horror sound of “Sleep Paralysis.” It eventually blends into a semi-sadistic lullaby- something of nightmares or drug-induced psychosis.

“Third Dystopia” sheds some light and allows you to climb back into the comfortable cradle of his harmonic melodies- something more reminiscent of his debut album Year of Hibernation. It aesthetically decays into the track “Raspberry Cake,” a sullen realization of the frailty within us all, but instead of whining, it celebrates the conceptual oneness and breaks down into an emotional triage of piano and live drums. The awesome melodies fade into the final track, “Daisyphobia,” an auditory experimental of grand illusion. The illusion seems endless until the recognition of Powers’s final melody rests with us in his infallible piano waltz.

Wondrous Bughouse holds your brain captive as it transforms highs into lows and recognizable sounds into sonic dissonance, while tackling stories of mortality and happiness. It takes the mind on a journey through the introspective experience of our own consciousness. The music is said to stem from the drawing on the cover and inside the album (they were taken from a psychiatric hospital), and translated into the beautifully convoluted sound heard on this dense, yet tranquilly congruent album.

Buy the full album here.

Check out Dropla here.

The post Album Review: Wondrous Bughouse by Youth Lagoon appeared first on KRUI Radio.

Being lost in an endless landscape of sound is not something that happens often, and when it does, it begs attention and drives an intense focus on the present moment. This is something that both Philip Glass and Oneohtrix Point Never have acquired: a foreign sonic atmosphere.

Oneohtrix Point Never immediately conquered the stage with his unrelenting electronic vibe. His deep bass and repeating tonal patterns slowly pushed the mind into a relapse of personal memory. The ambient crackles that began his concert faded into omniscient voices, doubling in complexity as more sounds compiled into a never-ending supply of tonal forms. This particle field, dense and cloud-like, dissipated into dark pulsars of energy, and shook the human cerebral fabrication until the aura pronounced a pleasantly neoteric landscape. This solitary assessment of physical and auditory senses is truly something that must be experienced.

The universe of resonation that Oneohtrix Point Never creates is absolute and limitless. Almost so much so that it seems like mental preparation is a necessity for his vast and objective realm. His music seems to stem from another world, another beautiful unseen world. He often throws the listener into another dimension, but is gracious enough to allow a peaceful and grounding exit from each domain.

The crowd, at the peak of sonic disambiguation, would shout as if to affirm this sensorial plane. Something real was being created. The orbit of sonic wavelengths, parallel to our existence, would formulate into a triage of sound, constantly increasing in depth. The monumental concepts being portrayed only get more intense as you focus into the menagerie of inflections and nuanced reverberations. This alien expanse sometimes ended at the blink of an eye, along with all sound, and other times, it was slowly lost to silence. His music speaks in multiplicity. The colossal structures Oneohtrix Point Never creates are inarguably epic. He is nothing less than a prodigy of ambience and eclecticism.

Philip Glass, a man whose work has been shaped through decades of experience, considers himself a classicist. Using only a grand piano, he evolves his work through the repetition of sound, striking keys lightly, again and again until the air is filled with delicate structures. These elegant qualities created a polyphonic tone in which his graceful motion and careful surveillance of the keys added to the story of his sound.

Glass seemed timid at times, and would then erupt into an intense set of married pitches. His notes orchestrate a quintessential tale of emotion, often surprising the audience with a low tone or chord, and his quick movements across the piano. When the listener accepts these surprises, they become tame and pleasant. Conflict often arises between notes, symbolizing a higher struggle, a complex melancholia, only to reach an inevitable and charitable resolution. Glass makes it look simple. His movements narrate a life full of sentiment and unexpected sensation, which seems to cleanse consciousness, if only for a brief moment.

His advantageous continuity and adverse progression is worth recognition alone. Glass often settles into a few keys, experimenting with their sound, and when he finally hears what he has been waiting for, he moves on. It is a constant correspondence. His pieces are specific in this nature, yet they seem infinite in their expansion. Glass’s grandiose visions are wondrous and spectacular, depicting the patterns and feelings of everyday life, while still achieving a sense of timeless beauty.

Both of these artists force introspection and narrate the present moment into a reflection of associations only actualized by a listener’s intrinsic experience. They created a sonic aesthetic, which guiding the crowd through a journey of god-like spendor. Their ideal nature and boundless soundscape showed the listener the wonder and mystery of experience, and life altogether.

The post Mission Creek: Philip Glass and Oneohtrix Point Never @ The Englert 4/3/14 appeared first on KRUI Radio.

Hannibal Buress is a unlike any other comedian out there today, and because of that he is wildly successful. Awards aside, Hannibal acts on the show Broad City, is featured on FlyLo Radio in GTA V, has directed “NaNa” by Chance the Rapper, and now has his own special “Live from Chicago” that was aired last weekend (clips can be seen here). Further credits include a starring role in FX’s “Chozen” and his new show “Unemployable,” which may or may not have been okayed for a ten episode pilot season.

