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(06/21/06 8:37pm)
Each time Rockstar Games bestows a new "Grand Theft Auto" adventure upon us is cause for renewed celebration. After shaking the gaming world to its knees with "Grand Theft Auto III" in 2001, Rockstar upped the ante with "Grand Theft Auto: Vice City" in 2002, and just when you thought they'd pushed the format past its limits, along came "Grand Theft Auto: San Andreas" to shatter all expectations again. When "Liberty City Stories" was released last year exclusively to the PSP portable system, everyone knew a PS2 version couldn't be far behind. It's here and, retailing at only $19.99, it's a literal steal.\nThe year: 1998. Liberty City is still the same crime-congested cesspool that gamers came to love in 2001 with "GTA III." You play as Tony Cipriani; a man who is living proof that nothing spices up one's life more than being an errand boy for the city's most influential and ambitious organized crime family. The map takes you from the slums of Portland, to the skyscrapers of Staunton Island, to the ritzy suburbs of Shoreside Vale, each area rife with missions ranging from the entertaining to the near-impossible. The same sick humor we've come to expect from the GTA series, bolstered by radio deejays Lazlow and Michael "axe wound" Hunt, is ever-present, and by the end of the game you'll be thirsty for Rockstar's next GTA installment, announced for October 16, 2007 on PS3 and Xbox 360.\nThe PS2 incarnation is mostly identical to the PSP version, albeit with slightly crisper graphics, a better controller configuration and lacking the negligible multiplayer option seen on the PSP. The soundtrack, featuring everyone from The Sneaker Pimps and Method Man to Cloud Nineteen and Danger Mouse, is as varied as in any of the previous GTA outings, and sounds a lot better out of your TV speakers than the PSP's audio output. The most notable improvement from the PSP release is the implementation of the PS2 controller's far freer range of movement and camera control, nearly equaling "GTA: San Andreas'" optimal controls.\nThose who already own the game for PSP would still benefit from playing it on a bigger screen with dual analog controls, despite the lack of multiplayer. While not on a level with the sprawling buffet of gaming perfection served up in "Grand Theft Auto: San Andreas," "Liberty City Stories" still satisfies fans of the series with endlessly twisted humor, a dense plot thread, an excellent soundtrack and second-to-none driving mechanics. With over 100 fun and frustrating missions, as well as a bevy of new characters to meet and do business with, Liberty City beckons once more.
(06/21/06 8:35pm)
Released nearly in tandem with Sam Peckinpah's "The Wild Bunch" in 1969, George Roy Hill's "Butch Cassidy and the Sundance Kid" replaces that film's brutal violence and questionable characters with light humor and a far more likeable band of wrongdoers led by the already iconic Paul Newman and a fresh-faced Robert Redford in one of his first high-profile starring roles.\nCommencing with one of the most effective character introductions in modern movie history, it's not long before Paul Newman is free-spiritedly cavorting on a bicycle to B.J. Thomas' "Raindrops Keep Falling on My Head." Therein lies both the fundamental problem and key strength of the film; essentially a revisionist western and buddy picture that turns the tables on previous genre conceptions while poking fun (sometimes too much fun and with too many one-liners for its own good) at both the genres and itself.\nWith luminescent cinematography from Conrad L. Hall and a punchy, spry script by William Goldman, "Butch" is a joy to watch, even if its humor becomes a bit cloying after an hour or so. Newman and Redford bubble over with the star quality that knighted the film box office platinum, and the plot never becomes overwrought or bogged down in unnecessary details. A classic example of American revisionism of the western mystique, "Butch" belongs on the shortlist of late 1960's classics, but the company it resides near on the American Film Institute's Top 100 Films list ("Clockwork Orange," "Taxi Driver," "Jaws," "Amadeus," "Vertigo") greatly overshadows it.\nDisc 1 boasts insightful commentary from director Hill and screenwriter Goldman, as well as invaluable input from the late cinematographer Hall, and Disc 2 of this set doesn't skimp on the features. The excellent 2005 making-of documentary "All Of What Follows is True" is accompanied by a similar but lesser 1994 doc, while cast interviews from 1994 shed more light on the film, but one can't help but wish Redford and Newman had agreed to share more of their thoughts on the film in 2006. Two more worthy docs, "The Wild Bunch: The True Tale of Butch & Sundance" and "History Through the Lens: Butch Cassidy and the Sundance Kid: Outlaws Out of Time" reveal just how much of the film is based on fact while offering up interesting tidbits on the real-life outlaws on which the film was patterned.\nHill, Newman, and Redford would collaborate again four years later on "The Sting," where they actually seemed like they were having more fun that they did here. Listed at #50 on the AFI's list of the greatest films ever made, "Butch" is unquestionably overrated, especially in retrospect, but that doesn't change the fact that it's still an incredibly well-made and enjoyable sliver of Americana.
