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(02/15/07 12:11am)
Don't get us wrong, we play a lot of Indie rock. It's not that we've given up on classic rock, that we don't seriously crave Akon at a dance party, or that, if we could, we'd rank JT at number one last year, but at WIUX we have a mission statement that we love to adhere to. \nUnderrepresented artists and local music take priority here. Whether it's Phyllis Chen's classical show, "Toad's Wart," Paul Hoff's Monday night, "Metal for the Masses," or Tony Cak's eclectic, "Electro-ambient Soul Music," WIUX DJs strive to expose listeners to new music while, as trite as it sounds, "giving a voice to the voiceless."\nThis column documents our passion for pretension, but invites you to indulge with us. There's another side of the Bloomington music scene than you may be familiar with. Check back here every week for show updates, leaked tracks, DJ profiles and a spin on music (pun intended) that might be new for you (rhyme un-intended). \nLike John Cusack's character in "High-Fidelity," we can list all day. In fact, each week, this column will be accompanied by the top five most-played songs at the station, top five album additions to the WIUX studio, and five recommended downloads keeping you on top of music like American Apparel on a hipster. \nIn 40 years of broadcasting, WIUX has gone from a Top 40 carrier-current station to an entirely independent and locally-focused, full functioning, 24-hour FM station. We've carved ourselves a niche along with college stations across the county. \nYet there's something we have that not every college can boast. Bloomington is home to two internationally recognized record labels, an assortment of inviting local venues and well-equipped record stores that understand the importance of Bloomington music. (Don't worry, we'll go into more detail later.)\nSo please, check out our tracks and let us know what you think. Music is only as good as its listeners and our ears are as open as our flapping mouths. Drop us an e-mail with your opinions, your tastes, and your suggestions for topics you'd like to know more about. Until then, see you next week!
(02/15/07 12:09am)
Upon release, "Hollywoodland" and "The Black Dahlia" had the unfortunate circumstance of squaring off with one another with only a week's separation in theaters -- two major films about two of the biggest deaths in old Hollywood. While "Dahlia" certainly made the bigger buck at the box office, "Hollywoodland" proved to have a better payoff when it comes down to the story and performances.\nThe death of the TV Superman, George Reeves, sparked controversy in the headlines within days of his suicide. There was speculation as to if he was actually murdered, given numerous inconsistencies found at the crime scene and in reports, and this allows for "Hollywoodland" to place one Louis Simo (Adrien Brody), a fictional detective who has grown tired of spying on unfaithful spouses, into a mystery that is way over his head, from the streets of the valley to the corruption running through the Hollywood studio system. \nDespite the occasional snail's pace "Hollywoodland" strolls along at, the film has a fascinating story that takes a very real mystery and digs into it, as opposed to "The Black Dahlia," which used the murder of Elizabeth Short as a backdrop in the storyline rather than an actual investigation into her demise. Simo finds various angles to work with regarding Reeves' death and keeps you interested in hopes one of them sticks. \nThe performances given by Brody, Diane Lane as Reeves' companion and especially Ben Affleck as the Man of Steel are fine all around. Affleck has finally made a career comeback after doing a string of shlocky, crap-filled films for the past five years. Brody continues to impress me as he is one who, after winning his Oscar, hasn't slipped into paycheck-collecting roles -- his performance here would make even Jake Gittes proud. \nUnfortunately, the DVD isn't anything special. Three featurettes totaling almost 20 minutes, most of which are scenes from the film, cover the recreation of old Hollywood and how the media handled the death of George Reeves. There is also five minutes worth of deleted scenes that really add nothing to the film and thankfully were left out. \nThe one strong point though comes from the commentary track with director Allen Coulter. Making his feature film debut after having been an HBO golden boy for directing countless episodes of "The Sopranos, "Six Feet Under" and "Sex in the City," Coulter's commentary is detail-driven and pays attention to each individual scene. Coulter clearly put plenty of effort into this film and he wants you to notice every bit of it no matter how small. \nWhile it lacks "Black Dahlia's" glossy style, "Hollywoodland" proves that substance is almost always the victor.
(02/15/07 12:06am)
Twenty-three years after it was one of the first HBO comedy specials, Eddie Murphy's long awaited DVD release of "Delirious" is finally here. "Delirious," which chronicles a performance at Washington, D.C.'s Constitution Hall in 1983 is raunchy, controversial and very funny. It shows a brash 22-year-old fresh off the success of an incredible three-year run on "Saturday Night Live" looking more confident than ever. His appearance alone, with the familiar red leather suit and shiny perm, is the epitome of early '80s cockiness. \nThe routine runs the gamut, covering topics such as homosexuality, women, singers and growing up. Murphy's best moments come when he is imitating the likes of James Brown, Michael Jackson and Stevie Wonder or telling stories about his childhood. Bits about getting excited for the ice cream man and the disasters of family cookouts are timeless, and Murphy's spot-on impression of himself as a child gives any viewer something to identify with. Frequent references to his brother Charlie sound much funnier today given his recent rise to fame on "Chapelle's Show."\nAnother great bit is Murphy imitating the people who will try to retell his jokes at work the next day and the reaction they are bound to get. While many of the jokes are still uncanny in their relevance to today's world, some of them are just as outdated as Murphy's Jheri curl. For instance, Murphy's liberal use of the word "faggot," his accusing homosexuals as being the only group of people with AIDS and condoning of violence toward women no longer sound the same to ears in 2007 as they once may have. \nFurthermore, the jokes within these topics appear to be more mean-spirited than they are funny. It's easy to see why Murphy tried to block the commercial release of this performance for so long, since he's matured greatly and renounced several of these stances. The act ends with Murphy explaining how amazing it is that less than 50 years ago, in the same building where he is performing, a black opera singer named Marian Anderson was banned from singing because of segregation and now he can get paid to go there and "hold (his) dick on stage." While it is understandable for this 22-year-old to bask in his incredible ascent to fame, it is this kind of statement that the older Murphy may no longer be so proud of.\nThe special features are somewhat thin given such an important release and only contain two deleted scenes, as well as a 30-minute interview with Byron Allen that borders on insightful but is mostly marked by poor questions and a lack of chemistry between the interviewer and his subject. All in all, the DVD does a great job of showing a fantastic star at an early stage of his career and is a must-see for fans of stand-up comedy.
