Turn It Up

By Liz Hammond, Digital Media Editor 

The second weekend of Coachella has now passed and it’s time to look back on it.

While the first weekend was one to remember, a lot of people believe that the second weekend was the better experience.

Leo Zaldivar of Baldwin Park attended his first-ever Coachella this year.

When asked why he picked the second weekend, Zaldivar said: “The first weekend, there are more celebrities. The second weekend, it’s more packed with regular people like us.”

The vibe of weekend two kicked off that Friday night when Travis Scott revitalized himself after his tame set last weekend. Never doubt his stage presence: he rode out on stage on a giant mechanical eagle.

On Friday afternoon, Stormzy also drew another large crowd on the Outdoor stage during his set. He announced that he wanted to get Americans to appreciate the English genre of grime.

His mission was accomplished when he performed songs like “Big for Your Boots” and “Shut Up.”

The biggest redemption of weekend two came from Radiohead, as there were no technical glitches this time.

They were finally able to give the fans a smooth and visually captivating musical journey. While their set kicked off 15 minutes late— English rock bands can never be on time—they played the songs “Daydreaming” and “Desert Island Disk.”

It was not long until they completely veered from their weekend one set list and played other songs like “Myxomatosis” and “Lucky.”

Saturday was brutal for those attending the festival, but it wouldn’t feel like Coachella if it didn’t reach triple digits: it was a stunning 102 degrees.

Saturday was Earth Day and while most people here at Susquehanna were participating in SU Serve, there were multiple “March for Science” rallies across the country. Coachella hosted one of their own: members of the Down- town Boys led the march after their set ended.

The main stage dominated as acts like Two Door Cinema Club and Future performed. At 6:05 p.m. when Two Door Cinema Club opened up with “Undercover Martyn,” the crowd stretched from the main stage to the Chiaozza Garden. It was a huge dance party, because let’s face it: you can’t stand still to songs like “Something Good Can Work” and “What You Know.”

Future took the stage at 7:30 p.m. Much to the crowd’s disappointment, there was no Drake appearance, but Migos did make a feature.

Bon Iver started his hypnotic set at 9 p.m., which later would receive recognition from the alt queen herself, Lorde. Bon Iver brought out big names like Bruce Hornsby and Francis Farewell Starlite from Francis and the Lights, who performed Friday.

The headliner for Saturday was Lady Gaga. Although her set flowed better than last weekend’s, it was a replica of weekend one’s set.

The only difference between the two was her cos- tumes and energy.

It did get emotional when Gaga played an acoustic version of her song “Edge of Glory” and dedicated it to a friend with cancer.

All in all, Gaga could never disappoint a crowd.

Sunday was all about Kendrick Lamar, although for weekend one, Lamar brought out big names like Future and Travis Scott. For weekend two we saw him take the main stage for a solo set.

Lamar performed a few of his biggest hits like “i”, “HUMBLE.,” and surprisingly enough, “ELEMENT.”

Coachella 2017 has now ended and it was nothing short of incredible. Stay tuned for the rest of festival season.

SU Orchestra to finish year with annual spring performance

By Michelle Seitz, Staff writer

Susquehanna’s orchestra  will perform its spring concert on May 2 in Stretansky Concert Hall at 7:30 p.m.

According to the program, the orchestra is conducted by associate professor of music Gregory Grabowski.

Grabowski recently started teaching at Susquehanna after serving as the interim director of the Flower Mound Symphony Orchestra in Texas.

In addition to directing the orchestra at Susquehanna, Grabowski currently teaches conducting and is a mentor for student teachers.

According to first-year violinist Elizabeth Hebert, the orchestra tends to rehearse for about two hours, but a lot of practice and hard work goes into the pieces outside of group rehearsals.

First-year violinist Isaiah Harper said, “Prepping for the concert is hard because we have to learn the material out- side of rehearsal, but rewarding when you get a part down.”

