PCU is a 1994 American comedy film written by Adam Leff and Zak Penn and directed by Hart Bochner about college life at the fictional Port Chester University, represents "an exaggerated view of contemporary college life...." The film is based on the experiences of Leff and Penn at Eclectic Society at Wesleyan University in Middletown, Connecticut. Preppy pre-freshman Tom Lawrence visits PCU, a college where fraternities have been outlawed and political correctness is rampant on campus. During his visit, accident-prone Tom manages to make enemies with nearly every group of students, thus spends much of his visit evading the growing mob upset with him. During his visit, Tom finds himself in the middle of a war between "The Pit" and "Balls and Shaft", two rival groups. Among the members of the latter is Rand McPherson, with the other Balls and Shaft members, want the outlawed Greek system to return. Meanwhile, "The Pit", an unofficial group, runs the former "Balls and Shaft" frat house in a disorganized manner.
Inhabited by seniors Gutter and Mullaney, mid-year Freshman co-ed Katy, led by multi-year senior James "Droz" Andrews, The Pit is a party-centric house that rebels against the politically correct protests. Other factions on campus include a commune-style house of pot users called Jerrytown that Gutter frequents, a radical feminist group known as the Womynists, an Afrocentrist group suspecting the Pit of conspiring against them, the college president, Ms. Garcia-Thompson, obsessed with enforcing "sensitivity awareness" and multiculturalism to an extreme, she proposes that Bisexual Asian Studies should have its own building, as well as a plan to change the campus mascot to a Whooping Crane instead of an offensive Native American character during their Bicentennial Anniversary. Garcia-Thompson conspires behind closed doors with Balls and Shaft to get the established residents of The Pit kicked off campus and give Rand control of the house, she provokes the Pit residents with a damage bill from their past semester.
Left unpaid, the campus would seize their house, leaving them homeless and unable to continue attendance at PCU without getting jobs. The Pit responds by throwing a party to raise the funds needed; the Womynists take offense to The Pit's flyers advertising the party, hold a protest outside as the house residents conspire to steal alcohol and convince students to attend. The party at first appears to be a failure. However, a series of unlikely events results in George Clinton and Parliament-Funkadelic performing at the party. Students begin streaming in and the party raises the funds to keep the house. Garcia-Thompson, deciding to act on the many complaints against The Pit, shuts down the party and expels the residents of The Pit in spite of their fundraising efforts. Tom informs Droz about an overheard conversation with the Board of Trustees: the President's politically correct changes are negatively affecting both their past legacy and media publicity. At the bicentennial ceremony the following morning and former Pit residents succeed in liberating the Whooping Crane and provoking the other students into an impromptu protest against protesting.
The demonstration establishes that with The Pit shut down, the President cannot control the student population, resulting in the Board of Trustees summarily firing her. Meanwhile, Rand complains about all the other student groups, unaware that Droz has surreptitiously used the podium microphone to broadcast his rant to the entire campus. Tom heads home having decided to commit to PCU as the Pit has moved back into their house; as he sits on the bus, he sees Rand, now in Tom's position at the beginning of the film: being chased by the students across campus. Principal photography took place entirely in and around Toronto with the University of Toronto serving as Port Chester University; some limited second unit shots were shot on the Wesleyan campus. Jeremy Piven complains in the DVD audio commentary that actors were not allowed by the director to improvise at all, he was able to include some limited improvisation by appealing to the writers directly. Production schedules were challenged when Piven, active in anti-malaria charities, contracted malaria on a trip to Guatemala which affected him while filming.
