The Social Network, directed by David Fincher and written by Aaron Sorkin (joint credit is truly deserved), is an astonishingly focused and perceptive film. I say “astonishingly focused” in part because of the brisk two-hour running time, but also because of how unremittingly tight the film’s scope is; I say “perceptive” because of how gently and compassionately it treats its characters and its larger social implications.

Evoking memories of Warped Tour, a main stage sat at the far end of the fairgrounds and a second sat at the head where the entrance was located. However, unlike Warped Tour, the band schedule never overlapped and allowed for you to see everyone play throughout the day, almost like a live play list, the soundtrack for you and 49,000 fans…Eminem was the most notable, this being his only show on the west coast this year, as well, bands like Blink 182 and Bush were emerging from time offstage and out of the spotlight to perform at Epicenter.

Incredibly bold, challenging, uneven, cool and one hundred percent interesting – this is Neil Young’s newest work, Le Noise. By now, you may have heard a little something about how different it is, how spare. Well, it is an experimental album if ever there was one. There is no band per-se, so we’re talking just Neil…

It’s been one long summer of festivals for us at Circle Six – Mayhem, Ozzfest and now Uproar. And while the Mayhem Festival claims the top spot boasting the most solid lineup of bands from top to bottom, Uproar easily captures our interest as the festival with the best main stage of acts (at least the best of the three festivals that we’ve attended thus far). How can it not? Uproar features Halestorm, Stone Sour, Avenged Sevenfold and Disturbed all sharing the same stage.

As you take a minute to order a drink in between acts you can see the pit is filled to capacity and the crowd’s excitement is unbearable. The anticipation of the South African born Los Angeles adopted band is looming until the roar of “No Jesus Christ” appeases the masses. Instantly, rock fans start jumping and thrashing about in the pit.

Though down to the very last dates on the North American leg of the 21st Century Breakdown World Tour (and well over a year after the release of their last album), Green Day undoubtedly performed at the Verizon Wireless Amphitheater with no less energy and gusto than they could have possibly exerted when the tour

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Mention the term femme metal and it conjures up images of bands fronting beautiful singers such as Amy Lee of Evanescence, Carly Smithson of We Are The Fallen, Cristina Sacabbia of Lacuna Coil and maybe even Anette Olzon of Nightwish. But femme metal hardly does the genre justice and is probably just used for a lack of a better term. After all, femme metal didn’t start with Evanescence and it certainly isn’t going to end with them either. What makes these bands isn’t just that they are fronted by capable lead singers with sex appeal. What makes these bands is that, for the most part, they churn out great music in an industry that is dominated by men. Maybe this is why the surprise find, for me, was the band In This Moment.

Ozzfest has now become bloated and “Too Fat for Love.” This is pretty evident just by looking at the 2010 lineup. Sure you’re going to sell some tickets. When you headline Rob Halford, Motley Crue, and Ozzy himself how can you not? Hell, Ozzy is our Elvis. And the days are drifting closer to a time when this generation of fans will have to reminisce about the last time they saw Ozzy sing and where we were when he died. It will be for nostalgic reasons alone that we will never actually burn Ozzy at the stake or even blame Ozzy Osbourne himself for being let down.

On Christmas 2009, Jimmy “The Rev” Sullivan handed in a demo for a song he had written entitled “Death” and proclaimed, “That’s it, that’s the last song for this record.” Three days later, the Avenged Sevenfold drummer was found in his home, dead from a lethal mix of prescription drugs and alcohol. Tomorrow, A7X will release that record, now called Nightmare, which is not only the last physical recording of The Rev’s legacy, but also his tribute.

It’s hard to describe festivals outside of the normal parameters of setup and slate. The DNA resembles one part carnival, one part concert and one part spectacle. On the surface, the analysis of the Mayhem Festival is no different. In short it’s a lot of bands, lots of merchandise, lots flying motorcycles and a veritable dustbowl of pits created by fans taking in the pulse of the ten hour feast of metal mania. The only way to understand it isn’t just to experience it. The only way to understand it is to live it.