(02/15/07 12:01am)
My head hurts a bit, but don't take that as a bad sign. Michel Gondry's "The Science of Sleep" kind of blew my mind. Those familiar with Gondry's previous works such as "Eternal Sunshine of the Spotless Mind" or even the various music videos he's directed, will be appropriately prepared for his unique style. Those who have never seen a Gondry work may at first be confused -- watching his work for the first time is much more difficult than having seen it before. Even though I loved "Eternal Sunshine" and enjoyed "The Science of Sleep" on my first viewing, I feel like I should see it again.\n"The Science of Sleep" doesn't really dwell on trying to focus on a plot, instead choosing the path of exploring the fantasy. The protagonist, Stéphane, has a particularly wild and vivid imagination and as the viewer, you experience the world as he does -- which by societal standards would hardly be considered normal. From the very beginning we are introduced to "Stéphane TV," which we later find out occurs within his imagination and in short can be described as a mini-Stéphane living inside his brain, operating human Stéphane from within.\nTrying to explain in words the fantastical aspect of the movie is probably more confusing than the movie itself, so I'll try and keep it short. The basic plot consists of following Stéphane around between his new job, new apartment and new neighbor, whom he subsequently falls in love with. At the same time, we experience the dreams that Stéphane experiences, which also consist of fantasies including his job, home and neighbor. We find out from Stephane's mother that he always had trouble distinguishing between reality and fantasy, and as the viewer we also have a similar problem.\nAs for the special features, the DVD includes director and cast commentary, a "making of" bit, a featurette about the woman who designed many of the unique props used in the film, a music video and more. I found the "making of" piece and the piece about the woman most interesting; it shows you how much of the movie comes from Gondry's personal experiences, as well as how much of the amazing effects in the movie were not that complex.\n"The Science of Sleep" is a movie I would recommend seeing -- whether you rent it or buy it, both are good investments. With a story complex enough to remain captivating and a fantasy aspect that gets in touch with your childhood dreams, Michel Gondry has indeed turned the art of moviemaking into a science.
(02/14/07 11:56pm)
In "Flags of Our Fathers," a World War II film adapted from the John Bradley novel, Clint Eastwood makes a time piece that portrays the feelings and mindset of the greatest generation in American history. The movie does an excellent job of paying homage to the men and women who gave their lives to preserve our way of life, as it shows the soldiers in a glorious light. However, the movie also shows the ugly side of the war and the propaganda that went along with the most iconic image of the 20th century. But no matter what Eastwood is trying to express, he makes a powerful, evoking film that captures the spirit and character of the men and women fighting in the most important war of the 20th century.\n"Flags" is based around the lives of three of the six men who were captured in Joe Rosenthal's Pulitzer Prize-winning photo of the flag being hoisted on top Mount Suribachi in the Battle of Iwo Jima. These soldiers, who were actually in a second, staged raising of the flag, are thrown into the spotlight as they are used as heroes to raise money for the war. The three men, John Bradley (Ryan Phillippe), Rene Gagnon (Jesse Bradford) and Ira Hayes (Adam Beach), are all captured in different lights, but they are all glorified for their humility and character. \nGagnon, a Marine, embraces the spotlight in an attempt to secure himself a future after the war. Hayes, the tragic hero of the story, feels guilty about being used as propaganda for the war and longs to be back on the battlefield with his fellow soldiers. As an American Indian, he is bruised by racism and numbs himself of the pain with alcohol. Beach, who plays Hayes, puts forth the most compelling performance of the movie and is deserving of an Oscar, yet unfortunately didn't manage to snag even a nomination. Bradley, a Navy medic, plays the most reserved role of the three but serves as the centerpiece of the movie.\nOn the other hand, the movie's special features are, well, nonexistent. The movie has literally no special features, not even a commentary. This was done maybe with the thought that this movie could stand on its own, with nothing extra needed. So if you want a well-directed war memoir, buy this DVD, but don't expect anything more than just the movie.
(02/14/07 11:50pm)
If you've ever been to or even seen footage of a Flaming Lips show, then you know the meaning of a bad trip. From album to album, all the way back to 1986's Hear It Is to last year's At War With The Mystics, ringleader Wayne Coyne and his band have striven for a unique blend of surreal lyrical imagery and imminently listenable, albeit often cautious, sonic experimentation. The highlight of their 20-plus year career together is 1999's The Soft Bulletin, a record about everything from scientists to spider bites that could well be the trippiest record ever made by a bunch of guys who claim sobriety. \nAt least now they do, anyway. The Soft Bulletin limps out of the gate with "Race for the Prize," a quickie pop-ditty about two scientists trying to save the world from some horrible, unnamed disease. Right around the time the floor-shaking bass of "A Spoonful Weighs a Ton" kicks in, though, it's obvious the path ahead is anything but linear. \nThe "Madman Across the Water" vibe that shimmers off most of "The Spark that Bled" showcases what the Lips do best, which is blend pop-rock sensibilities with psychedelic accents, leaving out the most egregious tendencies of each genre and highlighting what's best about both. Of course, I can't vouch for their live shows, which tend to verge on a kind of gratuitously creepy cuteness best reserved for Sanrio characters and "Katamari Damacy." \nCoyne's vocals are the most slowly acquired taste here, shifting from broken and cloying on "The Spiderbite Song" to warm and mostly in tune on the excellent "What Is the Light?" Much like George Harrison's songwriting, Coyne's vocal chords have found their proper place over the years, starting off shaky but emerging confident and fully formed in the depth of his middle age. \n"Waitin' for a Superman" was the radio hit here, but don't ask me how or why. "Feeling Yourself Disintegrate," with its 'parap-pap-pap' vocal intro and echo-drenched, lighter-waving chorus is the most accessible thing here, but the Lips could care less about accessibility, and that lack of concession to sell records is a big part of what makes The Soft Bulletin a great record. \nThe dreamy piano and synth instrumental "Sleeping on the Roof" would've been the perfect closing for Bulletin, but instead we're treated to rehashings of "Race for the Prize" and "Superman," both tracks whose incarnations earlier on the record were arguably more successful. Sometimes, though, the Lips are all about excess, and with the wealth of material on The Soft Bulletin, a little excess around the edges is OK.