Knowing all of this, and seeing him come onto the Englert’s stage was a rapturous experience. Hannibal nailed Iowa City street jugglers and Molly’s Cupcakes, businesses he didn’t seem to think were that lucrative. He “knows nothing” about Iowa City, and said that he won’t be back for another six years because “you know why.” His stark, realistic attitude struck the crowd well. He was killing it within the first two minutes.

Hannibal, noting that the crowd was primarily white, went on to talk about racism he’s encountered. His highly intelligent and intuitive crowd-reading skills allow him to captivate the audience and make them care. Along with his outstanding awareness, he knows how to put hecklers in their place. A woman shouted, “Two for two,” after one of his jokes, a seemingly arbitrary claim, to which Hannibal waited ten seconds and replied, “Fuck you for making me feel confused. You can’t make me feel confused! I can say some weird shit too! Cantaloupes and cashews!” The crowd roared.

After the audience calmed down, he went on to talk about how it “is a weird show” for him since it was so close in proximity to the nationally aired “Live from Chicago” special. This didn’t seem to curb his style at all, as he continually left the crowd in comedic awe.

After talking about blackjack and drinking, he dissected multiple rap songs that talked about morning wood. His use of a DJ worked to his benefit and spontaneously, before his set ended, he made his own ridiculous, purposefully inaudible rap about “killing bitches” and “chicken dinners,” as ballerinas danced in the background. The crowd could not have been more pleased with his performance, as he walked off stage to a standing ovation.

Hannibal’s cross-platform routine, depicting a culturally eclectic world, helps bridge the racial and social gap in society. His genius is only outmatched by his quick wit, allowing him to be appreciated by a comedically diverse audience. If there was anything to take away from this performance, it was to look out for the name “Hannibal Buress,” because it seems like anything he’s associated with, turns to gold.

The post Mission Creek: Hannibal Buress @ The Englert, 4/2/14 appeared first on KRUI Radio.

Check out my interview of the iconic Yoni Wolf of WHY?, where I ask questions about his newest EP, his story about gypsies from his track “The Hollows,” his daily routines, and his views on lyricism.

Listen to and download the KRUI.fm exclusive interview below via KRUI’s SoundCloud:

The post Exclusive KRUI.fm Interview: Yoni Wolf of WHY? appeared first on KRUI Radio.

With electronic music constantly expanding its scope, many genres continue to earn themselves a niche in modern day music. Dubstep, a late nineties genre born out of South London, began its heavy hold on the United States EDM scene circa 2010. Not everyone was fond of this new, boisterous style. It became the go-to genre for amateur DJ’s, and the music of choice for the hackneyed bro scene. While artists like Skrillex were creating an Americanized wub-culture, James Blake set out to reestablish dubstep’s roots, bringing an extraordinarily pure soundscape with him.

Last Saturday, on tour for his latest album, Overgrown, Blake performed at The Englert to a surprisingly age-diverse crowd. Many of the young audience members, seeking a more personal experience with the London-based artist, refused the conventional seating arrangement, and formed a dense group in front of the stage.

Starting with “I Never Learnt To Share”, Blake looped his subtle, pristine voice into a progression of synthesized notes between the guitar and keyboard. Every sound merged into a complex, echoic set of emotive tones, and eventually, a heavy, nodding bass. The crowd applauded overwhelmingly at the beginning of the song, making it audible in every loop thereafter. Aside from this benign altercation, the song was a short but telling predecessor for the rest of the show.

Blake chose a great balance of music from his albums and EPs. Although fans would argue that his releases are immensely significant, they would probably argue that his performances are even more so. The rhythmic menagerie of lights accompanied an already captivating auditory experience, making his live show a transformative testament.

It was visually ecstatic, combining the warm effect of incandescent lights with both pleasantly jarring floor lights, and bull’s-eye ceiling lights. These unique customizations assimilate seamlessly to his music, enhancing every sound. The visual landscape is only outdone by Blake’s driving, soulful melodies.

After slowing down with “Our Love Comes Back” and “Lindisfarne” (a beautifully constructed, ruinous lull), Blake ramped up the energy with “Voyeur”, the most upbeat tune of the night, giving the ones standing a pseudo-club experience. The organization of his dynamic songs was unabashed. The reactions of the crowd proved this, as they remained energetic during upbeat songs, yet were able to slow down for his somber tracks.

Blake’s inviting attitude and comprehensive skills allow him to succeed. He can produce hard-hitting bass trills, yet he is also a classically taught piano player. This combination produces an elegant, yet experimental atmosphere of sonic projections. It seems much more respectable than the obnoxious chaos of Americanized dubstep, and that’s because it is.

“If you go to a club tonight, eventually you will inevitably get bored of hearing everything building up (to this) … tension-and-release thing that is actually very predictable. If you really wanted to make the impact as fresh every time, then maybe don’t do the same thing over and over again. But that’s the kind of ethos I have with the show, to try and give people a certain amount of time in each space.”

