Stung only once


So … whatever happened to that guy Sting?

Seriously, does he have an Undertaker-type contract, or does creative have nothing for him? Maybe he’s returning now that the Authority’s returning?

​He's on a really limited contract, but it's definitely weird that they don't even fly him in for appearances.  Clearly the HHH v. Vigilante Sting match is where they're going, so that's probably why they were waiting.  But still, sheesh, he could come out and talk or SOMETHING.  Even WCW showed him sitting in the rafters.  ​

QOTD 70: Once More, With Feeling.

Ha. Figures I get free time, so I figure why not, right?Also it’s an excuse to post my first ever concert review! If you hate this, blame White Thunder who said to do it.

What’s the best live show you’ve ever been too? Music, Theatre, Wrestling? What blew you away about it live that you didn’t expect? 


For me, it was a bunch of Celtic fiddlers. Seriously, fiddle me timbers! It was great. Fiddle lickin’ good, even! Upon learning of the 21-member-strong Fiddle super-group Childsplay, I immediately went about informing all my friends and family about how some of the best fiddlers in the world would be performing in Lexington, Massachusetts. Having no takers, I went by myself.

The location, at Lexington’s Masonic Heritage Museum is an intimate one, with a capacity of probably a few hundred, tops. The whole venture was similar. There was a painting of George Washington on the wall posing with his palms outstretched downwards as if to say “settle, settle people, we’re here to have a good time, but lets not get crazy about it,”. Everyone in the audience seemed to know each other, talking about this guy they used to know or that girl they heard did that thing. Families were dressed in their Thursday evening second best. Clean jeans, polo shirts, and holiday dresses were the order of the day.

At one point a little girl ran up to her dad saying “Dad! Do you have any money? They have Chanukah music!”. Come to find out later, Hanukkah (spelled Hanneke) is the name of one of the fiddlers – whether that kid was a superfan or about to be a little confused when she popped that CD into her walkman, I’ll never know.

The show starts with a humorous number that I don’t dare ruin, save to say that it’s something legendary cartoon voice Mel Blanc would be proud of. From there, Childsplay fiddled their hearts out, mixing in original compositions with pieces older than the country I live in.

The fiddles were of course the focus, but the inclusion of a stand up bass, drums, flutes, and vocals added welcome layers to the performance. Those compositions with vocals performed by Lissa Schneckenburger, including the haunting ‘Dear Companion’ and gut-punchingly relevant ‘Leave No Millionaire Behind’ were a special treat that kept the show dynamic and fresh. Toss in a wonderful ‘handbone’ performance by the very-possibly-Santa-Claus Steve Hickman, the occasional piano accompaniment, and dancing from the stunning, gosh-I-wonder-if-she’s-single Shannon Dunne, and it was apparent that Childsplay was keenly aware of the one criticism I do have, and were eager to subvert it.

What is that criticism? That after some time, to a layman like myself, the swaying, oscillating notes can start to sound a little familiar. In fact, on more than one occasion they went straight into a second or third song in a set and I had no clue they were playing a different tune, which is forgiven almost as quickly as its thought of because of the musical command the artists on stage have, and the fact that for someone with more musical knowledge than myself, there’s likely worlds of difference between the songs that my untrained ear hadn’t noticed.

If I had to sum Childsplay up in one word, it would be…Precision. At one point, I took notice of the fiddle sticks swaying back and forth in perfect unison. Up and down, all together. Up and down a little less. Up and hold. All together, all at the same time. If you closed your eyes you’d think you were listening to a CD that had been produced and tweaked to perfection by a producer. But no. It was all there, all live, and flawless. 

Fiddle music, or as I like to call it violin without pretension, is something I imagine most folks have a passing interest in – they enjoy it when they hear it, but don’t spend a lot of time seeking it out. The kind of tunes that you’d hear at a medieval festival like King Richard’s Faire, or during a party scene in a historical or fantasy film like Titanic or A Knight’s Tale or The Lord of The Rings. Seeing it live makes you want to seek it out.

