15 items found for your search. If no results were found please broaden your search.
(05/07/08 10:22pm)
____simple_html_dom__voku__html_wrapper____>My tiny corner of the world is called Aix-en-Provence, France, a city of about 140,000. I live with a retired widow in a hotel particulier—private hotel—that has been in her family for nearly five generations. The ceilings of my room are about 20 feet high. I walk the halls, have tea in the salon and admire paintings on the walls, constantly imagining that this mansion is my own. I put on classical music and spin around, exclaiming how lucky I am to be in a mansion in the south of France. But I am abruptly woken up from this dream when I hear a painful, pitiful gag outside my eight-foot-tall bedroom windows. It’s just after 4 a.m. and someone has vomited in the street, right outside my window. The most posh discotheque—club—is about 100 meters from my house. The upside of having it so close is that I see a lot of beautiful people on their way there. The downside is that they aren’t as pretty on their way back—and neither are the contents of their stomachs. But it got me thinking—maybe IU students aren’t so different from their Aixois counterparts after all. When I was at IU, I witnessed my fair share of drinks fighting back. Feeling at home, I plunged into Aix’s nightlife, not realizing that I would be abandoning my faux aristocratic life. My favorite destination is Le Sunset, a dark bar that draws an unusual, freakish crowd and constantly smells like horrible body odor and stale alcohol. Its redeeming factor is a French twist on the iconic American ’80s night. At the beginning of the semester, my friends and I could be found drenched in sweat, dancing our brains out in the medieval cave known as the dance floor.Approaching Le Sunset for the first time, all we saw was a black door—no noise or windows to offer a hint of a good time. We rang the doorbell and the door opened. Le Sunset is also remarkable because it features the fattest man in France as the bouncer. When 400 pounds of authority asked how many were in our group and demanded cover charge, I didn’t know whether I should run away or give him all of my money. Perhaps the combination of the confused, scared looks on our faces and our broken French signaled we weren’t from that area ... of the world. Imagine our excitement when we were waved in and told foreign students don’t have to pay cover. We were even more overjoyed when we saw the prices for some of the drinks. Wine was around 1.50 euros, and beers on tap were tasty and similarly priced. So we danced away many Friday nights to second-rate ’80s songs until 3 or 4 in the morning. We worked up such a sweat some nights that steam came off our bodies when we hit the cold night air when we left. We went our separate ways to our French homes with French linens, thinking about the French toast we’d have the next morning. But I would be restless. I had come to France to learn the language and experience the culture. Nightlife is an aspect of that culture, but when I woke up around 2 p.m. the following afternoon, I cursed at myself for having missed so many other cultural opportunities: daily markets, breakfast pastries and, if interested in alcohol, aperitifs (pre-meal drinks).Halfway through the semester something changed inside of me. I set my alarm around 8:30 a.m., even on days I had no obligations. And then I would go: to the park, to the bus station, to a friend’s house or just exploring. You’re in France, I said to myself. See France. Be French.Now, I only head to Le Sunset when I’ve eaten too many pastries and need to dance off a soft, crepe-filled tummy. Most nights, though, I am in my 17th-century bedroom, tucked in and exhausted from trying something different. Every weekend night, I still hear the cliques of French youth on their way to a crazy night reminding me of what I am missing. But the next morning, seeing either a small pile of throw up or a broken vodka bottle on the street, I am reminded why I am missing it. I’d rather read a book in a lavender field.
(09/12/07 3:42am)
The best way to sum up my weekend in New York – celebrating and working during Fashion Week – is to tell you about a phone conversation I had Sunday. It was about 2 p.m., and I was walking down 10th Avenue near 25th Street. This is Chelsea: full of art galleries, fashion studios and, at least for this afternoon, an infinite supply of happiness. It was hot but not too hot, breezy, sunny and everything else perfect. I called my first speed dial and waited as the line rang a few times.\n“How did you know I was just thinking about you?” the voice on the other line said. \nOf course, my mother frequently answers this way when I call (every morning, usually). I told her I was in the middle of running an errand for Tim Hamilton, one of two designers I helped this weekend. \n“Well, how is it?” she asked, curiously enthusiastic.\nAnd then, I thought of everything I did that weekend, what it meant to me and why it made me feel the way I did. In the tiniest of all nutshells, here is how it rolled out:\nI arrived to work at Black Frame, the public relations firm on 25th Street that represents Rodarte, at about 9:30 a.m. Rodarte is a relatively young label, only in its fifth season, but it’s wildly successful. I worked there until just before noon, then walked one short block to 26th Street between 10th and 11th avenues, to Tim Hamilton’s presentation venue. Soon it was back to Rodarte from 3 until 6:30 p.m., and then back to Tim’s for an hour. That 10th hour hit me rather quickly, so I was dismissed and met up with Janita, the friend I was staying with who was also working Rodarte’s show. \nWhereas Friday was a tough 10 hours, Saturday was a grueling and physical 12 hours. Since Janita lives in the financial district at the bottom of Manhattan, we had to leave her apartment at 9:15 a.m; so I could stop at Dunkin’ Donuts on 24th and Ninth Avenues before the day began. My blueberry-glazed and chocolate-sprinkled donuts gave me just enough fuel for the ridiculous tasks that took me all around the city.