-James Blake

He gave us this time with consideration. Blake’s smooth voice and settled synths circumvented every soul. The silence of the crowd during “Measurements” was impeccable. There wasn’t a single noise until the crowd applauded as he walked off stage in complete darkness, while the loop continued in the background.

No one should need music to screech loudly in his or her face to be able to connect with it. Contrary to the “testosterone-driven, frat-boy market” style, Blake’s spacious construct begs for patience and sensitivity so that we can dissolve his complicated structure into accessible pieces. As some artists continue to move towards mind-numbing, indistinguishable aggression, James Blake forces us to decelerate, allowing for active and intelligent perceptions to flourish.

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The post Concert Review: James Blake @ The Englert 11/16/13 appeared first on KRUI Radio.

Every band, especially a singer-songwriter, should be able to produce a sense of prestige and conviction while on stage. Mason Jennings’s performance Saturday, October 5th at The Englert succeeded in both of these aspects, as he sailed through a menagerie of melodic, guitar and piano based tracks.

He quickly jumped into his set, with the crowd anxiously awaiting his presence. Within the first few songs, Jennings built a lot of respect from the crowd. He spoke of his family with gratitude, the kind only seen when someone has really taken the time to appreciate his surroundings. This sense of kindness towards others followed him throughout the rest of his time on stage. During his jealous songs he spoke out against previous girlfriends, but Jennings maintained a playful sentiment. His sweet and humorous style strove to contrast his negative feelings with his own objective view on life.

Being a modern singer-songwriter is a hard gig. The music industry begs for bands whose sounds will ripple and echo through the minds of many. People tend to think singer-songwriters’ works are full of complaints about their lives or contain tacky stories about times with their lovers or being outside under the moonlit sky. And generally, this seems to be true. Jennings falls into this as well, but there is one key difference that allows him to hang on the rungs just below artists like Cat Stevens and Bruce Springsteen; he is able to make fun of himself.

Jennings’s music takes on the classic style one would expect from a singer-songwriter, which some would claim as boring or unoriginal, but he is far from that, utilizing guitar and piano to enhance his ideas. Directly from his conscious, his songs float thorough the body’s warmed core, begging to be let in. “I don’t want no victory, I just want you back,” he sung, showing his peaceful view of reality. His voice emanates a solid structure, speaking to those who would want to hold onto his music through hard times. His voice is strong, deep, and confident, holding listeners close to his heartfelt stories and ideas.

As the audience travels beside Jennings, through his paths of experiences, it’s easy to see his dreams evolving. He yearns for change and allows it to lead him onward. His song about dreaming has heavy overlaps with Mac Demarco’s “Dreamin,” and seemed to have the same “follow the path to nowhere” type of attitude. Jennings is wandlering through life’s landscape, taking his music skyward, with love, compassion, and reflection. His mindful awareness in “Be Here Now” seems to back up this pacified state, expressing the importance of new beginnings and the uncontrollable change of the world. To Jennings, it’s the things that stay constant that should be feared the most.

The post Concert Review: Mason Jennings appeared first on KRUI Radio.

The post Concert Photos: SCOPE Presents: Third Eye Blind appeared first on KRUI Radio.

The visual excitement of his stage presence paired with his lyrical divisions created a mathematical, rhythmic pattern that begged the audience to observe his words as truth. His erratic movements were methodical, almost maniacal in nature. He jolted, his body moving back and forth across stage, his torso hunching at either side, his vocals nasally, and each sound and movement seemed calculated as he continued to repeat the process like a programmed machine. During “The Vowels Pt. 2,” his jagged motions were intense; his body evoked a fit of robotic disorientation. Occasionally he would stop to peer over the audience’s heads, as if he were trying to visualize his memories being suspended in mid-air. This focused space glare was one that held the audience captive, while Yoni maintained the eccentric driving rhythm of his dense, melancholic style.

While performing he seems borderline psychotic, mumbling inaudible words to himself between songs while his unfocused gaze permeates the crowd. But those who know more about Yoni understand that his systematic movements and fragmented lyrical vibes are warranted ideals of his psychology. Being someone who suffers from Crohn’s Disease, his lyrics contain a lot of contempt for his state of being. Yoni exuded these sensations with no limits. In the incredibly brief time the audience spent with him, listening to his unedited thought processes shadowed by guilt and pain, the crowd was able to formulate a better understanding of what was true to him as a person, not just an artist on stage.

During the encore, Yoni sang the second to last Golden Ticket of his tour, where he creates a song completely based on one of his fans and performs it live while they stand on stage. It is here when people began to see a different, more sensitive Yoni Wolf. His peculiar and spontaneous personal song about the girl was a nice break from his earlier, dejected works. Being the equivalent of comedic relief, it was nice to see how much Yoni cares about everyone around him. After finishing the song, he talked about how appreciative he was of his fans for supporting him. Even if you don’t like Yoni’s music, you have to respect him for what he does for his fans and the people who surround him.

The post Concert Review: WHY? @ The Mill 10/2/13 appeared first on KRUI Radio.