The cast of the first-ever Not So Silent Night

The holiday spirit was certainly in the air on Wednesday night as nine CMCers from Under The Lights (UTL), our theater club, took the stage at the Athenaeum as actors in the inaugural murder mystery Not So Silent Night. The idea for the event originated from a desire on the part of ASCMC representatives to hold a holiday event with qualities similar to Madrigals, which was cancelled for the first time in the event’s 26-year-old tradition because students celebrated with excessive determination during Madrigals 2008. A one-year hiatus has reinvigorated the creativity of the CMC brain trust with the foundation of an event that incorporates some of the debauchery associated with Madrigals with the average CMC student’s desire for high-brow events while also satisfying the requirements from the Dean of Students (DOS) and the Athenaeum. In another break from tradition, Not So Silent Night, was held on consecutive nights.

Prior to entering the Security Pacific Dining Room, each attendee was given a secret dossier containing background on the characters, a synopsis of the murder case and a small card with the identity of his or her character. The vast majority of students came dressed to impress and were ready to mingle after a couple trips to the wine bar, which was available to all attendees over 21.  Tables were filled by six o’clock as students took their seats to enjoy an opening course of corn chowder, enjoy their drinks and participate in the opening acts of the mystery. Diners had their fill of a delicious main course consisting of cornish game hen, vegetable rice and asparagus as they watched the mystery heat up as the list of witnesses was expertly narrowed down by the chief detective, played by Steven Zima ’13. The audience feasted on dessert as Zima listed the various alibis and offenses for each of the eight actors in the murder mystery and fielded questions from the diners as coffee, tea and hot chocolate were served.

Alexander Reichert '11 and Patrick Eagan-Van Meter '11 discuss the Madrigals kissing fruit tradition with President Gann.

Reservations for Wednesday’s performance filled up before Tuesday’s. There were reports that a portion of Wednesday attendees had shouted at the actors, which showed the difficulty of defining “dinner theatre” to an unfamiliar crowd. At points, parts of the audience chose to ignore the performance to continue conversation. This left some worried that the audience’s behavior on Wednesday would cause the Athenaeum to reconsider hosting the event next year.

Although she thought the event was a resounding success, Atheaneum Student Manager Jessica Mao ’12 thought “there could have been a higher level of respect” from “chatty” audience members on Wednesday night.

“The Ath servers and I were there really late that night,” Mao added, “but we thought it was worth the kick people got out of some holiday fun.”

Katherine Wernet ’11, president of UTL and Director of Not So Silent Night, hopes that the event continues in the future. “I think Tuesday’s event proved that CMC students are capable of attending a holiday celebration with responsible drinking,” Wernet told the Forum, “This was highly doubted by DOS and the Athenaeum, and initially it made it incredibly difficult to persuade both parties to allow us to hold Not So Silent Night. I hope that Tuesday’s performance is the one remembered by staff and faculty of the College, and not the more raucous Wednesday performance.”

ASCMC President Tammy Phan explained that each of the three parties involved in the event’s planning (ASCMC, UTL and the Athenaeum) had “different expectations” for the night.

“It was important to each organization that the event be successful, but we defined success in different ways,” Phan told the Forum. “Whatever our measurements were, it really seemed as if the students enjoyed themselves and considered it a success.”

The overall mood of the event was certainly cheery and festive, with a number of students imbibing holiday drinks in moderation and supporting the CMC acting troupe with raucous applause as they addressed the crowd after the performance for a round of bows. Many referred to the event by its nickname, “Murdrigals,” which gives homage to its predecessor while acknowledging the theme of the evening. Provided that the Dean of Students office and ASCMC are pleased with turnout and the behavior of attendees, there is no reason why “Murdrigals” would not be an event that returns to campus each holiday season for years to come.

The Radio Dept.

Clinging to a Scheme

I can confidently say that Clinging to a Scheme is an album for any occasion –with the exception of a  12′ x 10′ dorm room dance party (usually calls for Jay-Z’s “Empire State of Mind“). Clinging to a Scheme is The Radio Dept.’s first album in over four years and their second studio release in seven. Much of the band’s anonymity in the indie and popular music world can be attributed to their low output rate. Regardless, none of that anonymity has dampened emphatic response from critics for this excellent contribution to the Swedish band’s discography.