(06/21/06 8:33pm)
You are given one task: transfer a witness, who is to testify at a very important court hearing, 16 blocks to the court house. Sounds pretty easy, right? Wrong. Try doing that while having a number of NYPD officers following you in attempt to kill the witness you are transporting. \nIn Richard Donner's "16 Blocks," Bruce Willis (Sin City) plays detective Jack Mosley. Upon leaving the police station around 8 a.m., Jack is asked to perform one simple duty before heading home. Tired from investigating a case earlier that morning and desperate to get home, Jack is forced to accept the job. He is now responsible for transporting Eddie Bunker (played by rapper Mos Def) from police custody to the courthouse, just 16 blocks away, all before 10 a.m. There he is to testify as a witness against a high profile case which could ruin the lives of many cops. \nWhat should be an easy task begins to change when detective Mosley decides to stop for a drink (yes, at 8 in the morning), leaving the witness handcuffed in the back of his car. A car which has been following them pulls up and attempts to kill Eddie before the shooter is killed by Jack. Jack and Eddie are also able to escape a second shooter. This all sets off a huge hunt for the two, led by officer Fred Nugent (David Morse), as cops are desperate to have Eddie dead. Jack is determined to get Eddie to the court house on time, even if that means betraying his ex-partner, officer Nugent. "Blocks" leaves one of the main themes running through your mind, and that is, no matter how bad a guy has been, is he able to change and should he be allowed a second chance?\nBruce Willis delivers yet another remarkable performance, seemingly getting better with age, and Mos Def is a surprisingly good actor as well. It's not very often that a rapper is successfully able to crossover into acting (just look at 50 Cent, for example).\nThe DVD includes deleted scenes from the movie as well as an alternate ending that can be viewed separately or incorporated into the film. I watched the movie with both endings and personally think that the ending released in theatres was much better; it was more complete. If you like some of the previous works from director Richard Donner, which includes the Lethal Weapon movies, "Conspiracy Theory" and "Superman," you will enjoy "16 Blocks." This fast paced thriller will keep your attention with the many twists it has to reveal.
(06/21/06 8:31pm)
If big budget, over-the-top action movies are your drug of choice, then chances are you're familiar with the work of Shane Black. You see, during the late 1980s and early '90s, Black was the highest paid action film scribe ever. He jumped onto the scene with his witty script for the hugely successful "Lethal Weapon" and then penned all three sequels that followed. He helped keep Bruce Willis' career afloat with the extremely over-the-top, testosterone fueled "The Last Boy Scout," did a Schwarzenegger flick with "Last Action Hero" and even managed to fit in some acting (you might remember him as Hawkins in the "welcome to the jungle" sci-fi alien hunting action film "Predator"). "Kiss Kiss Bang Bang," the film that marks Black's directorial debut, is his homage/satirical look at the kind of big budget, extreme action films that made him a Hollywood powerhouse. And it's really good. \n"Kiss Kiss" tells the story of Harry Lockhart (Robert Downey Jr.), a fast talking, savvy thief from New York who stumbles into an acting audition by accident and ends up in L.A. training with a private eye named Gay Perry (Val Kilmer). Perry begins working a murder case involving a rich Hollywood son of a bitch (Corbin Bernsen) and a naïve girl from Indiana. While the plot sounds ridiculous, extreme and a bit confusing (and it is all of these things) "Kiss Kiss" actually does a fairly good job landing a coherent mystery story by the end of the film.\nThe film is narrated by Lockhart who spends much of the time trying to figure out why he is in L.A. to begin with while also talking to the audience about stereotypical action movie themes and characters. While the film could have been nothing more than yet another action movie for his canon, Black chooses to use this film as a way to comment on the American blockbusters that made him a millionaire.\nThe film is extremely well written and each actor brings something different to the roles. Downey Jr. has always been somewhat of a nervous character actor, but here, even when he is ranting to the camera during his narration montages, he seems very comfortable with the role. Kilmer's Gay Perry treads the waters of gay stereotypes in film but chances are this was the point of his role. \n"Kiss Kiss" did horribly upon its theatrical release last year and hopefully its recent DVD release will garner it with the cult film status it deserves. The film is very funny, has its share of good old-fashioned American film action and also says a lot about Hollywood social/film politics. \nThe single-disc DVD is minimal but does feature a great commentary track by Black, Kilmer and Downey Jr., and a fairly amusing gag reel. The commentary track is the real gem here though as the players comment on the film's unbelievably low budget for an action film, bizarre stories from the set and of course, some of Black's twisted and funny intentions with some of the characters.\n"Kiss Kiss Bang Bang" is not for everyone. Those interested in seeing an average popcorn action flick may be turned off by the film's satirical ways and some of the humor may be too dark or twisted for some. This being said, people should still give this film a shot. It is smart, never once insulting our intelligence, is well acted and above all, is funny.
