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(10/28/09 8:51pm)
____simple_html_dom__voku__html_wrapper____>One of the most successful horror film franchises has etched a new chapter.This time, the devious machines of torture are utilized by Jigsaw and company on the evil bastards of the health care industry. With the exception of the opening scene, “Saw VI” picks up just a few seconds after the conclusion of “Saw V.”The story in this one is quite engaging, addressing health care in its own violently vengeful way. From the grave, Jigsaw (Tobin Bell) once again directs an onslaught of terror against those he deems guilty of some kind of wrongdoing.Through flashbacks, it’s revealed Jigsaw was denied health care funding for an experimental cancer treatment as he was nearing his final days. The very man who denied the treatment finds himself stuck in the center of the latest game. Lt. Hoffman (Costas Mandylor) continues his role as Jigsaw’s devious successor, leaving a trail of death and destruction via the torture devices as well as his own hand. “Saw VI” is an improvement on the last film, offering a better story and more blood than previous entries. While this installment uses the same formula as the others, it’s proven to be a winning formula.
(10/20/09 8:55pm)
____simple_html_dom__voku__html_wrapper____>To all stepfathers out there: Don’t let your family see this movie.Screen Gems’ “The Stepfather,” a remake of the 1987 cult film of the same name, stars Dylan Walsh as David Harris, a sociopathic killer whose MO is conning his way into a family, only to kill them at the first sign of trouble.From the opening scene, it’s made clear that David is not the family man he claims to be. As a fugitive from several murders of his previous “families,” he changes his identity and appearance, meeting single mom Susan (Sela Ward) along the way. At first David seems like the perfect man, but that changes all too soon when family and friends start asking questions about his mysterious past.Walsh (from “Nip/Tuck”) turns in a good performance as a family man gone wrong, but if you’re expecting an original, groundbreaking film, you won’t find it here. “Stepfather” works as a fun slasher film though, making it worth seeing.
(09/17/09 12:43am)
____simple_html_dom__voku__html_wrapper____>After a six-year hiatus during which the singer-songwriter had two mega hits on the radio and two alcohol-related arrests, Howie Day has returned with “Sound The Alarm,” a collection of soft ballads that seem to open a new chapter in Day’s life. The piano dominates many of the 11 tracks on this release, giving the album a very relaxing, dreamy vibe. Day also has a few songs lead by acoustic guitar, though you won’t find another “Collide” on this release.One of the best songs on the album is the peaceful, acoustic-driven “Undressed.” While it’s not likely to garner him any commercial attention, fans of his previous work should appreciate it.On “Sound the Alarm,” Day seems to have discovered the sound he wants. Though fans of his last album may not be as enthralled by this one, he’s sure to be a mainstay on adult alternative radio.
(09/17/09 12:34am)
____simple_html_dom__voku__html_wrapper____>When a prank gone awry leads to a sorority sister’s death, the other sisters in the Theta Pi sorority decide to hide her body to cover up the crime. But when the next semester starts, the sisters begin receiving texts from a mystery person. As you might have guessed, this follows the “I Know What You Did Last Summer” plot very closely, though there is a higher death count, more tits and more twists in this film.Despite its similarities to other slashers, “Sorority Row,” is better than you might think. If you’re into sex and violence – and if you aren’t, you wouldn’t be reading this – this film sets a high quota for itself, and as a whole is just entertaining enough to keep you around for the final twist, which is an apparent law of horror flicks.If you want to see overprivileged sorority girls and idiotic frat guys get chopped up, here’s your chance.
