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(11/29/01 4:49am)
You have probably already seen the best scene from this movie. It's the one in the trailer where three scruffy guys shove their passed out drunk friend in the driver's seat of a car, spin it in the snow and scream -- waking the drunk guy to frantically spin the wheel. Yeah that was funny. I wonder how many of you will try that prank this winter. \nWith the help of the rest of the trailer, you probably have the movie figured out. Bull Mountain is a ski town with 20-something-beer-drinking-snowboarding-lazy-guy roughness around its edges. Rick (Jason London) is still hung up on Anna, a French girl he met in Cancun (Caroline Dhavernas), and still freaks out when "their song" is played (Weezer's "Island in the Sun"). John Majors (Lee Majors) is a cowboy-hat-wearing prospecteer who dreams of latte and matching blue and gold ski outfits for his future employees, and who happens to have a daughter who's a Weezer fan. For the rest of the movie, Rick's friends worry about the mountain while he tries to steal Anna from her fiance. (But we'll always have Cancun!)\nAs you can imagine, the rest of the movie deals with sex jokes, beer, pranks and a blonde headed, large chested bimbo with an accent (Majors's stepdaughter). Tasteless, no doubt, but occasionally amusing. Jenny (A.J. Cook) is one of the most likeable characters, who doesn't stand for Rick's wishywashy moody boy stuff and can hold her beer and board as well as the rest of the guys. \nAt any rate, with slapstick comedy, a token black guy, a predictable plot and a gooey ending, this movie isn't spectacular. It's a teen flick with drinking and snowboards. And while some of the tearing down the mountain is cool, it becomes overkill and the scenes are backed by typical pop/modern rock songs. Here was an opportunity to put some good fast paced rock or punk in a movie blown to bits. \n"Out Cold"'s snow only sparkles with Generation X marketing. Rent it for some easy laughs if you are bored, but don't waste too much money.
(11/15/01 5:00am)
On opening scene that includes autoerotic asphyxiation doesn't really set the stage for a quality film. Especially when it leads to overstrung metaphors and a somewhat unbelievable plot. Yet, despite it's downfalls, "Life as a House" has its moments.\nGeorge (Kevin Kline) is a recently fired architect with lingering memories of his ex-wife and a son with drug problems who listens to Marilyn Manson and not much else. Then, George finds out he has only a few months to live. \nSick of his shack on the seashore handed down by his abusive father, George decides to follow his dreams and build a house he designed, forcing his son (Hayden Christensen -- cast as Anakin Skywalker in the upcoming "Star Wars: Episode II -- Attack of the Clones") to live with him for the summer and help him finish it. He then tries to force his son to love him, becoming closer with his ex-wife Robin (Kristen Scott Thomas), who is having problems with her new marriage, in the process. He hasn't been happy for a decade and sets out, with the help of some neighbors with weird problems of their own, to right his portion of the world. \nNeedless to say, the cancer and the lovey-dovey family resolutions had the more sensitive members of the audience crying by the end. But the sharp 180 degree turns in character personalities come across corny and underdeveloped. The over dramatic and obvious climaxes between every character in the movie also lend themselves to disbelief. Metaphors are thrown in your face at most every turn without the delicacy of subtlety, really the only property that makes metaphors work well in movies. I bet you can't guess what the title of the movie is a metaphor for. \n"Life as a House" is saved by its quirky tangents and amusing and random one-liners. All of the actors play their characters well, allowing the occasional humor to come through. Watch the future Anakin Skywalker -- his character may come on strong, but he delivers some wit himself.\nOverall, rent this one if you have a sense of humor -- not necessarily for the drama of it.
(11/15/01 5:00am)
bet if you started your album with a sweet and punchy horn break and then took off into 10 tracks of jazz with soul and an attitude it would be good too. Learn from some local masters in the Barber Brothers Jazz Quintet -- Rahsaan Barber on sax, Roland Barber on trombone, Jeff Hiatt on bass, Charleston "Deno" Sanders on drums and Washington D.C. pianist Allyn Johnson.\nRecorded over two days at a studio this summer, the quintet's first album, Twinnovation, pulls out all the stops afforded to cats learning from Bloomington's rich jazz community. And they do it while both swinging and serenading. \nAll of the tunes are original instrumental compositions by the twins, who are in their last year of study in the IU jazz program. They and Sanders are in David Baker's band, while they and Hiatt play with various local artists. \nBased on memories and mentor appreciation, the compositions start out strong and don't let up. "Song for Stanley T." lays ground for the brother led band, the intro featuring a strong rhythm section and horns that steal the show. Rahsaan absolutely wails on his sax while Roland keeps it cool.\nNext up is "Sunrise on Patoka Lake" with a Latin feel dominated in a good way by Sanders' tight taps on the woodblock and the base sounds carried by Johnson. Hiatt adds a plucky solo while the Barbers carry the melody. Incidentally, the Barbers also display their Latin influences in local group Alma Azul. \n"Julianna" paints a loving picture with smooth as satin horn melodies and piano delicacy in the background. The round tones and slow pacing of "Healing" carry the music to you gently and make it the perfect song to appreciate in a quite room. \nOverall, the strong composing of the Barbers and the carry-through of the instrumentalists makes Twinnovation do what music is supposed to -- communicate feelings and thoughts better than words.\n Twinnovation is available at T.I.S Music and at www.echomu-\nsic.com/thebarberbrothers.\nRating: 8