Considering my own musical tastes lie in the world of the pop-rock stylings of Barenaked Ladies, Bowling for Soup, and Fountains of Wayne, the offensive-but-near-genius output of Eminem, and Kid Rock’s once rap, once rock, now country-rock deep tracks, I was unsure how this music I’d never heard live, that didn’t have lyrics, would grab me. So of course It grabbed me with both hands and wouldn’t let go. Childsplay now goes onto my various playlists along with James Taylor as the music I’ll enjoy while thinking or writing or getting stuff done. It energizes your subconscious while forcing you to tap a single toe or all five.

The best compliment I can give Childsplay is that it made me nostalgic for a time I would truly hate living in. A time before my precious laptop and fancy iPhone, a time when you cooked your own food and milked your own cow, when the idea of a harvest well done involved a barn, a few hay bales, a keg of ale, folks on the fiddle, a guy slapping his knees to keep the beat, and if you’re lucky, a pretty lass or two dancing to the tunes until their legs grew tired, at which point someone else would step in, keeping time.

For all our MP3s, Youtube music videos, concert festivals, and streaming ‘Pandora’ radio options, nothing feels quite like this show did. The fullness of the sound, the laid-back atmosphere, the dancing, the mutual gratitude between audience and the performers – it touches your soul in a way that only the best live music does. I’m not kidding when I say if I had to choose between seeing Child’s Play or The Rolling Stones (whom I saw earlier this year) again, I would choose Child’s Play. …As long as they promised to play The Devil Went Down to Georgia. …With a golden fiddle.

Well
fiddle me timbers! This was great. Fiddle lickin’ good, even! Upon
learning of the 21-member-strong Fiddle supergroup Childsplay, I
immediately went about informing all my friends and family about how
some of the best fiddlers in the world would be performing in Lexington,
Massachusetts. Having no takers, I went by myself.

The
location, at Lexington’s Masonic Heritage Museum is an intimate one,
with a capacity of probably a few hundred, tops. The whole venture was
similar. There was a painting of George Washington on the wall posing
with his palms outstretched downwards as if to say “settle, settle
people, we’re here to have a good time, but lets not get crazy about
it,”. Everyone in the audience seemed to know each other, talking about
this guy they used to know or that girl they heard did that thing.
Families were dressed in their Thursday evening second best. Clean
jeans, polo shirts, and holiday dresses were the order of the day.

At one point a little girl ran up to her dad saying “Dad! Do you
have any money? They have Chanukah music!”. Come to find out later,
Hanukkah (spelled Hanneke) is the name of one of the fiddlers – whether
that kid was a superfan or about to be a little confused when she popped
that CD into her walkman, I’ll never know.

The show starts with
a humorous number that I don’t dare ruin, save to say that it’s
something legendary cartoon voice Mel Blanc would be proud of. From
there, Childsplay fiddled their hearts out, mixing in original
compositions with pieces older than the country I live in.

The fiddles were of course the focus, but the inclusion of a
stand up bass, drums, flutes, and vocals added welcome layers to the
performance. Those compositions with vocals performed by Lissa
Schneckenburger, including the haunting ‘Dear Companion’ and
gut-punchingly relevant ‘Leave No Millionaire Behind’ were a special
treat that kept the show dynamic and fresh. Toss in a wonderful
‘handbone’ performance by the very-possibly-Santa-Claus Steve Hickman,
the occasional piano accompaniment, and dancing from the stunning,
gosh-I-wonder-if-she’s-single Shannon Dunne, and it was apparent that
Childsplay was keenly aware of the one criticism I do have, and were
eager to subvert it.

What is that criticism? That after some
time, to a layman like myself, the swaying, oscillating notes can start
to sound a little familiar. In fact, on more than one occasion they went
straight into a second or third song in a set and I had no clue they
were playing a different tune, which is forgiven almost as quickly as
its thought of because of the musical command the artists on stage have,
and the fact that for someone with more musical knowledge than myself,
there’s likely worlds of difference between the songs that my untrained
ear hadn’t noticed.