(09/10/09 1:47am)
____simple_html_dom__voku__html_wrapper____>John Fogerty is hardly the first rock legend to release an all-country album, but the former Creedence Clearwater Revival front man has always had a heart for the southern sound of country, swamp and blues. His latest, “The Blue Ridge Rangers Rides Again,” is an intended sequel to his first solo release from 1973 titled “The Blue Ridge Rangers.”This long-delayed follow-up has Fogerty covering classic country and bluegrass songs from artists like John Prine, Rick Nelson and John Denver. Aside from covering other artists’ music, he is also joined by guest musicians like Don Henley of the Eagles and Bruce Springsteen.The best track on the album is Fogerty’s southern-fried rendition of Rick Nelson’s hit “Garden Party.” Joining him on the track are Don Henley and Timothy B. Schmidt of the aforementioned Eagles.Fans of Fogerty’s previous work should be pleased with the body of work on “Rides Again,” though fans expecting rock ’n’ roll will have to look elsewhere into his catalogue.
(09/10/09 1:46am)
____simple_html_dom__voku__html_wrapper____>A year after releasing “Warpaint,” the Black Crowes have returned with their next collection of tunes “Before the Frost ...”. Much like “Warpaint,” this release shows the band letting its eclectic array of styles bleed through, mixing genres such as country, bluegrass and even disco into a rock base.One of the better tracks is also one of the most unexpected, “I Ain’t Hiding.” Beginning with a disco bass line, “Hiding” vibes on the Rolling Stones, right down to the “doo doo doo” in falsetto. This disco-rock number will definitely grow on you if given half a chance. Other songs of note are the soft country and rock sounds of “Appaloosa,” and the peaceful acoustic “Last Place That Love Lives,” which brings the album to a solid close.Fans of the Crowes are likely to be divided on this release, as it doesn’t sound like the band’s ’90s work. There are fewer “rock” songs and more tracks inspired by bluegrass and country. While those genres help strengthen the band’s overall sound, they can sound somewhat bland at times. Nonetheless, the fact that the Crowes are still around making decent music is a great thing.
(09/03/09 1:25am)
____simple_html_dom__voku__html_wrapper____>One of the biggest alternative acts of the ’90s is still rocking as this decade nears its end.On Collective Soul’s eighth studio album, unofficially titled “Rabbit,” the group seems to be picking up right where they left off: writing catchy, memorable hooks and mixing hard rock riffs with pop-tinged melodies.That formula is continued here, though to mixed results.The best song on the album, “Staring Down,” serves as the first singleand it fits right up there with some of their previous radio hits. This track will quickly grow on fans of their work because of a memorable hook that can easily get stuck in your head.The problem with this release is that it’s full of the same standard, run-of-the-mill rock songs. Despite their catchiness, the album’s songs quickly wear thin.When Ed Roland and company connect with a melody, it feels like 1995 again. However, on “Rabbit” that occurs less frequently.
(09/03/09 1:13am)
____simple_html_dom__voku__html_wrapper____>Death has returned with new, creative ways to punish those who cheat it.
The fourth installment in this franchise, aptly-titled and supposedly
the last in the series, “The Final Destination,” takes the same basic
formula of the previous three films and applies it here with new
characters.
As with the others in the series, this film is chock-full of
interesting flashbacks and gory death scenes. Some of the flaws you’ll
find are the same ones present in many horror flicks of our era – poor
acting and a predictable plot.
The main actors are the same cookie-cutter characters you can find in any cheap thrill movie.
They lack any real depth, thus making them the perfect victims for director David R. Ellis’ gruesome plans.
Despite its poor acting and predictable plot, “The Final Destination” is still a fun film to watch.
But then again, if you went into it thinking it was going to be an Academy Award winner, then the joke’s on you.