\nIn short: I had to sprint six avenues – just more than one mile – dressed in all black (and designer), schlep a grocery cart from Whole Foods down Bowery filled with toilet paper and then haul a gigantic garbage bin from China Town to the after party on the Lower East Side. I left the Rodarte after party at 9 p.m., an hour after it began, to meet up with some friends for dinner and then catch a cab home for some sleep.\nThe next day, I headed up to Harlem for Sunday brunch around 11 a.m. After an amazing meal and two hours of lounging and relaxing with my friend, which was temptation enough to make me never work again, I made my way back to Chelsea to help Tim. It was during one of my many errands that I called my mom. While I still had one more day in New York (including Tim’s presentation), I felt I had experienced enough to answer her question.\n“I’m so happy, Mom, that I could cry.” \nSo I stood on the corner of 25th Street and 10th Avenue and just soaked it in. Cars became mute, and I even forgot I was on the phone with my mom. The sun grew brighter, I’m sure – or at least I felt warmer – and my heart beat quickly for a few moments. I guess I knew I liked what I did, but it just felt differently to say it out loud, especially to my mother.\nI love New York: its opportunity, its creativity, its neighborhoods, its donuts and, most of all, its people. \nFashion Week began last Wednesday and ends today. I’m happy that I was there for a long weekend and only saw the two shows I helped with. I don’t think my fragile frame could have taken any more excitement. Forty-eight hours with New York during Fashion Week made me well up with tears; I imagine experiencing the entire eight days would make me explode. \nMaybe next season.
(09/06/07 2:13am)
The island of Manhattan will be a bit more crowded than usual as fashion editors, buyers, celebrities and clothing-lovers of all breeds flock to the infamous tents in Bryant Park during New York Fashion Week. \nThis semiannual event – one show for spring collections and another for fall – is a designer’s opportunity to give the industry, as well as the public, a peek into their creative and innovative minds. They exhibit their secrets, which are the clothes they have been working on for up to a year, either through a traditional fashion show with a runway, or a less formal, but more intimate, presentation where models and spectators share a common space.\nJames DiMartino, a fifth-year senior majoring in fashion design and apparel merchandising, took a temporary break from his studies to help New York-based fashion designer Zang Toi prepare for his Fashion Week presentation, which took place Wednesday. In what he described as a stressful and crazy week, DiMartino said he was still overcome with enthusiasm about being able to help with the show.\n“It’s all top secret,” he said. “You get to finally show everyone what you’re doing. You can finally reveal what you’ve been hiding for the past year.”\nIt would be nice to think that Fashion Week is just an exposé of ideas and creative secrets, but those who have worked with the designers know that there is a business aspect to the event that is vital to the industry. Deborah Christiansen, a returning faculty member who teaches fashion design in the Department of Apparel Merchandising, has seen firsthand the ups and downs of Fashion Week.\n“It’s important to make sure you have all the right fashion editors and buyers from the big department stores there,” she said. “It’s really previewing for them what they’re going to be putting in the stores.”\nDressing a model in a designer’s clothes does not guarantee success for the label. Christiansen said designers need to always be ahead of the competition, because not only are they designing at least a season in advance, but because the people who are watching the show ultimately decide their career path.\n“It can make or break a designer, and it certainly has,” she said. \nMenswear designer Tim Hamilton hopes to stay strong during his Spring/Summer ‘08 presentation this Sunday. The 36-year-old designer got his start in the industry at the age of 22 when an internship at Ralph Lauren led to a job there. His own line now sells at high-end stores in New York such as Bergdorf Goodman, Jeffrey and IF Boutique, and it was recently picked up by the iconic Barney’s New York.\n“I think with this collection I have pushed the envelope even more,” Hamilton said. “I feel like a lot of menswear designers in America try to stay inside a certain box and don’t try to step out of it. I can’t see that. Why not explore with color, fabrication and proportion?”\nThe calendar for Fashion Week is managed by Ruth Finley at Fashion Calendar, which is a biweekly publication that lists national and international fashion events year-round. The Fashion Week schedule changes constantly during the weeks leading up to the shows. A recent version online at Paper Magazine shows more than 90 runway shows and nearly 50 presentations. Some of these shows and presentations, such as Hamilton’s, are on the official calendar. Other designers, like Zang Toi, show during Fashion Week even though they aren’t on the calendar. \nWith all of these shows, there is bound to be an array of emerging trends. Christiansen is excited to see what she described as a much-needed change in waistlines.\n“The fact that the high-waist has come back is really big for me,” she said. “I’ve been really sick of how far the waistlines have been dropping. I think design is more exciting when it’s girly and high-waisted. I think that’s just more fun.”\nHamilton said he hopes patrons are inspired not only by his presentation, but by Fashion Week in its entirety.\n“I think in America you find that what’s happening now is that super casual has become OK—at the workplace, at school,” he said with a sour twist. “It’s become a big trend to be ultra casual and put on a pair of cargo shorts and a T-shirt. I just don’t find that interesting. I like people to have their own sort of style and to do their research. Why not try to look good?”