(11/15/01 4:47am)
bet if you started your album with a sweet and punchy horn break and then took off into 10 tracks of jazz with soul and an attitude it would be good too. Learn from some local masters in the Barber Brothers Jazz Quintet -- Rahsaan Barber on sax, Roland Barber on trombone, Jeff Hiatt on bass, Charleston "Deno" Sanders on drums and Washington D.C. pianist Allyn Johnson.\nRecorded over two days at a studio this summer, the quintet's first album, Twinnovation, pulls out all the stops afforded to cats learning from Bloomington's rich jazz community. And they do it while both swinging and serenading. \nAll of the tunes are original instrumental compositions by the twins, who are in their last year of study in the IU jazz program. They and Sanders are in David Baker's band, while they and Hiatt play with various local artists. \nBased on memories and mentor appreciation, the compositions start out strong and don't let up. "Song for Stanley T." lays ground for the brother led band, the intro featuring a strong rhythm section and horns that steal the show. Rahsaan absolutely wails on his sax while Roland keeps it cool.\nNext up is "Sunrise on Patoka Lake" with a Latin feel dominated in a good way by Sanders' tight taps on the woodblock and the base sounds carried by Johnson. Hiatt adds a plucky solo while the Barbers carry the melody. Incidentally, the Barbers also display their Latin influences in local group Alma Azul. \n"Julianna" paints a loving picture with smooth as satin horn melodies and piano delicacy in the background. The round tones and slow pacing of "Healing" carry the music to you gently and make it the perfect song to appreciate in a quite room. \nOverall, the strong composing of the Barbers and the carry-through of the instrumentalists makes Twinnovation do what music is supposed to -- communicate feelings and thoughts better than words.\n Twinnovation is available at T.I.S Music and at www.echomu-\nsic.com/thebarberbrothers.\nRating: 8
(11/15/01 4:29am)
On opening scene that includes autoerotic asphyxiation doesn't really set the stage for a quality film. Especially when it leads to overstrung metaphors and a somewhat unbelievable plot. Yet, despite it's downfalls, "Life as a House" has its moments.\nGeorge (Kevin Kline) is a recently fired architect with lingering memories of his ex-wife and a son with drug problems who listens to Marilyn Manson and not much else. Then, George finds out he has only a few months to live. \nSick of his shack on the seashore handed down by his abusive father, George decides to follow his dreams and build a house he designed, forcing his son (Hayden Christensen -- cast as Anakin Skywalker in the upcoming "Star Wars: Episode II -- Attack of the Clones") to live with him for the summer and help him finish it. He then tries to force his son to love him, becoming closer with his ex-wife Robin (Kristen Scott Thomas), who is having problems with her new marriage, in the process. He hasn't been happy for a decade and sets out, with the help of some neighbors with weird problems of their own, to right his portion of the world. \nNeedless to say, the cancer and the lovey-dovey family resolutions had the more sensitive members of the audience crying by the end. But the sharp 180 degree turns in character personalities come across corny and underdeveloped. The over dramatic and obvious climaxes between every character in the movie also lend themselves to disbelief. Metaphors are thrown in your face at most every turn without the delicacy of subtlety, really the only property that makes metaphors work well in movies. I bet you can't guess what the title of the movie is a metaphor for. \n"Life as a House" is saved by its quirky tangents and amusing and random one-liners. All of the actors play their characters well, allowing the occasional humor to come through. Watch the future Anakin Skywalker -- his character may come on strong, but he delivers some wit himself.\nOverall, rent this one if you have a sense of humor -- not necessarily for the drama of it.
(10/31/01 5:00am)
The Prima Donnas prove that disco lives and keyboards rule in "Drugs, Sex & Discoteques," a collection of B-sides and outakes from 1995-99. And don't forget the necessary decadent British accent. \nBased in the exploding music scene of Austin, Texas, the Prima Donnas waste no time getting right to the sex and drugs and disco balls with the first track. Claiming to hail from the UK (yes, these accents are real) and to have met in an orphanage, perhaps lead vocalists Otto Matik and vocalists and keys men Nikki Holiday and Julius Seizure draw from their own experience in the stories they spin. \nKeys wailing away with a sound that makes electronic music almost seem pure, the Prima Donnas mix a bopping beat with a bitter British attitude. Holding true to the "Discoteques," the album has the sort of personality that keeps Matik's somewhat nasally voice and glam style from seeming absurd. The guys even harmonize and make the lines "And now my life is total shit/ I don't know how to deal with it," seem eloquent, in that uniquely "Trainspotting" way.\nCarrying the style with a skinny disco-punk strut, "Reagan's Dead," "Nance Music Manifesto" and "Love You, Schizo Sickie" are the highlights of the album. With 14 tracks, the collection gives a good portrayal of the wierdness that must be The Prima Donnas.\nLyrically, the sex and drugs stories can sometimes get repetitive or make the tame at heart uncomfortable, but the cynical angst the lyrics carry is definitely worth a listen. (Check out "F.U.K." for such cynicism towards westerners).\nDespite the interesting disco stylings and tales of junked out affairs, for a indie music adventurer with only a mild taste in keyboard music, the album is bound to only be on personal rotation for a couple of weeks. Overall, "Drugs, Sex & Discoteques" is a worthy temporary trip into disco dance decadence.