(08/13/09 12:55am)
____simple_html_dom__voku__html_wrapper____>Tantric 2.0 has returned with “Mind Control,” the Louisville, Ky., band’s fourth album overall. It’s the second since lead singer Hugo Ferreira parted ways with the original members of Tantric, leaving him as the only remaining original member. “Mind Control” came out surprisingly fast, just more than a year after 2008’s “The End Begins.” This could in part be the reason the release seems less enticing.Commencing with the title track, the album gets off to a racing start. Ferreira’s distinct voice lights the way from the energetic verses to the melodic, refrained chorus. He’s always had the ability to create memorable melodies that continue to grow on you and stick in your head. In this case, Ferreira’s soaring vocals are what you ultimately remember as he proclaims, “Mind Control / Gotta keep your head strong / Mind control / Make your own opinions.” Following “Mind Control” is “Fall to the Ground,” which starts out with a killer guitar riff before going into a softer chorus. Although similar to “Mind Control” in prose, the two songs vary greatly in overall sound. “Fall” has a feel-good vibe to it, and lyrically it deals with moving on after a breakup.Although the first two tracks are fairly decent, the rest of the album falters in many areas from then on.“Coming Undone” unsuccessfully vibes on System Of A Down, with Ferreira sounding downright annoying at times (despite a nice guitar solo from guitarist Joe Pessia), and on “Kick Back,” Ferreira’s Kid Rock impression also falls flat, sounding even more obnoxious than Rock himself.“Mind Control” could be looked at as a rebuilding record, considering it’s only the second release since the band was restructured. That could perhaps be the reason for the lack of depth and originality displayed. The current lineup has definitely proven its ability, especially Pessia, whose virtuosic guitar playing could bring in an interesting niche to the fold. But Tantric 2.0 has some work to do to improve on its next effort.
(07/30/09 12:57am)
____simple_html_dom__voku__html_wrapper____>When John and Kate Coleman (Peters Sarsgaard and Vera Farmiga) lose a child to stillbirth, the couple decide to adopt a child in its place. They adopt a girl of Russian descent named Esther (Isabelle Fuhrman), and with the other Coleman siblings Max and Daniel (Aryana Engineer and Jimmy Bennett), the Coleman clan seems complete.Initially, Esther’s well-mannered and charismatic personality wows her new parents, but soon after her arrival, problems start. It doesn’t take long to realize something is wrong with Esther. Disturbingly wrong.Dressing in Victorian-era clothing, Esther is quickly made fun of at school. Eventually she retaliates violently on the playground toward a girl who bullied her, but the incident is dismissed when Esther claims it was merely an accident.Esther’s rage gets exponentially more twisted and grotesque. Also increasing at an alarming rate is her devious manipulation of her new siblings, whom she uses to further mask her sociopathic behavior. Fuhrmann is incredibly twisted as the orphaned Esther, and thanks to an unexpected twist at the end, full-out freakish by the latter stages of the film. Her performance serves as an example of why sociopathy is such a terrifying and intriguing phenomenon. She transforms from utterly emotionless to genuinely sweet to violently angry and back again with little more than slight changes in facial expression.Sarsgaard and Farmiga both turn in good performances as the clueless husband and incessantly victimized wife, respectively. Farmiga’s character is a recovering alcoholic who instantly clashes with Esther, but no one believes her notion that something is amiss with the orphan beneath the surface. Sarsgaard’s character criticizes his wife for her dislike of the child while he recklessly abandons common sense until it’s too late. Gender roles seem to be somewhat reversed in the character portrayal of the parents. The reversal is engaging and welcomed.One of the few flaws of the film, however, are the inevitable horror cliches, such as medicine-cabinet mirrors quickly being shut to cast a sudden reflection and shower curtains ripped open to reveal nothing. The biggest horror trope is the revelation of everything in the last half an hour of the film, with the characters trapped in a dark house jumping at shadows and fighting a suddenly unstoppable evil. There is no suspense but who will die and how, and which apparent death of the antagonist will actually stick.Despite some level of predictability and cliches, the acting is solid, and a big twist near the end still makes “Orphan” an enjoyable nightmare.