(02/14/07 11:47pm)
Those who know about the Hydra Head label associate it with the heavy, sprawling and inventive metal music that is conducive to head banging or other equally impressive movements that will allow your extremities to flail about or shift in some sort of complementary fashion. Releasing efforts from ISIS, Pelican, Converge, and Botch among others, the label seems to have no shortage of sludgy, loud and/or envelope-pushing bands on the roster. Jesu fits in nicely alongside these bands and gives the Hydra Head label a taste of their intense post-rock panache that they have been perfecting since 2004. \nJesu is the brainchild of Justin Broadrick, a man known for his work with the equally intense bands Napalm Death and Godflesh. Following a reported breakdown in 2002, Broadrick moved away from the industrial and grindcore sound he had been accustomed to and took steps to develop the more expansive and texture-driven Jesu. Following Jesu's first release in 2004, Broadrick enlisted the help of Ted Parsons and Diarmuid Dalton on drums and bass, respectively, to assist in molding Jesu into the post-rock monolith that it is today.\nJesu's newest album, Conqueror, is their follow-up to 2006's Silver EP. Conqueror trudges through eight epic tracks full of punchy rhythms, discordant guitars, murky bass lines, penetrating vocals and towering walls of static. Conqueror takes the open song structures and cerebral approach of post-rock and combines it with the droning, engulfing and sometimes atonal tendencies of shoegaze. The end result is a listening experience that exudes an eerie beauty and fosters a disconcerting mood.\nThe album succeeds in creating a haunting and almost space-like atmosphere, but this atmosphere begins to aggravate around the time the album is halfway finished. It seems as though you've heard everything Conqueror has to offer before it's even close to being over. It's not that the songs are bad, but their development is sluggish and unrewarding even though the band managed to create an extremely dense and pervasive musical setting.\nThough the album has a great deal of factors working in its favor, it simply wasn't as engaging or interesting as the band's first full-length release. Unfortunately, the album couldn't manage to conquer the tediousness that keeps it from being as strong as the band's previous work. Conqueror is still worth checking out along with the band's back catalog for fans of heavy music who want a break from growling vocals, double bass blasts and face-melting guitar work.
(02/14/07 11:37pm)
If you haven't heard of Field Music yet, you're far from alone -- their 2005 self-titled debut garnered some attention in their native Britain, but only created a minor buzz in U.S. indie circles, where it was buried under the sea of U.K. post-punk groups following in the wake of Franz Ferdinand's breakthrough (a somewhat unfair result, as the band's sound is quite distant from many of these acts -- but, more on that in a moment). \nHowever, this week Field Music returned to these shores armed with a simply excellent sophomore album -- Tones of Town -- and, while it's unlikely to breach the mainstream (especially with "The OC" canceled), if listeners prize quality, it should vault the group from the ranks of "band seen mentioned on an mp3 blog" to "indie-known."\nIn Tones, Field Music combine two great tastes that taste great together -- warm harmonies and precise, almost symphonic song construction -- but, then, rein it all in with quiet understatement. By delivering the vocals, guitars, violins and other elements chopped up in short, ringing bursts, they sound like XTC (or modern descendents, The Futureheads) -- but with their jangled nerves soothed by Valium. Or, to look at it another way, if The Arcade Fire is offering up indie rock's take on opera, Field Music is offering up the genre's take on chamber music (think "Pachelbel's Canon"). With everything so carefully arranged, it's like listening to a clockwork rock band -- but, as in the fairy tale of "The Steadfast Tin Soldier" -- there's a real heart beating under the artifice.\nAnd it's this that makes Tones succeed where its predecessor didn't. Field Music's debut was creative and pleasant, but too precociously clever -- a band showing off its neat tricks. Tones, on the other hand, gives the sound meaning by using it to tell a story of misplaced priorities -- just as the band ticks along, you can feel time slip away from the album's unnamed protagonist as he chooses work and material things over the simple pleasures, home and love.\nIf there's a weakness to Tones, it's that things can be a little too restrained -- late in the album, the prettiness of tracks like "Closer At Hand," "Place Yourself" and "She Can Do What She Wants" almost conceal the tragedy of the relationship's collapse. But listen closely, and you hear a tin heart break.