(09/04/07 2:48am)
The SoFA Gallery’s 20th birthday bash Saturday was quite an event. I got there early so I could see the bands play and (hopefully) capture some great and unique styles with my camera. Because this was an art event, I thought I would see a lot of creative outfits, but I was let down a bit. People looked great, I will admit, but I didn’t see anything super special.\nExcept for one young lady, who blew everyone else out of the water.\nMeet MaryAnne Nguyen, a fresh 27-year-old artist from Indianapolis who came to support her sister, who teaches at the School of Fine Arts. When I saw her, I thought of three great words, all of which happened to start with C – cool, calm and, my favorite, classy. It’s a pity to admit that the best dressed wasn’t from the area, isn’t it?\nLet’s start with what she was wearing: A black dress from H&M. Wait – that’s it? Yes. Just a black dress from H&M in Indianapolis.\n“I’m all about simple and comfortable,” she said of her style. “I like things that are one-piece. Simple lines with little details.”\nThe pockets on her dress were the great “little detail” she mentioned. Not only were they useful, but they were the finishing touch that made this ensemble different from any of the others that I saw, which is my definition of personal style.\nHere’s what else: She was not wearing any visible make up, she didn’t spend a lot of time in front of the mirror with a flat iron and she avoided “glamzilla”– a beast that more than 90 percent of girls fall victim to each time they go out. (Visualize this – metallic high heels, sequined tank tops and a neon sign around the neck that brilliantly glows “VACANCY.”)\nNow, we all go out occasionally, whether to a dinner with friends or a raging night on the town. One thing we all have in common is that we “get ready” to go out. How many times do you think you’ve said “get ready” before going out in the two weekends we’ve been here?\nSo, for your next event, allow people to look at you for ... you, as cliche as it may sound. Remember to exude a personality, rather than blind people by dressing like high-heeled hoes or 14-karat pimps.\nBe classy, not trashy.
(08/29/07 1:58am)
Do you see these shoes? They are mine. I bought them in early August at a store in New York called Oliver Spencer. Available in black or white, they were originally more than $200, but I was able to get them at a sale price of $59. A smokin’ deal for my smokin’ shoes. \nWhite shoes can make you feel better about life, or at least that’s how I view them. What’s really impressive – or embarrassing – is that these are not my first or only pair of white shoes; they are, however, the nicest, and reserved for special occasions ... or just for Tuesdays. \nThe color white has symbolized a lot of things in literature: it can mean peace, innocence, purity and wealth and can also represent a protagonist. In my story, white represents fresh. If I have to get ready in a hurry, I can slip on the crisp, white lace-ups pictured there and not only look more kempt, but also feel better. Just a word of caution – never love your shoes so much that you keep looking down at them and then walk into someone. True story.\nWith Labor Day weekend quickly approaching, I keep hearing this rumor that it’s the finish line for wearing white, and that anyone wearing white after that day has broken a rule. Please pass me the dunce cap because I rock white shoes, pants and anything else year round. And so should you. If you really want to live dangerously, please wear white shoes at night. Especially if you’re going to be dancing and a black light is involved. \nIt may seem a bit silly to actually put it in writing, but white shoes are a dream. You can put them on and suddenly feel happier. About everything, actually. If you wear white shoes, you’re rocking something that few here dare to do. You’re being different and doing something because it pleases you. Dressing differently is true style.