(06/21/06 8:24pm)
The best band of the 90s? Sorry Kurt, Eddie and Thom, that honor belongs to a little band called Pavement, an unlikely group of indie-rock underdogs who made some of the best music of the last 15 years. Well-read and well-rounded, Pavement's biggest strength was combining the sweet with the jagged, being influenced equally by the pretty melodicism of early R.E.M. and the Fall as they were by the White Light/White Heat-era noise freak-outs of the Velvet Underground. \nWhile their first two albums, Slanted and Enchanted and Crooked Rain, Crooked Rain are the ones usually associated with "classic" status, the band truly peaked with 1995s Wowee Zowee, an eclectic "whatever goes" masterpiece. Songs of surreal beauty stand side by side with sublimely weird art-punk tracks, and somehow it all works out in the end.\nWowee Zowee, for all its weirdness, contains some of the best songs Pavement ever recorded. "Grounded" is a statement of stunning grandeur, a power ballad for the indie-rock generation. For "Father to a Sister of Thought" the band sounds like they got lost in Nashville, but made the best of it anyway, and "Blackout" is nearly perfect; two minutes of breezy ringing guitars, ideal for a Sunday drive. \nIf you tire of the more standard numbers (which you never will), the loud and crazy side of Wowee Zowee is there to keep you interested. Both the punkish minute-long blast of "Serpentine Pad" and the demented "Flux=Rad" are a ton of fun, and sound great blaring out a car stereo. \nFrontman/mastermind/guitarist Stephen Malkmus, as always is on top form here. His lyrics are at once silly and profound, always being too ambiguous to take themselves wholly serious. Malkmus' biggest asset though is his guitar playing. Something of a thinking man's guitar hero, his thoughtful parts and arrangements keep these songs fresh. His lack of technical grace is more than made up for by pure inspiration and naïve exploration as proved by the meandering solo at the end of "Rattled by the Rush" or the soaring climax of "Pueblo." \nWowee Zowee is one of those records that always has something new for you. Its 18 tracks are so varied that it never becomes stale. It's the sound of a band taking chances and doing whatever they wanted, and luckily taking us along for the ride.
(06/21/06 8:22pm)
When reviewing a live concert album, it's hard to decide whether to review it as if it were a real album, or to review the performance itself. However, when doing the latter, it is significantly more difficult having not attended the show(s). What makes it even more difficult, it's Billy Joel: a nostalgia act. However, taking all these factors into consideration, 12 Gardens Live rocks and rolls for over two and a half hours, and will not disappoint Joel's fans. The album is a compilation of 12 live performances at Madison Square Garden, featuring Joel mainstays: "Only the Good Die Young," "My Life" and of course, "Piano Man."\nJoel's backing band packs an extra punch on already powerful tunes like, "It's Still Rock and Roll To Me." The small horn section really thickens up the instrumentation, while the electric guitar helps keep Joel's piano honest throughout. On "Piano Man," Joel plays harmonica, simultaneously sitting at the piano.\nIt's impressive that Joel can still sell out multiple shows at one venue, some 35 years after his debut album. It proves that he's one of the original superstars of pop music. While today's radio is flooded with preteen bubble gum rock/pop, Joel is the father of the Top 40 pop song. The casual Billy Joel fan will be surprised at how many songs he may recognize or even be able to sing. On this album Joel showcases his unbelievable writing talent, and allows the crowd to sing the chorus to "Piano Man." Unlike other performers of his age, his craft has not dropped off, and his voice may even be better with age. It is truly refreshing to hear some of the songs that I grew up with being played in a live setting.\nThe production on the album lacks at times, occasionally allowing too much crowd noise to break through the music. Despite this minor problem, the rest of the production is done painstakingly well with just the right combination of horns, drums, guitars, pianos, all without an overpowering vocal track.\nSome lesser-known, breakthrough tracks really hold their own among the mega hits on the album: "Vienna," "And So It Goes" and "Miami 2017." With over 30 songs (two bonus tracks) Mr. Joel truly is "The Entertainer," but it still isn't enough. Joel leaves his listeners chanting "Encore, encore"
(06/21/06 8:19pm)
I can't tell you exactly what's missing from the new Futureheads album, News and Tributes. But what I will say is that it lacks pop sensibility; or more importantly, enough of it.\nThere was something about their self-titled first release that made it work. It wouldn't have been fair to call it gimmicky, even if they were the resurrection of Rockapella with feedback and off-beats. The Futureheads knew how to write a hook, and they had a good one in almost every song. \nI've listened to News and Tributes about a dozen times over the last few days, and it's got a lot of the same. Everything is tight. They still make frequent stops in the ruckus to harmonize at oddly appropriate times. And they still aren't interested in maintaining a four-beat tempo. But, like every band should, they've attempted to grow and expand on their sound. And all I'm saying, man, is that they went the wrong way, and ended up sounding gloomy. Lots of minor keys. Still works, but not as well.\nThe album starts out with the same pace as its predecessor, but the anthemic "Yes/No" is markedly dissimilar than 2003's "A to B" … because this time around, the Futureheads have discovered the concept of echo. From there, they move onto "Cope," which is just as loud but twice as angry as anything you've heard them play before. \nAfter "Skip to the End" and "Fallout" prove to be more throwaway than noteworthy, the band regains its pace with "Burnt," which is heavy on the surf guitar. You can almost hear Frank Black babbling incoherently on "Trompe le Monde."\nThe following title track would have fit right in on the first album had the band been in a state of depression. If I may wax poetic, it reminds me of a morning bell under gray skies and the promise of a shitty day on an assembly line. And it doesn't segue into white-noise cacophony of "The Return of the Berserker" at all. \nAnd right about here you'll forget what you're listening to. You'll drift listlessly for a few tracks, disappointed that a band that has so much potential could miss so hard. And then, you come to "Favours for Favours" to save you from an energy-draining sophomore attempt. By far the best track on the album, even if it may be the most user-friendly and radio-ready, its sing-along and uplifting. And that is the Futureheads at their best. \nI wouldn't call News and Tributes misguided, because it's apparent the band knows what it's doing. I would definitely, though, call it a misfire. You could do worse by picking this up, but you could definitely do better.