(02/14/07 11:32pm)
Every once in a while a rap album comes along that makes me re-evaluate my whole music repertoire and wonder why I listen to anything other than great rap music. Sean Price's Jesus Price Supastar is the latest in that category. Price, once known as Ruck in the duo Heltah Skeltah, is incredibly consistent on his 16-track sophomore solo effort.\nThis album has something for every fan of rap music. Lyrics lovers will delight in the intricate wordplay Price displays on cuts such as "Oops Upside Your Head," where lines such as "Rap like P, don't rap like P/I'll back smack a rapper backwards who try and act like me" will have backpackers reaching for the rewind button. Beat junkies will be impressed with the great music, which is produced by stars such as 9th Wonder of Little Brother and newcomers like Illmind and contains great soul samples as well as head-bobbing drums and keys. \nPrice, a member of the constantly underrated Boot Camp Clik, brings fellow members Buckshot and Steele to collaborate on "Cardiac" and "Oops…" respectively. Former partner Rock contributes verses to two songs, "P-Body" and "Church," and their exchanges bring some of the most exciting moments on the album. The most famous contribution on the album comes from Sadat X on "Da God," which is also its most fun and memorable track. On Jesus, Price is mostly concerned with boasting and tongue-twisting lyrics, but the self-proclaimed "Brokest Rapper You Know" isn't above selling drugs or committing random acts of violence if he can't gain wealth by rapping. However, the difference between him and many of the other MCs today who rap about similar topics is that his way of saying it comes off fresh and funny, such as his claims that "if my record ain't spun, I'll network with some guns" and that you can find him "selling crack after the show".\nAs is the problem with many rap albums today, it simply contains too many songs. This could've been a flawless 12-track album, but songs like "Violent" and "One" are needlessly included and bring down the overall tightness. Also, Price may have great skills, but his voice is too generic and even hard to distinguish amongst some of the lesser-known collaborators such as Skyzoo and Rustee Juxx. With that said, this is a solid effort that people with all different levels of rap experience can enjoy. \nFans of the latest "Young" or "Lil'" rapper of the week should challenge themselves by giving this a listen, and people who claim they listen to "hip-hop, not rap" should put this on to see there really is no difference and great music can evolve no matter the subject matter. Now, if you'll excuse me, I have to go listen all the other acclaimed rap I've neglected over the last two years.
(02/14/07 11:29pm)
Nearly two years after its release, Melbourne's Cat Empire drags their sophomore effort across to U.S. shores, but it's no less fresh than it was upon its original release. Cat Empire is a six-piece musical melting pot of jazz, reggae, ska, funk, rock and even hip-hop. On their second album, Two Shoes, Cat Empire brings a mix of all these world music styles to make a truly great record.\nTwo Shoes was recorded in legendary Egrem studio in Havana, recording home of the Buena Vista Social Club. The studio's Latin production is clearly heard throughout the record, which is a mix of new versions of fan favorites and new material. Percussionist Felix Riebl and trumpeter Harry James Angus split vocal duties, with Harry taking the bulk of the singing duties on this album. Band founder Oliver McGill brings in the element of jazz, with his jazz piano running throughout the album, most notably on the Latin-flavored "Sol y Sombra." Add in horns and reggae beats, and you have the sound of Two Shoes.\nThe album is full of a variety of styles and genres. The record opens up with the ska funk of "Sly," one of record's many highlights. Then there is the hip-hop horn-laden "Lullaby," followed by the youthful "Car Song." The middle sectio n is a slew of reggae and Latin tracks, followed by the properly titled "Party Started." The album closes up with the poppy piano-filled "Protons, Neutrons, Electrons," and then ends with a new version of the fan favorite "The Night That Never End." What's truly incredible about this record is how comfortable the band sounds in every style.\nThroughout the album, Cat Empire covers the themes of freedom and war. The new versions of fan favorites "The Chariot" and "Two Shoes" are both great politically charged reggae tracks. "On my feet I wear two shoes for dancing; dancing to be free; my feet they're paying tribute to the Bobby Marley legacy," sings Harry in the title track. Although the album is full of political themes, you can still hear their belief in a carefree attitude and lifestyle, which brings exuberance to the record.\nWhile Cat Empire is already big overseas, they are on the rise in the United States. After creating buzz at Bonnaroo in 2006, expect to hear more from this band in the upcoming years. For those of you looking to take a chance on something new, Two Shoes is a musically intelligent album that you won't regret picking up.
(02/14/07 11:26pm)
The move to making an independent label has allowed Barenaked Ladies to have complete creative freedom in their choices for their recent release. You may remember seeing Barenaked Ladies Are Me reviewed just a few months ago and be wondering why they have another album out so soon. This is because Barenaked Ladies Are Men is the "second half" of the 29 total tracks of Barenaked Ladies Are Me. The two albums are available as separate physical releases, a USB drive or as a whole online in a regular or deluxe version (which includes two bonus songs, "Why Say Anything Nice?" and "What a Letdown"). Yeah, that was pretty much my reaction as well. Feeling that 29 songs is too much to absorb at one time, they split the record up so as not to overwhelm fans, new or old. This also makes it more accessible for the fans who are not able to buy it online. With that cleared up, let's move on.\nBarenaked Ladies Are Men is the better of the two. While Barenaked Ladies Are Me is a somewhat slower album, Barenaked Ladies Are Men has a lot more variety to it. Songs like "Maybe Not," "Running Out of Ink" and "Quality" have all the right ingredients for classic Barenaked Ladies songs, while "Fun & Games" is a politically heavy song that doesn't pull any punches. Their keyboardist, Kevin Hearn, produces "Serendipity" and "Another Spin," easily two of the best songs on the album and possibly of the band's library. Surprisingly, this album contains the two bonus songs I originally thought were only attainable online, but are awesome additions since "What a Letdown" is an instant favorite and has me addicted to no end. The album is not without its bumps, though. I found myself skipping a few tracks after listening to them only a couple of times and had a hard time differentiating a few of them because they sounded too similar, an issue that slightly disappoints me.\nThe added bonus to buying the album is that it includes "umixit" software to remix three of their songs, with the chance that they could possibly be chosen for a CD of fan remixes. While a little intimidating at first, it takes only a little bit of messing around to become familiar with it.\nWhile overall the entire Barenaked Ladies Are Me release is not one of my favorite albums, Barenaked Ladies Are Men is easily the stronger half and the one I listen to more.