(07/16/09 1:20am)
____simple_html_dom__voku__html_wrapper____>Marcy Playground is a severely underrated band. One of the best bands of this generation, it was dealt a kiss of death in the form of the all-too-popular “Sex & Candy,” a decent piece no doubt, but merely one sixteenth note of the great song of Marcy Playground.“Leaving Wonderland ... In a Fit of Rage,” the band’s latest, was originally slated to be front man John Wozniak’s solo work, until he announced last summer the record would be released under the Marcy name, its fourth album, and first since 2004’s “MP3.”Like so many other bands, Marcy Playground seems to be doing everything it can to avoid having another commercial hit. The result? A quality CD without the cliched pop hooks permeating radio with nearly every song. That’s not to say the music here isn’t good enough to be on the radio; in fact, it’s too good to be on the radio, a place reserved for big label acts fueled by payola. The band has been able to successfully exist without the presence of a big label, and this release serves as further proof of that.“Good Times” shows off Wozniak’s songwriting talent. While starting off as a soft, acoustic number, Wozniak’s melodic voice lifts the track to great heights. Like many of their other songs, this one seems to hearken back to childhood and stands right up there with some of their best works.The dark ballad “Down The Drain” vibes off the band’s “Shapeshifter” era, sounding like a cross between “Never” and “Our Generation.” Starting with Wozniak playing a gloomy progression on his acoustic, his vocals drift so low they are nearly sleep-inducing. The pace soon picks up, and the end result is incandescence. This one, like the aforementioned track, could fit right into the band’s best works.In all, the album consists of 10 new tracks and two reworkings of older ones – “I Burned The Bed” and “Memphis” – which previously existed as a pre-Marcy Playground release and a B-side, respectively. “Leaving Wonderland ... ” shows the band still has the knack for writing quality songs ranging from quirky, lighthearted pieces to darker, more melancholy work.Like “MP3,” this one isn’t quite as good as their first two albums, but it’s close, and anything close is still wonderful.
(06/24/09 11:45pm)
____simple_html_dom__voku__html_wrapper____>Rhett Miller has returned. The Texas alternative country icon’s self-titled release is his third solo album. When not fronting his usual band, the Old 97’s, Miller has shown his ability to stand on his own, showcasing his writing talent. For the most part, he continues that trend with this release.“Like Love” sets the tone with an upbeat tempo juxtaposed with Miller’s soft, whiny voice. The song keeps a steady beat throughout, with his vocals standing out like they do so well on most of his work. Though it may seem like an upbeat number, Miller’s lyrics paint a vastly different picture.“We’re all alone in this world / From cradle to grave and maybe after that / We all want things we can never afford, like a house filled with laughter every night / All of these things that we’ll never afford, like love.”Though “Like Love” might prove to be the best track, “I Need To Know Where I Stand” is the first single. Though more laid-back than the aforementioned track, it has an equally upbeat vibe, with a hummable rhythm beneath Miller’s yearning voice. There is definitely a hint of Grateful Dead influence in this song, between the lazy-but-happy feel of the rhythm section coupled with the chorus, where Miller’s harmonized vocals soar to new heights. This is vintage Rhett Miller.This latest release from the singing Texan is full of love ballads from start to finish. Though many of them have great depth, there are a few that seem to fall flat. “Lashes” and “Haphazardly” just sound boring, and any emotion contained in them seems contrived.Though Miller might still have some work left to do to come up with the perfect album, he’s always able to compose good songs.