(06/21/06 8:17pm)
Let's get some things straight first: I am not all that familiar with Sonic Youth's works. I have dabbled briefly in Sonic-Youthry, having heard bits and pieces from their many records in the last couple of years. And I can tell you that they are very talented group of musicians, and that I enjoy their music immensely (what I've heard thus far). That being said, there isn't a lot of background info that I can provide you. \nSonic Youth are one of those bands that mature a little more with every album (I've lost track of how many albums they've put out now). They are a mature band to begin with, and they are getting older and older, but that's not the point. The point is that there is some great songwriting and musicianship present here. \nRather Ripped starts off very mellow, with the female third of Sonic Youth's vocal team Kim Gordon (she plays bass as well) singing with a syrupy quality that is soothing but rough and off key at the same time. The other Gordon tracks vary in mood from somber to chill, to a little more energetic. Gordon's tracks stand out and shine in regards to the other two male vocalists (not being sexist here); and "Turquoise Boy" (the longest track on the album at 6:14) is simply outstanding: very haunting and epic with some beautiful lyrics.\nSurprisingly, there is quite a bit of variety in these 12 tracks, although they happen to be very similar in mood at times. Singer number two, Thurston Moore, muses on the rockin', yet slightly overproduced "Sleepin' Around," and mumbles and rambles about something or other on the album's interesting closer "Or." His tracks are the weakest of the three vocalists, but they are by no means bad.\nFor the most part, this album is very mellow and chill with beautiful poetic lyrics. But at the same time, there are some rockin' tracks, that are confined, and don't get too out of control with noise as Sonic Youth is known for. The odd guitar tuning is still here as well. Sonic Youth's final vocalist, Lee Ranaldo, has one lonely track on this album. "Rats" is very feedback and solo friendly, being probably the noisiest track on this album aside from the noise at the end of "Turquoise Boy."\nSonic Youth is a paradigm of a band. Noisy guitars coalesce with sweet melodies in a way that no other band in modern rock has been able to do. Twenty-five years and running, the Youth aren't exactly youthful anymore, but the heartfelt energy that they bring to their music is stronger than ever. This album is darker and relatively shorter when compared to their other releases (if 51 minutes is short…well, for Sonic Youth it is) and they let melody overpower songwriting. A great album for fans and newcomers alike, Rather Ripped could contend for best alternative album of 2006, hands down.
(06/21/06 8:15pm)
In "The Lake House" Sandra Bullock plays Kate, a lonely single forced to sell her secluded dream house when she takes a new job in Chicago. She leaves a note for the new tenant Alex (Keanu Reeves, still struggling with his lines after all these years) asking him to forward her mail. When the two notice their letters are dated two years apart, they realize something's not right. However, seeing the potential for romance, they accept the unfeasible situation in hopes of love.\n "The Lake House" is like two separate films in one. There's the movie about two slightly depressed middle-aged singles dealing with career and family issues. And then there's the supernatural one, where the same two people, living two years apart, write each other love letters and fall for each other. Yet somehow the asinine romance involving a magical mailbox seems so much more real than its practical counterpart. It feels so forced and fake when Alex tells Kate about his troubled relationship with his sick father. That's kind of sad considering just last week, "Cars" got me to completely believe that it's animated vehicles were living, breathing souls with a story to tell. Even the setup to the magical mailbox premise seems more far-fetched than the actual mailbox itself. Kate is so upset she could possibly lose mail she sends several letters begging Alex to forward any he receives. However, when the paranormal element works, it works surprisingly well and the romance manages to be pretty charming.\nThe movie is beautifully filmed with great shots of the lake house, the Chicago skyline and Sandra Bullock's clothing. It's like watching an Eddie Bauer catalog come to life. While easy on the eyes, "The Lake House" isn't as nice to the ears. There's lots of soothing background music, but the often stale dialogue feels like a nail being shoved in your ear.\nAnyone who decides to see this should be aware of its far-fetched plot, however you can't help but ask why don't Alex and Kate exchange phone numbers through the mailbox and then call each other? That way they could hear each other's voices and won't have to worry about getting hand cramps from writing all those damn letters.
(06/21/06 8:12pm)
Car races shot in hyper speed and the neon lights of Tokyo; if that is not enough to sell the third installment of "The Fast and the Furious," then nothing will. The cast is nothing to gawk at (see: Bow Wow), the storyline is predictable (end the movie with a car chase?), but the cars sure are cool. \nThis time around we follow Sean Boswell (Lucas Black), who is forced to move to Japan to live with his father in a plea agreement that keeps him out of juvenile hall (Black is pushing 24, but he can almost pull off a 17-year-old). His crime: drag racing leading to reckless driving leading to a heap of property damage. \nShortly after arriving at his Tokyo school, Sean befriends Twinkie (Bow Wow), who can sell anything to anyone and even has a green minivan made to look like the Incredible Hulk. Twink introduces Sean to the pimp-my-ride-esque underworld complete with juiced-up rides, pretty girls and trouble in the form of D.K. (Brian Tee), the hard-nosed nephew of a mob boss (played by Sonny Chiba). D.K. immediately takes a disliking of Sean, especially after he sees Sean talking to his girlfriend Neela (Nathalie Kelley). The two enemies take it to the streets and duke it out in several car chases, the final one being a very well shot scene of a race down a curvy mountain road. \nSean is helped along the way by D.K.'s partner Han (Sung Kang), who not only gives Sean his car to race D.K., but teaches him how to "drift." In drifting, the vehicle slides perpendicularly on its wheels (in the movie "Cars," the exact same technique is referred to as turning right to go left), and it is the only surefire way to win a race and get a girl's phone number. \nDirector Justin Lin, who scored accolades with his debut film "Better Luck Tomorrow," does a great job of immersing the viewer in Japanese life rather than simply presenting touristy shots of sumo wrestlers and neon lights at nighttime. His action sequences are well shot and edited, and in the final race he uses an interesting technique of cutting between cell phones as the other kids watch streamed video of the race. \nIn a series where new directors and stars appear in each installment, Lin's 'Tokyo Drift' should at least hold up to its prequels. And an old friend does make a visit at the tail end of the film for one last race.