The sound could best be described as minimalist dream-pop. The band skillfully produces a short album with dynamic songs, each meandering through an arrangement of tempos and effects within the short breadth of three to four minutes.  Each song harnesses an individual and particular groove, percussion, effects and samples. “Heaven’s on Fire” begins with a quote from Thurston Moore of Sonic Youth discussing his desire to “destroy the bogus capitalist process that is destroying youth culture” only to launch into an up-tempo love song backed by high-pitched synth and horns.  Genius.  From there, the album surprises again, transitioning into a down-trodden track, “Domestic Scene.” Cling to a Scheme is a unique album that is well worth a listen for anyone with thirty minutes to spare.

Key tracks: “Heaven’s on Fire,” “Never Follow Suit”

The National

High Violet

I would be lying if I said that I didn’t think this album was important enough to indie music fans to download (questionable legality aside) prior to its May 11 release. With the most bizarre crew of members since Van Halen, The National is composed of one set of twin brothers, another set of brothers who are a year or two apart in age, and a lead singer all hailing from Cincinnati. The band relocated to the hipster paradise of Brooklyn, New York where each of them worked for a measly salary while recording over the weekends in an attempt to attract the attention of small-time labels. After seven struggling years, The National finally broke through with Alligator (2005) followed by Boxer (2007).

The band is back after a generally misunderstood attempt at The Virginia EP in 2008 with their newest effort High Violet. After a few preliminary listens to the album, it’s fair to say that lead singer Matt Berninger has once again poured his heart and soul into the record. Nicholas Dawidoff from The New York Times Magazine commented on the album:

“[it's story of] a man who isn’t getting any younger, mostly wants to be a good father and husband and employee and friend – and might be happy, but for all that resistance he thinks he keeps it tamped in his own head. He used to be the Great White Hope, the hero of his own box-size living room….[he thinks] about clearing out of the Silver City and going back to Ohio where life is simpler – until [he] gets there and remember[s] why [he] left.”

In “Afraid of Everyone,” the second single from High Violet, we hear Berninger, mumbling like the Tom Waits of our generation. He accepts that he has seen his dreams and aspirations fall by the wayside as he has grown older. But now there are no longer any “drugs to sort it out.” High Violet may not be the cheeriest album to come out this spring but Berninger’s witty self-deprecation and insightful introspection more than make up for it.

Key tracks: “Bloodbuzz Ohio,” “Terrible Love”

Gil Scott-Heron

I’m New Here

Gil Scott-Heron, wowing listeners since 1970,  has done so again with his most recently released album I’m New Here, produced by XL Recordings founder and chief Richard Russell. Scott-Heron pioneered a movement around what became known as proto-rap. With his unique style, he combines traditional spoken word with funk and soul. This style has gone on to influence hip-hop artists like Common and Nas. He also has an infamous criminal record, mostly drug-possession charges, for which he has served over four years of prison time.

Needless to say, I’m New Here is not an album to listen to while sipping on margaritas in the sun. Scott-Heron has used the album as a confessional. He expresses regret and acceptance of his past missteps. The soul legend croons over tracks that blend blues and ambiance on “Me and the Devil” and “New York is Killing Me (featuring Nas).” For Scott-Herron, Death is  a means of escape from the dolor and oppression of urban life. A large part of the album features Scott-Heron’s spoken word talents as he discusses “the ruins of another black man’s life” and him “coming from, what they called, a broken home.” Kanye West’s “Flashing Lights” beat echoing in the background. A listen of I’m New Here is an eye-opening and mentally draining experience. It’s an old man reflecting on the darker portions of his life with a defiant and proud solemnity. We may not have many points of reference as privileged college students, but one listen to Scott-Heron’s comeback album provides us with some insight into the lives of a legendary African-American artists.

Key tracks: “On Coming From A Broken Home (Pt. 1),” “Where Did The Night Go”

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Early Decision, Regular Decision & Yield

“We accepted 110 early decision students, and we want 190 regular decision students.”

Just over 17% of applicants were accepted by CMC for the Class of 2014. The admissions rate has fluctuated between 15-19% in recent years.

Composition of Class

“The people we admitted are really strong, and very diverse geographically. There are more international students than we’ve had before. More applied, and more were admitted. I think that goes along nicely with the college’s recent globalization efforts.”