(10/01/01 3:59am)
Chances are, you missed an amazing show Saturday night. Ozomatli rolled through the Indiana Memorial Union's Alumni Hall crowd of a few hundred with horns flailing and explosive percussion to deliver the most awesome performance I have ever seen. And it was free.\nUnion Board sponsored the posse of 10 crazy and energetic musicians who are as friendly as they are talented. Hailing from Los Angeles, the group puts out a unique Latin-rock-hip-hop sound with style and ferocious energy. What's even better is the band cares about something more than just getting famous. \nThese musicians were at the Democratic National Convention, playing in the crowd after the police threw them and the 10,000 audience members out. They do benefit shows and care about justice. At the performance, bass player and vocalist Wil-Dog Abers condemned bombing retaliation toward Afghanistan on behalf of the group. He also cut his hand towards the beginning of the set, lashed some tape on it and kept playing. The show was almost two hours of non-stop energy.\nAfter waiting through two mediocre hip-hop opening acts, the lights dimmed on the audience for the last time and everyone turned towards the stage. They were spun around just as quickly towards the burst of percussion in the back of the room from where Ozo marched through the crowd with cowbells, drums and horns to take the stage to screaming fans. \nOzo mixes Latin rock with hip-hop and some unknown vault of funky spirit. Spanish flowed to hip-hop and horns to percussion with ease, as if Ozo developed some kind of unknown formula no one else has discovered. At this show, it was almost the rule to dance. \nGuitarist Raul Pacheo drove the melody, spending time with both a Fender Telecaster and acoustic guitar, also adding vocals. Horns blasted bright Latin grooves and necessary soul for the group. Trumpet player and lead vocalist Asdru Sierra gave his strong, sweet voice to the Spanish lyrics, adding determination and heart to the music. And Ulises Bella (tenor saxophone, guitar, vocals, clarinet) is the only person who could pull off a clarinet solo in the middle of a rock show and keep the crowd cheering.\nAll of the energy and talented musicianship built off Ozo and the crowd throughout the show to climax in the musicians jumping offstage, hopping the barricade and circling up in the center of the crowd to pummel ears with rhythm yet again. Mixing beats into dancing and chanting, Ozo rounded the enthusiastic audience up for an amazing show-stopper. \nOzomatli took the crowd higher than it had ever been, spun around through beats, activist intelligence and melody, then dropped everyone back down into the chaos of the world with a wide-eyed expression.
(09/27/01 4:36am)
After the police cut the stage power, the musicians of Latin-Afro-rock group Ozomatli grabbed their drums and jumped into the confused crowd of 10,000. Ten minutes later, kids were hit by rubber bullets and the City of Angels embraced the chaos that was the 2000 Democratic National Convention. And the conscientious Ozomatli had a new cause to sing about.\nEmbrace the Chaos is the hybrid rock band's second full-length national release, and its supporting Stateside tour is bringing the group to Alumni Hall for a free show this Saturday.\n"It kind of became the title track," percussionist Jiro Yamaguchi says. "It's sort of about the struggle the group went through up to that point… being able to embrace the craziness that's around your life day to day.\"\nOzomatli took the DNC Staples Center stage as the second band after Rage Against the Machine, Yamaguchi says. The musicians let loose on two songs before the cops pulled the plug. "Embrace the Chaos" features sound clips found on the Internet from the protest. \nLos Angeles isn't the only place Ozomatli has taken the stage for a cause-conscious crowd. This diverse crew of 10 musicians came together to play a 1995 benefit for the Peace and Justice Center, a place in California where kids can express themselves, Yamaguchi says. Even if the band's primary focus is the music, writing for a reason comes naturally for the band, as seems the case for Ulises Bella on tenor sax, clarinet, guitar and vocals. \n"I could play the music and dig it and help different things around the world, different things I wanted to change," Bella says. \nChanging the music world, at least, might just be obtainable for these guys. They are fusing different types of music together that generally aren't even in the same section at a record store. On the band's self-titled album, each song seems to skip between hip-hop and Latin rock, with tight guitars and punctuating rhythms thrown in. On Embrace the Chaos, each song seems to pick a style and flow with that flavor, with different sounds added more sparingly for spice. Most of the lyrics are also sung in Spanish. \nThis unique sound is part of the reason Union Board is putting on the show, says Union Board concerts director Andy Proctor. He saw the band open for Santana once and feels that its message will have a positive impact on the campus. \n"In these times, especially, when you bring more of an active, positive band to the campus... if it at all inspires people to do something, it will bring a positive influence to the campus," Proctor says.\nA message is only a percentage of the guts and glory of this multiethnic and many cultured band. Yamaguchi says the reason Ozomatli's music does have some political leaning is because the members already had it in their nature. Not every song or action is political -- "Ozomatli" is an Aztec word for the monkey god on the Zodiac Calender, Yamaguchi says. "Ozomatli" represents fire, passion and harvest. \nNature and background shines through in musical influence as well. With 10 musicians, Ozomatli has a diverse background, Yamaguchi says. These influences are noticeable on the band's two albums that feature segments from all sorts of genres. But, instead of jumping around within styles on single songs like on the first album, Yamaguchi says Embrace the Chaos features a little more consistency. \n"Our first album was very exciting... based on live shows," Yamaguchi says. "Our second album is about where we've been over the past few years. I think we have grown musically.\n"I think in terms of musical styles things are always changing," he continues. "There isn't any one thing that remains all the time."\nMusic from both albums will be featured at this weekend's show, Yamaguchi says. Though this tour supports the second album, Ozomatli will still unabashedly launch into tunes from the first. As for the acceptance of the band's unique styles, Yamaguchi is optimistic.\n"Young people in general are open to hearing... different kinds of music," he says.\nSomething the band tries to do is to break down barriers, in one way by reacting with the audience more than many rock star types. Yamaguchi says the band tries to put out a positive message. \nBella says playing live is what it's all about.\n"That moment when you hit onstage, when you're ready and get going… everything else is just kind of filler."\nOzomatli will play at 9 p.m. Saturday at Alumni Hall in the Indiana Memorial Union. Doors open at 8:30 p.m. Admission is free to IUB students and one guest per ID.