(06/18/09 12:40am)
____simple_html_dom__voku__html_wrapper____>They’re not rock stars, but they play rock stars’ songs.Bar patrons flock to hear well-known songs from guys who are not so well-known. Local cover bands 40% Steve and the Clayton Anderson Band, as well as touring acts like Hairbangers Ball and Zoso, rock out at Bloomington institutions about once a month, drawing many IU students.“College kids like to hear songs they know,” said Dave Kubiak, manager of the Bluebird Nightclub. He said he thought the aforementioned bands are popular because of their deliveries. “They’re both young, energetic performers,” Kubiak said. “They have good energy on stage and come across to all the people.”IU optometry student Sarah Dierks, a classmate of Clayton Anderson Band’s drummer, Andrew Neukirch, first heard the band when she started at IU in 2005. She agreed with Kubiak concerning the band’s stage presence.“My first impression was that they played good songs,” Dierks said. “They were fun to watch and had lots of energy.”The Appleton, Wis., native also said she enjoyed the atmosphere the band promoted while it played.“I love the cover songs they play,” she said. “They are great performers and definitely get the crowd involved.”Dierks has seen the band at least six times and said she was ecstatic to see them play again. Her favorite songs from the band are “Don’t Stop Believin’,” “Sweet Caroline” and “Sweet Home Alabama.”Though the band plays plenty of covers, don’t tell Clayton Anderson he fronts a cover band.“We don’t consider ourselves a cover band,” Anderson said. “We have been working really hard on original material.”A Bedford native, Anderson graduated from IU in 2006 with a business degree. He said the band played at least 10 original songs during its set and added cover songs between their originals to have a two-hour set.“It allows us to play to the masses in hopes of winning over some true fans who will really get into what we are writing ourselves,” he said. “So far, we have been successful.”The band had been playing covers since 2003. Last summer, it opened for country star Kenny Chesney. Anderson said his band’s original songs were better received by the audience this past year than they had been in the past.“You can tell a huge difference between this year and last school year on the amount of people who are singing along to our originals and not running to the bathroom or the bar for another drink,” he said. “It’s a great compliment for the crowd to stay and dance even if they don’t know the song.”Though Anderson’s band plays more than just covers, Bloomington band 40% Steve strictly plays cover songs. It has been successful for the group, as it was voted “Best Local Band” in Best of Bloomington for the past four years.Communications major Mallory Cameron got hooked on the band during her freshman year at IU. The band made a good first impression on her, but she said she got more into their music as time went on.“I genuinely liked them the first time I heard them play, but warmed up to their entire musical endeavors the more I listened to them over the years,” Cameron said. “I respect that they can play a song that I love, and for a while, I can imagine I am at a Bush concert before Bush stopped touring.”The Rochester, Ind., native said she had seen the band at least 15 times. She also said she was always excited to see it play.“There is kind of comfort or warm nostalgia that washes over me when I hear they are playing,” she said. “Like the feeling you get when you see an old friend, but musically.”Cameron’s favorite covers from 40% Steve are their versions of Bush’s “Machinehead” and Tom Petty’s “Runnin’ Down A Dream.”Whether or not Clayton Anderson Band is a cover band, Anderson said he loved going out and performing for his fans.“Playing our songs mean so much to us,” he said. “It’s been amazing. And we have all our friends and fans to thank for coming out every time and supporting us.”
(06/18/09 12:10am)
____simple_html_dom__voku__html_wrapper____>Anthemic choruses, multi-tracked vocals and stadium-sized guitars. Of all the ways to describe 311, those would be the last things you would use to sum up the band’s reggae-filled style. But with producer Bob Rock at the helm, the band’s ninth studio album manages to combine those sounds with the usual laid-back vibe present throughout most of its body of work. The new collaboration has seemingly paid off, as “Uplifter” debuted at No. 3 on the Billboard 200, the band’s highest placing to date.The liveliness of “It’s Alright” harkens back to earlier 311 hits such as “Beautiful Disaster” and “Amber” by providing the forceful nature of the former and the peacefulness of the latter. The crunching guitars set the tone, as the heavily layered vocals soar through the chorus. Apart from the hard-driving chorus, the song is mostly laid-back, with reggae-vibing guitars and lead singer Nick Hexum’s soft voice.“Golden Sunlight” starts out with a trippy, hypnotic sound before delving into the larger-than-life sing-along chorus. As with “It’s Alright,” the band once again makes good use of several layers of vocals, with the array of Hexum’s vocal tracks clearly overshadowing the rest of the song. This number is sure to have swarms of 311 fans singing along.Despite the fresh sound it presents on many tracks, “Uplifter” is not without lackluster efforts.“Too Much Too Fast” treads along into boredom with no highs or lows, just middle-of-the road monotony. “My Heart Sings” is a soft ballad that starts out like it could be one of the band’s best works ever, but the magic soon falls off, ending up as nothing but a boring closing track.Though “Uplifter” has no shortage of sweet melodies and pounding riffs, the album starts to get stale as it winds down. Still, considering there are so few bands with a vibe like 311, the fact it’s still putting out music is automatically a good thing.