The admitted group of 732 students looks like this:

• 385 women (53%)
• 347 men (47%)

• 168 Asians/Pacific Islanders (23%)
• 98 Latinos (13%)
• 62 African-Americans (8%)

• 263 California (36%)
• 120 non-US (16%) — the most represented countries are India, China, United Kingdom, Jordan, Singapore, Canada and the Philippines
• 41 Washington (6%)
• 30 Texas (4%)
• 26 Colorado (4%)
• 21 Arizona (3%)
• 20 Massachusetts (3%)
• 40 other states which have between 1 and 18 students

SAT Scores & Acceptance Rate

“The range is more important than the average. It’s at least as strong as last year’s freshman class. 4,264 applied for Early Decision or Regular Decision freshman admission, and the acceptance rate was 17.2%.  We’ve received 288 transfer applications, and will begin reading them next week.   We expect to notify transfer applicants around May 14th.”

Admissions Outlook

“We’ve accepted roughly the same amount of people from California, but state budget cuts to the UC system may change the landscape with regards to enrollment. Fewer may choose the UCs now and may choose Claremont McKenna, Stanford or Occidental. Our worries about how the economy would change the class last year were unfounded – they were legitimate, but it turned out fine. Families still wanted to send their kids to great schools.”

Over three hundred students turned out last night to participate in a longstanding tradition here at CMC: Rage in the Cage. The event has been held every semester since as long as I can remember (two and a half years), and it has become a mainstay on campus. This semester’s tournament earned the privilege of being the theme of the first post-spring break trial TNC.  Thirty-two teams duked it out in McKenna Stadium in a tournament marked with unprecedented organization and unmatched competition (hat tip to Alexander Reichert and Seth Winterroth). What more, teams turned out in a wide array of themed and hilarious costumes all eager to claim the sought after Cage Cup.

CHAMPIONS

Ron Burgandy’s Channel 4 News Team

Lewis Corson, Eric Bean, Christian Paullin, Sam Ullman & Mike Nguyentat

The boys sported full suits from Goodwill for their matches, running up against tough opponents in each and every round but came out with nothing but victory in the end.

RUNNER-UP

Team Wet Ballers

Alex Smith, Greyson Blue, Seaun Eddy, Kevin Sullivan & Matt Isono

Comprised mostly of the youngsters from our SCIAC Champion CMS basketball team, the Wet Ballers showed their improvement with added wisdom as they progressed through the rounds. More to come on Seaun Eddy in the next section.

MVP

Seaun Eddy

Eddy impressed the crowd in the first round as he single handedly picked out four of the opposing team’s competitors to win the match for the Wet Ballers.

BEST DRESSED

Ron Burgandy’s Channel 4 News Team & The Slu Tang Clan

And enjoy a few more beautiful pictures courtesy of Andrew Jordan.

*Photo credit goes to Andrew Jordan for these amazing pictures.

Lupe Fiasco at Bonnaroo 2008

Let us learn a little more about what Lupe Fiasco is about.  A Chicago native of West-African descent, Fiasco was exposed an array of experiential and ideological influences.  His father was, among other things, an engineer, a member of the Black Panther Party, and an African drummer while his mother was a gourmet chef at fine restaurants in Chicago. He was raised Muslim on the West Side of Chicago, a predominantly Christian and Catholic city, learning the tenets of the faith from his parents and the reality of the streets from his peers–the FNF crew.  Well-documented in Food and Liquor (2006) and The Cool (2007), Fiasco resented hearing only vulgarity and mysogonism in hip-hop during his youth.  The release of Nas’s modern-day classic It Was Written (1996) not only changed the entire game, but also provided extraordinary influence for the thirteen-year old Fiasco.  As a result, Lupe Fiasco is undoubtedly one of the most progressive names in the hip-hop game right now.

The first word that comes to mind when I think about the contemporary hip-hop community is “homogenous.” While that label is usually applied to Caucasian communities in the Northeast, I did not see a performance at the BET Awards where cars, women, clothing, and money were not rapped/sang about in excess. The Cool and It Was Written both focus on Mafioso narratives, street culture appraisal, and symbolism–content that sets Lupe Fiasco and Nas apart from field of hip-hop. Lupe Fiasco’s work to date is impressive; it does not fit the hip-hop mold for success. To the best of my knowledge, Fiasco is the only mainstream hip-hop artist to have crafted an “abstract conceptual album” in recent years. The Cool expounds upon three characters introduced in Food in Liquor that each embody a different aspect of street culture and symbolize the degradation of morality in the face of greed, opportunity, and poverty–sociological ideas that reverberate through the college demographic in the form of dissertations and discussions.