(09/27/01 4:00am)
After the police cut the stage power, the musicians of Latin-Afro-rock group Ozomatli grabbed their drums and jumped into the confused crowd of 10,000. Ten minutes later, kids were hit by rubber bullets and the City of Angels embraced the chaos that was the 2000 Democratic National Convention. And the conscientious Ozomatli had a new cause to sing about.\nEmbrace the Chaos is the hybrid rock band's second full-length national release, and its supporting Stateside tour is bringing the group to Alumni Hall for a free show this Saturday.\n"It kind of became the title track," percussionist Jiro Yamaguchi says. "It's sort of about the struggle the group went through up to that point… being able to embrace the craziness that's around your life day to day.\"\nOzomatli took the DNC Staples Center stage as the second band after Rage Against the Machine, Yamaguchi says. The musicians let loose on two songs before the cops pulled the plug. "Embrace the Chaos" features sound clips found on the Internet from the protest. \nLos Angeles isn't the only place Ozomatli has taken the stage for a cause-conscious crowd. This diverse crew of 10 musicians came together to play a 1995 benefit for the Peace and Justice Center, a place in California where kids can express themselves, Yamaguchi says. Even if the band's primary focus is the music, writing for a reason comes naturally for the band, as seems the case for Ulises Bella on tenor sax, clarinet, guitar and vocals. \n"I could play the music and dig it and help different things around the world, different things I wanted to change," Bella says. \nChanging the music world, at least, might just be obtainable for these guys. They are fusing different types of music together that generally aren't even in the same section at a record store. On the band's self-titled album, each song seems to skip between hip-hop and Latin rock, with tight guitars and punctuating rhythms thrown in. On Embrace the Chaos, each song seems to pick a style and flow with that flavor, with different sounds added more sparingly for spice. Most of the lyrics are also sung in Spanish. \nThis unique sound is part of the reason Union Board is putting on the show, says Union Board concerts director Andy Proctor. He saw the band open for Santana once and feels that its message will have a positive impact on the campus. \n"In these times, especially, when you bring more of an active, positive band to the campus... if it at all inspires people to do something, it will bring a positive influence to the campus," Proctor says.\nA message is only a percentage of the guts and glory of this multiethnic and many cultured band. Yamaguchi says the reason Ozomatli's music does have some political leaning is because the members already had it in their nature. Not every song or action is political -- "Ozomatli" is an Aztec word for the monkey god on the Zodiac Calender, Yamaguchi says. "Ozomatli" represents fire, passion and harvest. \nNature and background shines through in musical influence as well. With 10 musicians, Ozomatli has a diverse background, Yamaguchi says. These influences are noticeable on the band's two albums that feature segments from all sorts of genres. But, instead of jumping around within styles on single songs like on the first album, Yamaguchi says Embrace the Chaos features a little more consistency. \n"Our first album was very exciting... based on live shows," Yamaguchi says. "Our second album is about where we've been over the past few years. I think we have grown musically.\n"I think in terms of musical styles things are always changing," he continues. "There isn't any one thing that remains all the time."\nMusic from both albums will be featured at this weekend's show, Yamaguchi says. Though this tour supports the second album, Ozomatli will still unabashedly launch into tunes from the first. As for the acceptance of the band's unique styles, Yamaguchi is optimistic.\n"Young people in general are open to hearing... different kinds of music," he says.\nSomething the band tries to do is to break down barriers, in one way by reacting with the audience more than many rock star types. Yamaguchi says the band tries to put out a positive message. \nBella says playing live is what it's all about.\n"That moment when you hit onstage, when you're ready and get going… everything else is just kind of filler."\nOzomatli will play at 9 p.m. Saturday at Alumni Hall in the Indiana Memorial Union. Doors open at 8:30 p.m. Admission is free to IUB students and one guest per ID.
(09/20/01 4:50am)
So YOU wants to be rock stars. Local musicians Nick Niespodziani, Alyssa Finke, Peter Olson and Matt Sonnicksen are beat bouncing on television this week with a brand new music video. Here's the catch: most likely, only Bloomington residents will see the debut.\nYOU banded together to make the most of public resources by creating a music video of "Random Option," the first single from Better Live, the local act's sophomore CD release. But the video isn't headed for TRL -- these musicians will be dancing across the screens of channel 3 (41 in the residence halls), otherwise known as Bloomington's Cable Access Television Services.\n"I think part of the fun of it is that because it's for cable access, we don't have to take it too seriously," Sonnicksen says. "We're doing the whole 'Wayne's World' thing."\nYOU got together with local multimedia company Minerva Media for the production. "Random Option" is the first music video that director Daniel J. Geduld has worked on. The band came up with its own ideas and put together a quirky and upbeat clip. \n"This song is kind of about still living close to home and kind of feeling like you're still living at home," Niespodziani says. "So we kind of tried to play on the local Bloomington theme kind of thing."\nYOU's video is now poised to become part of the extensive video collection at CATS, which houses many tapes of local music events. The Gizmos, the Last Cadmium Orange basement show, a tape of David Baker from 1979, Johnny Socko from 1991 and clips from the first Rhino's show are just a few members of the documentary collection that calls CATS home.\n"I've always enjoyed the diversity of the Bloomington music scene," says former CATS employee and local music aficionado Eric White. "There's no real Bloomington sound." \nWhite has participated in the local music scene for7 20 years and has produced multiple tapes for CATS, from season-long series to tapes of local concerts. One musical video under his belt is the "History of Bloomington Music," produced in 1993. "History" traces Bloomington bands through their inception and death, with concert footage and a musical family tree. \n"There was such great music being played it was important to document it," White says of the CATS collection. He hopes the stations will receive a grant to make the collection more permanent, as some shows are still on reel-to-reel or three-quarter-inch tapes, and all are vulnerable to being destroyed or eaten. All of the tapes are in various stages of quality.\nCATS operates two channels that let the public get their hands on the first amendment via television. Channel 12 runs government business while channel 3 plays everything in the video collection. CATS employee Adam Stillwell says the station creates an opportunity for individuals to step up on his or her own digital soapbox as long as they avoid portraying pornography, hate speech and violence.\n"We are not so much a filter. If people are willing to take the time to make something, than we are willing to put it on," Stillwell says.\nThis, it seems by looking at the video archives, has been a good thing for local musicians who want to represent their music on TV. From years of Lotus Festival tape to punk rock to YOU's "Thriller" cover show last year, the 'M' shelves of CATS's collection are brimming with an eclectic electronic portrait of Bloomington's music scene. And anyone who has the gall can head to the Monroe County Library, 303 East Kirkwood Ave., to check the collection out.\nCATS has two viewing rooms in the library and anyone can request dubs. Requests must be filed two weeks before needed, and for every tape to be dubbed, it costs only a new video tape to copy onto and a Hi-8 tape for use by the public. \nWith dubs, viewing rooms and public TV -- even if the music is better live -- CATS's can show YOU the Bloomington Scene.