The first piece the orchestra will perform is “Finlandia” by Finnish composer and violinist Jean Sibelius.

On average, “Finlandia” typically takes around 7 to nine minutes to perform.

Composed in 1899 and first performed in 1900, “Finland- ia” was written in protest of the Russian Empire increas- ing its censorship. The work was the final of seven pieces that accompanied a tableau on Finnish history.

As a precaution, the piece was often performed under different titles, some of which included “Happy Feelings at the awakening of Finnish Spring” and “A Scandinavian Choral March.”

On “Finlandia,” Harper said, “It’s a powerful piece that has a lot of emotion.”

After “Finlandia,” the orchestra is set to perform four movements from the “Ballet Suite, Sylvia” by French com- poser Leo Delibes.

Delibes composed during the Romantic era and spe- cialized in ballet and opera. Delibes also influenced later composers, such as Russian composer Tchaikovsky.

“Ballet Suite, Sylvia” is renowned for its mythological Arcadian setting, choreography and its score.

The first movement is the “Prelude – Les Chasseresses,” followed by “Intermezzo el Valse lente,” “Pizzicati” and “Cortege de Bacchus.”

Following a brief intermission, the orchestra is also set to perform two movements by German composer Kurt Weill: “Beat! Beat! Drums!” and “Oh Captain! My Captain!”

The pieces are two of four poems by Walt Whitman Weill had set to music.

The others are “Come up from the Fields, Father” and “Dirge for Two Veterans.”

Originally, the songs arranged for voice and piano before later being rearranged for voice and orchestra.

While “Oh Captain! My Captain!,” “Dirge for Two  Veterans” and “Beat! Beat! Drums!” were composed from
the winter of 1941 to the spring of 1942, “Come Up From the Fields, Father” was not composed until 1947.

The final piece the orchestra will perform is “Russian Easter Festival Overture” by Russian composer Nikolai Rimsky-Korsakov.

“Russian Easter Festival Overture” was written by Rim- sky-Korsakov between August 1887 and April 1888.

It is also the last of what is recognized as his three most acclaimed works, the other two being “Capriccio Espag- nol” and “Scheherazade.”

The piece was dedicated to Modest Mussorgsky and Alexander Borodin, two fellow members of “The Mighty Handful,” a group of Russian composers who collaborated together musically.

“Russian Easter Festival Overture” heavily focuses on biblical quotes and the Russian Orthodox liturgy.

Regarding the piece, first-year violinist Paige Drews said “Russian Easter Overture” is “very dramatic” and noted the “unexpectedness of the first crescendo.”

Similar to Sibelius’ “Finlandia,” “Russian Easter Festival Overture” is also a fast-paced movement.

“[The piece is] enjoyable because it gets your adrenaline running,” Harper said.

Senior Toni Hogan will serve as the concertmaster for the performance.

The orchestra features about 50 members on violin, viola, cello, bass, flute, oboe, clarinet, bassoon, french horn, trumpet, trombone, tuba, and percussion.

Principal musicians for the orchestra’s performance are adjunct faulty music Megan Carraher, seniors Mike Ka- minski, John Leonard, Ben Magrowski, Laura Spence and Rachel Snyder, juniors Alex Blankinship, Lydia Getgen, Emily Gimlin, Brett Heffelfinger, Dylan Little and Krista White, sophomores Rosemary Butterly, Cathrina Kothman, Emma Mooradian, Ben Nylander and Brennan Rudy and first-years Hallie Devlin and Krystina Rodkey.

In addition to the orchestra, multiple other musical groups on campus will perform their end-of-the-year concerts.

Chorale, conducted by assistant professor of music Jason Vodicka, will perform on April 28 at at 7:30 p.m.

Choir, conducted by assosciate professor of music Julia Thorn, will perform on April 29 at 7:30 p.m.

The Symphonic Band and Wind Ensemble, conducted by associate professor of music Eric Hinton, will perform on April 30 at 2:30 p.m.

