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(11/09/06 8:42pm)
As someone who used to listen to The Who's 1971 album Who's Next once a day for about a year, I can tell you that their first studio effort since 1982's It's Hard is, in fact, hard. Hard in a good way, though. Contrary to 1969's rock opera "Tommy," which consisted of a smattering of excellent full-length compositions stitched together with small fragments of tracks that served the purpose of gelling the narrative, Endless Wire is frontloaded with full songs, saving its own mini-opera for tracks 10 through 21.\nThere are many factors that make Endless Wire both a frustrating and rewarding experience for longtime Who fans. The most frustrating factor is the most unavoidable. The band's frenetic drummer, Keith Moon, passed away in 1978, and 2002 saw the untimely passing of one of the most lyrical bassists in rock history in John Entwistle. Remaining members Pete Townshend (guitars, lyrics, music, backing vocals) and Roger Daltrey (lead vocals, theatricality, gravitas) are left virtually on their own to bring the compositions to life. Along with competent assistance from session bassist Pino Palladino and drummer Zak "Ringo's kid" Starkey, Townshend and Daltrey make a spirited go of it.\nAs for the songs, many of them are Townshend's best since the Who By Numbers era. "Fragments" commences with synth blips reminiscent of "Baba O'Riley" and brings to life Townshend's new kind of antithetical wasteland. The rest of side one finds Townshend flexing his impressive but rarely seen acoustic chops on "A Man in a Purple Dress," "God Speaks of Marty Robbins," and "Two Thousand Years," and recalling The Who's glory days with the stunners "Mike Post Theme" and "It's Not Enough." The only real clunker among the first nine tracks is the bizarre "In the Ether," which finds Townshend taking over on vocals with a bizarre, croaking delivery.\nAt album's end, the most rewarding aspect of the whole experience is having heard an album 24 years and its own share of tragedies and triumphs in the making. While it doesn't hold even half a candle to Who classics like Quadrophenia and The Who Sell Out, Endless Wire is an impressive, cerebral and forward-looking collection. In an age where other dinosaurs like The Rolling Stones, U2 and Springsteen seem to be stuck in their own personal holding patterns, The Who continue to at least suggest innovation in their twilight years.
(11/09/06 8:39pm)
This past year has been big for animated movies. Hits like "Cars" and "Open Season" have been box office successes. So what exactly do directors like David Bowers and Sam Fell consider while trying to make "Flushed Away" stand out? For starters, it helps having a creative and original plot. And whether Bowers and Fell actually thought about gearing this movie directly toward kids, they were clever enough to add jokes that can be enjoyed by adults.\nHugh Jackman voices Roddy, a sophisticated mouse who lives as a pet to an upper-class family in a Kensington neighborhood. When a sewer rat named Sid comes out of the sink, he immediately becomes keen on the lifestyle Roddy lives. In an attempt to get Sid back to his home, his plan backfires, and Roddy finds himself in the sewers. It seems there is a whole other world, which Roddy was never aware of, living in the sewers. Desperate to get back home, Roddy meets Rita (Kate Winslet), a scavenger who agrees to get him home in exchange for some of his families' (well, owners') jewels.\nLittle does anybody know that this "city's" fate is doomed, as the villainous Toad (Ian McKellen) plans to unleash a wall that will leave the entire metropolis flooded. And since Rita has taken the wire needed to do so, she and Roddy are forced to take a detour on their way up top, to avoid running into Whitey (Bill Nighy) and Spike (Andy Serkis), employees of the Toad. After seeing this "city" where rats live freely, and witnessing Rita with her family, Roddy feels lonely and questions whether he belongs on top.\n"Flushed" is a creative and well-written animated film -- a film well-suited for every age. I will admit that I laughed on more than one occasion. With a cast whose voices were both playful and energetic, they were easily able to charm the audience with their witty one-liners. In fact, "Cars" may have some competition for the year's Best Animated Film. Although I question the mad rush of animation at the box office, "Flushed Away" is one that is definitely worthwhile.
(11/09/06 8:37pm)
Will Ferrell is a mediocre comedian. There, I said it. I'm sorry, but it's true. He has one and a half characters (crazy guy who screams stuff and mostly quiet, weird guy who occasionally screams crazy stuff).\nBut despite his far-reaching acting "talent," studio executives apparently thought he would be the perfect for a semi-serious role in the dull and painfully unfunny romantic comedy, "Stranger Than Fiction."\nThe movie opens with Harold Crick (Ferrell) as an uptight IRS auditor stuck in the same old rut until he meets an anarchistic baker played by Maggie Gyllenhall who he's trying to audit. Despite their differences, the two fall madly in love in the worst romance since "Attack of the Clones."\nBut here's the big twist: As Crick goes along with his day-to-day life, he begins hearing the voice of a British woman narrating his every move, which informs him of his impending death.\nSo of course he does the only logical thing in this situation -- he goes to a professor of literature played by Dustin Hoffman so they can figure out if Ferrell is living a tragedy or a comedy.\nThe real tragedy is wasting Hoffman's acting talents in this horrible film, as he gives the only truly great performance amidst a mediocre group of actors.\nThe entire concept is mind-numbingly stupid, the chemistry between Ferrell and Gyllenhall is nonexistent and casting Ferrell in the lead may be the biggest mistake in cinema history. Watching "Stranger Than Fiction" may actually result in brain damage (I consulted a professor of film for that diagnosis as it was the only logical thing to do in this situation).\nIf you must see a Will Ferrell movie this holiday season, just watch "Old School." Again.