(09/20/01 4:24am)
eufollet romps through Cajun country with the band's sophomore release, Belle Louisiane. With apparent fluency in French and upbeat and talented instrumentation, these young adults have the folky feel of down south. \nWithout a member older than 17, the musicians of Feufollet display talent in an ethnic folk style that results from years of development -- one fiddler began playing at age 4. Wielding fiddle, accordion, drums, guitars and other instruments, they blend together rhythm, harmony and history to make an accessible listen for even the untrained ear. \nBrittany Polaski on vocals carries both traditional and original tunes with a confident and solid style. Fiddlers Christopher Stafford and Chris Segura add flavor to the songs of the countryside, with Stafford also coming in on accordion. Ashley Hayes, Michael Stafford and Matt Cormier combine to complete the set. \nTitle track "Belle Louisiane" weaves a soulful picture without the listener needing to understand the language. Polaski sings with a comforting, sweetly-sad tone while steel guitar fiddle help carry out the melody.\n"Evangeline," the only English track on the album, picks it up next with a jumping accordion sound, telling the story of a girl who runs from home. The rest of the tracks mix folk-soul with more fast-paced tunes, with the instrumentalists also coming in on harmonized vocals. \nOverall, the sound of Feufollet is unique and rare. Here is a portrayal of a genre where music and history matter. Through folk and French training, these musicians pull off a fantastic dance much of the world has never seen.
(09/20/01 4:00am)
Who knows whether the author or the screenwriter is at fault for the poor plot of a novel adapted to fill the big screen. Whoever's fault it is, in "The Golden Bowl," from the novel by Henry James, someone needs to shoulder the hefty blame.\nCentered around a poorly crafted, knock them in the head with anti-subtlety metaphor, this early-1900s film lacks any sort of punch. Like one of those overdone and formal castles towering in the scenery, "Bowl" boasts a beautiful setting with an too-dramatic and drawn out plot. \nCharlotte (Uma Thurman) falls in love with poor Italian Prince Amerigo (Jeremy Northam) and cannot live without him. But the prince decides that he is too poor to marry Charlotte and sidles up to the daughter of a rich American Adam Verver (Nick Nolte). Amerigo marries sweet Maggie Verver (Kate Beckinsale), who happens to be Charlotte's best friend. \nThe rest of the movie consists of Charlotte following Amerigo and trying to win back his affections. She even goes so far as to marry Maggie's widowed father to be close to Amerigo. Cascading in lies and intense emotions, Charlotte spends as much time alone with Amerigo as she can until her in-laws become suspicious. \nWith even more blatant metaphors and a plot that could have been shortened, "The Golden Bowl" throws away the knockout it could have delivered. The movie could be interesting enough if it wasn't 130 minutes long and bleary-eyed dramatic. Granted, the mess Charlotte is in is worthy of some drama, but the characters only prompted me to leave without bothering to notice the credits.\nThe two spotlight stars of the film are actually the set and backing music. With ornate castle-homes and clothing, the movie at least bore witness to something interesting and beautiful to look at. Richard Robbins composed a compelling soundtrack for the movie with wonderful instrumentation.\nIn the end, the first metaphor expanded even more: this "Golden Bowl" has more than one crack.
(09/20/01 4:00am)
eufollet romps through Cajun country with the band's sophomore release, Belle Louisiane. With apparent fluency in French and upbeat and talented instrumentation, these young adults have the folky feel of down south. \nWithout a member older than 17, the musicians of Feufollet display talent in an ethnic folk style that results from years of development -- one fiddler began playing at age 4. Wielding fiddle, accordion, drums, guitars and other instruments, they blend together rhythm, harmony and history to make an accessible listen for even the untrained ear. \nBrittany Polaski on vocals carries both traditional and original tunes with a confident and solid style. Fiddlers Christopher Stafford and Chris Segura add flavor to the songs of the countryside, with Stafford also coming in on accordion. Ashley Hayes, Michael Stafford and Matt Cormier combine to complete the set. \nTitle track "Belle Louisiane" weaves a soulful picture without the listener needing to understand the language. Polaski sings with a comforting, sweetly-sad tone while steel guitar fiddle help carry out the melody.\n"Evangeline," the only English track on the album, picks it up next with a jumping accordion sound, telling the story of a girl who runs from home. The rest of the tracks mix folk-soul with more fast-paced tunes, with the instrumentalists also coming in on harmonized vocals. \nOverall, the sound of Feufollet is unique and rare. Here is a portrayal of a genre where music and history matter. Through folk and French training, these musicians pull off a fantastic dance much of the world has never seen.