The Jazz Ensemble, direct- ed by associate professor of music Joshua Davis, will perform on May 3 at 7:30 p.m.

All of the listed performances will take place in Stretansky Concert Hall in Cunningham Center for Music and Art.

SU Shakespeare Club to perform interactive play

By Liz Hammond, Digital Media Editor 

The Shakespeare Club will hold its annual end-of-the-year production on April 30 in Degenstein Center Theater at 7:30 p.m.

One thing that sets this production apart from others at Susquehanna is that the audience is able to throw food at the actors, which is a practice from the Elizabethan era.

According to the producer of the show, senior Michael Blaine, the performers will utilize a very minimalistic set and will need assistance remembering their lines throughout the whole show.

Blaine also said that the performance will feature lots of interaction with the crowd, which is where the audience throwing food comes into play.

This year, the Shakespeare Club will be performing “The Comedy of Errors.”

“The Comedy of Errors” is one of Shakespeare’s earliest plays. It tells the story of two sets of identical twins that were separated at birth.

When Antipholus of Syracuse and his servant Dromio of Syracuse arrive in Ephesus, it starts a long chain of mistaken identities.

Antipholus of Ephesus and his servant Dromio of Ephesus finally encounter the Syracusans, which leads to a series of wrongful beatings, accusations of infidelity and stealing.

“The Comedy of Errors” is one of Shakespeare’s shortest plays, but also one of his more farcical comedies.

Much of the humor that Shakespeare uses is called “slapstick,” which involves exaggerated physical activity that exceeds the boundaries of normal physical activity.

It is also one of only two plays by him to observe the “Unity of Time,” which is when the action in a play occurs over a period of no more than 24 hours.

According to Blaine, the club began considering possible plays to perform in the fall.

“For the fall semester, we choose about five to seven Shakespeare plays that we will read over the course of the semester and vote on to be the production that we will produce that year,” Blaine said.

“‘The Comedy of Errors’ happened to be the most popular of the plays we picked,” Blaine continued.

Blaine also said that after the play is chosen and cast, ac- tors began studying their roles over the winter break.

“The Shakespeare Club Production holds auditions at the very end of the fall semester, so that those cast have the winter break to begin looking over their parts,” Blaine said.

The Shakespeare Club meets every Tuesday and Thursday from five to six to rehearse.

According to Blaine, the annual end-of-the-year production is what takes up most of their rehearsal time.

Lights, Camera, Action!

By Megan Ruge, Co-Editor in Chief 

As a movie enthusiast, I am inclined to watch movies that allow the viewer to feel something other than self hatred. But the world is full of movies that make you feel disdain instead of enjoyment.

Though you cannot always predict a bad film before viewing, this list of rediculously terrible films will help you when deciding what is not worth your time.

The first film on the list is a Netflix Original called “Look Who’s Back.”

Originally produced for German viewers, the film is completely in German and follows what it might look like if notorious dictator Adolf Hitler woke up in Germany in 2014.

The film is based off of a bestselling German satirical novel by the same name and follows Hitler’s journey through Germany as it is in 2014.

Though it is meant to be a comedy, the film is mostly unscripted and was basically compiled by putting the ac- tor who played Hitler out into the street in character and had him interact with everyday German citizens.

Though there is a loosely scripted storyline throughout the film, the potential to make this film satirical and humorous in nature is lost in translation as the point of the film becomes confusing and the plotline falls flat.

A spring break movie for the ages, “From Justin to Kelly” makes this list at number two.

The 2003 movie can be considered the worst musical ever to grace the big screen. The film also doubles as singer Kelly Clarkson’s first major feature film.

The film follows the story of a waitress from Texas and a college student from Pennsylvania who meet in Fort Lauderdale, Florida and come together over their love of singing.

The filmed debuted after the close of Clarkson’s winning season of “American Idol” which was taken into account for this film. This is evident because Clarkson’s co-star was also the runner up from her “Idol” season.