(11/09/06 8:34pm)
I never thought I would rave about a movie where the main character repeatedly bashed Judaism and is involved in a full-frontal male nudity scene that prompts him to say, "My moustache still tastes of your testes," but "Borat" is niiiice. \nI'd waited two anxious years for the Borat movie after becoming obsessed with talking like Sacha Baron Cohen's character on "Da Ali G Show," and somehow the film exceeded my wildest expectations. I tell you more. Dzienkuje. \nFor every word in the incessantly long title, there are dozens of unforgettable scenes in Borat's first movie. Our main man is Cohen as a television reporter from Kazakhstan, sent to America to learn about the greatest country in the world, US and A. High five! \nWhile here, Borat has trouble adjusting to the American way of life as he tries to learn lessons to make benefit, well, you read the title. He realizes NYC subway riders aren't down to kiss on the cheek, and that asking girls, "How much?" on the street, and calling a hotel clerk "vanilla face," are not kosher. \nSpeaking of kosher, if taken literally, the film is quite anti-Semitic, as Borat blames the Jews for 9/11 and runs away from friendly Jews at a bed and breakfast who just want to give him a little nosh. The jokes are a little excessive but are hard to take seriously coming from Cohen, a British Jew. \nBorat's motivation for the second act of the film is to find and marry Pamela Anderson after falling in love with her character on "Baywatch." Many of the subjects are unaware Borat is faking it, but Anderson had to be in on the bit. Otherwise, Cohen would be in jail for what he did to her at a signing, instead of appearing on Conan asking for his valuable red pubic hair while promoting the film. \nMuch like in the show, Cohen really excels at making interview subjects expose their inner bigots to him when they are unaware Borat is faking it. One man reveals he wishes we could hang homosexuals, a couple of college guys say they wish we still had slaves and a gun salesman shows him which gun is best to shoot a Jew. \nThe film is basically a one-man traveling circus, but credit also must go to director Larry Charles, who adds this film onto a stacked resume filled with "Seinfeld," "Curb Your Enthusiasm" and "Entourage." He keeps the film quick, to the point and weaves the story well with the Pamela Anderson thread. \nThis movie is offensive and will make you squirm, but will make you laugh harder than anything I've seen in years. At 80 minutes, the film is short, but edited together well to provide a comedy "tighter than a man's anus." Great success!
(11/09/06 5:00am)
I never thought I would rave about a movie where the main character repeatedly bashed Judaism and is involved in a full-frontal male nudity scene that prompts him to say, "My moustache still tastes of your testes," but "Borat" is niiiice. \nI'd waited two anxious years for the Borat movie after becoming obsessed with talking like Sacha Baron Cohen's character on "Da Ali G Show," and somehow the film exceeded my wildest expectations. I tell you more. Dzienkuje. \nFor every word in the incessantly long title, there are dozens of unforgettable scenes in Borat's first movie. Our main man is Cohen as a television reporter from Kazakhstan, sent to America to learn about the greatest country in the world, US and A. High five! \nWhile here, Borat has trouble adjusting to the American way of life as he tries to learn lessons to make benefit, well, you read the title. He realizes NYC subway riders aren't down to kiss on the cheek, and that asking girls, "How much?" on the street, and calling a hotel clerk "vanilla face," are not kosher. \nSpeaking of kosher, if taken literally, the film is quite anti-Semitic, as Borat blames the Jews for 9/11 and runs away from friendly Jews at a bed and breakfast who just want to give him a little nosh. The jokes are a little excessive but are hard to take seriously coming from Cohen, a British Jew. \nBorat's motivation for the second act of the film is to find and marry Pamela Anderson after falling in love with her character on "Baywatch." Many of the subjects are unaware Borat is faking it, but Anderson had to be in on the bit. Otherwise, Cohen would be in jail for what he did to her at a signing, instead of appearing on Conan asking for his valuable red pubic hair while promoting the film. \nMuch like in the show, Cohen really excels at making interview subjects expose their inner bigots to him when they are unaware Borat is faking it. One man reveals he wishes we could hang homosexuals, a couple of college guys say they wish we still had slaves and a gun salesman shows him which gun is best to shoot a Jew. \nThe film is basically a one-man traveling circus, but credit also must go to director Larry Charles, who adds this film onto a stacked resume filled with "Seinfeld," "Curb Your Enthusiasm" and "Entourage." He keeps the film quick, to the point and weaves the story well with the Pamela Anderson thread. \nThis movie is offensive and will make you squirm, but will make you laugh harder than anything I've seen in years. At 80 minutes, the film is short, but edited together well to provide a comedy "tighter than a man's anus." Great success!