(09/20/01 4:00am)
So YOU wants to be rock stars. Local musicians Nick Niespodziani, Alyssa Finke, Peter Olson and Matt Sonnicksen are beat bouncing on television this week with a brand new music video. Here's the catch: most likely, only Bloomington residents will see the debut.\nYOU banded together to make the most of public resources by creating a music video of "Random Option," the first single from Better Live, the local act's sophomore CD release. But the video isn't headed for TRL -- these musicians will be dancing across the screens of channel 3 (41 in the residence halls), otherwise known as Bloomington's Cable Access Television Services.\n"I think part of the fun of it is that because it's for cable access, we don't have to take it too seriously," Sonnicksen says. "We're doing the whole 'Wayne's World' thing."\nYOU got together with local multimedia company Minerva Media for the production. "Random Option" is the first music video that director Daniel J. Geduld has worked on. The band came up with its own ideas and put together a quirky and upbeat clip. \n"This song is kind of about still living close to home and kind of feeling like you're still living at home," Niespodziani says. "So we kind of tried to play on the local Bloomington theme kind of thing."\nYOU's video is now poised to become part of the extensive video collection at CATS, which houses many tapes of local music events. The Gizmos, the Last Cadmium Orange basement show, a tape of David Baker from 1979, Johnny Socko from 1991 and clips from the first Rhino's show are just a few members of the documentary collection that calls CATS home.\n"I've always enjoyed the diversity of the Bloomington music scene," says former CATS employee and local music aficionado Eric White. "There's no real Bloomington sound." \nWhite has participated in the local music scene for7 20 years and has produced multiple tapes for CATS, from season-long series to tapes of local concerts. One musical video under his belt is the "History of Bloomington Music," produced in 1993. "History" traces Bloomington bands through their inception and death, with concert footage and a musical family tree. \n"There was such great music being played it was important to document it," White says of the CATS collection. He hopes the stations will receive a grant to make the collection more permanent, as some shows are still on reel-to-reel or three-quarter-inch tapes, and all are vulnerable to being destroyed or eaten. All of the tapes are in various stages of quality.\nCATS operates two channels that let the public get their hands on the first amendment via television. Channel 12 runs government business while channel 3 plays everything in the video collection. CATS employee Adam Stillwell says the station creates an opportunity for individuals to step up on his or her own digital soapbox as long as they avoid portraying pornography, hate speech and violence.\n"We are not so much a filter. If people are willing to take the time to make something, than we are willing to put it on," Stillwell says.\nThis, it seems by looking at the video archives, has been a good thing for local musicians who want to represent their music on TV. From years of Lotus Festival tape to punk rock to YOU's "Thriller" cover show last year, the 'M' shelves of CATS's collection are brimming with an eclectic electronic portrait of Bloomington's music scene. And anyone who has the gall can head to the Monroe County Library, 303 East Kirkwood Ave., to check the collection out.\nCATS has two viewing rooms in the library and anyone can request dubs. Requests must be filed two weeks before needed, and for every tape to be dubbed, it costs only a new video tape to copy onto and a Hi-8 tape for use by the public. \nWith dubs, viewing rooms and public TV -- even if the music is better live -- CATS's can show YOU the Bloomington Scene.
(09/13/01 5:40am)
Punk is not dead and the Dead Kennedys are still putting out albums. "RAGE: 20 Years of Punk Rock" thrashes to this ideal with interviews, music and concert footage from the Germs, Christian Death and more. \nBut despite the fury "RAGE" falls short of a boot to the head for those who haven't delved deeply into the West Coast scene.\nInterviews -- including Jack Grisham, Jello Biafra and Keith Morris -- give the scene's representation an authentic touch. Here they are, the skaters, starters and shakers of the scene, at their vulgar best. But most of the commentary deals with backstage stories more than worthwhile information about the scene. \nThe punch to the story is when the artists discuss the music. Duane Peters got into punk from skating. Gitane Demone insults Green Day and pop punk style. Some interviews touch on the ever-illusive subject of selling out. The heart of the DVD is in the why, not the what, that happened. \nSo, beyond a few intelligent comments regarding music slid in, the DVD portrays trash-talking (Peters actually disses Eric Clapton), and stories of sex, drugs and being a punk. The packaging actually cites "Punks on the Street" as a Special Feature.\nAs far as real "special features" go, the extra video is just more interview material and The directors' commentary is more of a pat on the back than real backstage information. Additional audio contains four songs written for the documentary but nothing extensive. \nOverall, the DVD isn't worth the watch for those not knowledgeable on the West Coast scene. The grainy show clips are interesting, but even to those who know their stuff, it might still not be worth the time. Just go pick up a Dead Kennedys or Circle Jerks album instead.