The major flaw that this film had was maintaining the believability of a “real life musical” while also meeting the standards of a love story.

There are many reasons not to watch this film. The movie, that would have done better had it been made for television, was born from the many teen movies that were released between 1990 and 2005. The film allows the viewer to expect a cheesy romance, but it isn’t even worth sitting through the slapped-together musical numbers that put the whole film to shame.

“Man of Steel” makes the third and final spot on the list. The film, a retelling of the classic Superman story, makes the list for its unsuccessful attempt to make Superman seem realistic.

Superman, a character made to seem unattainable and god-like, is part of a long line of superheroes who live in a fictional world that is not meant to seem real.

With Smallville, Kansas as his hometown and Metropolis as his patron city, Superman lives in a place as real as the Gotham of counterpart Batman.

With Marvel’s successful series of relatable superhero films, DC felt threatened and wanted to achieve the same success, but Superman is a character that is meant to feel unreal. DC’s worlds are a place of escape instead of reliability and it should generally stay that way.

‘Rocky Horror’ to encourage interaction and getting ‘weird’

By Kelsey Rogers, Asst. living and arts editor 

It’s time to do the time warp again as Susquehanna’s Gender and Sexuality Alliance will present “The Rocky Horror Picture Show” in Isaac’s Auditorium on April 28 at 8 p.m. and April 30 at 2 p.m.

Based on the 1973 production, with Susquehanna’s per- formance directed by sophomore Aly Morris, the show tells the tale of a newly engaged couple, Brad Majors and Janet Weiss, that end up lost with a flat tire on a stormy night.

When the couple approaches a castle to use the telephone, they are met by colorful costumes, dance numbers and a mad scientist who is actually an alien transvestite.

The show parodies science fiction and horror B-movies and has developed a cult following. It is common for a “shadow cast” to perform alongside the film, where attendees act out the plot while the film is playing.

The production was also popularized by a 1975 film adaptation, which starred Tim Curry, Susan Sarandon and Barry Bostwick.

The cast of “Rocky Horror” includes first-years Kelsey Dowling, Alaina Johansson, Sarena Pollock, J.J. Saunders and Tate Avey, sophomores Angie Poole, Izzie Hawthorne and Morris and seniors Sam McCoy and Meaghan Wilson.

Dowling, who plays the mad scientist Dr. Frank N. Furter, offered advice to audience members who have never seen the show before.

“Don’t stop and question it,” Dowling said. “Just let it happen. That’s what live shows, specifically for ‘Rocky Horror,’ are about.”

One of the most unique aspects of “Rocky Horror” is that it is interactional theatre.

Audience members are encouraged to dress in costume and bring props to the show, such as newspapers, water guns, rice, confetti and toast.

Sophomore Angie Poole, who plays Brad Majors, seconded Dowling’s sentiment and encouraged the audience to respond to the show.

“Have a good time,” Poole said. “Yell the callouts, play the virgin games, enjoy yourself and have a good time.”

Poole also emphasized the importance of audience mem- bers being true to themselves during the show.

“‘Rocky’’s this thing where you get to be weird and nobody can judge you for it, because we’re on stage dancing in lin- gerie,” Poole continued. “So the audience can be as weird as they want and it’s great.”

Dowling said the show is a favorite of theirs, being one of the first rock musicals they had ever seen. They had attended multiple movie showings and shadow casts and even attempted to make costumes in the past.

“It has been so much fun to bring to life this show that I absolutely adore with my friends,” Dowling said.

Dowling noted that one of their favorite cast members to work with is Poole, whose character interacts frequently with Dowling’s character. Dowling said that together, it is “so fun to watch [them] both be in [their] element.”

Poole and Dowling will also share a scene of intimacy together, with one of the main themes of the show being to not be afraid to give in to pleasure.