(11/09/06 5:00am)
Will Ferrell is a mediocre comedian. There, I said it. I'm sorry, but it's true. He has one and a half characters (crazy guy who screams stuff and mostly quiet, weird guy who occasionally screams crazy stuff).\nBut despite his far-reaching acting "talent," studio executives apparently thought he would be the perfect for a semi-serious role in the dull and painfully unfunny romantic comedy, "Stranger Than Fiction."\nThe movie opens with Harold Crick (Ferrell) as an uptight IRS auditor stuck in the same old rut until he meets an anarchistic baker played by Maggie Gyllenhall who he's trying to audit. Despite their differences, the two fall madly in love in the worst romance since "Attack of the Clones."\nBut here's the big twist: As Crick goes along with his day-to-day life, he begins hearing the voice of a British woman narrating his every move, which informs him of his impending death.\nSo of course he does the only logical thing in this situation -- he goes to a professor of literature played by Dustin Hoffman so they can figure out if Ferrell is living a tragedy or a comedy.\nThe real tragedy is wasting Hoffman's acting talents in this horrible film, as he gives the only truly great performance amidst a mediocre group of actors.\nThe entire concept is mind-numbingly stupid, the chemistry between Ferrell and Gyllenhall is nonexistent and casting Ferrell in the lead may be the biggest mistake in cinema history. Watching "Stranger Than Fiction" may actually result in brain damage (I consulted a professor of film for that diagnosis as it was the only logical thing to do in this situation).\nIf you must see a Will Ferrell movie this holiday season, just watch "Old School." Again.
(11/09/06 5:00am)
This past year has been big for animated movies. Hits like "Cars" and "Open Season" have been box office successes. So what exactly do directors like David Bowers and Sam Fell consider while trying to make "Flushed Away" stand out? For starters, it helps having a creative and original plot. And whether Bowers and Fell actually thought about gearing this movie directly toward kids, they were clever enough to add jokes that can be enjoyed by adults.\nHugh Jackman voices Roddy, a sophisticated mouse who lives as a pet to an upper-class family in a Kensington neighborhood. When a sewer rat named Sid comes out of the sink, he immediately becomes keen on the lifestyle Roddy lives. In an attempt to get Sid back to his home, his plan backfires, and Roddy finds himself in the sewers. It seems there is a whole other world, which Roddy was never aware of, living in the sewers. Desperate to get back home, Roddy meets Rita (Kate Winslet), a scavenger who agrees to get him home in exchange for some of his families' (well, owners') jewels.\nLittle does anybody know that this "city's" fate is doomed, as the villainous Toad (Ian McKellen) plans to unleash a wall that will leave the entire metropolis flooded. And since Rita has taken the wire needed to do so, she and Roddy are forced to take a detour on their way up top, to avoid running into Whitey (Bill Nighy) and Spike (Andy Serkis), employees of the Toad. After seeing this "city" where rats live freely, and witnessing Rita with her family, Roddy feels lonely and questions whether he belongs on top.\n"Flushed" is a creative and well-written animated film -- a film well-suited for every age. I will admit that I laughed on more than one occasion. With a cast whose voices were both playful and energetic, they were easily able to charm the audience with their witty one-liners. In fact, "Cars" may have some competition for the year's Best Animated Film. Although I question the mad rush of animation at the box office, "Flushed Away" is one that is definitely worthwhile.