The film received mixed reviews holding a 47% on Rotten Tomatoes. Roger Ebert said the film "begins with a fantastic premise, but loses faith in it." Nonetheless, it has been ranked among the ten best college movies by The Huffington Post. With a budget of $8 million, it grossed $2,129,483 on opening weekend contributing to a final domestic total of $4,330,020; the soundtrack, released on May 10, 1994 by Fox / Arista, features songs from the feature film. Steve Vai wrote the score for the movie, which he would release on his compilation album The Elusive Light and Sound, Vol. 1. The album is notable for the Mudhoney's cover of Pump It Up. PCU on IMDb PCU at Box Office Mojo PCU at Rotten Tomatoes
The Story of Light (Steve Vai album)
The Story of Light "Real Illusions:...of a..." is the eighth studio album by guitarist Steve Vai, released on August 14, 2012 through Favored Nations Entertainment. It is Vai's first full-length studio album since 2005's Real Illusions: Reflections. On May 23, 2012 The Story of Light was made available for pre-order through Vai's official website with an instant download of "Gravity Storm"; the track "John the Revelator" contains a sample of Blind Willie Johnson's song of the same name. "The Moon and I" was released as a VaiTunes digital only single in 2010. However, due to the personal nature of the song, Vai decided to remix it and include it on the album; the album debuted on Billboard 200 at No. 78. This album was made using a 7 string electric guitar by Steve Vai; the Story of Light is the second installment of the Real Illusions trilogy, a "multi-layered melange based on the amplified mental exaggerations of a truth-seeking madman who sees the world through his own distorted perceptions", according to the booklet introduction.
In an interview with ClassicRock Revisisted, Vai explained: When I started Real Illusions, my last studio record, I wanted to do a concept record, but I didn’t want to do it in the conventional way. I wondered. I wanted it to span a long period of time, as it is going to be one of my life’s greatest works. I wanted to put it out, not in a linear way. If you listen to Real Illusions you will just hear a studio album, as you will not be able to put all of the pieces together. If you read the liner notes you can start to put little pieces together; the idea is the same with The Story of Light. It is like Real Illusions; that said, the songs are all based on characters in the story, but they are not in the right order. The third part of the trilogy, which I will do sometime in the future, will be similar. According to Vai, "Captain Drake Mason... at one point writes a book. He presents his book, titled Under It All, to the town; the first chapter is called "The Story of Light". On the record, the lyrics are printed in English, but I didn’t want to present them that way because it is too obvious.
I wanted to do them in another language to add mystique. I went through all of these languages in my head trying to find the right one; every language has a dynamic to it. Italian sounds like music, French is effeminate, so it sounds beautiful, in a way. German has a lot of rough edges and comes off masculine. All of those had too much of a tilt. Russian is such a beautiful language because it has just the right amount of rough edges and just the right amount of romance. Still, there is an authority to it; that is why I decided to do it in Russian." All music composed except where noted. Steve Vai – guitar and vocals Philip Bynoe – bass Jeremy Colson – drums Deborah Henson-Conant – harp Beverly McClellan – vocals Aimee Mann – vocals Bernie Grundman – mastering Dave Rosenthal – piano Julia Rainy May Vai – Russian narration Bob Carpenter – Hammond B3 Mike Keneally – keyboards Dave Weiner – rhythm guitar
Flex-Able Leftovers was a limited edition 10" vinyl EP by American composer and guitarist, Steve Vai. It was leftover material from the recordings done during the "Flex-Able" days and released in 1984. There were only two EP editions in 1984: - The first issue on Urantia Records. - The Second issue, with different artwork on Akachic Records. All songs written except where noted. In Side "You Didn't Break It" – 4:14 "Bledsoe Bluvd" – 4:22 "The Beast of Love" – 3:29 "Burnin' Down the Mountain" – 4:22Out Side "So Happy" – 2:43 "Details at 10" – 5:57 "Little Pieces of Seaweed" – 5:12 "Chronic Insomnia" – 2:00More information on this edition Steve Vai – vocals and electric guitars, coral sitar, electric piano, bass guitar, background vocals Scott Collard - Synthesizer Larry Crane – piccolo xylophone, bell lyre, vibraphone Fammin - Voice Laurel Fishman - Vocals Chris Frazier – drums Joe Kearney – vocals Larry Kutcher - Voice Lyrics Stu Hamm – vocals, bass guitar Suzannah Harris – background vocals Bob Harris – vocals, Programmed by Tommy Mars – vocals, keyboards Lillian Vai - Vocals Chad Wackerman - Drums Pete Zeldman – percussion John Matousek - mastering Mark Pinske - mastering Steve Vai - Producer, Mixed By, Artwork By
Fire Garden is the fourth studio album by guitarist Steve Vai, released on September 17, 1996 through Epic Records. The album reached No. 106 on the U. S. Billboard 200 and remained on that chart for two weeks, as well as reaching the top 100 in three other countries; as described by Vai in the liner notes, Fire Garden is a concept album divided into two "phases": "Phase 1" comprises tracks 1–9 and is instrumental, while "Phase 2", the remainder of the album, features Vai on vocals on every song except the instrumental "Warm Regards". Fire Garden was intended to be a double album, but during mastering Vai heard about the new 80-minute CD format, which meant that both sides were able to fit onto a single disc."Dyin' Day" was co-written by Ozzy Osbourne during the writing sessions for Osbourne's 1995 album Ozzmosis. Another song from those sessions, "My Little Man", made its way onto Ozzmosis and is credited on that album as being co-written by Vai. Stephen Thomas Erlewine at AllMusic gave Fire Garden four stars out of five, calling it "An impressive effort from a musician who continues to grow and stretch himself with each new release" and "enjoyable for non-guitar freaks, as well."