“I’m close friends with both [actors who play] Brad and Janet,” Dowling said. “You just kind of get normalized to having sex and doing sexual things on stage.”

Poole also praised multiple aspects of the production.

“The costumes are a lot of fun,” Poole said. “Doing the dancing is a lot of fun. It’s a fun time.”

The show features multiple musical numbers, such as “I Can Make You a Man,” “The Time Warp,” “Rose Tint My World” and “Sweet Transvestite,” which Dowling says is their personal favorite to perform.

“There’s only so many times in your life where you can rip off a cape and be in lacy lingerie underneath and have everyone applaud,” Dowling said. “This is one of them and I get to do it twice in front of all my friends.”

Tickets for the show will be on sale for three dollars. Those interested will have the opportunity to buy a ticket and a prop bag for five dollars.

Percussion Ensemble to Perform Modern Repertoire

By Kelsey Rogers, Assistant Living and Arts Editor

The Susquehanna University Percussion Ensemble will perform in Stretansky Concert Hall on April 25 at 7:30 p.m.

The ensemble, directed by Gregory Alico, adjunct faculty music, will feature pieces from multiple genres, including classical and jazz.

First-year Milo Brooking, who is a member of the ensemble, said that the experience has been educational for him.

“The pieces we’ve done have been unlike any pieces I did in high school or other programs,” Brooking said. “Many of them are very modern, with changing beats and often no beat at all.”

Brooking also said the audience can expect a variety of genres from the ensemble.

“The set list definitely skews modern, but there are some great mallet pieces with jazz influence and a couple of more classical pieces,” Brooking said.

The pieces that will be performed are “Declarative Stances,” “An Indian Story,” “Gainsborough,” “Head Talk,” “Graceful Ghost,” “Ripeness,” “Guatemalan Folk Song” and “Cymbalectomy.”

“Declarative Stances,” written by Kansas percussionist Steve Riley, is a piece written for eight different instruments such as the xylophone, castanets, chimes and bongos.

“Indian Summer,” written by Ukrainian American composer George Perlman in 1938, tells the story of Indian warriors dancing in the sky. Their war paint eventually rubs off, causing the change of colors in the sky.

“Gainsborough” is a popular percussion piece that has been played all over the world. Written by Illinois musician Thomas Gauger, the piece features three different movements, consisting of marimbas, bells and a jazzy expression.

“Graceful Ghost” was originally written for piano by American composer William Bolcom and arranged for percussionists by Colorado musician Terry Smith. This piece takes a spin on ragtime and turns it into a more gentle tune, rather than the typical upbeat style.

“Ripeness,” written by percussionist Phillip Long, uses a tetrachord “to the point of annoyance” according to sheet music company C. Alan Publications. Other instruments that can be heard in the piece are bongos, cymbals and cowbells.

“Guatemalan Folk Song” has percussion elements that have a gentle sound with Latin-American roots. Arranged by Texas composer Emily Crocker, it tells the story of a parrot falling in love with a parakeet.

“Cymbalectomy,” written by American percussionist Chris Crockarell, is an all-cymbal piece featuring six members.

Members of the ensemble performing in the concert are Gus Black, Jacob Bodinger, Milo Brooking, Mike Kaminski, Will Meriney, Krystina Rodkey, Hayden Stacki and Carissa Sweet.

Admission to the concert is free to all students and members of the public.

SU Belly Dance Circle to perform and educate

By E. Quinn Evans, Staff writer

Susquehanna’s Belly Dance Circle will present a dazzling demonstration of dance and culture: their spring performance, “Hafla.”

“Hafla” contains over seven individual dances. Several group dances will be performed by the two skill levels in the club and are choreographed by sophomore Mica Lewis, who is the president of the belly dance club. According to Lewis, the rest are self-choreographed solos and duets.

Lewis said some people might be surprised by how common belly dance is in the U.S.

“Belly dance is more common in America than might be considered,” Lewis said. “There are many different styles, such as cabaret, tribal, Egyptian, etc.”