If I had to sum Childsplay up in one word,
it wouldd be: Precision. At one point, I took notice of the fiddle
sticks swaying back and forth in perfect unison. Up and down, all
together. Up and down a little less. Up and hold. All together, all at
the same time. If you closed your eyes you’d think you were listening to
a CD that had been produced and tweaked to perfection by a producer.
But no. It was all there, all live, and flawless.  

Fiddle music, or as I like to call it violin without pretension,
is something I imagine most folks have a passing interest in – they
enjoy it when they hear it, but don’t spend a lot of time seeking it
out. The kind of tunes that you’d hear at a medieval festival like King
Richard’s Faire, or during a party scene in a historical or fantasy film
like Titanic or A Knight’s Tale or The Lord of The Rings. Seeing it
live makes you want to seek it out.

Considering my own musical tastes lie in the world of the
pop-rock stylings of Barenaked Ladies, Bowling for Soup, and Fountains
of Wayne, the offensive-but-near-genius output of Eminem, and Kid Rock’s
once rap, once rock, now country-rock deep tracks, I was unsure how
this music I’d never heard live, that didn’t have lyrics, would grab me.
So of course It grabbed me with both hands and wouldn’t let go.
Childsplay now goes onto my various playlists along with James Taylor as
the music I’ll enjoy while thinking or writing or getting stuff done.
It energizes your subconscious while forcing you to tap a single toe or
all five.

The best compliment I can give Childsplay is that it
made me nostalgic for a time I would truly hate living in. A time before
my precious laptop and fancy iPhone, a time when you cooked your own
food and milked your own cow, when the idea of a harvest well done
involved a barn, a few hay bales, a keg of ale, folks on the fiddle, a
guy slapping his knees to keep the beat, and if you’re lucky, a pretty
lass or two dancing to the tunes until their legs grew tired, at which
point someone else would step in, keeping time.

For all our MP3s,
Youtube music videos, concert festivals, and streaming ‘Pandora’ radio
options, nothing feels quite like this show did. The fullness of the
sound, the laid-back atmosphere, the dancing, the mutual gratitude
between audience and the performers – it touches your soul in a way that
only the best live music does. I’m not kidding when I say if I had to
choose between seeing Child’s Play or The Rolling Stones (whom I saw
earlier this year) again, I would choose Child’s Play.

…As long as they promised to play The Devil Went Down to Georgia.

…With a golden fiddle. – See more at:
http://bostoneventsinsider.com/2013/12/review-fiddle-virtuosos-childs.html#sthash.fD3Lm961.dpuf

Well
fiddle me timbers! This was great. Fiddle lickin’ good, even! Upon
learning of the 21-member-strong Fiddle supergroup Childsplay, I
immediately went about informing all my friends and family about how
some of the best fiddlers in the world would be performing in Lexington,
Massachusetts. Having no takers, I went by myself.

The
location, at Lexington’s Masonic Heritage Museum is an intimate one,
with a capacity of probably a few hundred, tops. The whole venture was
similar. There was a painting of George Washington on the wall posing
with his palms outstretched downwards as if to say “settle, settle
people, we’re here to have a good time, but lets not get crazy about
it,”. Everyone in the audience seemed to know each other, talking about
this guy they used to know or that girl they heard did that thing.
Families were dressed in their Thursday evening second best. Clean
jeans, polo shirts, and holiday dresses were the order of the day.

At one point a little girl ran up to her dad saying “Dad! Do you
have any money? They have Chanukah music!”. Come to find out later,
Hanukkah (spelled Hanneke) is the name of one of the fiddlers – whether
that kid was a superfan or about to be a little confused when she popped
that CD into her walkman, I’ll never know.

The show starts with
a humorous number that I don’t dare ruin, save to say that it’s
something legendary cartoon voice Mel Blanc would be proud of. From
there, Childsplay fiddled their hearts out, mixing in original
compositions with pieces older than the country I live in.