(03/22/07 4:00am)
His designs are classic, conservative and clean. But their designer, Justin Stutzman, is looking a little rough and like a stranger to sleep.\nThe senior fashion designer is showing his final line Saturday at the John Waldron Arts Center.\nHis reputation of elegance and excellence means everything must be just right, but, Stutzman admits, “I’m going to have to find a way to maybe let a thing or two slide.”\n“Fickle” is not in his vocabulary, and Stutzman has a distinct vision and mood he wants his audience to feel Saturday: tasteful and intense. \nThe theme of his line is “Rat Pack,” and it is also the name of his collection. The Rat Pack was a group of entertainers in the 1950s and ‘60s consisting of Frank Sinatra, Dean Martin, Sammy Davis Jr., Peter Lawford and Joey Bishop.\n“What I found so clever about that combination is the way these guys have such great talent, but they come together to make a completely different sound, a somewhat better sound,” Stutzman said of his influence.\nTo apply this “coming together” idea to fashion, Stutzman will be drawing inspiration from designers from this period, such as Yves Saint Laurent and Chanel. Designers typically excel in one area, such as coats or evening gowns, Stutzman said. So to make his garments the best they can be, he inspected the clothing of top designers at the Elizabeth Sage collection. The Sage collection is a resource provided by the IU Department of Apparel Merchandising and Interior Design for students where they can deconstruct a plethora of designers’ creations.\n“I spent every Friday last year, for about four or five hours, in their clothes trying to figure out why they were successful,” he said. “So my ‘Rat Pack’ is a combination of very successful, 20th-century designers.”\nIn addition to a fashion-design degree, Stutzman will graduate with an apparel-merchandising degree, a costume-construction technology associate’s degree and a minor in business and marketing.\nThere is no fashion-design program at IU. So Stutzman is in the Individualized Major Program. His mentor, professor Kate Rowold, has seen Stutzman’s designs come alive from sketches he made last spring.\n“I think what he’s tried to do is to take what some people would see as very simple and common design lines, and then he puts a little Justin signature on it,” Rowold said. And his signature can usually be found on the sleeve. \n“I’m very big on bringing a lot of emphasis to the wrist,” Stutzman says of his sleeve fetish. “I think it brings great length to a girl. (Sleeves) are very important; too many people look past them.”\nAnd his models agree and are excited to wear his clothes on the runway.\nAnne Freihofer, a senior majoring in sport communication, will wear three of Stutzman’s pieces during Saturday’s show.\n“I think he is very good about designing for a female,” she said. “He makes (women) feel comfortable and, at the same time, makes them look sexy.”\nOverall, his pieces are conservative and target those with more refined tastes. He has spent over a year creating a fall 2007 line, and his dedication to fashion is evident to those who work closely with him. \n“Passionate would probably be the best way I can describe him,” Freihofer said. “I haven’t met anybody who loves what he does, and puts as much in to what he does as Justin. It’s a total self-sacrifice for him to do this, and I think that is incredibly admirable.”\nHe has worked over a year on his final line, and his blood, sweat and tears will be showcased in 19 pieces and, what Stutzman hopes to be, a 19-minute show.\n“I think 19 minutes could leave a lasting impression,” he said, “and it will be the first time I’ve opened up and let people into Justin’s world. That’s huge.”\nStutzman’s free show will start at 2:30 p.m. Saturday. Stutzman requests attendees arrive at the John Waldron Arts Center, 122 S. Walnut St., several minutes before the show begins. Once the doors are closed, they won’t reopen until after the show.\nFor more information, visit Stutzman’s Web site, www.justin-david.com.
(01/08/07 3:02am)
Fabric surrounds Justin Stutzman. A fifth-year senior, Stutzman is one of six students in IU's individualized major program in fashion design. The runway show for his senior line isn't until March 24, but he works tirelessly, as if it's tomorrow. It's hard to succeed in the fashion industry, he says, and with a recent flood of "wannabe" designers applying to fashion schools, including IU, it's only going to get harder. \nFor the past five semesters, IU's Department of Apparel Merchandising and Interior Design has offered an average of 35 courses in the subject. But the new year brings a surge: The spring 2007 semester is seeing a jump to 42 courses, a 20 percent increase. Introductory apparel courses can hold 250 students, and classes are always bursting at the seams with anywhere from 15 to 30 students finding themselves on waiting lists.\nMany look to television media as the root of the growing trend. \n"I think there can be no denying the tabloid nature of television, and the extent to which many people are fascinated by that tabloid television," said Kate Rowold, an apparel-merchandising professor who mentors the six design students. "And part of that tabloid television is the red carpet and the runway."\nWhat Rowold is hinting at is the Bravo network's hit show "Project Runway."
(11/27/06 3:44am)
The fingers of some of the finest piano students have new reason to tickle the ivories: The Jacobs School of Music has added 10 new Steinway & Sons pianos to its collection. Unlike years past, these pianos are not on loan but were purchased after the school's loan plan with Meridian Music fell through in July.\nStephen Shaver, the school's supervisor of piano technology, oversees the maintenance of nearly 500 pianos and works daily with Steinways and pianos from other manufacturers. When the school was looking into purchasing new pianos, however, Steinway was the brand Shaver felt most confident with.\n"It's a good investment because Steinways hold their value. These pianos will serve the school for the next 50 years," he said.\nPerhaps this helped justify the price tags of $54,200 per piano to School of Music administrators who ultimately made the decision to purchase the lot about a month before classes began. The school received a discount but still spent more than $400,000 for the lot. A budget surplus from the 2005-06 school year helped the piano fund but did not entirely cover the large expense. \nBecause the School of Music owns the pianos, access to them is limited to graduate and higher-level piano students. Second-year graduate student Timothy Kwok said he prefers the new Steinways to the Yamahas from Meridian Music, citing the "lighter keys."\n"The Yamahas were so annoying. The depth was different; you needed more energy," he said. The Steinways help with creative elements such as dynamics, he added.\nSome students, however, look past the famous brand and see the hassles of new pianos in general.\n"Maybe in three months it will sound better," said Lau Wing, a first-year graduate student studying piano. "Just like when you wake up, it's hard to speak. The pianos are still new."\nMany of the pianos are kept locked in practice rooms on the second floor of the Music Building Addition. Those who are lucky enough to have keys to the rooms must, like always, sign a contract saying they won't place things on the piano lids, have food or drink in the room, or let others who are not permitted use the pianos. What is new in this contract is the student's financial responsibility if the pianos are damaged: If one person is responsible, he or she can pay up to $5,000 for repair fees. However, if no suspect emerges everyone in the program splits the repair fee.\nShaver said the program does this in an effort to make students feel responsible for the pianos as if they were their own.\n"You'd be amazed how people who live their lives around pianos, how abusive they are to them," Shaver said.