He said that Vai's vocals "still have a way to go before they are as expressive as his instrumental work, but this subtle and dense concept album is the closest he's gotten to integrating the two sides of his musical personality together." All tracks written except where noted. In Review: Steve Vai "Fire Garden" at Guitar Nine Records
Bill & Ted's Bogus Journey
Bill & Ted's Bogus Journey is a 1991 American science fiction comedy film, the directing debut of Pete Hewitt. It is the second film in the Bill & Ted franchise, a sequel to Bill & Ted's Excellent Adventure. Keanu Reeves, Alex Winter and George Carlin reprise their roles; the film's original working title was Bill & Ted Go to Hell and the film's soundtrack featured the song "Go to Hell" by Megadeth, which Dave Mustaine wrote for the film. Despite mixed reviews from film critics, like its predecessor, the film has since gained a cult following thanks in large part to its spoof of Ingmar Bergman's 1950s classic film The Seventh Seal; the music of Bill and Ted's band, Wyld Stallyns, has created a utopian future society. Chuck De Nomolos, who detests this society, steals one of the time-traveling phone booths and sends two robots modeled after Bill and Ted back to the late 20th century to prevent Bill and Ted from winning the San Dimas Battle of the Bands. Rufus attempts to stop De Nomolos but becomes lost in the circuits of time.
In the present, two years after Bill and Ted first traveled through time, Wyld Stallyns is preparing for the contest. Though Bill and Ted's current fiancées and former 15th-century princesses Elizabeth and Joanna have become skilled musicians and Ted are still inept. Despite this, the organizer, Ms. Wardroe, assures them a slot in the contest. Bill's stepmother Missy divorces his father in favor of Ted's, who threatens Ted with military school should they fail the Battle of the Bands. Evil Bill and Evil Ted arrive and the robots replace Bill and Ted, killing them by throwing the two over the side of a cliff at Vasquez Rocks; the robots work to ruin the duo's fame. Bill and Ted's souls are met by Death who says they may challenge him in a game for their souls, but that nobody has won. Bill and Ted escape after giving Death a "melvin", they attempt to alert their families but their ethereal forms prove difficult, are cast down into Hell at a séance held by Missy. In Hell, they are tormented by Satan, made to face their own fears, realize their only escape is to take Death's offer.
Taken to Death's chambers, the spirit gives them the option of. Bill and Ted, to Death's dismay, select modern games like Battleship and Twister, they beat Death. Death unwillingly becomes their servant. Bill and Ted recognize they need to locate the smartest person in the universe to help build robots to counter De Nomolos' evil robots. Death escorts the two to Heaven, with God's help, are directed to an alien named Station who offers to help Bill and Ted. Death brings them back to the mortal world. Bill and Ted take Station to a hardware store, race in their van back to the concert while Station constructs good robots. Just as the evil robots take the stage and Ted arrive, Station's robots defeat the evil ones. De Nomolos appears in the time booth, ready to defeat Bill and Ted himself, overrides the broadcasting equipment to send the video footage of this to everyone on the planet; the two recognize they can go back in time to arrange events for De Nomolos to be trapped in the present, aided by Death and Station.