(11/09/06 5:00am)
As someone who used to listen to The Who's 1971 album Who's Next once a day for about a year, I can tell you that their first studio effort since 1982's It's Hard is, in fact, hard. Hard in a good way, though. Contrary to 1969's rock opera "Tommy," which consisted of a smattering of excellent full-length compositions stitched together with small fragments of tracks that served the purpose of gelling the narrative, Endless Wire is frontloaded with full songs, saving its own mini-opera for tracks 10 through 21.\nThere are many factors that make Endless Wire both a frustrating and rewarding experience for longtime Who fans. The most frustrating factor is the most unavoidable. The band's frenetic drummer, Keith Moon, passed away in 1978, and 2002 saw the untimely passing of one of the most lyrical bassists in rock history in John Entwistle. Remaining members Pete Townshend (guitars, lyrics, music, backing vocals) and Roger Daltrey (lead vocals, theatricality, gravitas) are left virtually on their own to bring the compositions to life. Along with competent assistance from session bassist Pino Palladino and drummer Zak "Ringo's kid" Starkey, Townshend and Daltrey make a spirited go of it.\nAs for the songs, many of them are Townshend's best since the Who By Numbers era. "Fragments" commences with synth blips reminiscent of "Baba O'Riley" and brings to life Townshend's new kind of antithetical wasteland. The rest of side one finds Townshend flexing his impressive but rarely seen acoustic chops on "A Man in a Purple Dress," "God Speaks of Marty Robbins," and "Two Thousand Years," and recalling The Who's glory days with the stunners "Mike Post Theme" and "It's Not Enough." The only real clunker among the first nine tracks is the bizarre "In the Ether," which finds Townshend taking over on vocals with a bizarre, croaking delivery.\nAt album's end, the most rewarding aspect of the whole experience is having heard an album 24 years and its own share of tragedies and triumphs in the making. While it doesn't hold even half a candle to Who classics like Quadrophenia and The Who Sell Out, Endless Wire is an impressive, cerebral and forward-looking collection. In an age where other dinosaurs like The Rolling Stones, U2 and Springsteen seem to be stuck in their own personal holding patterns, The Who continue to at least suggest innovation in their twilight years.
(11/09/06 5:00am)
Allmusic.com is, by far, one of the best music information resources available anywhere. However, its main page on the Deftones -- on the band's sound, on its influences -- is absurdly out of date. "Along with Limp Bizkit," the band's biography starts off, "the Deftones are often considered to be disciples of Korn, but in fact, they've been around for just as long (if not longer)." Ouch.\nThe fact is that since, at least, 2000's White Pony, the Deftones have deserved much more credit regarding the quality of their art -- and, while hardly rock perfection, Saturday Night Wrist only reinforces this. For one thing, the album has about as much in common with Korn and Limp Bizkit as Fred Durst has with, well, anyone with talent. Rather than rap-rock or nü-metal (shudder), think chilly space rock with a few shards of screamy, poundy metal jutting out of it -- much of Saturday Night is more akin to the proggier bands straddling the indie/alt-rock border (...And You Will Know Us By The Trail Of Dead, Muse, Doves, Mars Volta) than the mainstream metal with which the Deftones are often associated. And, yet, despite its arty moments, the album stays fairly accessible, generally avoiding the eye-rolling pretension that afflicts other prog devotees (I'm looking at you, Mars Volta).\nNot to say everything's hunky-dory. For one thing, Saturday Night suffers from a classic space rock problem -- there's so much emphasis on atmosphere and texture and pan-album cohesion, that much of it blends together into a blur that rocks pleasantly, but isn't all that memorable. To employ a music critic cliché: it's easy to like, but not to love. This draws emphasis to the songs that are the furthest from the overall vibe -- the thrashers "Rapture" and "Rats! Rats! Rats!" and the experimental "Pink Cellphone." Of these, "Rats! Rats! Rats!" is by far the best. Lead vocalist Chino Moreno screeches at you to "Decide! Decide!" while the band hammers away furiously -- interspersing a couple of melodic pauses that last just long enough to make the listener feel blasted when the band returns with double the rage. "Rapture" is likewise suited to head-banging, but is more straightforward and less inspired. On the other hand, with its literally phoned-in spoken vocals by Giant Drag's Annie Hardy, "Pink Cellphone" doesn't really work -- it's the one truly "bad-prog" moment on the album.\nLastly, the Deftones deserve credit for titling their mid-album instrumental "U,U,D,D,L,R,L,R,A,B,Select,Start". If only the song matched the initial thrill of tackling "Contra" with 30 extra lives. Sigh.
(11/09/06 5:00am)
I was first introduced to Lady Sovereign last year through a single, "Random." My first thought upon hearing the track was, "God, this sounds like a really bad M.I.A. song." \nSovereign's debut album, A Public Warning, proved my memory's not as bad as I thought. Nearly every track sounded like M.I.A.'s fantastic fast-paced pieces, yet each song fell short of what M.I.A. regularly achieves. Lady Sovereign defies every convention; she is a white, female, British rapper. Although her music isn't always great, you can't say she's not a rebel. But believe me, she won't let you forget either. \nThe album begins with "9 to 5," a song praising the visceral happiness of not working. Oddly enough, the melody of the song actually sounds a lot like a Spice Girls song. The subject material about working-class England is akin to something that Sovereign's rapping British peer, The Streets, might bring up. \nThe album bounces through the next few tracks, with Sovereign musing on her "bad-ass" style over electronic bleeps that sound like samples from Mario Kart. Sovereign's current single, "Love Me or Hate Me," showcases her genius lyrics: "If you hate me then ... fuck you." \nOne of the better songs on the album is track six, "My England." The emcee professes her love to the Great Britain that she knows so well. The song is sort-of a "Welcome to Atlanta" across the pond. The standout track, "Those Were the Days," is a nice change from the pace of the rest of the record. Sovereign raps about her childhood over a feel good guitar-sampled beat. \nIt's easy to respect Lady Sovereign for simply existing. However, after the first few tracks, you've already had the point drilled into your head: she's a rebel, she does what she wants to do, blah blah. There's always an overly defensive tone in her lyrics and a definite insecurity about her stature in the rap world. You don't have to keep telling us how cool you are, Sovereign. Just do it.