(12/07/05 4:35am)
Every year, "Ladies First", IU's female a cappella group, puts on a winter show at the Buskirk-Chumley Theater, 114 E. Kirkwood Ave. The ladies are now making their final preparations for their concert, and couldn't be more excited about the show. Member Liz Buchanan, a junior, said this year's show has some changes.\n"This year is more of a production and theatrical," Buchanan said. \nAs a business major, she said the change not only applies to the performance by Ladies First, but also their opening act, "IU Essence." The ladies hope this addition adds a new beat to the show.\nLadies First will sing about 18 songs, a mix of holiday-themed tunes and others. The eleven-member group said they pick songs that cover a variety of styles and sounds that provide a night of entertainment, and also highlight the ladies' abilities.\nJunior Joanna Jacobs, who has been in Ladies First for two years, said the group is very flexible with its music. The ladies don't just sing, they also imitate instruments, contributing to a unique stage presence.\n"We're probably the most ready I've felt in a long time," Jacobs said. The ladies have been practicing continuously throughout the semester for this performance, she said, and they're all very excited.\nWhen people come to the show, Ladies First hopes all of the audience members feel connected and involved. \n"We want a concert that encompasses the holidays and entertainment." Jacobs said. "We're bringing in the performance aspect to get the audience involved, too. We'd like to have it be more entertaining."\nThe ladies said they want to remove the border between the stage and audience, and hope the audience knows that they're as much a part of the night as the singers themselves.\nProceeds from this concert will be used to fund future performances, such as the highly anticipated spring reunion concert for male a cappella group Straight No Chaser. This spring marks the 10th anniversary for the group, and Ladies First will celebrate its seventh year at IU. Alumni from both groups will come back for an "a cappella-filled weekend" in April of 2006. The groups are entirely student-run and receive some funding from the Alumni Association. The performances are important to the groups so they can continue to perform.\nLadies First holds auditions every semester, and hopes those interested can get a feel for what the group is all about. They said they are a group of dedicated women who love singing and being expressive; they bond over their experiences and create life long friendships.\nThe ladies nearly filled the 600-seat Buskirk-Chumley last year, and they hope to do it again Thursday. The performance starts at 8 p.m., but they advise to get there a few minutes early to buy tickets at the box office. Tickets are $8 each, or two for $12 for IUB students. The price is $10 for non-IUB students. For more information, audition inquiries, or comments, you can e-mail the group at iuladies@indiana.edu.
(11/16/05 10:49pm)
Hanson still has the ability to shake its mostly female audience to the core. Case in point: Some girls got sick in the bathroom before the show even began.\nMore than 600 people Monday night packed Alumni Hall in the Indiana Memorial Union to see Hanson in all its glory as the band performed as part of its "Live and Electric '05" Tour. After two opening acts, including local contest winner Robbie Gold and Pat McGee Band, Hanson took the stage shortly after 10 p.m. The crowd roared when Isaac took his guitar, and all was about lost when Zac and Taylor entered a moment later.\nHanson's performance was divided into electronic and acoustic sets. The band sang new and old material (yes, "MMMBop" was on the playlist). Isaac, Taylor and Zac all had their turn in the spotlight, highlighting each member's individual abilities.\nRecent interviews with Hanson have concentrated on their independent record label, 3CG. Now that the band is entirely in control of its material, fans say they could hear the evolution and growth of its music. \n"I've been following Hanson for 10 years," said Cassie Henke, a senior with a specialized major in music history. "It amazed me how their music and musical abilities have matured."\nBeing a longtime fan educated in the band's music, Henke was not in the minority. Puffy-painted T-shirts and fanatic posters could be found throughout the crowd. The music was loud. The screams, however, were deafening. The crowd's energy never diminished. People tried to push and shove their way to the front throughout the entire concert.\nThe band played about two dozen songs before leaving the stage at 11:45 p.m. Some were covers, which came as a surprise to the audience. Hanson played songs by The Doobie Brothers, U2's "Desire" and "Ain't No Sunshine" by Bill Withers.\nAfter their show, Taylor Hanson spoke about the music industry and his new role as CEO of 3CG. The documentary shown Monday displayed Hanson's personal struggle, with its former label Island Def Jam, but Taylor said this experience is not exclusive to Hanson.\n"You've got these huge labels that have all of this power, and you put the best accountants, and the best lawyers in these buildings, but that's it," Taylor said. "No one there has any knowledge of music and art."\nHe explained that with big labels, there's not a lot of job security, and artists sometimes don't take the necessary risks to launch an amazing career in fear of losing their protection by the corporate umbrella.\n"At any moment, a band can be dropped, so a lot of artists will just lay low and not do anything because they feel they can get fired for that," Taylor said. \nHe said this could limit some bands from showing their true colors because they have to satisfy the higher-ups who don't always understand a band's direction or ideas.\nTaylor said he feels Hanson is more successful as an independent band but not monetarily.\n"We've accumulated debt," Taylor said, attributing the loss to working with a label that has large amounts of money. "But at least we're doing things and keeping busy." \nHanson cites not only its tour, but, as Isaac mentioned, an upcoming album it hopes to be released within a year.\nTaylor said the band feels privileged to go around the country and not only introduce its music and ideas but also offer up the music of other independent bands.\n"At all of our concerts, we give away a free CD sampler," Taylor said. "It has us, Pat McGee Band and other just amazing bands." \nAt the lecture earlier in the day, Isaac expressed how difficult it is to succeed in the music industry, saying the brothers support bands they feel have amazing abilities and potential.\nIn addition to the concert, the band tried to reach and speak to its audience about the music business experience. The documentary and Q-and-A session not only promote the band's album and newly independent status but offer fans an insight to the industry and some of its downfalls. Hanson's fans still view the band as a force to be reckoned with. \n"Ten years later, Hanson still makes me want to cry," Henke said. \nJudging by the turnout at the lecture and concert, she's not alone.