(06/21/06 8:10pm)
Before anyone anywhere passes judgment on "Nacho Libre," they would do well to keep in mind that it was co-produced by Nickelodeon. That means it's for kids. I'm well aware.\nAlright. Every once in a while, an actor comes around who can singularly take a shitty movie and carry it through on his back. Jack Black is one of those actors.\n"Nacho Libre" is the man's latest vehicle, and it isn't very good. But Black is, and therefore it isn't a complete waste of time to those of us who aren't over 12. Kind of like when you'd get a Superball in the bottom of a box of Cheerios. The cereal is bland and tasteless, but damn it if that ball ain't but fun!\nSee, "Nacho Libre" would be the box of Cheerios. And that would make Black the superball.\nAre you following me?\nThe film is written by the married Jared and Jerusha Hess and directed by the former. They didn't fight very hard to distance themselves from their absurd and polarizing "Napoleon Dynamite," a film that followed a socially and physically awkward teenager through a couple weeks at high school. The plot didn't matter very much, but the character did. Matter of fact, that movie was all character. "Napoleon Dynamite" is nothing without Napoleon.\nThat same truth holds true for "Nacho Libre." I could tell you what happens in its 90 minutes, but I'd just be burning space. So to be blunt: Black plays the titular Nacho, a monk in a Mexican monastery and orphanage who hides a lifelong love of luchadores. In order to score more bank for the monastery's groceries, he starts entering into amateur wrestling matches for prize money. And that gives us more than enough time to watch Black make an ass out of himself in light-blue spandex.\nBlack has absolutely no qualms about displaying his plus-sized body prominently. He prances, soars, rolls, farts and sports the sickest perm I've ever seen, and children -- remember the audience here -- will love him for it. Like a clown at a six-year-old's birthday party, he's fascinating, slightly unnerving and nearly impossible to dislike.\nHowever, that isn't to say that "Nacho" doesn't have its problems. The film could also be described as a feature-length riff on Dynamite's Pedro character; sleepy-eyed Latinos in absurd situations. You're laughing at the accents and their bean jokes and the backwater naivety, and for a second it might cross your mind what exactly you're laughing at. But what is occurring is so obviously good-natured that it'll erase any doubt. The movie isn't so much about Mexican luchadores as it is about Jack Black and his presence. The man himself is the event.\nSo please, before you go and see "Nacho Libre" and get pissed that it meanders, or isn't witty or sarcastic or bitter or making a statement, remember that the grade-schooler in the seat next to you thought it was hilarious. That's an accomplishment in itself. Jack Black for president.
(06/21/06 7:53pm)
This weekend, science fiction fans have the opportunity to look 500 years into the future with a renegade crew aboard a space ship exploring unknown corners of the galaxy, and aid charity at the same time. \nOn Saturday, June 24 at 1 p.m. the Serenity Now, Equality Now charity event features a screening of the film "Serenity" in addition to film-related games at the Monroe County Public Library. Proceeds from the event will go to Equality Now, a group dedicated to protecting women's rights worldwide. \n"Serenity" is a film based on the television series "Firefly" created by Joss Whedon, who is also known as the man behind "Buffy the Vampire Slayer" and "Angel." The movie is named after the spacecraft of the crew in the series.\nIU graduate student Michelle Bolin got a few Serenity fans together to plan the screening in Bloomington when she heard about the international "Brown Coat" charity event. "Firefly" fans are referred to as "Brown Coats," named after the rebel space travelers that the series chronicles.\n"It's just a name for the fans, like 'Trekkies' for 'Star Trek,'" Bolin said.\nAlong with the movie screening, the event features a mixer with games such as "Firefly" trivia, "Firefly"-based card games and a costume contest. \n"A lot of people have characters they like to dress up as," Bolin said.\nThe event's soundtrack will include songs about "Firefly" in a genre of music known as filk, the marriage of science fiction and folk music.\nTickets to the event can only be purchased online at \nhttp://www.cantstoptheserenity.com, as $10 donations to Equality Now, which was chosen for being Whedon's favorite charity.\n"We paid for some things out of pocket so all of the money we raise can go straight to the charity," Bolin said. "We're hoping that people will be generous."\n"Firefly" has a devoted following, but its fans are described as disenfranchised because the show, aired on Fox, was canceled after only 11 episodes.\nIU graduate student, and "Firefly" fan, Jennifer Atkins said she thinks the show and its follow-up movie have such a strong following because the show was canceled in its infancy. She also credits devotion to the show's creator.\n"I think they have such a devoted fan following because Joss Whedon has such a huge fan following," Atkins said.