(11/09/06 5:00am)
Few video games are able to blur the lines between reality and fantasy. No matter how realistic the players or crowds look, you still know you're not intercepting an errant Brett Favre pass or dunking over Shaq. But when you're in "Tiger Woods PGA Tour '07", you cross that line. You can feel the pressure as your video game-self prepares to tee off on the 17th at TPC at Sawgrass, the gale-force wind just waiting to take your ball into the water, Tiger breathing down your neck as you compete in match play. \nI couldn't wait for the XBOX 360 version of this game to be released. With last year's version quickly reformatted from regular XBOX, it barely had any of the features of the original classic -- already established as the best golf game out there. This year's edition is a complete game. The player list is adequately sized with all the usual suspects (Woods, Singh, Goosen, Furyk, and of course John Daly), and there's 12 stunningly realistic courses, with create-a-course options as well. \nBut the best part of the game is definitely the career mode. You start by creating a golfer, selecting from seemingly endless possibilities of physical appearance, accessories, and clothing. Then you can hit up the practice facility and train, improving your skills from rookie to legend. You can also compete in the Tiger Challenge, where you face random competitors and pros alike in match play in order to u lock courses, players, increase your skill, and eventually take on the ultimate challenger in Tiger Woods. Not to mention a little thing called the PGA Tour season, where you can compete in the same events as the pros in an effort to make a name for your created self. \nOf course, the game added some features as well. "Tournament atmosphere" allows you to play under the watchful eyes of a full gallery of people, there to cheer you on or get in the way of your shots as they're pelted with shots gone awry. There's also the "true aiming" system, which allows you to add a draw or fade on your shot by manipulating the joystick. \nOverall, the game's great, but it still isn't quite up to the level that the original XBOX version was. Great graphics, good gameplay, could use some more courses and players. It's still as close to shooting under par at Pebble Beach I'll get.
(11/09/06 5:00am)
Everyone remembers what they were doing the moment they heard that Kevin Federline was recording his own album. I was purchasing a new platinum chain shaped like a dollar sign... or maybe I was in the fast lane getting my smash on. I could've been skatin' off in my 'rari. I actually don't remember. \n(Warning: If you have a problem with abbreviating Kevin Federline to K-Fed, shield your eyes.) \nK-Fed, lovingly known as Mr. Britney Spears, actually has an album. Playing with Fire dropped last week, and the world exhaled. There was just one problem (yes, only one). His debut single "PopoZao" was cut from the album! \nThe song seeped into pop culture via a classic video of Federline rocking out to his own song that you can find anywhere on the Internet. Now he's claiming this track was a joke. I wasn't laughing. Besides being the jam of the year, "PopoZao" changed my life. \nBut before I delve into the importance and cultural significance of the anthem of our generation that is "PopoZao," I will point out the few redeeming qualities of Playing with Fire sans a Brazilian booty shaker. Confused fans everywhere finally know the truth about Federline. He's not your brother. He's not your uncle. He's your daddy. \nAt least that's what he tells us in the song "Y'all Ain't Ready." \nAnd some of the lyrics just speak to you in a way no other art form can speak. They tug at your heart and your mind and, most importantly, your soul. Like these lyrics from the song "Privilege:" \n"I got Gucci on, she got Prada/ She calls me daddy, but she's not my daughter/ And I'm not her father, I'm just a mack/ I got tired of drugs, so I switched to rap, like that." \nK-Fed doesn't pretend he can't hear you mocking him. He has a track titled "America's Most Hated." K-Fed has feelings, too. He's a regular human being with access to millions of dollars who chain-smokes at Denny's just like you and me. The naysayers only "hate" on him because they're jealous of his success. In "Lose Control" he says, "Don't hate 'cuz I'm a superstar ... and I married a superstar." \nYes, he did marry a superstar. Even though B. Spears already had a 1999 hit single "Crazy," she is featured on K-Fed's own "Crazy," a tune that could also be titled, "I Guess This is Why a Rich Pop Star Would Marry a White Trash Backup Dancer." In the song Britney's raspy vocals croon, "And they say I'm crazy for loving you." \nIf you'll excuse me, I need to pause for just a moment and write an open letter to Britney Spears.
(11/09/06 5:00am)
WEEKEND writer Zack Teibloom takes a drink for the team on his quest to uncover what makes the Kilroys Sports' atmosphere so intoxicating.