(02/14/07 11:21pm)
There's a kind of blissful arrogance that comes along with titling the first track on your album "Thriller" with zero hint of irony. Fall Out Boy, composed of earnest singer/guitarist Patrick Stump, impish bassist/lyricist Pete Wentz and the other two guys who get less attention, namely lead guitarist Joe Trohman and drummer Andy Hurley, embrace the idea that arrogance is bliss on their fourth LP, which is probably the best album of a young 2007 so far. \nDishing out enough power chord riffs and syrupy sweet sing-along choruses in the first five tracks to make any record exec's head spin with joy, Wentz, Stump and the band have cemented their place as some of modern pop music's best harmonic craftsmen, managing to render the question of whether they sold out and went Hollywood somewhere along the line a nonfactor. A couple of listens to "The Take Over, The Break's Over" and the Babyface-produced "I'm Like a Lawyer With the Way I'm Always Trying to Get You Off (Me & You)" and you'll care less whether Wentz actually banged Lindsay Lohan. \nSpeaking of silly song titles, Sufjan Stevens soldiers on as Fall Out Boy's only real competition nowadays. Titles like "The (After) Life of the Party," "The Carpal Tunnel of Love" and "Bang the Doldrums" are unnecessary enough to get millions of eyes rolling, but at least the songs are solid. A song that's not so solid, however, is the proverbial radio hit "This Ain't a Scene, It's an Arms Race," which is basically an R&B drum-machine beat and a constant repetition of the song title, punctuated by some woo-hoos in the middle of a quickie chorus. \nIt's surprising that Fall Out Boy didn't come right out and plant our asses firmly on the floor by making "Hum Hallelujah" the first single. With its rousing chorus, monster riffs and shout out to Leonard Cohen, it's the best track on a record with some damn good ones. The album itself drags slightly somewhere in the second half, and 50 minutes seems about 12 minutes and three tracks too long for an album of nothing but well-orchestrated pop. \nSay what you will about Fall Out Boy, but these guys from Chicago know what they do well and pretty much stick to it, with the exception of the vocal and piano lament "Golden." The closer, "I've Got All This Ringing in My Ears and None on My Fingers," with Stump singing wistfully of "New York eyes" and "Chicago thighs" is a fitting temporary send-off from a band that, at least according to Jay-Z's spoken-word intro, has finally made it. We'll see if making it suits them.
(02/14/07 11:14pm)
It's been 19 years since "Coming to America," seven years since the Klumps and almost a month since Eddie Murphy earned an Oscar nomination for his role in "Dreamgirls." So, what is Murphy going to do next? Throw on a 'fro and get back to his outrageous, gross-out comedy roots with his newest flick, "Norbit."\n"Norbit" is the life story of the title character (Eddie Murphy) who was orphaned as baby and taken in by Mr. Wong (Eddie Murphy, again), the proprietor of a Chinese restaurant and orphanage. At the orphanage, Norbit befriends Kate (played when she's older by Thandie Newton) until she is adopted and taken out of Norbit's life. Norbit is then introduced to Rasputia, (Eddie Murphy, yet again) the fattest bully in school who coerces the weak-willed Norbit to marry her. Suddenly, Kate comes back into Norbit's life and he is eager to rekindle their childhood love, much to the dismay of Rasputia.\nThe best parts of this movie are the characters and makeup wizardry. The story is clunky, but Murphy is at the top of his game, acting-wise. The three characters Murphy plays are all brilliant and elicit an emotional connection from the audience. You feel for Norbit, hate Rasputia and are ashamed of liking the racist Mr. Wong, who himself is a racist caricature of Asian Americans. Eddie Murphy deserves more credit for the characters he breathes life into. Also, Eddie Griffin has a small role as a pimp named Pope Sweet Jesus and gets a laugh every time he's on screen.\nThe makeup department outdid itself and deserves as much credit as the actors for the laughs in this movie. Seeing Rasputia at a water park in a two-piece is disturbing, yet the audience couldn't stop laughing. Her thighs and belly are so large you can't see her bikini and it looks like she's walking around naked (all looks of disgust are deflected with a bellowing, "How YOU doin?!").\nDespite the great acting and makeup, the script for this movie is lame. If the writers (including Eddie Murphy and his brother of "Chappelle's Show" fame, Charlie) would have put as much passion and work into the script as the actors put into the acting, this could have been a legitimately good movie. Instead, it is just a disposable popcorn movie; great for a date on a Friday but that's about it.
(02/14/07 10:58pm)
Just when you thought the story of film's most legendary psychopath could go no further, Hollywood has delivered us a prequel. How unfitting for a character as diabolic and unfathomable as Hannibal Lecter. \nWhat made Hannibal such an extraordinary character was precisely the reason that Thomas Harris should have never written "Hannibal Rising:" Hannibal was great because we knew so little about who he really was. In the Thomas Harris classic, "The Silence of the Lambs," and its equally worthy predecessor, "Red Dragon," Hannibal was behind prison bars the entire time and Lecter's past could only be ascertained through people familiar with his history. Thus, we heard how the brilliant psychiatrist ate a nurse's face and his pulse never went over 85, how he gruesomely murdered nine people and in "Lambs," we witnessed him in one of the greatest escape scenes ever put on film. \nLecter's fascination with classical music, sketching and analyzing his subjects, this time as a teenager, just doesn't strike the same chord as it did when Sir Anthony Hopkins donned the name Hannibal Lecter. This is not to take away from the performance of Gaspard Ulliel, who does the young Hannibal some justice, but even his fearsome performance cannot save the film. \nThe film opens in Lithuania toward the end of World War II, when a young Hannibal and his sister watch as their parents die in a haze of Russian and Nazi gunfire. The children are then tormented by rebel soldiers who ultimately murder and cannibalize Hannibal's younger sister, a vision that haunts Hannibal's dreams and evidently lays the foundation for Hannibal's future appetites. After tracking down the wife (Gong Li) of his uncle in France, Hannibal enrolls in medical school, all the while developing a taste for human flesh and vowing revenge on the men who killed his sister. \nThe movie plays out as more of a horror film than a character study. There are several repugnant death scenes, including decapitations, and also countless references to cannibalism. How else could we expect an older Hannibal to eat a census taker's liver "with fava beans and a nice chianti?" In addition to the horror-like genre, the film adopts a "Count of Monte Cristo/Kill Bill"-type (notice the anachronistic samurai swords) revenge plot as Hannibal hunts down his sister's murderers one by one. While Hannibal is the protagonist of the story, by the film's end, I could not help but root against the most vicious killer finishing his mission. He is the definition of anti-hero. \nThe reason "Hannibal Rising" fails to impress is because of what we could have suspected when Clarice Starling first encountered Dr. Lecter in "Lambs." Certainly, he is a most memorable character, but a character as complex as Lecter cannot be given a past that aptly explains why he has become the insane, yet calculated, individual he is. \nDirector Peter Webber ("Girl with a Pearl Earring") did what he could with Thomas Harris' script, but there is a lesson to be learned here: Quit when you're ahead.