Ms. Wardroe reveals herself to be a disguised Rufus, urges them to play; as Bill and Ted reunite with their fiancées, they realize they are still terrible musicians, the four use the time booth. Though they return "an intense 16 months of guitar training plus a two-week honeymoon" have passed for them, they begin to perform a stunning rock ballad, joined by Death and the good robots. The worldwide broadcast set by De Nomolos continues, Wyld Stallyns' music is played across the globe, creating harmony. Over the credits, it's shown through newspaper articles that the band, along with Death, go through many perks of fame before taking their act to Mars. Alex Winter as William ‘’Bill’’ S. Preston/Granny S. Preston William Throne as Young Bill Keanu Reeves as Theodore ‘’Ted’’ Logan/Evil Ted Brendan Ryan as Young Ted William Sadler as Death Joss Ackland as Chuck De Nomolos George Carlin as Rufus Chelcie Ross as Col. Oats Pam Grier as Ms. Wardroe Annette Azcuy as Elizabeth Sarah Trigger as Joanna Hal Landon Jr. as Captain Logan, Ted's father Amy Stock-Poynton as Missy, Bill's soon-to-be ex-stepmother Ed Gale and Arturo Gil as Station Tom Allard as Big Station Frank Welker as the voices of Satan, The Easter Bunny and Station Progressive Rock/Metal band Primus appear as themselves during Battle of the Bands, performing Tommy the Cat As was common at the time, the soundtrack album focuses on the rock music heard throughout the film.
An album of the full orchestral score by David Newman would not become available until 2007. The song Bill and Ted play for the battle of the bands is "Final Guitar Solo" by Steve Vai, which he wrote to help blend into "God Gave Rock'N' Roll to You II" by Kiss, although they appear similar in appearance to Dusty Hill and Billy Gibbons from ZZ Top. There's a reference to the lyrics from "Every Rose Has Its Thorn" by Poison. Critical reception to the movie was mixed. Rotten Tomatoes, a review aggregator, reported that 54% of 50 surveyed critics gave Bogus Journey a positive review; the film's consensus stated: "Bill & Ted's Bogus Journey has the same stars—and cheerfully wacky sense of humor—as its predecessor, but they prove a far less effective combination the second time around."
Alien Love Secrets
Alien Love Secrets is an EP by guitarist Steve Vai, released on March 21, 1995 through Relativity Records. The EP reached No. 125 on the U. S. Billboard 200 and remained on that chart for two weeks, as well as reaching No. 72 on the Dutch albums chart. Alien Love Secrets was written and recorded in less than six weeks as a stripped-down guitar and drums record with minimal keyboards. According to Vai, he had wished to maintain a steady output of material following his 1993 album Sex & Religion, but the recording process for the 70+ minutes of his subsequent 1996 album Fire Garden was taking too long; the EP was therefore purposely released in anticipation of Fire Garden. Stylistically Alien Love Secrets marks a return to the more familiar instrumental rock of Vai's 1990 album Passion and Warfare, following the mixed reception to Sex & Religion. Notable tracks include "Bad Horsie", derived from a riff played by Vai during the final scenes of the 1986 film Crossroads. Stephen Thomas Erlewine at AllMusic gave Alien Love Secrets three stars out of five, calling it a "moodier, more atmospheric collection" than Passion and Warfare.