(06/11/09 12:56am)
____simple_html_dom__voku__html_wrapper____>The most controversial artist in modern rock has returned with his latest, “The High End of Low.” The 15-track collection has the same kind of sound Marilyn Manson has thrived for more than a decade. Many of the songs deal with more realistic relationship issues, as Manson went through a divorce with Dita Von Teese in 2007, but Manson is still trying to cause a stir. “Blank and White” starts with a catchy, sustained guitar riff that soon picks up the pace as he delivers another lyrical diatribe against society: “Give me a picket sign / Make it blank and white / Like all those stupid teenage girls / We are going to need them where we’re going tonight.” But in the final verse, Manson delivers perhaps his most controversial line in a while: “Give me a picket sign / God is dead but God is still white / Let’s shoot up the mall, the school or the president of whatever / Or whoever wants to fight.”Because of this verse, “Blank and White” is censored even on the uncensored version, with the line “or the president of whatever” replaced with a long beep.Though it’s one of the better tracks, it will likely be the most attention-grabbing because of the lyrics and because it feels like a mostly successful attempt to regain an older style.On “Running to the Edge of the World,” the band starts off with a soft, acoustic guitar to set the tone. Though rarely changing pace, it keeps a steady flow, helping to add variety.“The High End of Low” is mellower than Manson’s previous work. Although there is plenty of variety, a few songs sound too similar on the second half, with many taking off and then failing to go anywhere. At least the controversial artist has released an album his die-hard fans will enjoy.
(06/11/09 12:49am)
____simple_html_dom__voku__html_wrapper____>Elvis Costello explores his American roots with “Sugar, Profane and Sugarcane,” the legend’s staggering 36th studio release. Given that the album was recorded in Nashville with T-Bone Burnett, it’s no surprise the banjo, dobro and fiddle can be heard on many of the tracks powered by Costello’s southern drawl.“Down Among the Wines and Spirits” sets the tone, with Costello sounding like an old school artist from the deep south. The absence of drums, coupled with the strong presence of the aforementioned instruments, gives a strong indication of what to expect -- and what not to expect -- on this record.On “Hidden Shame,” the English artist shows his ability to play a toe-tapping country/folk number. Costello originally wrote the song for Johnny Cash, who recorded it on his 1990 album “Boom Chicka Boom.” The signature Cash sound is still present here, via the bouncy, almost mechanical rhythm guitar. The deep smoothness of Costello’s voice works well against the boom-chicka-boom backdrop.“Complicated Shadows” represents the closest thing to modern rock on the collection. Costello’s manages to tow the line between blues, rock and country amid the southern elements present. The tinge of rock is not an overwhelming surprise, considering the track is a country-fried re-working of a song of the same name from a previous release.Although the country presence often times works here, it quickly sounds repetitive and somewhat contrived. Many tracks seem like filler or old works he just wanted to finally put on a disc. Whatever the premise, Elvis Costello still shows his ability to reinvent himself as he chooses.