The fiddles were of course the focus, but the inclusion of a
stand up bass, drums, flutes, and vocals added welcome layers to the
performance. Those compositions with vocals performed by Lissa
Schneckenburger, including the haunting ‘Dear Companion’ and
gut-punchingly relevant ‘Leave No Millionaire Behind’ were a special
treat that kept the show dynamic and fresh. Toss in a wonderful
‘handbone’ performance by the very-possibly-Santa-Claus Steve Hickman,
the occasional piano accompaniment, and dancing from the stunning,
gosh-I-wonder-if-she’s-single Shannon Dunne, and it was apparent that
Childsplay was keenly aware of the one criticism I do have, and were
eager to subvert it.

What is that criticism? That after some
time, to a layman like myself, the swaying, oscillating notes can start
to sound a little familiar. In fact, on more than one occasion they went
straight into a second or third song in a set and I had no clue they
were playing a different tune, which is forgiven almost as quickly as
its thought of because of the musical command the artists on stage have,
and the fact that for someone with more musical knowledge than myself,
there’s likely worlds of difference between the songs that my untrained
ear hadn’t noticed.

If I had to sum Childsplay up in one word,
it wouldd be: Precision. At one point, I took notice of the fiddle
sticks swaying back and forth in perfect unison. Up and down, all
together. Up and down a little less. Up and hold. All together, all at
the same time. If you closed your eyes you’d think you were listening to
a CD that had been produced and tweaked to perfection by a producer.
But no. It was all there, all live, and flawless.  

Fiddle music, or as I like to call it violin without pretension,
is something I imagine most folks have a passing interest in – they
enjoy it when they hear it, but don’t spend a lot of time seeking it
out. The kind of tunes that you’d hear at a medieval festival like King
Richard’s Faire, or during a party scene in a historical or fantasy film
like Titanic or A Knight’s Tale or The Lord of The Rings. Seeing it
live makes you want to seek it out.

Considering my own musical tastes lie in the world of the
pop-rock stylings of Barenaked Ladies, Bowling for Soup, and Fountains
of Wayne, the offensive-but-near-genius output of Eminem, and Kid Rock’s
once rap, once rock, now country-rock deep tracks, I was unsure how
this music I’d never heard live, that didn’t have lyrics, would grab me.
So of course It grabbed me with both hands and wouldn’t let go.
Childsplay now goes onto my various playlists along with James Taylor as
the music I’ll enjoy while thinking or writing or getting stuff done.
It energizes your subconscious while forcing you to tap a single toe or
all five.

The best compliment I can give Childsplay is that it
made me nostalgic for a time I would truly hate living in. A time before
my precious laptop and fancy iPhone, a time when you cooked your own
food and milked your own cow, when the idea of a harvest well done
involved a barn, a few hay bales, a keg of ale, folks on the fiddle, a
guy slapping his knees to keep the beat, and if you’re lucky, a pretty
lass or two dancing to the tunes until their legs grew tired, at which
point someone else would step in, keeping time.

For all our MP3s,
Youtube music videos, concert festivals, and streaming ‘Pandora’ radio
options, nothing feels quite like this show did. The fullness of the
sound, the laid-back atmosphere, the dancing, the mutual gratitude
between audience and the performers – it touches your soul in a way that
only the best live music does. I’m not kidding when I say if I had to
choose between seeing Child’s Play or The Rolling Stones (whom I saw
earlier this year) again, I would choose Child’s Play.

…As long as they promised to play The Devil Went Down to Georgia.

…With a golden fiddle. – See more at:
http://bostoneventsinsider.com/2013/12/review-fiddle-virtuosos-childs.html#sthash.fD3Lm961.dpuf

Well
fiddle me timbers! This was great. Fiddle lickin’ good, even! Upon
learning of the 21-member-strong Fiddle supergroup Childsplay, I
immediately went about informing all my friends and family about how
some of the best fiddlers in the world would be performing in Lexington,
Massachusetts. Having no takers, I went by myself.