(11/15/05 4:59am)
Screams of anticipation could be heard from Whittenberger Auditorium Monday afternoon. Newly independent band Hanson visited campus for a screening of its documentary, "Strong Enough to Break," and later held a concert in Alumni Hall. \nThe documentary displayed the band's struggle to launch its album "Underneath" and gave a "play-by-play" of the band's split with Island Def Jam Records. The band struggled to please record executives, producers, CEOs and, arguably most importantly, itself. Ultimately, it left the label and, after shopping around, decided to create its own label, 3CG. Isaac, Taylor and Zac Hanson are all CEOs of their label, a position they're very happy with because it eliminates all the hurdles that once stood in their way.\nThe band made an appearance after the documentary and answered questions. The line for questions quickly reached the door, but the guys did their best at answering as many as they could. A couple of questions hit some good chords with the band, as the brothers continually interrupted each other and tried to coin the perfect answer. They voiced the unique structure of their label, their frustration with radio and emphasized how important an audience is to the industry.\nOne question, coming from a member of a band hoping to break into the industry, asked the brothers how they are amazingly successful.\n"Never have too much pride," Isaac cautioned.\nHe said no audience has precedence over another audience and explained how back before they were famous, Hanson sang for a manager at 7 a.m. in a hotel lobby. While the manager couldn't offer them much, he did offer them an attorney who helped with the business aspects of Hanson's success.\nA young trio of sisters asked to sing for the group, and another person asked to shake their hands.\nOne audience member asked, "Are these people for real?" after one of these questions. \nEach of the brothers urged those who had questions for the documentary and music industry to be at the core.\nConcluding the lecture, Isaac said, "It's really hard to make it and be successful. You've got to support the bands."\nThe band hopes to help other artists gain an audience by offering a free CD sampler at its shows. This all references back to the band's frustration with radio and how difficult it can be to get airtime, especially without a huge label. \n"A DVD can cost $20, and you'll maybe watch it three times a year," Isaac said. "But a $15 CD, you can listen to over and over. It's very worth the money."\nAll the attendees received a free copy of Hanson's Underneath album, an unexpected surprise that got a huge roar, much like "Oprah's Favorites," Isaac said. \nUnderneath is the No. 1 selling independent album and, as seen in the documentary, the band couldn't be happier.