So whether you’re complaining to your suitemates about how ASCMC does not care about what the student body wants or actually just have no idea for what you are in store on March 5, take an hour out of your day today and listen to what Lupe Fiasco has to offer.  Listen to his lyrics, consider his message.  Hopefully you will find that he is not trying to be another “girl you stank” rapper, but rather a champion of a deeper, intellectual discourse within today’s offbeat hip-hop climate.

It has been four years for me, and five for others, since the “future” was such a tangible concept. Life in Claremont has provided us with the comfortable, anxiety-free atmosphere that we have grown accustomed to, a relaxing paradise nestled somewhere between our History of World Soccer course at Pitzer and the Sunday morning brunch horror stories. Then, all of a sudden, the “future” becomes our day-to-day reality. Spring semester of junior year begins and that notion of uncertainty slowly creeps into our world.

Remarks over who has received offers from where can be heard over the beirut and flip cup table. It seems like everyone and their mothers are applying for the same position at the same investment bank, consulting shop, think tank, or military-grade arms producer (read: Lockheed Martin). Anxiety has crept into the normally chill social framework. Competitiveness runs rampant amongst enemies and friends alike. In reading this, I am quite sure that you have thought of someone who is currently hard to look in the face because you feel that the “future” you thought was secure five years ago upon acceptance to CMC is under attack.

Does this truth regarding your current views alarm you? Totally understandable. Maybe your rival is a better interviewer or understands the St. Petersburg’s Paradox better than you, but rest assured that the offerings you bring to the table are unique and appreciable. When push comes to shove, employers and interviewers want to work with someone who is not only competent and intelligent but also someone who they would like to work with. Perhaps knowing about a Kontinental Hockey League game in Chekhov, Russia in which 691 penalty minutes were issued due to a series of brawls could clinch that interview with Goldman Sachs. Is that really such a stretch?

I have no clue. The entire process is a crap-shoot. Things in life, no matter how we strive to control them, are simply out of our hands.  A recommendation: save your golf clubs for when townies are on campus, have a beer with your friends, and enjoy your last taste of freedom.

Image source: http://www.flickr.com/photos/aknacer/2905869395/

A year and a half later, Posner is gainfully employed with J Records and lets his agents do the job hunting for him. Directly on the heels of the release One Foot Out the Door, his second mixtape effort, Posner will be headlining on Saturday at CMC, one of five shows he is playing across college campuses in November. Venues range from Seton Hall and UPenn to CMC. And did I mention that Posner is still a full-time student at Duke, majoring in sociology and business? The man has a busy schedule.

From a critical standpoint, neither A Matter of Time nor One Foot Out the Door are perfect mixtapes. Vocal talent and lyrical creativity are the two qualities that Mike Posner has to work on before he records his 2010 currently untitled studio LP. Since his first mixtape, Posner’s vocal range has greatly improved and he is noticably more confident on One Foot Out the Door, where he relied heavily on vocal effects to change notes. We’ll have to chalk it up to his busy class schedule.  A few of the rhyming schemes seem forced and elementary on the new mixtape, especially on tracks “You Don’t Have to Leave” and “Red Button.”

These criticisms aside, production and style are the areas where Posner’s talent shines through. Posner’s raspy lyrics flows well with urban and pop tracks that draw on glamorous over-production and reverb effects. A natural producer, Posner also draws from a pool of samples that span from a number of genres. In “Evil Woman,” Posner samples Electric Light Orchestra and on “One Foot Out the Door” he mixes tunes from current indie rock superstars The xx. However, original tracks “Smoke and Drive” and “Cooler Than Me,” which feature Kanye West’s protege Big Sean (Posner’s friend) have been popular on the tour circuit across the country. See the video below for evidence:

On One Foot Out the Door Posner worked with Benny Blanco (producer to the stars) to produce the party banger “U Don’t Have 2 Leave” and DJ Benzi (mixtape producer phenom) to create the dreamy and hallucinogenic “Mirror’s Edge.” The mixtape was ranked #1 on iTunes U, a free upload/download service that iTunes provides for student musicians. Play counts on Posner’s MySpace are approaching 800,000 — I think, he’s ready to play CMC.