The
location, at Lexington’s Masonic Heritage Museum is an intimate one,
with a capacity of probably a few hundred, tops. The whole venture was
similar. There was a painting of George Washington on the wall posing
with his palms outstretched downwards as if to say “settle, settle
people, we’re here to have a good time, but lets not get crazy about
it,”. Everyone in the audience seemed to know each other, talking about
this guy they used to know or that girl they heard did that thing.
Families were dressed in their Thursday evening second best. Clean
jeans, polo shirts, and holiday dresses were the order of the day.

At one point a little girl ran up to her dad saying “Dad! Do you
have any money? They have Chanukah music!”. Come to find out later,
Hanukkah (spelled Hanneke) is the name of one of the fiddlers – whether
that kid was a superfan or about to be a little confused when she popped
that CD into her walkman, I’ll never know.

The show starts with
a humorous number that I don’t dare ruin, save to say that it’s
something legendary cartoon voice Mel Blanc would be proud of. From
there, Childsplay fiddled their hearts out, mixing in original
compositions with pieces older than the country I live in.

The fiddles were of course the focus, but the inclusion of a
stand up bass, drums, flutes, and vocals added welcome layers to the
performance. Those compositions with vocals performed by Lissa
Schneckenburger, including the haunting ‘Dear Companion’ and
gut-punchingly relevant ‘Leave No Millionaire Behind’ were a special
treat that kept the show dynamic and fresh. Toss in a wonderful
‘handbone’ performance by the very-possibly-Santa-Claus Steve Hickman,
the occasional piano accompaniment, and dancing from the stunning,
gosh-I-wonder-if-she’s-single Shannon Dunne, and it was apparent that
Childsplay was keenly aware of the one criticism I do have, and were
eager to subvert it.

What is that criticism? That after some
time, to a layman like myself, the swaying, oscillating notes can start
to sound a little familiar. In fact, on more than one occasion they went
straight into a second or third song in a set and I had no clue they
were playing a different tune, which is forgiven almost as quickly as
its thought of because of the musical command the artists on stage have,
and the fact that for someone with more musical knowledge than myself,
there’s likely worlds of difference between the songs that my untrained
ear hadn’t noticed.

If I had to sum Childsplay up in one word,
it wouldd be: Precision. At one point, I took notice of the fiddle
sticks swaying back and forth in perfect unison. Up and down, all
together. Up and down a little less. Up and hold. All together, all at
the same time. If you closed your eyes you’d think you were listening to
a CD that had been produced and tweaked to perfection by a producer.
But no. It was all there, all live, and flawless.  

Fiddle music, or as I like to call it violin without pretension,
is something I imagine most folks have a passing interest in – they
enjoy it when they hear it, but don’t spend a lot of time seeking it
out. The kind of tunes that you’d hear at a medieval festival like King
Richard’s Faire, or during a party scene in a historical or fantasy film
like Titanic or A Knight’s Tale or The Lord of The Rings. Seeing it
live makes you want to seek it out.

Considering my own musical tastes lie in the world of the
pop-rock stylings of Barenaked Ladies, Bowling for Soup, and Fountains
of Wayne, the offensive-but-near-genius output of Eminem, and Kid Rock’s
once rap, once rock, now country-rock deep tracks, I was unsure how
this music I’d never heard live, that didn’t have lyrics, would grab me.
So of course It grabbed me with both hands and wouldn’t let go.
Childsplay now goes onto my various playlists along with James Taylor as
the music I’ll enjoy while thinking or writing or getting stuff done.
It energizes your subconscious while forcing you to tap a single toe or
all five.

The best compliment I can give Childsplay is that it
made me nostalgic for a time I would truly hate living in. A time before
my precious laptop and fancy iPhone, a time when you cooked your own
food and milked your own cow, when the idea of a harvest well done
involved a barn, a few hay bales, a keg of ale, folks on the fiddle, a
guy slapping his knees to keep the beat, and if you’re lucky, a pretty
lass or two dancing to the tunes until their legs grew tired, at which
point someone else would step in, keeping time.