“[Belly dance is a] social dance, and [should] be treated with the respect it deserves,” Lewis said. “We go to great lengths to preserve this image by following certain rules within the club, such as covering up when not performing, or respecting dancing traditions that would be expected in the Middle East.”

According to Lewis, the levels of dance experience in the company vary.

“We have had some girls who did various types of dance, such as ballet and Bollywood, but generally our dancers are new to the experience,” Lewis said. “All the moves taught have been passed down through the years or learned by watching other dancers.”

Lewis said that the values of the belly dance club extend be- yond the borders of their focus, as they also strive to promote body positivity and other principles.

“As a club, we promote cultural awareness and community,” Lewis said. “We strive to include all individuals regardless of race, gender, sexual orientation, body type, [and] religion.”

First exposed to belly dance when she was a child, Lewis was intrigued by the style.

“There is a natural and unique beauty in Belly Dance,” Lewis said. “It requires control of particular muscles in the body that you may not have been aware of. Dancing is a release from the stresses of everyday life.”

Lewis also praised the passion and diversity of those in the Belly Dance Circle.

“When we meet, we have fun, we exercise, and we share in our love of a different style of dance and culture,” Lewis said. “What’s wonderful about our club is that we are all unique in our interests and skills. We have all types of majors, such as psychology, science, creative writing, etc.”

“Hafla” will be performed on April 22 at 7:30 p.m. in Isaac’s Auditorium in Seibert Hall.

Admission is free for SU students with ID, $3 for non-SU students and $5 for adults.

Lights, Camera, Action!

By Megan Ruge, Co-Editor in Chief 

Warm weather has finally reached the Susquehanna campus and the flowers are in bloom.

Though many are yearning to be in the sunshine, there are still those of us who would rather hang back and enjoy the air conditioning.

The best way to enjoy the shift in temperature indoors is to pop a bag of popcorn and see what new originals Netflix has to offer. Though this may not be the case for everyone, spring also comes with its fair share of rainy days.

Instead of searching through every Netflix genre on your own, listed below are a few originals worth your time.

The first film is a newer Netflix original, titled “Slam,” that features Ludovico Tersigni as 16-year-old Sam whose now- pregnant girlfriend leaves him wondering what kind of life he will lead. Born to a teen mother and a father who abandoned him, Sam is determined to be a better father than his own was.

Throughout the film, Sam looks to pro skateboarder Tony Hawk for inspiration.

As a skateboarder with big dreams, Sam sees Hawk as a hero or idol. He spends a large amount of time comparing the differences between his life and Hawk’s and deciding how he will still reach his goals as a father despite his setbacks. The movie is humorous and uplifting, good for a rainy day.

The next film on the list is called “The Do-Over.” Staring Adam Sandler and David Spade, the film follows the story of an accountant, played by Spade, whose life is turned upside down when he is visited by a friend. This friend, who is played by Sandler, asks him to leave his current life behind by faking his death and embarking on the adventure of a lifetime.

Though this film is right- fully deemed a comedy, the film contains enough action to satisfy that genre. The stars, commonly known to work together on comedy films, take on the action genre with stride. The duo easily slips into the roles of action stars with a comedic twist.

The next film fulfills the horror genre. “I Am the Pretty Thing That Lives in the House” follows the story of a skittish nurse, played by Ruth Wilson, who is assigned to take care of a horror writer in a house with dark secrets. Already not enjoying herself, the nurse finds that there is more to the house than the horror living inside the books.

Throughout the movie, Wilson’s character discovers many evils living within the house that find ways to affect her. The house is able to make her see and experience things that raise her and the viewer’s blood pressure and appeal to her fears. The movie is sure to reach fear enthusiasts as the woman is coming face to face with what she fears the most.

The next film on the list is “Special Correspondents.” The film follows a radio duo, played by Ricky Gervais and Eric Bana, that, after tiring of routine news, creates fake news from the active warzone of an imaginary war. The lies and deceit get increasingly complicated and the two broadcasters must dig themselves out of danger.