He praised his "fluid technique, which manages to never become mechanical." All music composed by Steve Vai. Steve Vai – guitar, Eventide H3000 harmonizer, drum programming, engineering, production Tommy Mars – organ Deen Castronovo – drums Julian Vai – baby vocals Sergio Buss – engineering assistance Bernie Grundman – mastering Pam Daney – production assistance Guitar Nine Records - In Review: Steve Vai "Alien Love Secrets" at Guitar Nine Records
Sir Raymond Douglas Davies, is an English singer and musician. He is the lead singer, rhythm guitarist and main songwriter for the Kinks, which he leads with his younger brother, Dave, he has acted and produced shows for theatre and television. He is referred to as "the godfather of Britpop". After the dissolution of the Kinks in 1996, Davies embarked on a solo career. Davies was born at Fortis Green, north London, England, he is the seventh of eight children born to working-class parents, including six older sisters and younger brother Dave Davies. Ray's father, Frederick Davies was a slaughterhouse worker of Welsh descent, he was considered a ladies' man. His own father, was a slaughterman, in the Rhondda Valley, Wales. Ray's mother is of Irish descent. Fred moved to London as a young man, where he took up his father's occupation and married a Londoner, Anne Willmore. Anne came from a "sprawling family", she in turn gave birth to one, she could be crude and forceful. When Ray was still a small child, one of his older sisters became a star of the dance halls, soon had a child out of wedlock by an African man - an illegal immigrant who subsequently disappeared from her life.
The child, a daughter, was raised by Ray's mother. Ray attended William Grimshaw Secondary Modern School. Davies was an art student at Hornsey College of Art in London in 1962–63. In late 1962 he became interested in music. Gomelsky arranged for Davies to play at his Piccadilly Club with the Dave Hunt Rhythm & Blues Band, on New Year's Eve the Ray Davies Quartet opened for Cyril Stapleton at the Lyceum Ballroom. A few days he became the permanent guitarist for the Dave Hunt Band, an engagement that would only last about six weeks; the band were the house band at Gomelsky's new venture, the Crawdaddy Club in Richmond-upon-Thames. Davies joined the Hamilton King Band until June 1963. After the Kinks obtained a recording contract in early 1964, Davies emerged as the chief songwriter and de facto leader of the band after the band's breakthrough success with his early composition "You Really Got Me", released as the band's third single in August of that year. Davies led the Kinks through a period of musical experimentation between 1966 and 1975, with notable artistic achievements and commercial success.
The Kinks' early recordings of 1964 ranged from covers of R&B standards like "Long Tall Sally" and "Got Love If You Want It" to the chiming, melodic beat music of Ray Davies' earliest original compositions for the band, "You Still Want Me" and "Something Better Beginning", to the more influential proto-metal, power chord-based hard rock of the band's first two hit singles, "You Really Got Me" and "All Day and All of the Night". However, by 1965, this raucous, hard-driving early style had given way to the softer and more introspective sound of "Tired of Waiting for You", "Nothin' in the World Can Stop Me Worryin"Bout That Girl", "Set Me Free", "I Go to Sleep" and "Ring the Bells". With the eerie, droning "See My Friends"—inspired by the untimely death of the Davies brothers' older sister Rene in June 1957—the band began to show signs of expanding their musical palette further. A rare foray into early psychedelic rock, "See My Friends" is credited by Jonathan Bellman as the first Western pop song to integrate Indian raga sounds—released six months before the Beatles' "Norwegian Wood".
Beginning with "A Well Respected Man" and "Where Have All the Good Times Gone", Davies' lyrics assumed a new sociological character. He began to explore the aspirations and frustrations of common working-class people, with particular emphasis on the psychological effects of the British class system. Face to Face, the first Kinks album composed of original material, was a creative breakthrough; as the band began to experiment with theatrical sound effects and baroque musical arrangements, Davies' songwriting acquired its distinctive elements of narrative and wry social commentary. His topical songs took aim at the complacency and indolence of wealthy playboys and the upper class, the heedless ostentation of a self-indulgent spendthrift nouveau riche, the mercenary nature of the music business itself. By late 1966, Davies was addressing the bleakness of life at the lower end of the social spectrum: released together as the complementary A-B sides of a single, "Dead End Street" and "Big Black Smoke" were powerful neo-Dickensian sketches of urban poverty.
Other songs like "Situation Vacant" and "Shangri-La" hinted at the helpless sense of insecurity and emptiness underlying the materialistic values adopted by the English working class. In a similar vein, "Dedicated Follower of Fashion" wittily satirized the consumerism and celebrity worship of Carnaby Street and'Swinging London', while "David Watts" humorously expressed the wounded fee