For all our MP3s,
Youtube music videos, concert festivals, and streaming ‘Pandora’ radio
options, nothing feels quite like this show did. The fullness of the
sound, the laid-back atmosphere, the dancing, the mutual gratitude
between audience and the performers – it touches your soul in a way that
only the best live music does. I’m not kidding when I say if I had to
choose between seeing Child’s Play or The Rolling Stones (whom I saw
earlier this year) again, I would choose Child’s Play.

…As long as they promised to play The Devil Went Down to Georgia.

…With a golden fiddle. – See more at:
http://bostoneventsinsider.com/2013/12/review-fiddle-virtuosos-childs.html#sthash.fD3Lm961.dpuf

Well
fiddle me timbers! This was great. Fiddle lickin’ good, even! Upon
learning of the 21-member-strong Fiddle supergroup Childsplay, I
immediately went about informing all my friends and family about how
some of the best fiddlers in the world would be performing in Lexington,
Massachusetts. Having no takers, I went by myself.

The
location, at Lexington’s Masonic Heritage Museum is an intimate one,
with a capacity of probably a few hundred, tops. The whole venture was
similar. There was a painting of George Washington on the wall posing
with his palms outstretched downwards as if to say “settle, settle
people, we’re here to have a good time, but lets not get crazy about
it,”. Everyone in the audience seemed to know each other, talking about
this guy they used to know or that girl they heard did that thing.
Families were dressed in their Thursday evening second best. Clean
jeans, polo shirts, and holiday dresses were the order of the day.

At one point a little girl ran up to her dad saying “Dad! Do you
have any money? They have Chanukah music!”. Come to find out later,
Hanukkah (spelled Hanneke) is the name of one of the fiddlers – whether
that kid was a superfan or about to be a little confused when she popped
that CD into her walkman, I’ll never know.

The show starts with
a humorous number that I don’t dare ruin, save to say that it’s
something legendary cartoon voice Mel Blanc would be proud of. From
there, Childsplay fiddled their hearts out, mixing in original
compositions with pieces older than the country I live in.

The fiddles were of course the focus, but the inclusion of a
stand up bass, drums, flutes, and vocals added welcome layers to the
performance. Those compositions with vocals performed by Lissa
Schneckenburger, including the haunting ‘Dear Companion’ and
gut-punchingly relevant ‘Leave No Millionaire Behind’ were a special
treat that kept the show dynamic and fresh. Toss in a wonderful
‘handbone’ performance by the very-possibly-Santa-Claus Steve Hickman,
the occasional piano accompaniment, and dancing from the stunning,
gosh-I-wonder-if-she’s-single Shannon Dunne, and it was apparent that
Childsplay was keenly aware of the one criticism I do have, and were
eager to subvert it.

What is that criticism? That after some
time, to a layman like myself, the swaying, oscillating notes can start
to sound a little familiar. In fact, on more than one occasion they went
straight into a second or third song in a set and I had no clue they
were playing a different tune, which is forgiven almost as quickly as
its thought of because of the musical command the artists on stage have,
and the fact that for someone with more musical knowledge than myself,
there’s likely worlds of difference between the songs that my untrained
ear hadn’t noticed.

If I had to sum Childsplay up in one word,
it wouldd be: Precision. At one point, I took notice of the fiddle
sticks swaying back and forth in perfect unison. Up and down, all
together. Up and down a little less. Up and hold. All together, all at
the same time. If you closed your eyes you’d think you were listening to
a CD that had been produced and tweaked to perfection by a producer.
But no. It was all there, all live, and flawless.  

Fiddle music, or as I like to call it violin without pretension,
is something I imagine most folks have a passing interest in – they
enjoy it when they hear it, but don’t spend a lot of time seeking it
out. The kind of tunes that you’d hear at a medieval festival like King
Richard’s Faire, or during a party scene in a historical or fantasy film
like Titanic or A Knight’s Tale or The Lord of The Rings. Seeing it
live makes you want to seek it out.