(02/08/07 5:25am)
Though Bloomington is famous for its restaurants, culture and entertainment, students often overlook another form of its nightlife -- dancing. Lessons are available in everything from ballroom to country line dancing, and with Valentine's Day just around the corner, they're a great way to have fun with a current partner or find a new one.\nArthur Murray dance studio, located off Third Street near Borders Bookstore, offers lessons in 18 different styles of ballroom dancing, including smooth dances like the fox-trot and tango, rhythm dances like the salsa, rumba and cha-cha and the popular swing dance, said Barbara Leininger, owner of the Bloomington Arthur Murray dance studio.\nStudents who enroll in one of the studio's programs will learn to dance through a combination of private lessons, group classes and weekly practice sessions designed to feel like a party. \n"Students come in, dance, have fun and practice all of the dances they have been learning," Leininger said.\nThe studio teaches everyone from beginners to advanced dancers of all ages. Leininger said her youngest student is 10 and her oldest is 91.\nDancing is a life skill, Leininger said, and she encourages everyone to try it. She said the skill of dancing can make participants feel good about themselves in a social situation and that good dancers are admired.\n"For all the guys, girls like to dance, so if you know how to dance, you'll be a popular man," Leininger said.\nThe studio offers many programs that cater to the specific desires of each student, including an introductory special that starts at $35. Visit the studio's Web site at www.bloomingtonarthurmurray.com or call the studio at 334-0553 for more information.\nStudents looking for a different style of dancing can head east on State Road 46 toward Nashville, Ind., to find Mike's Music and Dance Barn. Mike's, which is a restaurant as well, offers line dancing, ballroom and freestyle dance lessons, dance instructor Carla Willis said. Line dancing classes are held Monday nights and are available to everyone without an appointment. Admission is $5. Friday and Saturday nights are open to the public. Saturday night the doors open at 6 p.m. There is a DJ from 6:30 to 8 p.m. and then owner Mike Robertson's house band, Smooth Country, plays until about 11 p.m. \n Dancing there is both a way to have fun and a great exercise, too, Willis said. Mike's uses all kinds of music such as "club music" and "top hits" to line dance to.\n"Some people get the misconception that it's all country music," Willis said. "It's certainly not."\nMike's provides a "family atmosphere" so visitors don't have to be 21, which Willis said is good for some college students. For those who are 21, Mike's does serve beer and wine. Visit www.thedancebarn.com or call 327-0493 for more information.\nStudents who want to enjoy lively and energetic dancing on a regular basis can check out the Bloomington Old-Time Music and Dance Group. The group is a nonprofit community organization dedicated to the enjoyment of music and dance, according to its Web site.\nThe group was started in 1972 and has sponsored dances every Wednesday since then, dance coordinator Bill Baus said. There is always live music, and the type of dancing is mostly contra-dancing, which involves partners and a "caller" who calls out the names of many different types of figures. People are usually familiar with some of the figures, like the "do-si-do," Baus said. \nDances are normally held at Harmony School, 909 E. Second St. Someone is available to give newcomers a few pointers if they show up about 15 minutes early, Baus said. Admission is normally $3 for members and $4 for nonmembers, but the group offers free admission coupons for first-timers.\nBloomington Old-Time Music and Dance Group is unlike some square dance clubs that require people to pay for lessons and get certified.\n"We don't do anything like that," Baus said. "You don't have to wear funny outfits either."\nSome female members of the group tend to wear flowing peasant-type skirts so that their skirts flare out when they twirl, but not all do, Baus said. He said he usually wears shorts and a T-shirt because the energetic style of dancing can make people hot.\n"People who show up with heavy sweaters on usually shed the sweaters very fast or end up very sweaty," Baus said.\nThe group also hosts two weekend events. The smaller event, which is coming up the first full weekend in April that is not Easter weekend is called "Swing-into-Spring." The other weekend event is called "Sugar Hill," and is in August. Both events are held at a Boy Scout reservation near Lake Monroe.\nSugar Hill draws about 300 or 400 people from many different states, Baus said. People come in Friday evening and dance until about 3 or 4 in the morning.\n"People are wimpy nowadays," Baus said. "We used to dance until dawn."\nThe cost is $35 to pre-register, which includes camping, dancing and food.\nContra-dancing attracts a wide variety of ages. The group has a number of IU students who are regulars, Baus said.\n"It's funny because on holiday break periods, IU students in the group go home," Baus said. "But the kids who used to dance with the group in high school who are off in college come home and dance."\nBaus said people don't need to know anything or anybody when they first come because the group is always glad to have new participants.\nVisit www.bloomington.in.us/~botmdg/ or call 339-1210 for more information.