(04/30/09 4:18am)
____simple_html_dom__voku__html_wrapper____>In the category of decent bands, you’ve likely never heard of exists Portland, Ore., indie pop/punk trio the Thermals. Formed in 2002, they self-recorded their debut “More Parts Per Million” on a four-track recorder a year later. The demo ended up in the hands of Ben Gibbard of Death Cab For Cutie fame. This would lead to the band signing with Seattle label Sub Pop Records. “Now We Can See” is the band’s debut on their new label Kill Rock Stars. The lively “How We Fade” easily takes the cake for best track on the album. The song is a juxtaposition of peaceful melody and uplifting guitar distortion creating an emotive near-masterpiece. Lead singer Hutch Harris has a recognizable smooth-yet-nasally voice that permeates this track as well as the rest of the album. On “Fade,” his vocals are more heartfelt and spirited than on any other tune in the collection.Although “Fade” may be the best song, the title track “Now We Can See” is the catchiest tune they could have ever hoped to create. Starting with the repetition of a nonsensical, full-band chant, the driving verses carry a more straight-forward contrast to the anthemic intro. The two-sided musical blend is only enhanced by verse after verse of insightful lyrics outlining Harris’ dystopian view of humanity’s evolution.The latest release by the Thermals has traces of greatness and should only help them move up in the realm of indie-esque bands. That being said, some songs on the release lack the kind of raw emotion and energy that legendary records are made of. If they can take what works on “Now We Can See” and expand on it in the future, they have a legitimate shot at making an unforgettable album.
(03/05/09 2:05am)
____simple_html_dom__voku__html_wrapper____>To many, famous bluegrass picker Ralph Stanley is known as a guy who had a song in the film “O Brother, Where Art Thou,” but to IU alumnus Janssen Jones, he’s much more than that.“I love Ralph Stanley,” Jones said. “I’d go so far as to say that he’s the greatest living bluegrass performer that has been around since the early days.”Jones has seen Stanley in concert and said he is looking forward to seeing him again when Stanley plays at 8 p.m. Friday the Buskirk-Chumley Theater. “I’ve met him a couple of times, and he’s always been extremely friendly,” he said. “As he’s gotten older, he’s given his son more of the spotlight during the last couple of shows I’ve seen, but he still puts on a great show.”Jones, 32, plays in a bluegrass band of his own called the Blooming Tones with his wife Nicole Jones.Stanley has played banjo since he was a teenager. After serving more than a year in the Army, he began performing in 1946. He formed Stanley Brothers with his brother Carter, and they continued to play together until Carter’s death in 1966. Stanley continued playing without his brother, and he won a Grammy Award in 2002 for his song “O Death,” which was performed in “O Brother, Where Art Thou?”Dwight Dillman, owner and operator of the Bill Monroe Bean Blossom Bluegrass Festival for more than 40 years, is familiar with Stanley’s music, having first heard it in the 1960s.“I like just about everything he does, really,” Dillman said. “It’s original and pure. He’s the real thing.”He also said Stanley has played the festival almost every year and that Stanley will return to the festival in June.Dillman said Stanley has had a big influence on modern music.“He’s influenced all kinds of music,” Dillman said. “Country and rock ‘n’ roll – he’s influenced just about all of them.”Danielle McClelland, executive director at the Buskirk-Chumley Theater, said there has been a lot of buzz in the community about Stanley’s upcoming performance.“We are selling a lot of tickets for it,” McClelland said. “He played here two years ago and almost sold out.”McClelland expects this year’s audience to be as diverse as it was the last time Stanley took the stage in Bloomington.“If our previous concert was any indication, the audience will be all over the map,” she said. “From little kids to people Stanley’s age, a wide range of people have an interest in Americana and folk music.”Jimmy Ferguson, a Brownstown, Ind., native, said he really hopes he can go to the show Friday. He first started listening to Stanley a few years ago.“I like his old-time sound, his rawness and most of all, his voice has a unique quality like other singers such as Johnny Cash,” Ferguson said. “I’m extremely excited to see Dr. Ralph if I get to go.”Ferguson, a 30-year-old aquatic biologist, said his favorite Stanley song is “Little Birdie.” He said he really hopes he can go to the show because it might be his last chance to see the 82-year-old legend.“He is one of my heroes and I want to see him before he passes,” Ferguson said. “I didn’t get into bluegrass until a couple of years ago, and wish I could’ve seen Bill Monroe, Jimmy Martin and others, so trying to make this show is very important to me.”