(11/09/06 5:00am)
Toward the end of another lackluster psychology lecture, senior Kimberly Ranney grows anxious and glances at her phone to check the time. Only six more minutes until class is over, and then it's off to Kady's highly anticipated first basketball game of the season, she thinks to herself. After picking her up from school and walking her to the locker room at the gym, Ranney finds a good spot in the bleachers and chants "Go Kady!" as she makes her debut on the court. Anyone who didn't know the pair would think they were sisters by the way they interacted, but they aren't. Yet even though their connection isn't a biological one, Kimberly is Katie's big sister in the eyes of Big Brothers and Big Sisters. \nBig Brothers and Big Sisters and the Boys and Girls Club, which tied for second place in the Best of Bloomington poll in the category of Best Place to Volunteer, draw hundreds of IU students and members of the community to get involved in the lives of local children. Although they are two separate organizations, they have similar missions and sometimes work in collaboration with one another. \nBoth organizations are wildly popular within the Bloomington community. \n"Right now we have 569 volunteers that are matched with a child, 347 of those being IU students and professors," says Andrea Smith, Big Brothers Big Sisters director of operations. \nRanney decided she wanted to be a volunteer after her first job at Big Brothers Big Sisters, during which she performed simple tasks to help out in the office. She got connected with the organization to fulfill a volunteering requirement for a class. \n"I went through an interview process, and they picked two or three kids that they thought were the most compatible with me based on the kids' interviews and information," she says. "I worked with a case manager and we looked at each of the different girls and what sort of activities they liked to do, and I picked the girl I thought I'd work best with."\nBig Brothers Big Sisters has three different programs that volunteers can take part in. Ranney is part of the Community Big program, the most intensive of the three. "Bigs" can spend as much time as they'd like to with their "Littles" and can drive them to different places to do activities, pick them up from school, take them to sports practices and other things along those lines. The other programs are the School Bigs program, in which volunteers go to the child's school for a certain amount of time each week. The third option is the Club Bigs program, which intertwines Big Brothers and Big Sisters with the Boys and Girls Club. \n"Every Wednesday afternoon, I hang out with my Little, who I have been with for about a year now," senior Adam Waltz says. "For about an hour and a half, we hang out at the Boys and Girls Club, or take walks to Kirkwood or play in the park near the club."\nIn addition to student mentors, the Boys and Girls club offers various services to children in the Bloomington community. According to their Web site, they provide tutoring services, cooking classes and life skills classes, along with an arts-focused program that exposes kids to writing, art and photography. Their facility is equipped with computer labs and places for children to work on their homework. Exercise classes from cheerleading to Tae Bo are offered throughout the week as well. \nLike Ranney and Big Brothers Big Sisters, sophomore Paolo Balmaseda began to work at the Boys and Girls Club as part of a class assignment.\n"I started volunteering at the Boys and Girls club last semester when I took a class that required service work in the Bloomington Community," Balmaseda says. "When the semester was over, I decided to keep going there because I enjoyed it so much." \nRather than working directly with one child as volunteers at Big Brothers Big Sisters do, Boys and Girls club volunteers work with a number of children when they spend time at the club. \n"I help supervise the gym and play with the children in games as they come and go," he says. "During free time, I usually play with one to three kids and either shoot hoops or chase them around the gym." \nThe majority of the people that volunteer in both organizations work with children that are underprivileged and come from low-income families, Smith says. For many of them, the activities and programs they take part in during their time spent with either organization are things they would not normally be exposed to.\n"Two weeks ago my Little missed a Wednesday at the Boys and Girls Club because he was sick," says Walts. "The following week when I went to visit him he was really bummed that he hadn't been able to be there and spend time with me. He told me how sad he was to have missed just that one day and listed all the reasons why he liked spending time with me, and one of the main reasons was because he got to do fun stuff he doesn't usually get to do." \nNational studies have shown that the benefits of volunteer mentor programs for children are unmatched. Kids in these programs are 52 percent less likely to skip school, are more confident in their schoolwork and are more trusting in parents and other adults. They are also 27 percent less likely to start drinking alcohol and 46 percent less likely to start using drugs, Smith says.\nBut at the end of the day, it's not just the kids that enjoy the perks of these volunteer organizations.