(02/08/07 5:24am)
1. Something doubly sweet\nIf that small heart-shaped box of chocolates just won't do for the sweets lover in your life and a bottle of nice wine is just too expensive, a trip to Oliver Winery might be the perfect solution. This weekend and next, Oliver, along with several other Indiana wineries, is hosting the third annual "Wine and Chocolate Lover's Weekend." In addition to a tour of the winery, attendees can spend as much time as they'd like sampling various wines and chocolates. The various gourmet, locally hand-painted and "sipping" chocolate, which is meant to be enjoyed only while sipping a glass of wine, can also be purchased at the winery store. Even if you're not 21, you can still come for the chocolate. The best part? Admission is free. Visit www.oliverwinery.com/main.html.
(02/08/07 5:19am)
Absence, at least as it pertains to me and my reasonably unhealthy obsession with all things "Lost," has made the heart grow fonder. Contrarily over the 90-plus days since its last episode (with its newest installment airing just last night), it has also seen the attention spans of a significant number of once casual "Lost" fans turn tail and seek comfort in such inane pursuits as saving the cheerleader and finding out who's on "the list" and why. Hey, "Heroes" fans, remember that show where there was a mysterious list and people were trying to find out why they were on it? Yeah, it was called "Lost." \nWith "Heroes" surging out of the gate as a sort of ADD-friendly, soap-operatic alternative to "Lost's" glacial pacing and intricately layered mythology, television drama is definitely beginning to play into the hands of the short of attention. When the most recent Emmy and Golden Globe winner for Best Dramatic Series is not only NOT an actual drama but consists primarily of random sex, coached crying and laughably maudlin music cues, I begin to recognize the warning signs. "Grey's Anatomy" fans, your wrath is welcomed. \nThis culture we've created for ourselves, saturated with ever-slimmer cellulars and drive-thru espresso pick-me-ups, seems to be leaving "Lost" in the lurch, and, like an injured bird, I'm compelled to nurse it back to health in any way I can. Far be it from me to assume that one of the few best shows on television (yes, still) needs my advice for increased longevity, but I'm confident that "Lost" can regain its status in the eyes of casual fans in just six easy steps. \n1. Learn a lesson from "24"\nThe producers' haphazard episode spacing games of Season 2 were nearly disastrous, and the three months between episodes six and seven of Season 3 didn't help matters. Luckily, the rest of Season 3 will air uninterrupted, but Jack Bauer's got his shit together with 24 straight episodes with no breaks. If "Lost" can manage to figure out its budget in advance and keep a tighter lid on set-leaked spoilers, it could present Season 4 with no breaks, a proposition sure to delight a viewing public that's become more dependent on iTunes and DVD for their "Lost" fix than planning their schedules by ABC's calendar. \n2. Clean up after yourself\n"Lost's" mysteries and obscurities pile up at breakneck speed, and while a fair amount of our most pressing questions have been answered (what's in the hatch, what exactly is DHARMA?, is Michael a self-serving bastard?), there are still befuddlements lingering from Season 1, which the writers seem less than concerned about clearing up. While the keys to certain overarching mysteries seem more appropriately left to the series' end, at least let us in on the little things, like why there's a skeleton-filled slave ship from the 1800s sitting in the middle of the island and a well-groomed show horse cavorting around the jungle. \n3. Be careful with new characters\nFor a show that already features more than 15 primary characters with their own blossoming back stories, "Lost" seems keen on introducing us to even more. So far this season, Rodrigo Santoro's Paulo and Kiele Sanchez's Nikki have amounted to little more than expository eye-candy, and for a show that's always been more about story and character and less about pretty people gazing dreamily off-camera (ahem "Grey's Anatomy"), the duo's presence sends up a red flag. If you're going to introduce new cast members, make sure they're interesting from the get-go. Rose and Bernard turned out to be great characters, but so far the man with the eyepatch on the Pearl Station hatch camera displays more promise than Nikki and Paulo. \n4. Cool it on the cliffhangers\nSeason 1 ended with one of the greatest cliffhangers in television history, and season 2's ending was close. It's hard for me to remember the last single episode, though, that didn't end on the edge of a moderately steep cliff. Some of the finest moments of the first and second Seasons came by way of more subdued endings and personal character connections, and it's a fallacy for the writers and producers to believe they have to end every week on a moment of extreme tension. If the characters are where they need to be, even if that's in a moment of false comfort with the smoke monster lurking outside their tent flap, then trust your endings. There's no need to manufacture tension for the sake of tension. \n5. Keep flashbacks in focus\nThe best "Lost" flashbacks not only give insight into the lives of the characters they chronicle but illuminate happenings on the island as well. Occasional flashbacks in the last 25 episodes have meandered off course, focusing more on character quirks than character arcs. Charlie's breakup with Driveshaft and Locke's stay at a commune were curious instances within themselves but did little to drive the overall series forward. On the other hand, Ana-Lucia's trip to Australia with Jack's father and Michael and Desmond's on-island flashbacks late in Season 2 displayed "Lost" at its best. In the interest of sustaining interest in each character's individual life story, its best to relate it to the island in one way or another. \n6. Don't leave it open-ended\nIt's no big secret that "Lost" works best in marathon viewings as opposed to week-to-week appointments with ABC. It's statistically the most legally downloaded, TiVo'ed and DVR'ed show on television, and its DVD sales profits have old, crusty ABC execs rolling naked in a bed of money like Demi Moore in "Indecent Proposal." Being that "Lost" flows more like an extended film or lengthy novel than a serial drama, I believe it's detrimental for the producers not to have set an end date by now. After all, movies have a designated running time and novels have a final page. For "Lost" to pretend to be indefinite is a mistake. Be it destined six seasons or seven, the producers should let us know now, providing a sort of early closure that would allow fans to enjoy the show knowing there's a logical, pre-planned conclusion on the horizon, however far the journey.