The film is deemed “dark humor” and “satire” for the way it makes fun of war and creates humor out of imagined peril. The film allows for many who enjoy this genre to take part in the dark turns it takes.

Male acappella group to give “other-worldly” performance

By Michelle Seitz, Staff writer

On Thursday, April 28, the Grammy Award-winning acappella group Chanticleer will perform at Susquehanna.

Based in San Francisco, the group was founded in 1978 by tenor Louis Botto, who directed the group until his death in 1997. Botto originally founded the group after he realized that a majority of the music he was studying—medieval and Renaissance vocal works—were not being performed. As it was traditional for exclusively men to sing in churches during the Renaissance, Botto mimicked the custom when founding Chanticleer.

Chanticleer is known internationally as “an orchestra of voices” because each member contributes a unique vocal quality that spans all vocal ranges from countertenor to bass.

Joe Ledbetter, Chanticleer’s press contact, highlighted the harmony in their performances, despite the members having a variety of singing types.

“The true beauty of Chanticleer lies in the seamless blend of their 12 voices, from the earth-shaking basses to the ‘Are they really singing that high?’ male sopranos,” Ledbetter said. “That’s what earned them the nickname ‘an orchestra of voices.’” Chanticleer is set to perform

“My Secret Heart,” a musical interpretation of a songwriter longing to penetrate certain parts of the heart.

According to the group’s biography, it includes a commission by Finnish composer Jakko Mantyjärvi.

The group’s performance is the last of Susquehanna’s 2016-17 Artist Series. According to the Artist Series web page, the series brings different performances to campus to “advance intellectual engagement” in the area.

Ledbetter emphasized the emotions he has felt working with Chanticleer and hopes Susquehanna attendees will feel the same way.

“I would hope the audience leaves the performance with the same sense of awe I felt the first time I heard Chanticleer,” Ledbetter said.

“In fact, I still feel it after every concert I hear,” Ledbetter continued. “Their musicianship and harmony is other- worldly and transformative.”

According to the program notes, the group’s repertoire spans ten centuries, ranging from Georgian chant to jazz, as well as international pieces and “venturesome” new music.

The group’s name is derived from the clear singing rooster in Chaucer’s “Canterbury Tales.” According to the group’s biography, they have recorded over thirty albums for Warner Classics and Chanticleer Records and has sold over a million albums since they began releasing recordings in 1981.

Current members of Chanticleer include alto Adam Ward, countertenors Cortez Mitchell, Gerrod Pagenkopf, Kory Reid, Alan Reinhardt and Logan S. Shields, tenors Chris Albanese, Brian Hinman and Andrew Van Allsburg, baritone Matthew Knickman, bassbaritone Marques Jerrell Ruff and bass Eric Alatorre.

As of August 2015, William Fred Scott assumed the positon of music director. Christine Bullin serves as Chanticleer’s president and general director.

This past winter, Chanticleer performed in many countries, including Austria, the Czech Republic, Hungary, Ireland, Germany, France and Russia. The group typically performs about 100 concerts throughout the year.

Chanticleer is critically acclaimed, and has been awarded multiple Grammy Awards for Classical Best Small Ensemble, Best Classical Contemporary Composition and the Contemporary A Capella Recording Award for Best Classical Album.

In 2008, the group was inducted into the American Classical Music Hall of Fame and was named Musical America’s Ensemble of the Year.

In 2010, the group received the Chorus America’s Edu- cation and Outreach Award. “Billboard” magazine has also included the group in its com- pilation of the Top 10 best- selling classical artists.

While Chanticleer is most well-known for their concerts, Ledbetter said there is more to the group than performance.

“While Chanticleer is world- renowned for their performances and recordings, not too many people know that they are a dedicated group of educators as well,” Ledbetter said.