\nThe show's popularity was clear from the success of its DVD sales, which encouraged the making of the film "Serenity," produced by Universal Studios and released last year.\n"I think the fans believed that if they supported it enough, they would bring back the show or make the movie, which they did," Atkins said.\nIU graduate student Joshua Maze said he's a fan of "Firefly" because he fell in love with the characters.\n"They feel like real people," Maze said.\nMaze, like many other fans, holds onto the hope that "Firefly's" storyline will continue in some form; from the continuation of the series, the creation of more movies, novels or even comic books.\n"I'm not really a comic book fan, but if that's what it takes, then I'll be there," Maze said. "Those characters are so close to us that we just want the story to continue so they can live a little while longer."\nBolin hopes Serenity Now, Equality Now will raise awareness about the charity. Equality Now works with national human rights organizations and individuals to document cases of violence and discrimination against women and tries to stop these abuses by raising public awareness of crimes and injustices against women. \nBloomington is one of 40 cities in five countries screening the movie to raise money for Equality Now and generate demand for more content. \n"We're also a little bit selfish," Bolin said. "We want more 'Firefly.' We want there to be a sequel to the movie Serenity."\nAlong with gathering support for the TV series and movie, Bolin said the event will give Firefly fans a chance to meet each other and spark interest in the show with people who are new to the series.\n"Even if you've never seen 'Firefly' before, you definitely want to come," Bolin said. "We're just trying to meet some people and have some fun"
(06/19/06 4:00am)
What an incredible day of music. Buddy Guy, Elvis Costello, Beck, Radiohead and Superjam featuring Trey Anastasio and Mike Gordon of Phish And Phil Lesh from the Grateful Dead. Nothing short of a Beatles reunion could top that lineup.\nBuddy Guy was nothing short of legendary, which is fitting since he is, in fact, a legend. I saw people in there late sixties as well as people in their early teens dancing with reckless abandon as Buddy ripped it up on his guitar. Unfortunately I wasn't able to stay at the Buddy Guy show for long. Elvis Costello, Beck and Radiohead were all playing on the same stage and I had to go stake out my seat.\nI showed up about a half an hour before Elvis Costello and found a spot at center stage about 15-20 yards back. Elvis Costello came out and put on a great show. I probably knew two of his songs going into that show, but by the end he had turned me into a fan.\nAfter Elvis had left the stage, it was about an hour wait before Beck which meant I had just enough time to weave my way through the throng of people in the pavilion, get a corn dog and then muscle my way back to my spot, although I think a few people were contemplating some serious physical violence as I stepped in front of them to try and meet back up with Zack.\nThe Beck show was among the most entertaining concerts I have ever seen. Aside from playing some truly great music, his onstage antics were almost equally entertaining. My favorite thing about his show was the tiny replica of the stage sitting directly behind him which featured exact marionette replicas of the entire band. In perfect harmony with the band movements, the tiny replicas singing and playing their instruments were broadcast over the big screens for all of the people who were too far away to see. \nAfter Beck it was an hour and a half until Radiohead, and come hell or high water, I was not moving an inch from my spot (did I mention I was only 15 yards back from center stage). We were packed in like sardines. I tried sitting down but in order to do so I had to but my knees somewhere in the vicinity of the top of my head. It was worth all of the trouble though, because Radiohead put on one of the best shows I have ever seen. Every song they played was spectacular (including two brand new never before heard songs from their upcoming album). I couldn't have possibly asked for a better day of music. \nAfter the concert was over I wondered into one of the VIP hospitality tents. Where I am almost positive I saw Gina Gershon or at least a reasonable facsimile (if anyone knows her ask her if she was at Bonnaroo, and if she noticed a tall debonair guy giving her the eye).\nMy plan was to just go back to my tent and sleep off the pain of a hard days rocking, but I wanted to see who the line up for Super Jam was. Super Jam is a yearly tradition at Bonnaroo, where several different musicians get together and just play. When Mike Gordon and Trey Anastasio of Phish came out onto the stage I almost cried because I knew I wouldn't be getting much sleep. I stuck around as long as I could, but in the end my exhaustion won out over my love of the band Phish… but just barely.\nUnfortunately it looks as though I am going to have to miss the last day of the festival, but I think that Saturday's festivities was a great way to end the weekend.\nThere will be only one more entry into my blog, check for it sometime tomorrow, but stay posted for lots more pictures and feature stories in Thursday's IDS weekend.