(02/08/07 5:16am)
Many things come to mind upon utterance of the word Sweden. Perhaps you think of the country nestled next to Norway, its rolling hillsides or even the country's trouble-free yellow and blue flag gently blowing in the breeze while its national anthem, "Du gamla, du fria," plays gives you a sense of Swedish nationalistic pride. Or, if you're like me, you think of the recent surge of great Swedish indie artists. \nWhile time can be well-spent listening to the likes of other Swede-rock stars such as Lonely Dear, El Perro Del Mar, The Knife, José González or even Jens Lekman, three names have arguably been dropped more than any others when talking about Swedish indie-rock. Those names are Peter, Bjorn and John.\nThis three-piece formed in Stockholm just before the turn of the 21st century and has been slowly becoming a buzz-worthy band with hipsters the world over. Their newest album has been available as an import since 2006, but the release of the American version of Writer's Block, which contains a bonus disc of unreleased tracks, made its way into stores Feb. 6. Although the album has been import-only for some time, it has already been making some waves in the United States.\nDJs on the club circuit, including Diplo, have been using "Young Folks" in their sets for some time now and it's no wonder. While all of the songs have their allure, "Young Folks" has all the markings of a potential break-out single. The song comes complete with infectious whistling, a gentle thumping bass line and serene vocals that pile on top of a rhythmic base composed of a slick drum beat, bongos and other auxiliary percussion. Even though "Young Folks" is a strong tune, the rest of the album is just as absorbing.\nWhat keeps the album fresh as a whole is the variation in instrumentation. No tracks on the album utilize the same set of instruments or vocalists. This constant addition and subtraction of elements helps give each song its own distinct feeling while always retaining some degree of continuity between them. The album also succeeds while tackling the subject of love in the lyrical content. Rather than coming off as trite or corny, the lyrics work well with the musical backdrop and create a very sincere and genuine atmosphere.\nWriter's Block is an album poised to garner a great deal of attention from American media outlets and music fans. It stands as a testament to the quality of the music making its way across the Atlantic and into our stereos.
(02/08/07 5:14am)
Jigsaw is back, and he is up to the same old games. The third installment is bigger and gorier than ever before. It seems to serve as the huge finale to the series, or so we hope. While the first movie was not exactly perfect, it still brought a new element to the horror genre that was a fresh breath of air: making death a game. This novel idea only really lasts so long though. As the series progresses, the traps and twists just get more ridiculous.\n"Saw III" starts off with Jigsaw on his deathbed, with his apprentice Amanda struggling to keep him alive. So Amanda kidnaps Lynn, a depressed doctor, involving her in a game where if Jigsaw dies, she dies as well. There is also another ongoing game of a man coming across people associated with his son's death with the choice to save them from their traps or let them die. All the while there are flashbacks linking the series together. The two games end up coming together for the biggest and most elaborate series of twists in the "Saw" series.\nThis, however, does not make it the best of the series. In fact, it is probably the worst. Although there is more gore, traps and twists than ever, they are more repetitive and less puzzling then ever. Also the acting is extremely poor, not only lacking in known actors, but actual acting. Much of the acting in the trap scenes is over-the-top and not very believable. The general premise is different, but that does not make it a good one. "Saw II's" fun house setup was interesting but was more silly than anything. Horror movies are made scary by the element of surprise, something the "Saw" series now lacks. With its continual use of Billy the puppet, the pig masks and similar traps, "Saw III" is more of the same, something you do not want in a horror series. At this point we can only hope this is the end of "Saw."\nThe special features, however, are better than average. The features include three standard commentaries with varying combinations of the director, writer, editors and producers. It includes some interesting features on the making of the movie, like the making of the traps and props. There is also a director's diary and a few deleted scenes, but overall, I would only recommend this DVD to hardcore "Saw" fans.
(02/08/07 5:00am)
Without Kevin Smith, "Catch and Release" would have just been romantic without the comedy. "Catch" is the story of Gray Wheeler (Jennifer Garner) putting her life back together after the sudden death of her fiancé. Co-starring Kevin Smith as the best friend and Juliette Lewis as the kooky ex, the movie has a formula for success.\nAfter Grady's death, Gray begins learning about secrets from his past, including a 4-year-old kid he's been supporting. After the money stops because of Grady's death, the mother of the child (Lewis) crashes Gray's life and sets up shop in a hotel close to Gray's house. She begins coming over and we learn about her quirky behavior and her kid's desire to destroy almost everything. Among all this chaos, Gray begins falling for Fritz, the sleazy guy from the funeral.\nPerhaps the best part of this movie is the emotional development of the characters. I left the movie caring about Gray and the adorable kid as well. Smith provides some much needed comic relief (90 percent of the laughs come from him), but I can't tell if it's because he is a talented actor or because he is so ludicrously casted. It's probably more of the latter, but I was impressed to see Silent Bob so animated.\nThe movie has some genuinely funny moments in (see Sam trying to teach a kid how to fish) and can elicit an emotional response from the audience (see Sam give the kid his father's fishing hat before they go fishing). However, there are also many parts of the film that drag on and I was bored as much as I was truly laughing. The movie could have easily been 25 minutes shorter.\nAll told, the movie is not as bad I thought it would be. As far as romantic comedies go, this one is pretty typical and follows the same formula. I guess the formula (you know, the girl gets heart broken, seeks out an at-first unimpressive love interest but then we learn to love him and they live happily ever after) works and is in place for a reason.\nJennifer Garner is as beautiful as ever and lights up the screen whenever she is on it. Garner carries the movie, and watching Smith is, if anything, interesting.