(09/13/01 4:00am)
Fortunately, David Grisman and Jerry Garcia are both fans of Bill Monroe.\nA decades-long musical partnership spawned in the air of Pennsylvania's Bill Monroe festival in 1964 that brought bluegrass flame keepers David Grisman and Jerry Garcia together. Now, the duo that brought you The Pizza Tapes and numerous other pieces of old-time beauty are the subject of "Grateful Dawg," a documentary. This will be one film where nothing matters but the music in it. \nTaking Bill Monroe's advice to create a personal music style, Jerry did Dead and David did Dawg. Now, with tracks spanning different epochs of Dead and Dawg's partnership, Grateful Dawg: The Original Motion Picture Soundtrack is a documentary in itself. Live and studio tracks lay out the multifaceted talent of these folky fiends -- contrasting the structured, story songs with those that have more acoustic jam style. The live and studio versions of the title track, for example, lend an in-depth look at the rollicking instrumental. \nGarcia's and Grisman's vocals suit bluegrass like well-tuned mandolins -- melodic, yet capable of the sorrowful sound of a lament. Playing guitar, mandolin, mandola and banjo between the two of them, instrumentals are more than developed, including various solos by either artist. With various musicians filling in on violin, percussion and bass, Grateful Dawg's secret code of talented folk style is unbreakable. \nStandout tracks include jazzed-up bluegrass on B.B. King's "The Thrill is Gone" and omnipotent vocals on Bill Monroe's "Wayfaring Stranger." All of the Garcia/Grisman originals need no hype -- they stand on their own.\nIn Grateful Dawg, the lesser-known, legend-worthy styles of Garcia and Grisman can live on. Their combination of the simple pleasures of folk arts and technical musical wizardry lets the music speak for itself.
(09/11/01 7:32pm)
Local Red Cross branches are accepting blood and monetary donations to aid relief efforts in New York and Washington, D.C. \n"This region is making 80,000 units of blood available," disaster services volunteer Tom Ross said. Available units, which will be used as necessary by the national division of the American Red Cross, are being made from current reserve supplies. \nInterested donors are advised to call ahead for an appointment, said Red Cross employee Simone Vigilante. As of Tuesday morning, many donors were waiting in line. No additional donor sites are planned since regional bloodmobiles are being used in Louisville. \n"Right now we are taking as many people as we possibly can," Vigilante said. \nAll blood types are needed. Interested donors must be at least 17 years of age, 110 pounds and in good health. Also, donors must wait one year after receiving a tattoo or unsterile piercing before donating. The donor must not have been to England, Northern Ireland, Scotland, Wales, the Isle of Mann or the Channel Islands for six months or more between 1980 and 1996. If on antibiotics, donors must wait to give blood until three days after their last dose. \nVolunteers are also advised to eat before donating and must fill out a personal questionnaire to be eligible. Donors should follow up their visits by drinking plenty of liquids.\n"For the most part, (the donation process) is no problem," Vigilante said. \nBlood Centers will remain open past the normal closing time of 8 p.m. if necessary, according to a press release. All mobile blood drives for Wednesday have been moved to allow staff to collect more blood at the fixed sites, according to a press release. \nMonetary donations are also being accepted at the national level to aid in relief services. Relief efforts will cost the Red Cross millions of dollars, Ross said. Checks should be made out to the American Red Cross and earmarked for the New York and Washington, D.C., disaster. They can be mailed or delivered in person to the local chapter. \nSome local volunteers will also head to disaster scenes to aid victims. So far, most of the volunteers deal in mental health, Ross said.
(09/06/01 5:07am)
Commercialism: the bane of all that is pure in the world and the antithesis of good music. Once-loyal fans run away in droves when marketability first peers East from the coast of sunshine and glamour. Make music and worship your fans, but you sure as hell better not sell out.\nBack in the late 1980s and early 1990s, Seattle lushed into the grunge lifestyle with Sub Pop, Mother Love Bone and a greasy haired kid from some redneck town down the way. Add David Grohl and Krist Novoselic, and you have the trio that changed the rocking world with flannel and power chords. They were about punk -- doing it yourself in the face of the man. \nBut when the band caught on and the Seattle sound became the favored baby in the eye of record moguls everywhere, the real kids of the scene started the onslaught. Nirvana had sold out. The three guys who lived the depression and soul of that music were regarded as part of the system by some of their first fans.\nRegardless, the band continued to do what it loved to do (play quality, meaningful music) until its leader's death in 1994.\nIn another bout with fortune and loyalty in the spring, The Dave Matthews Band released its newest studio album, the anxiously-awaited Everyday. I was a member of the masses to rush to an album store on Kirkwood that ill-fated Tuesday. When I heard the first four-minute pop wonder track through my headphones in Ballantine Hall, I was disgusted. Here it was, the newest release from not only Dave but Carter Beauford and Boyd Tinsley, some of the most wicked musicians and soloists of the day, and it sounded fit to blare out the windows of some yuppie's new SUV instead of from the stage at Deer Creek (hmm... selling out -- now Verizon Wireless Amphitheater?). The album seemed targeted to appeal even more to the Abercrombie and Fitchers he already had by the collar. I took my DMB poster down from the wall. They had sold out.\nBut the real story needs reconsideration. While some music magazines praised the disc as a new step forward for the band, there was also a hidden story behind this wonderless Everyday. There was to be another album, near completion, with Steve Lillywhite, the somewhat revered digital mind behind DMB's previous studio works. Yet this album was scrapped in favor of working with producer Glen Ballard -- best known for working with Alanis Morrisette. Everyday was written in only a few weeks -- perhaps the album was made to thwart the evils of production and prove that these musicians are what they should be: masters of music. If they want to write a pop album, they can. \nIt's not always necessary to pounce on the first song a band spins on the radio. You don't have to dump kerosene on your record collection the next time a band plays on MTV. Undoubtedly, MTV sucks and the radio is not largely representative of good music, but fame is also not one of the seven deadly sins. Sometimes, although perhaps not in the case of Lars Ulrich, second chances are deserved. \nMusic is not only being true to a scene, it's being true to yourself. If a musician wants to go in a new direction, by all means he or she should. If grunge happens to catch on, this shouldn\'t be a reason to hate it. Radiohead wasn't considered a sellout when the band metamorphosized from guitar rock to the electronic anthem of the millions. \nPerhaps there is no real definition to selling out. If you are in the business for the money, fame or chicks, you definitely shouldn\'t be. Having a commercial deal with Pepsi or Coca-Cola, for instance, doesn\'t speak well to the soul behind your music. But if you find that you can play well and other people actually like to listen to it, you shouldn\'t be banned from all purist ears. \nBy definition: not everyone gives in to fame. Real sellouts were never in it for the music in the first place.