Considering my own musical tastes lie in the world of the
pop-rock stylings of Barenaked Ladies, Bowling for Soup, and Fountains
of Wayne, the offensive-but-near-genius output of Eminem, and Kid Rock’s
once rap, once rock, now country-rock deep tracks, I was unsure how
this music I’d never heard live, that didn’t have lyrics, would grab me.
So of course It grabbed me with both hands and wouldn’t let go.
Childsplay now goes onto my various playlists along with James Taylor as
the music I’ll enjoy while thinking or writing or getting stuff done.
It energizes your subconscious while forcing you to tap a single toe or
all five.

The best compliment I can give Childsplay is that it
made me nostalgic for a time I would truly hate living in. A time before
my precious laptop and fancy iPhone, a time when you cooked your own
food and milked your own cow, when the idea of a harvest well done
involved a barn, a few hay bales, a keg of ale, folks on the fiddle, a
guy slapping his knees to keep the beat, and if you’re lucky, a pretty
lass or two dancing to the tunes until their legs grew tired, at which
point someone else would step in, keeping time.

For all our MP3s,
Youtube music videos, concert festivals, and streaming ‘Pandora’ radio
options, nothing feels quite like this show did. The fullness of the
sound, the laid-back atmosphere, the dancing, the mutual gratitude
between audience and the performers – it touches your soul in a way that
only the best live music does. I’m not kidding when I say if I had to
choose between seeing Child’s Play or The Rolling Stones (whom I saw
earlier this year) again, I would choose Child’s Play.

…As long as they promised to play The Devil Went Down to Georgia.

…With a golden fiddle. – See more at:
http://bostoneventsinsider.com/2013/12/review-fiddle-virtuosos-childs.html#sthash.fD3Lm961.dpuf

Well
fiddle me timbers! This was great. Fiddle lickin’ good, even! Upon
learning of the 21-member-strong Fiddle supergroup Childsplay, I
immediately went about informing all my friends and family about how
some of the best fiddlers in the world would be performing in Lexington,
Massachusetts. Having no takers, I went by myself.

The
location, at Lexington’s Masonic Heritage Museum is an intimate one,
with a capacity of probably a few hundred, tops. The whole venture was
similar. There was a painting of George Washington on the wall posing
with his palms outstretched downwards as if to say “settle, settle
people, we’re here to have a good time, but lets not get crazy about
it,”. Everyone in the audience seemed to know each other, talking about
this guy they used to know or that girl they heard did that thing.
Families were dressed in their Thursday evening second best. Clean
jeans, polo shirts, and holiday dresses were the order of the day.

At one point a little girl ran up to her dad saying “Dad! Do you
have any money? They have Chanukah music!”. Come to find out later,
Hanukkah (spelled Hanneke) is the name of one of the fiddlers – whether
that kid was a superfan or about to be a little confused when she popped
that CD into her walkman, I’ll never know.

The show starts with
a humorous number that I don’t dare ruin, save to say that it’s
something legendary cartoon voice Mel Blanc would be proud of. From
there, Childsplay fiddled their hearts out, mixing in original
compositions with pieces older than the country I live in.

The fiddles were of course the focus, but the inclusion of a
stand up bass, drums, flutes, and vocals added welcome layers to the
performance. Those compositions with vocals performed by Lissa
Schneckenburger, including the haunting ‘Dear Companion’ and
gut-punchingly relevant ‘Leave No Millionaire Behind’ were a special
treat that kept the show dynamic and fresh. Toss in a wonderful
‘handbone’ performance by the very-possibly-Santa-Claus Steve Hickman,
the occasional piano accompaniment, and dancing from the stunning,
gosh-I-wonder-if-she’s-single Shannon Dunne, and it was apparent that
Childsplay was keenly aware of the one criticism I do have, and were
eager to subvert it.