(06/19/06 4:00am)
Well I made it back in one piece, one remarkably sore and sunburned piece. Unfortunately, I had to leave a day early so I missed out on Sunday's festivities. The downside is I missed Matisyahu, Sonic Youth, Atomosphere, Bela Fleck and Phil Lesh. The upside is I also missed out on the rainstorm that hit Tennessee Sunday night. Even though I missed those shows I feel that I got the full Bonnaroo experience so now comes the fun part, the recap.\nBest Concert of the festival goes to Radiohead hands down. They put on an incredible show that lived up to and surpassed my unreasonably high expectations. At first I wanted to slam them for only playing their hits, but then I realized they didn't just play their hits I just love every Radiohead song. I even loved the two new songs they played from their upcoming (sometime in the future if they ever figure it out) album. Second place goes to the Cat Empire, launched themselves from complete obscurity and really overshadowed a lot of the bigger names at the festival. \nBreakout performance was (no surprise) the Cat Empire. They were the band that really got the weekend off to a great start. Coming into the festival nobody had ever heard of the Australian band, but after their high energy set on Thursday night they were all that anyone was talking about (although some people including myself were calling them "the cat something-or-other"). Bonnaroo is not only a place to see your favorite bands, but also a venue for new artists to get their name out there and I don't think anyone did a better job than the Cat Empire. Second Place goes to Devotchka who really killed on the first day as well. They have a sort of Spanish folk-jazz-funk-gypsy thing going on that is hard to describe but fun to listen to.\nWorst concert I saw goes to Umphrey's McGee. All the hippie complaints can be sent to weekend@idsnews.com, you should receive your flippant response in three to five days. They were not bad but they definitely didn't bring it out for the festival like everyone else did. They tried with their Pink Floyd collaboration with the Disco Biscuits, but ultimately the entire thing was entirely forgettable.
(06/17/06 4:00am)
Greetings from Camp 69 at Bonnaroo. The first full day of music kicked off today and boasted the likes of Death Cab for Cutie, G. Love & Special Sauce, Robert Randolph, Seu Jorge and Ben Folds… none of which I made it to. The problem is that there are too many damn bands here. It is a really big problem. I mean today I had to make the decision between Death Cab, Robert Randolph and Oysterhead (and the winner is Oysterhead by a country mile), tomorrow I have to decide between Beck, Blues Traveler, Les Claypool and Medeski Martin & Wood (not to mention a showing of "Eight Legged Freaks" at the Bonnaroo theater). C'mon Bonnaroo, I want to have my cake and eat it too. I guess the up side is that no two people end up having the same experience so the late night roundtable discussions are a little more interesting.\nThe Best concert of the day was by far Oysterhead. If you are unfamiliar with Oysterhead, it is a supergroup of sorts consisting of the guitarist from Phish (Trey Anastasio), the Bassist from Primus (Les Claypool) and the Drummer from the Police (Stewart Copeland). They put on an incredible show worthy which is not surprising given the astonishing level of talent each band member possesses. My only problem with the show was the lack of new material. The only song they played that wasn't on their first (and only) album was what was undoubtedly the weirdest version of Jailhouse Rock ever preformed, with Les Claypool on what was essentially a mechanical gut bucket, and Trey Anastasio playing a guitar which he somehow controlled by hitting and turning the set of antlers that were mounted on it.\nSecond place goes to Andrew Bird who used Keller Williams-esque sound loops to rock "That Tent." I will have to save my tirade about the idiotic stage names for another time as seven straight hours of dancing in the hot Tennessee sun has left me exhausted and I would like to get in a cat nap before Tom Petty's Concert tonight.
(06/17/06 4:00am)
A Saturday afternoon press conference gave artists like Robert Randolph, Ben Folds, Umphrey's McGee, and Lewis Black a chance to joke around and talk about their impressions of the festival that singer of G.Love & Special Sauce Garrett Dutton called "The greatest party of the year." \nBen Folds, fresh off his set, said it was the second time he'd play for a crowd that size. \n"I heard there were 30-40 thousand people in the crowd," Folds said. "And they all have different color hair. I've only played a crowd that big in Japan and they all had dark hair, so I had a little trouble focusing at the beginning of my set." \nMany artists said a big reason they love the show is that it gives them a chance to check out other musicians. Ricky Skaggs admitted his kids plan to see Robert Randolph's act instead of his. Robert Randolph said he wishes he could play his slide guitar during Radiohead, and many expressed their desire to see Beck. Keyboardist of Umphreys McGee, Joel Cummings, said when they tour all year they don't feel like spending their off days seeing shows, but loved the opportunity at Bonnaroo. \n"Every year I walk away finding a band that I love and end up buying all their cd's," Cummins said. "Bonnaroo is one of the best things out there and I'm thrilled to be a part of it." \nCummins and Umphrey's played a gig in Indiana with The Disco Biscuits a few weeks ago, trading in band members as they went. Cummins sid that he got thrown from stage last time they played together and that he was going to get his revenge Disco Biscuits member Jon Gutwillig, seated a couple seats away. \nIndiana natives, Umphrey's McGee have had a big year, with a new album "Safety in Numbers" out since April, and tours across the country including a stop in Bloomington. Sold out shows and new albums come on the heels of what Joel described as a tough year for the band. \nA drunk driver killed a close friend of the band as he tried to meet up with them after the show. Joel said the band struggled through relationship problems and playing 130 -140 shows a year was wearing on the band. He said it helped playing with the new songs that people really relate to and that he was proud of. \n"Usually, a couple weeks after we put out an album I'm looking with self doubt," Cummins said. "I still feel really positive about this one though, so that's a good thing." \nA packed schedule will keep Umphrey's busy all year. They are playing a couple shows with Dave Mathews in July, and have plans to collaborate with Galactic, Bela Fleck, and Marc Broussard in addition to playing the Bean Blossom Festival in Indiana in August.