\n"Our volunteers love it so much, we often hear that they benefit more than the kids," Smith says. "Especially for IU students, it gives them an opportunity to do things in the community and we hear from a lot of students that it's a good release and fun way to get away from the stress of classes and working." \n"Going into this I was expecting to be a positive role model for these kids, by showing them that yeah, I go to college, they would want to be like me and want to go to college also," Walts says. "But I also did it to have fun, because this is a time where I can hang out with kids and sort of be a kid once again myself."\nBeyond an outlet to escape the pressures of schoolwork, volunteers enjoy working with these organizations because they see the results of the work they do every day. \n"One time when I was helping supervising children at the playground I had to take two kids back to the club and walk them across the street," Balmaseda says. "When we were about to cross, both of them just took my hands and walked with me. It just brought a good feeling when they held my hands. The kids know who I am and they listen to me, and I think the kids enjoy having an adult who plays with them"
(11/09/06 5:00am)
CHEAP EATS - TACO BELL
(11/02/06 5:00am)
By the third time around, you're going to know whether you'll like "Saw III," based on your opinions of the previous two. You'll be able to look past the implausibility of a near-death old man (Tobin Bell) and his sole assistant's (Shawnee Smith) miraculous ability to kidnap so many people and create such elaborate torture devices within a horror warehouse. And how this man happens to know everything that has happened to his victims in the past few years... and how he can somehow plan out every action that will unfold over the next weeks... because damnit, who cares -- you just want to see some good old-fashioned torture scenes. You sick bastard, you. \nThe film starts right where the last one left off; with Donnie Wahlberg chained to a sink, getting ready to "play a game." After the gruesome splatter that is him reducing his foot to merely a nub with a giant rock, we return to villain Jigsaw. Now nearly on his deathbed, he's called in (kidnapped) a top-notch doctor (Bahar Soomekh, "Crash") to keep him alive while he tests his latest victim. A little catch, though; if he dies, she dies.\nIt should probably be noted that I wasn't a huge fan of the first two films, but they had their entertaining moments. This one doesn't, though. Unlike the last "Saw," there's no group of people working together. The focus is primarily on a victim-by-victim basis. With the loss of any interaction, the film drags. To have nothing but torture scenes would be too much, even for the most sadistic of audiences. Yet the stories that lie in between, what with their overblown themes of redemption, self-appreciation and forgiveness, are boring and laughable. \nYou've got to hand it to the writers (actually it's kind of disturbing), to keep thinking up various ways to physically torment the victims. There's everything from freezing to death, drowning in pig guts, ripping chains out of body parts... well, you get the picture. All of these are emphasized by lots of flashes and choppy camera work, to create an annoying, dizzying effect. In all fairness, these crappy visual tactics were probably done to avoid an NC-17 rating, rather than artistic merit.\nThe film ends with a twist ending for the sake of having a twist ending. And then another twist... and then another, then another and finally one more. The company that made the film is called Twisted Pictures, but not even the most fitting nom de plume validates this much pointlessness.
(11/02/06 5:00am)
My Chemical Romance's newest effort, The Black Parade, oozes with theatrics. From its loose concept theme about a cancer patient -- effectively named "The Patient" -- in a hospital to its rock opera-esque sound reminiscent of Queen and David Bowie, lead singer Gerard Way directs his band mates through the 14-track disc like a modern day Music Man.\nAlthough some cuts such as "The Sharpest Lives" and "House of Wolves" harken back to MCR's in-your-face screamo roots prevalent on 2004's Three Cheers for Sweet Revenge, or 2002's I Brought You Bullets My Bullets You Brought Me Your Love, The Black Parade jumps around the musical spectrum, splicing in different styles and genres. Sometimes, it's acoustic guitar and piano. Other times, its vaudeville, with the aforementioned hint of Queen and Bowie.\nIn the album's lead track, incongruously titled "The End," Way welcomes you into his theater. "Come one come all to this tragic affair," he sings. The single, "Welcome to the Black Parade," starts out subtly with a hint of piano and a marching band tom drum beat. MCR has the listener at this parade -- with Way twirling his microphone as a baton stick -- before we get into its rather melodic chorus and Mark Hoppus/Tom Delonge-ish outro.\nIf there's one thing MCR does well on The Black Parade and on their previous efforts, it's the ability to write some insane hooks. "Teenagers" sounds like a bit like T. Rex's "Bang a Gong (Get it On)" with its muted guitar and its gentle -- dare I say sexy - singing style. Some are heralding MCR's lastest disc as the "Sgt. Pepper's" of screamo, with its grandiose thematic elements and new, dynamic, adventurous sounds.\nThough that's probably a bit presumptuous (it is the freakin' Beatles, after all) MCR deserves applause for stepping out of the whiney, scream-y bounds of their emo counterparts and building something of universal substance.