(09/06/01 4:00am)
Including the line, "I love the way you smack my ass," in the first track of a band's first album is not the most eloquent way to unleash musical fury on the world. Try telling this to Puddle of Mudd.\nReleasing yet another 11 tracks of nu-metal pop, post-adolescent anguish to the airwaves, Puddle of Mudd's national debut has the sound of success. Read: this album sounds like much of what you might hear on MTV, the radio or perhaps at next year's May Day concert at Verizon/Deer Creek. This does not necessarily mean Come Clean is a terrible album, just don't expect a new sound from this quartet. \nOne explanation of the band's typical album sound might be co-executive producer Fred Durst, who first created his own sort of fame with the antisophisticate style of Limp Bizkit. Otherwise, let's give credit where credit is due: to vocalist and guitarist Wesley Scantlin, guitarist Paul Phillips, drummer Greg Upchurch and bassist Douglas Ardito (the latter three also on backing vocals).\nCome Clean first launches into it's attack on society, rejection and the plights of a bad childhood with the distortion of "Control," a tune torn between needing your girl and hating it when she pushes you around. Next comes the acoustic guitar intro-ed "Drift and Die," another song reeking of loneliness within the confines of society's supervision. Add Scott Stapp-sounding vocals, a standard rock rhythm section and continue the distortion-switch-acoustic-switch-distortion routine, and you have the flavor of the album. \nSome of the later tunes are generally catchy in a "bob your head as a self conscious concert-goer" type way. The poppy "She Hates Me" is amusing with its conflicting happy sound and bitter lyrics. \nRegardless of the band's un-surprising sound, the album is not a total failure. Come Clean is well-produced and composed of four-minute excursions into the "alternative" rock world. If you are into that sort of thing, pick this album up. The musicians have perfected the radio formula while retaining some amount of wit and skill.
(09/06/01 4:00am)
Commercialism: the bane of all that is pure in the world and the antithesis of good music. Once-loyal fans run away in droves when marketability first peers East from the coast of sunshine and glamour. Make music and worship your fans, but you sure as hell better not sell out.\nBack in the late 1980s and early 1990s, Seattle lushed into the grunge lifestyle with Sub Pop, Mother Love Bone and a greasy haired kid from some redneck town down the way. Add David Grohl and Krist Novoselic, and you have the trio that changed the rocking world with flannel and power chords. They were about punk -- doing it yourself in the face of the man. \nBut when the band caught on and the Seattle sound became the favored baby in the eye of record moguls everywhere, the real kids of the scene started the onslaught. Nirvana had sold out. The three guys who lived the depression and soul of that music were regarded as part of the system by some of their first fans.\nRegardless, the band continued to do what it loved to do (play quality, meaningful music) until its leader's death in 1994.\nIn another bout with fortune and loyalty in the spring, The Dave Matthews Band released its newest studio album, the anxiously-awaited Everyday. I was a member of the masses to rush to an album store on Kirkwood that ill-fated Tuesday. When I heard the first four-minute pop wonder track through my headphones in Ballantine Hall, I was disgusted. Here it was, the newest release from not only Dave but Carter Beauford and Boyd Tinsley, some of the most wicked musicians and soloists of the day, and it sounded fit to blare out the windows of some yuppie's new SUV instead of from the stage at Deer Creek (hmm... selling out -- now Verizon Wireless Amphitheater?). The album seemed targeted to appeal even more to the Abercrombie and Fitchers he already had by the collar. I took my DMB poster down from the wall. They had sold out.\nBut the real story needs reconsideration. While some music magazines praised the disc as a new step forward for the band, there was also a hidden story behind this wonderless Everyday. There was to be another album, near completion, with Steve Lillywhite, the somewhat revered digital mind behind DMB's previous studio works. Yet this album was scrapped in favor of working with producer Glen Ballard -- best known for working with Alanis Morrisette. Everyday was written in only a few weeks -- perhaps the album was made to thwart the evils of production and prove that these musicians are what they should be: masters of music. If they want to write a pop album, they can. \nIt's not always necessary to pounce on the first song a band spins on the radio. You don't have to dump kerosene on your record collection the next time a band plays on MTV. Undoubtedly, MTV sucks and the radio is not largely representative of good music, but fame is also not one of the seven deadly sins. Sometimes, although perhaps not in the case of Lars Ulrich, second chances are deserved. \nMusic is not only being true to a scene, it's being true to yourself. If a musician wants to go in a new direction, by all means he or she should. If grunge happens to catch on, this shouldn\'t be a reason to hate it. Radiohead wasn't considered a sellout when the band metamorphosized from guitar rock to the electronic anthem of the millions. \nPerhaps there is no real definition to selling out. If you are in the business for the money, fame or chicks, you definitely shouldn\'t be. Having a commercial deal with Pepsi or Coca-Cola, for instance, doesn\'t speak well to the soul behind your music. But if you find that you can play well and other people actually like to listen to it, you shouldn\'t be banned from all purist ears. \nBy definition: not everyone gives in to fame. Real sellouts were never in it for the music in the first place.