(06/17/06 4:00am)
So last night took me from What Stage to Which Stage to This Tent to That Tent and even a brief stint at The Other Tent. These are actually the names that they gave the stages at Bonnaroo. I guess they were trying to be cute but really it is just annoying. I mean I innocently ask some one where Nickel Creek is playing and all of the sudden we drop into an Abbot and Costello routine.
(06/16/06 8:16pm)
I'm here. I took 10 hours in a car (four of which were spent in line) and three near death experiences on the Tennessee highways (where apparently drivers licenses are issued with moonshine stills), but I'm here. Manchester, Tenn. Bonnaroo. At camp 69 snuggly nestled right between the Church and someone selling dildos out of the back of their truck. That is sort of the feel here at Bonnaroo. It is a country side usually over run by the politically conservative, but for one weekend the Freaks are running things. Still, since last year's festival brought in $14 million the locals are happy to see the freak flags flying.\nAfter setting up my tent with out any directions (I guess I could have used them, but where is the fun in that), I headed out to check out the lot, see what wares the festival goers were slinging this year. Within five minutes I found myself on Shakedown Street (the center of all illegal commerce for the festival) up to my ankles in garlic grilled cheese, gooballs, and glass pieces (for tobacco use only of course). I refrained from buying anything (although I must say that the alligator meat wrap did pique my attention), and continued my preliminary tour through the dauntingly large campsite.\nI made my way past artists, a bus powered by vegetable oil and an incredibly large teepee and finally made it to the venue where despite the 95 degree heat; they weren't allowing anyone to bring water into the event. I am personally expecting to see at least 20 hippies drop from dehydration by the end of the weekend.\nThe music starts today at 7:00, but top priority for me is not the C and D list bands they have kicking the weekend off. I am headed to the Comedy Tent to see Patton Oswalt. Check in tomorrow after noon for the next up date from camp 69.
(06/16/06 8:15pm)
One Day done, three to go. After the first night's festivities I am left with a few thoughts. \nFirst of all, drug slang is hilarious. It has gotten to the point where I have no idea what people are offering me anymore. I am afraid that eventually I am going to ask for a burrito and end up with a pound of hash. \n Best show of the first night was unquestionably the Australian band, The Cat Empire. I can't remember the last time I saw such a high energy show. By the end of their set people were overflowing out of the tent dancing. Honerable mention goes to Devotchka who proved once and for all that a band can rock your socks off using a violin, drums, a sousaphone and a theramin.\nAlso, After finally getting to see Patton Oswalt do his stand up live I realized that he may be the funniest man alive. I spent the majority of the show buckled over laughing. He also gets lots of credit for packing a tent at Bonnaroo when a large chunk of his shtick is about how hippies suck.\nFinally, I have a little question for the State of Tennessee. How is it possible for someplace to be 95 durring the day and 55 at night? At least in hell they pick one extreme and go with it. Of course this ridiculous temperature shift shouldn't be that big of a deal, most people can just curl up inside of their sleeping bags and be in for a relatively good night of sleep (relative I suppose to sleeping on top of a cactus). However, being the eternal genius that I am, I unrolled my sleeping bag and found that I had bought a child's sleeping bag. I spent the rest of the night shivering from the waste up and sweating from the waste down.\nTop of my list for today is Oysterhead, the power trio consisting of the guitarist from Phish, the bassist from Primus and the drummer from the Police. Check back in tonight for more from me at Camp 69.
(06/16/06 8:15pm)
A naked fan falling off the stage scaffolding, an endless sea of music, wild dancing, and top-notch comedy kicked off the first night of Bonnaroo.\nOverwhelming sights and sounds filled the endless acres of Bonnaroo in Manchester before the artists even began. Interactive art projects like drum making, glass blowing, and endless dancing hippies flood the camp grounds. \nNinety-five degree heat and hours of bumper to bumper traffic getting into the venue did little to quell the energy of raging music fans eager to see their favorite acts and check out new ones. \nGood god, dios (malos) rocked. The first night featured many unknown acts which left a lot to explore. dios (malos) rocked with the effortless sounding smooth crooning of their lead singer Joel Maroles backed up by a wild-eyed drummer and . \nAfter an over-zealous fan climbed the scaffolding of the stage only to fall 15 feet, Maroles wished him well and dedicated a song to him. The indie-pop band energized the crowd, ignited by the drummer who constantly flashed wild, sadistic eyes at the crowd as he mouthed the words the other three members sang. Often the band would stop mid-song to isolate Maroles' sweet singing, only to burst back full steam. \nComedian Patton Oswalt reached out and hugged an IU student, while pretending to be on acid, minutes before closing his bit to an immediate standing ovation at the midnight show. The comedian, famous for "King of Queens" and "Comedians of Comedy," killed at the late-night show, by attacking the very hippies there to see him. Telling the crowd that all dread wearing, bongo playing white boys have to die and wandering around the stage like a lost child, hugging audience members had the crowd in hysterics.\nThe opening night bands only give a glimpse of the eclectic, dynamic acts of Friday and Saturday. Keep posted for reviews and stories from Brazilian act Seu Jorge who performed at Lotus Festival this year, Ben Folds, Robert Randolph & the Family Band, Death Cab for Cutie, and a three and a half hour show by Tom Petty in addition to updates press conferences from numerous artists.\nRock On.