(11/02/06 5:00am)
Noise Floor is a collection of non-album singles, B-sides and covers -- conveniently gathered up for you Conor Oberst completists out there. And that is, indeed, who should get it -- folks who adore Mr. Bright Eyes and can't get enough. Folks who have not only embraced all the things that divide music fans over Oberst -- the quavering, slightly nasal voice; the sincere (or contrived) lyrics; the minimalism -- but who are content to listen to him unleash one very similar-sounding song after another. Because, for a collection of odds and sods, Noise Floor gets surprisingly repetitive -- formulaic, even.\nThings start off relatively well, though. While introductory track "Mirrors and Fevers" leaves you sitting through annoying filler noise (people chattering in the background) for what seems like an absurdly long time, it eventually cuts to a brief, raw acappella piece by Oberst -- then drops into the heavy drum sample beginning, "I Will Be Grateful for This Day." The effect is striking -- a slap in the face that demands your attention. And "I Will Be Grateful..." merits it -- not only is it the best song on the album, it's also a deviation from the tedious uniformity that dominates much of Noise Floor. As fans might've guessed from the words "drum sample," this song takes after 2005's Digital Ash in a Digital Urn, Bright Eyes' electronic holiday from lo-fi folk -- and besides employing samples and a dru m machine, it teams Oberst's voice with a droning electronic organ melody to beautiful effect, sounding a bit like Yo La Tengo's "Autumn Sweater."\nThe next few tracks never quite reach the same high -- but, then again, they're more interesting than the monotony that is to come. "Trees Get Wheeled Away" is a countrified bit of singer-songwriter venom whose political ambition leads to unwieldy lyrics. "Drunk Kid Catholic" is a pissed-off piano sing-along slightly reminiscent of Modest Mouse. The Spoon cover, "Spent on Rainy Days," swings and rages nicely. And with its galloping guitar, "The Vanishing Act" has nice momentum even though, like a hamster on its wheel, it doesn't get anywhere.\nBut when "Soon You Will Be Leaving Your Man" comes around, I hope you really like its quiet, slow, sad-boy vocals and meandering guitar -- 'cause all the rest of the album sounds just the same (excepting "Blue Angels Air Show," an electronic piece that never really takes off). We're talking about nine tracks out of 16. Some artists can get away with track after track of very similar songs -- but Conor Oberst is no Motörhead.
(11/02/06 5:00am)
I'll start with the positives because there's only one: John Legend can carry one hell of a tune.\nNow, to the negatives. The first: song-writing. The first song, "Save Room," is repetitive to say the least (the word "save" is sung over 25 times. I mean come on, grab a thesaurus). It's also his inability to mask his themes, even just slightly, behind metaphors that are detrimental to his lyrics. He named a song "P.D.A." for God's sake. Along with his repetition, he seems to love writing the cliché love songs full of obvious rhyme schemes. While good song-writing can sometimes go unnoticed; oftentimes, the bad will glare at you and smack you in the face.\nI'm surprised the music world even has a place for John Legend. He's neither a member of the east/west coast rap club, nor does he use synthetic beats, while still maintaining the genre heading, "R&B." He seems no less out of place on this album. \nThe best track on the album is "Maxine." Again, the lyrics are pretty awful, with lines like, "She looked as sweet as honeydew." Thankfully, the instrumentation offers up an island feeling combined with a jazziness that I enjoy.\nJohn Legend is a performer, not a musician. He belongs behind the grand piano at a jazz bar in New Orleans, perhaps performing Billy Joel and Elton John tunes, or even some Motown stuff. The problem is, the guy just cannot write songs. I also greatly fault his producer, who obviously doesn't subscribe to the belief that less is more. He must feel like more is more, but still not quite enough. \nIt's hard not to fill this review with clichés and poor writing after what I've been hearing. This is not an album that I'll recommend, unless of course, it's to my worst enemy. No offense Mr. Legend -- you can really sing -- but find yourself a writer and a new producer.
(11/02/06 5:00am)
Stubbornness can be a rabbit hole. You take a stand to start with, and then, without realizing it, you're so far stuck in your own mess, you can't get out.\nVince Vaughn and Jennifer Aniston -- making the most out of two shallow characters -- can relate. \nAlthough she turns him down the first time, they meet at a Cubs game, the two end up dating and after an excessively long montage of pictures of the two together, the movie picks up with the two in a serious relationship, sharing a condo together. Within the first 15 minutes of the film, Brooke, frustrated that Gary can never recognize her needs, calls things off. However, the two fail to discuss their living situation, and as Brooke claims the bedroom to herself, Gary turns the living room into his domain; the two go head on as they each argue to keep the condo themselves. \nThe real-life couple lacks strong screen chemistry and even their acting fails to make it believable. The movie failed to be the romantic comedy it was advertised to be. I feel duped.\nI know that many were disappointed with the ending, but to me it was refreshing. Still, the DVD contains an alternate ending that, although some may find it more satisfying, I found it to be ridiculously stupid, and I'm glad that Reed decided against using it as the movie's actual ending, because that would have really ruined everything. The DVD also contains special features such as commentaries with Reed, Vaughn and Aniston, as well as deleted scenes, cast interviews and behind-the-scenes footage. Mostly filmed in Chicago, the scenery and set was one of the movie's best qualities.\nIt may be a non-traditional rom-com, but a touch of that realism that affects the ending would have been nice. Instead, we get a cookie cutter relationship, formed quickly in pictures and destroyed haphazardly on the movie screen.