Download Mike Posner’s mixtapes: One Foot Out the Door, A Matter of Time

Mike Posner will be playing in North Quad on Saturday, November 7 at 10:00 PM, headlining at the “P Party.” So get ready to bust out your Pinocchio nose, your Platypus tale, or your Pimp attire cuz we reppin’ the sixteenth letter of the alphabet like it’s going out of style.

After reading Carl Peaslee’s editorial on the dangers of playing CMC’s official sport, Beirut (or Beer Pong to those ignorant enough to think that BeerPong is not supposed to be played with four ping-pong paddles and four cups on each corner of a table), I was not phased… sorry, Carl. The story did, however, prompt me to begin thinking about the less flavorful but still very drinkable light beers that we go out and purchase to play Beirut. Keystone Light, Bud Light, Coors Light, Miller Lite, Natural Light are among the multitude of light beers that we use in drinking games because (a) each has about 5% alcohol and (b) light–>less filling–>more room for more beer.

With rhetoric running through my head about how Keystone is really not that different from Coors and how each student around the 5Cs seems to have an opinion on whether or not they like one of the aforementioned beers and why, I felt that a groundbreaking Thursday Night Catechization was merited.

The Beers: Miller Lite, Keystone Light, Bud Light, Coors Light and Natural Light

The Setup: 5 unmarked SOLO cups with a quantity of beer roughly equivalent to that used in Beirut.

The Participants: 11 males (2 inebriated) and 1 female (also inebriated) for 12 participants.

Questions: “What is your favorite beer out of these five?” and “How many samples will you guess correctly?” (Measure of Estimated Expertise).

The Scale:

1. Color: Participants decide whether each beer is Light (1), Cloudy (2) or Dark (3).
2. Strength: Beer, in terms of alcohol content, is either Weak (1), Moderate (2) or Strong (3).
3. Carbonation: Carbonation level is Flat (1), Bubbly (2), Strongly Carbonated (3).
4. Hops: It’s like bitterness… Neutral (1), Bitter (2) or Lotsa Hopsa (3).

The Results: Running a regression became too complicated for me so I decided to interpret the most interesting results instead:

• Miller Lite was identified as Natural Light by 58% of participants; Coors Light was identified as Keystone Light by 33% of participants; Natural Light was identified as Coors Light by 33% of participants.
• 50% of participants named Coors Light as their favorite beer while 25% of participants named Bud Light as their favorite beer.
• 8.3% of participants preferred Coors Light; 58% of participants preferred Bud Light.
• Participants believed they would guess 60% of samples correctly. Participants guessed 20% of samples correctly.
• 25% of participants were able to match their favorite beer with their preferred beer.
• Color, Strength, Carbonation and Hops (the measures of interest) turned out to be completely irrelevant in the study as they were roughly equitable across samples.

The Implications: Granted, this is a sample of 12 randomly-selected CMC students, which inherently skews our results. However, the economic implications of the results cannot be ignored when purchasing 30-racks. Why buy Coors Light instead of Keystone Light (a difference of roughly $8.00) when one third of CMCers wouldn’t know the difference? How about the $10.00 you could save by buying Natural Light instead of Coors light?

The Conclusion: We are neither well-qualified enough nor do most of us care enough to make snobby declarations about the marginal differences between cheap beers – either buy better beer or stop bitching. What is important, however, is that beer money campus job check from CMC sitting in your desk drawer and how it will be best put to use at VONS!

Anthem (a.k.a. Ant) is a 24-year old Manhattan (NYC)-based emcee whose single(s) “Bachelor’s Theme” (and “Call Me Anthem”) have been building considerable buzz on the club scene and online.  Ant grew up in Northern Virginia and went on to attend Duke University.  After graduating from Duke, Ant headed to New York to embark on a career as a trader a top tier investment bank.  Despite enjoying the competitive intensity and high stakes nature of trading, Ant never lost his passion for rhyme and felt increasingly torn between the security and stability that a Wall St. career afforded his family and the opportunity of pursuing his dreams and making a name for himself in the hip hop world.  Ultimately his dreams won out;  and the rest, as they say, is history.  Outside of living in the studio while putting the finishing touches on his first release “Anticipation,” Ant is currently touring and doing shows at live venues in NYC and throughout the US.