(11/09/05 4:26am)
Not many bands can claim to be started on a cruise ship -- and many bands in Bloomington can't even claim to prefer original pieces to covers. \nThat is definitely not the case with the Mitchell Street Band.\nShortly after graduating in 2004, Mike Luginbill and Nick Jaenicke were not the typical graduates looking to settle into a 9-to-5 job, so they boarded a cruise ship and set sail to Europe. The guys provided entertainment to the ship's vacationers for about six months, and returned to Bloomington in October 2004.\nIn February, the Mitchell Street Band was born. Today, Luginbill on guitar and Jaenicke on keyboards will play along with Eugene McGhee on bass, Darnell Pirkins on drums and newcomer Joe Filipow, also on guitar.\nMany of the band's songs were written while on the cruise, giving its sound an uncommon influence. Its material is unique to them, and tagging a genre to the band is difficult. They say they have the sound of Maroon 5 with Jamiroquai's energy, but they play originals. Of course, it's hard for them to shine in their true colors. Luginbill explains how the band has to please an audience and bar owners at the same time.\n"Around here, we play what people want to hear," he said. "Bloomington puts pressure on bands to play covers."\nMcGhee points out that the Mitchell Street Band is not a cover band, it's a party band.\n"A cover band is going to play Top 40 songs that fit with the instruments they have, and they're going to stop after each song," McGhee tells. "A party band like (Mitchell Street Band) has a longer mix of music and is going to include things like disco and reggae. We play ten songs in a row, nonstop, so you get 30 minutes of continuous music."\nThree of the band members live and work in Bloomington, but two others are from Indianapolis. While that might pose as an obstacle for some bands, Jaenicke explains how each member's musical talent not only makes everyone a great band but helps everyone learn things quickly. Forget about the usual weeks of preparation -- the Mitchell Street Band claims to nail a song only after a couple of runthroughs.\n"Any one of (the members) could go on tour with a big name," Jaenicke said about his band mates. Jaenicke and Luginbill were both members of the male a cappella group Straight No Chaser while at IU. McGhee graduated from DePauw University in 2002 with a music business degree. \nThe lease on their Mitchell Street house ends in June. While the band might be uncertain about its whereabouts come next summer, it insists on having short-term and long-term plans. Members' lips are sealed as to the details, but they're very open about wanting "the whole shebang."\nThe Mitchell Street Band plays all over the Midwest. A list of concert dates can be obtained on its Web site, www.mitchellstreetband.com. Its next scheduled performance is Nov. 18 at the Bella Vita in Indianapolis. The show starts at 10 p.m. and is open to all ages.
(10/19/05 4:21am)
The Kinsey Institute invites all to view its current gallery show, "Passionate Creatures," which focuses on animal imagery in art. The gallery is filled with paintings, sculptures, drawings and artifacts spanning more than 2,000 years, all encompassing this specific imagery and displaying its many different interpretations.\nCatherine Johnson-Roehr, curator of art, artifacts and photographs, said the concept of animal imagery is as universal as erotic art. Besides the 2,000 year range of art, the gallery features pieces from China, Japan, Persia, Bali, many European countries and, hitting home, Bloomington. Animal imagery is everywhere.\n"It's not specifically about bestiality," Johnson-Roehr said, bringing attention to what she feels could be a common misconception. "It is, however, an adult show."\nIn some of the artwork, animals are direct participants in the sexual act. Others show animals as spectators or engaged in their own intimacy mirroring human couples in the art. "Julie et St. Preux" by 19th century French artist Charles Chaplin is one of the more modest pieces that shows a human couple displaying their affection and a chicken couple following its example, or perhaps "egging them on," Johnson-Roehr explained. \nThe Renaissance, Johnson-Roehr said, brought about a rediscovery of the nude in art. While this might not directly affect animal imagery, this important movement does make all the portraits in the Kinsey gallery less controversial.\nAll of the pieces have obvious similarities and interesting differences. They are erotic in nature and maintain value as artwork, Johnson-Roehr said. Regardless of content, the paintings, drawings and all other forms of art in the gallery are very similar to something one might see in any other gallery or museum. In Kinsey's gallery, however, nudity and erotica are more common than elsewhere. Within the gallery, the emphasis of "sex," the meanings, animal representation and styles vary from piece to piece.\nThe artifacts in the gallery also show the many interpretations of animal imagery and bring light to the humor found in many of the Institute's pieces. Suggestive coffee mugs and plush "Weenie Babies" toys might conjure a laugh, as they're meant to be humourous. And while some pieces such as the "Flying Phallus" might seem bizarre, a winged penis was believed to bring protection to a home during the height of the Roman \nEmpire.\nFurther displaying how prevalent animal imagery is, Johnson-Roehr pointed out the famous portrait of a woman in a bunny suit. This is the image that gave Hugh Hefner the idea for the "Playboy Bunny," a symbol many might be familiar with.\nAnimal imagery has many different meanings and interpretations, and the gallery attempts to display as many as possible. From humor to mythology, the Kinsey Gallery is able to bring many different genres of art under this theme.\nThe Kinsey Institute is located in Morrison Hall, behind Memorial Hall on Third Street. The gallery hours are from 9 a.m. to 12 p.m. and 1 to 5 p.m. Monday through Friday. Those interested should call the gallery at 855-7686 to schedule a visit. Tours are about one hour long, and "Passionate Creatures" will run through Dec. 23.