“Chanticleer has an award- winning education program that reaches singers around the world of all ages through workshops, masterclasses, youth choral festivals and a high school honor choir called the Louis A. Botto Choir, [which is] named after the Chanticleer’s late founder.”

Chanticleer’s performance will be at 7:30 p.m in Weber Chapel. Tickets are $20 for adults, $15 for seniors, $5 for non-Susquehanna students and free for SU students with their Susquehanna ID.

Turn it Up, A Music Review

By Liz Hammond, Digital Media Editor 

As we all know, the first weekend of Coachella in Indio, California has ended. If you were lucky enough to go, I salute you.

For those of us that couldn’t be there, here’s the wrap-up.

Day One’s headliner was alternative rock band Radiohead. It started off a little rocky and they had to exit the stage twice within the first seven minutes of their set. Technicians had to keep fixing their speakers, which first buzzed and then went out entirely. By the second time they came out, front man Thom Yorke said, “Can you actually hear me now?”

The band played all the way until 12:52 a.m. Earlier that afternoon, it was pretty subtle. The Preservation Hall Jazz Band played, which performs a traditional style of jazz that was popularized in the red-light district of New Orleans. The set featured an electric pianist, which gave the music a 21st century vibe.

There was a new addition this year: an air-conditioned tent called the “Sonora.” This was where a lot of punk and Latino acts like punk band Paranoyds and latin rock band Diamante Electrico performed.

Other performers included Canadian instrumentalist Mac DeMarco who blessed the Outdoor Theatre with his smooth voice.

Lemon Twigs, a pop rock band from Long Island, also brought out legendary producer and recording artist Todd Rundgren out on the Gobi stage for their last song.

Day Two’s headliner was electropop queen Lady Gaga, who took the place of Beyoncé. Gaga didn’t disappointed she took the stage in her classic black police hat and leather trench coat. She opened with “Schiebe,” which comes off of her “Born This Way” album.

Gaga shocked fans by performing a new song, “The Cure,” which doesn’t sound anything like her usual sound, in the best way possible. Gaga got personal with her fans, saying that she loved them and how they helped sustain her during the difficult times. She closed with cult favorites “Poker Face” and “Bad Romance” — and it wouldn’t be complete without her in a sheer black body suit covered in sequins.

When Future took the stage, he brought hip hop artist Drake, but that wasn’t it: singer and rapper Ty Dolla $ign and trap artist Migos came out as well.

After joining Future, Migos also hopped on stage with trap artists DJ Snake and Gucci Mane. In the Gobi tent, hip hop artist Nav was performing and R&B artist The Weeknd came out to surprise the whole crowd.

When hip hop artist ScHoolboy Q hit the Outdoor Theatre

stage, he brought out hip hop artists A$AP Rocky and Tyler the Creator, two of the rowdiest rappers to ever hit a stage.

Indie pop artist Bastille performed all of their big hits like “Pompeii” and “Bad Blood” to an overflowing crowd on the Outdoor Theatre.

Day Three was headlined by the God himself, hip hop artist Kendrick Lamar. He brought out ScHoolboy Q, Future and hip hop artist Travis Scott throughout the show. He opened the show at 10:37 p.m. with a song off his newalbumcalled“DNA.”

Just before Lamar’s set, a crowd gathered for a solid combination of classical and electronic music by Hans Zimmer, who is an Oscar-winning composer. Zimmer brought out a full orchestra to the Outdoor Theatre stage. He said, “somebody had to.”

Everyone went wild when there was a surprise appearance by hip hop artist Pharrell Williams, who collaborated with Zimmer on the music for the film “Hidden Figures.”

Indie rock artist Lorde also blessed the stage on Sunday night. She debuted songs off her upcoming album, “Melodrama.” She closed her set with her recent hit, “Green Light.”

All in all, the first weekend of Coachella was one for the books. But don’t fret: there is still another weekend left before the massive festival is closed for another year.