(02/26/09 3:44am)
____simple_html_dom__voku__html_wrapper____>If you’ve seen one stupid comedy, you’ve seen them all. You know the one where a pathetic loser who can’t get a girl ends up being the hero in the end? That’s “Paul Blart: Mall Cop” in essence, only it might be even worse than many of those films.The bumbling Blart is played by Kevin James, who also co-wrote and produced the film. Blart is a 10-year “veteran” mall cop who missed the cut trying out for the New Jersey State Police. The flow is just as pathetic as the lead character, and at times downright awkward. Ridiculous one-liners permeate throughout. Perhaps the worst part of “Mall Cop” is its lack of direction. It starts off as a cheap comedy and then develops into a sappy love story. Out of the blue, it decides to develop a plot, and it becomes an action movie after a pack of tattooed thugs take over the mall. At this point, the film tries to fit into all three genres, something that barely works in intelligently written movies, let alone a script that a 12-year-old kid could have written.While James is a likeable character with some degree of comedic talent, it rarely shows up in this 87-minute cliche.
(02/25/09 3:27am)
____simple_html_dom__voku__html_wrapper____>When he was a baby, IU alumnus Michael Woods’ mom played symphonic music to help him sleep. Since then, he has dedicated his life to composing classical and jazz music.“I went to sleep listening to Mozart and Haydn,” Woods said. “You’re being exposed to music of excellent craft long before you find out how difficult it is.”Woods, a professor of jazz studies and electric bass at Hamilton University in New York, has released a CD called “The Tell All Book” that he is pitching to big record labels. He said his goal with the album was to get past many of the complexities that make music elitist by expanding the boundaries of his compositions.“I wanted to come up with melodies that sounded fresh but still have a meaningful shake to them,” he said. “They’re almost singable, but still presented with some degree of challenge.”Aside from just making an enjoyable release, Woods also had a bigger goal in mind.“I’m trying to completely expand the definition of what people call ‘black,’” he said. “It seems that the definition has been shrinking to rap and R&B, but I don’t have to come up with a specific sound to sound black.”Woods received his master’s degree in classical compositions from IU in 1979. He returned for a master’s degree in jazz studies in 1992.At IU, the aspiring Woods met the man who would become his friend and mentor, current Chair of the IU Jazz Department David Baker.“The man is my hero,” Woods said of his former teacher. “I don’t just like David Baker – I revere David Baker. Up until that point I did not know one black man in academia that could teach me the elements I needed in jazz.”Baker described Woods as a very ambitious musician and a good student.“He’s very, very smart, and he writes an awful lot of music,” Baker said. “The music is very idiosyncratic, but he’s a great composer.”With Woods working in New York, Baker said he hasn’t talked to his former student in over five years. Still, Baker hopes he has helped Woods along in his career.“I hope I’ve been a positive influence for him,” he said. “I was working at a time when there weren’t a lot of black composers, and I’m sure that influenced him.” Thomas Walsh, associate professor of saxophone and jazz studies in the Jacobs School of Music, jammed with Woods at venues such as Bear’s Place for the Jazz Fables Series when the two were IU students in the early 1990s. Like Baker, Walsh describes the jazzsmith as being very ambitious.“He’s a very prolific composer, and he always had new songs,” Walsh said. “He’s a very enthusiastic guy. I had a lot of fun working with him.” Woods said he wrote his first composition when he was 17. While he can play various instruments, including the violin, he said he prefers the electric bass.“I love playing the part that defines the harmonic undergirding,” he said. “I love having that autonomy.”One of his ultimate goals is to have his music serve as his legacy.“My greatest goal is at some point to have my music performed all over the known world,” Woods said. “Mozart died when he was about 35. He wrote 660 musical compositions, and he died penniless. In the United States you can walk into any music library, and they have every one of his collected works. Nobody can deny his contribution sonically to society. That’s what I aspire to be.” He said his other goal was for his music to bring happiness to the world.“As a black man, I don’t want to create angry music. I want to create inspirational music.”