What is that criticism? That after some
time, to a layman like myself, the swaying, oscillating notes can start
to sound a little familiar. In fact, on more than one occasion they went
straight into a second or third song in a set and I had no clue they
were playing a different tune, which is forgiven almost as quickly as
its thought of because of the musical command the artists on stage have,
and the fact that for someone with more musical knowledge than myself,
there’s likely worlds of difference between the songs that my untrained
ear hadn’t noticed.

If I had to sum Childsplay up in one word,
it wouldd be: Precision. At one point, I took notice of the fiddle
sticks swaying back and forth in perfect unison. Up and down, all
together. Up and down a little less. Up and hold. All together, all at
the same time. If you closed your eyes you’d think you were listening to
a CD that had been produced and tweaked to perfection by a producer.
But no. It was all there, all live, and flawless.  

Fiddle music, or as I like to call it violin without pretension,
is something I imagine most folks have a passing interest in – they
enjoy it when they hear it, but don’t spend a lot of time seeking it
out. The kind of tunes that you’d hear at a medieval festival like King
Richard’s Faire, or during a party scene in a historical or fantasy film
like Titanic or A Knight’s Tale or The Lord of The Rings. Seeing it
live makes you want to seek it out.

Considering my own musical tastes lie in the world of the
pop-rock stylings of Barenaked Ladies, Bowling for Soup, and Fountains
of Wayne, the offensive-but-near-genius output of Eminem, and Kid Rock’s
once rap, once rock, now country-rock deep tracks, I was unsure how
this music I’d never heard live, that didn’t have lyrics, would grab me.
So of course It grabbed me with both hands and wouldn’t let go.
Childsplay now goes onto my various playlists along with James Taylor as
the music I’ll enjoy while thinking or writing or getting stuff done.
It energizes your subconscious while forcing you to tap a single toe or
all five.

The best compliment I can give Childsplay is that it
made me nostalgic for a time I would truly hate living in. A time before
my precious laptop and fancy iPhone, a time when you cooked your own
food and milked your own cow, when the idea of a harvest well done
involved a barn, a few hay bales, a keg of ale, folks on the fiddle, a
guy slapping his knees to keep the beat, and if you’re lucky, a pretty
lass or two dancing to the tunes until their legs grew tired, at which
point someone else would step in, keeping time.

For all our MP3s,
Youtube music videos, concert festivals, and streaming ‘Pandora’ radio
options, nothing feels quite like this show did. The fullness of the
sound, the laid-back atmosphere, the dancing, the mutual gratitude
between audience and the performers – it touches your soul in a way that
only the best live music does. I’m not kidding when I say if I had to
choose between seeing Child’s Play or The Rolling Stones (whom I saw
earlier this year) again, I would choose Child’s Play.

…As long as they promised to play The Devil Went Down to Georgia.

…With a golden fiddle. – See more at:
http://bostoneventsinsider.com/2013/12/review-fiddle-virtuosos-childs.html#sthash.fD3Lm961.dpuf

TNA wants to tape 4 to 6 weeks of shows at once

in the Impact Zone


I seem to remember some other wrestling promotion taping over a month of TV at a time in Florida in the early 90's trying to save money. 

That sure worked out great for that company, so I'm sure it will do even better now that there are even easier ways to find out spoiler results for shows.  

Dude, you gotta stop sending me these shitty c&p site "news" stories.  I have an Observer subscription and Dave talks about this stuff in much more detail and with actual credibility.
TNA is trying to get into either the Impact Zone again, or a venue in Vegas, and they're actually leaning towards Vegas because they can possibly make some money off tourists there, although getting talent in and out for tapings might be a big holdup with that. Taping on the road is costing them tons of money for absolutely no benefit, and although I don't blame them for making a go of it, they really should have done some due diligence before making that kind of investment without a backup plan.  But they were dying at the Impact Zone and SOMETHING had to be done.  If they can survive doing 6 weeks of TV at a time to save money, good on them.  No one gives a shit about taped v. live TV anyway and only a small percentage of internet nerds even care about spoilers for those shows.  NXT is taped weeks in advance and I don't pay the least bit of attention to the tapings, so it's all new to me when I watch anyway.