Anthem has a handful of studio tracks on his MySpace and all of them feature his knack for lyrical creativity. A versatile rapper, Anthem manages to cover his whole bio, from dropping the Wall Street paycheck to pursue his dream on “Home” and “One Life” to silly drunkenness on the “I Gotta Feeling” Remix. He moves from verse to verse and from subject to subject over any beat that is on in the studio with nonchalance. That effortless quality is known by hip hop snobs as flow and many believe that without it, a rapper won’t stand a chance in the music business. We find Anthem at his best in “More,” a track that sounds like an all-out “off-the-top” freestyle and samples Bob Marley’s “Concrete Jungle.”

Van Gundy’s mad at my magic/ Cut from a different cloth, fathom my fabric/ Boy meets world like a n***a been savage/ Ravaging you wack emcees that spit average/ God damn my boast of having a classic feel/ Sh*t is bananas and you slipping in my mass appeal.

The ten tracks are averaging about 4,500 plays each on his MySpace page, a good number for up-and-coming rappers.

You can follow anthem on twitter @iamanthem and listen on his website www.iamanthem.com.

Here are a couple downloadable tracks for your pregaming tomorrow afternoon:

Anthem – Bachelor’s Theme

Anthem – Home

Anthem – I Gotta Feeling (Remix)

Anthem will be performing tomorrow, October 23, at 4:30 PM on Parents Field (south of North Quad).

A trend has emerged in the independent music world that works in contrast with the business model relied upon by record labels for decades. The old business model depended upon the generation of artist hype through limited and costly content offerings. In contrast, the new model, utilized since the new millennium (i.e. when Napster was invented), revolves around the release of numerous content offerings meant to build profile through exposure and talent. With the decentralization of the music industry, we have witnessed the proliferation of content allowing independent artists to become accessible and discoverable. Death Cab for Cutie, Modest Mouse and Dispatch are just a few of the older acts that owe much of their success to file-sharing clients. In more recent memory we have seen hip-hop artists, Lil Wayne (who sold one million copies of Tha Carter III in its first week of sales) and KiD CuDi have reached previously unimaginable levels of success simply by providing their audiences with hours upon hours of free mixtape material.

The Cool Kids, a Chicago-based hip-hop duo that you may or may not have heard of yet, have marketed themselves in a similar fashion by releasing two mixtapes to the blogosphere with a studio album still in the works. Antoine “Mikey Rocks” Reed and the duo’s producer, Evan “Chuck Inglish” Ingersoll first met up in Chicago in 2005 after Reed heard one of Ingersoll’s beats on MySpace and called him up to discuss its sale… the rest is history. The group has since released two mixtapes entitled That’s Stupid! (2007) and Gone Fishing (2009) and an EP, The Bake Sale (2008), each of which received positive reviews from the critical mass. Early in 2007, Rolling Stone featured The Cool Kids in their 10 Artists to Watch piece and wrote, “since ‘Black Mags’ debuted, the Cool Kids have gone from an underground sensation in their native Chicago to the hottest ticket at New York’s CMJ festival.” It must be mentioned again that the group had not and has not released a full-length LP yet.

As for an artist profile, The Cool Kids are just about as atypical as they come (Kanye might have them beat). The duo’s fashion sense is recognized as B-Boy (eighties Break-dancer); they usually sport clothes with colors and fabrics that conjure up images of some retro Technicolor acid trip. Again, the eighties theme continues: the two are often referred to as “the black Beastie Boys” and have drawn comparisons to legendary artists like EPMD and Rakim, rappers who are renowned for crafty wordplay and harsh lyricism. Inglish’s beats – minimalistic, bass-heavy and occasionally discordant in nature – complement the duo’s aforementioned lyrical prowess as well.

“Black Mags” and “Gold and a Pager” are the most recognizable tracks from The Cool Kids’ repertoire of content. Both tracks highlight the curtailed range of interests in the lives of our “throwback heroes”: bikes, girls, weed, and kicks. Just try to name a college student that isn’t interested in hearing about any of the aforementioned topics.

You’ll like The Cool Kids if you also like: The Beastie Boys, Nas, Rakim, Lupe Fiasco, Wale, KiD CuDi, Kanye West, Drake, A-Trak, N.E.R.D.

Check out the Cool Kids when they hit the 5C Music Festival on Saturday, October 24 on Parents Field.  Sun and beats for all.