(10/10/05 4:16am)
IU's ballet season is not limited only to "The Nutcracker" every Christmas. The IU Ballet Theater gave its first performances of the year Friday and Saturday at the Musical Arts Center which consisted of four pieces, including two world premieres. Many different styles of ballet were put on display by the dancers.\nThe night started off with "Winds from the South" created by Glenda Lucena, a second-year guest lecturer of ballet. The costumes and dancing were filled with variety, but the music -- played on a recording instead of live -- held the piece back just a bit several patrons said.\n"("Winds from the South") was pretty and all, but the music was distracting," said graduate student Emma Shansky.\nShansky referred to the quality of the music by Ernesto Lecuona. She said though the music fit the piece well, it sounded at times like the speakers could not handle the recording.\nFor the second piece, "Grand Pas Classique," Michelle Mahowald and Justin Zuschlag donned formal costumes and gave a very classical performance. The audience applauded throughout the piece and their solo performances.\nA live piano performance added a change of tune for the third piece, "Spring Water." Again, there were only two dancers, Lauren Fadeley and \nSamuel Turner, Friday night and Michelle Mahowald and Chris Nachtrab Saturday. The dancers took advantage of the large stage, and though the piece was only a few minutes long, it was filled with lifts and spins.\nThe last piece, "The Final Pointe," created by Robert Schumann and Johannes Brahms completed the ballet. It was one of the longer pieces, but time was the last thing on the audience's mind. \nSophomore Melissa Burnett explained how the last piece spoke to her.\n"I particularly liked 'The Final Pointe'," she said. "It was really beautiful. The lighting was fantastic, and the dancers were excellent. It kept my attention." \nThe lighting techniques of "The Final Pointe" added a certain amount of emotion the other pieces did not have. Also, the lighting helped highlight what was important. At the start, a lone ballet slipper lay in the spotlight, and at the end, the slipper is again placed center stage and isolated by the spotlight. \nThough reactions were that the show was brilliant, some parts appealed to the audience more than others -- particularly the solos. The sporadic applause throughout the pieces reflected an appreciation for amazing abilities of the dancers.\n"Some of the moves they did, I mean, are legs supposed to do that?" Burnett asked, incredulous, adding, \n"(Mahowald) was unusually flexible."\nThere were many moves and techniques which looked extraordinarily difficult, but all the dancers seemed, from the audience's perspective, to execute them flawlessly and effortlessly. This impression was not just in the audience's imagination. The cast members also felt the performances were well-executed.\n"I think the performance went pretty well," Zuschlag said about the opening night performance. "There's always the possibility of major mishaps, but the important thing is just to perform to the best of our ability. Everyone I know was pretty pleased with the show, and I think for the short amount of time we had to bring this production together, we did a great a job"
(10/07/05 4:44am)
The fall ballet promises to be a night of excitement and entertainment with four varied performances including two world premieres, both created by IU faculty members. \nGlenda Lucena created the show for "Winds from the South," the opening piece. Lucena, a second-year guest lecturer, chose the music by Cuban composer Ernesto Lecuona this past summer, however the actual story was not created until August. After meeting the dancers and getting to know everyone's abilities, Lucena created the story of two sisters at a grand party. While "Winds from the South" is a ballet by definition, it incorporates excitement and colorful music one might not expect. Further, the dancers will have to communicate to the audience and rely on acting to convey the emotions and relations between the sisters. \n"I like to explore," Lucena said.\nFulfilling the hopes of a traditional ballet, the second piece, "Grand Pas Classique," is a classical pas de deux (literally "step of two" or "partnering") representing what most would imagine when thinking of ballet. One of the show participants, Justin Zuschlag, a senior majoring in ballet with an outside field in English, characterized this piece. \n"It's one of the more technical pieces because it's classical," he said.\nTechnical and classical, however, do not mean that the piece is easy or boring, as Zuschlag said.\n"It's very difficult," he said. "But the accomplishment of performing such a difficult piece makes the seven hours of practice a day all worthwhile."\nThe third selection, "Spring Water," lasts only about five minutes, but in spite of its length, it is one of the more complicated and filled works being performed. Sophomore Michelle Mahowald, who will be featured in three of the performances, looks forward to this piece. \n"It's fast and exciting," Mahowald said. "You have to trust your partner for everything to work."\n"Spring Water" will bring a neoclassical touch to the ballet, but as with "Grand Pas Classique," the piece is far from restrictive.\n"It's very free moving," Mahowald said.\nAppropriate to its name, "The Final Pointe" will end the night. This world premiere work was created by visiting IU faculty member Guoping Wang.\n"('The Final Pointe') has a different tone from the other pieces. It's heavier, you could say," Mahowald said.\nRobert Schumann and Johannes Brahms are the musical masterminds behind this touching piece, which shows a dancer's final performance. Like the other premier, "Winds from the South," this piece is about 30 minutes in length and will highlight the dancing and acting abilities of the performers. \nBoth Zuschlag and Mahowald feel ready for the performance, and both have experience at IU as well as other distinguished ballet institutions. \n"I think we're ready, all we've got to do now is build the stamina," Zuschlag said.\nLucena agreed.\n"I feel comfortable. From this point on, everything comes from the dancers," she said.\nLucena also explained how the stage in the Musical Arts Center is considerably larger than the practice studios, so the dances have to be restaged. Lucena said that this would hardly pose a problem, though.\n"(Staging) is what I do, it's what I've always done," she said.\nWith two world premieres and a very excited cast, Lucena sees bright prospects for this weekend's performances.\n"People will go home very happy and refreshed," she said.\nThe fall ballet shows at 8 p.m. tonight and tomorrow in the MAC. Ticket prices range from $8 to $12 for students and $12 to $20 for general admission. The show will run about an hour-and-a-half, including an intermission. For tickets and more information, call 855-1583.