Since they became a hot live ticket in the late Seventies, Rush have had little trouble filling the arenas and EnormoDomes of the world. But in the past few years, Alex Lifeson has noticed a change in their audience, and it’s not a subtle one. “We’re reaching a lot more young kids and teens,” he says. “You look out and see all these new faces, kids with their parents. It’s a wonderful thing to be able to see your music going from generation to generation.”

Once upon a time, video games were considered the nerdy domain of geeks, freaks and social misfits. Over the past couple of decades, however, the $65-billion gaming industry has become as ubiquitous and all-American as baseball and apple pie. The long-term cultural and psychological impact of gaming and the relentless pursuit of “the next level” will undoubtedly fuel countless sociology books and psychiatric papers, but for now one only has to listen to the ambitious, cutting-edge prog-rock of Periphery for a glimpse of how gaming is shaping art and music in the 21st century.

Of the four Beatles, George Harrison brought to the group an assortment of electric and acoustic guitar approaches, flavors influenced by everyone from Chet Atkins and Carl Perkins to the Byrds and Bob Dylan.