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(08/26/05 6:33am)
One of Indiana's largest employers escaped most of the proverbial ax of government budget cuts Thursday, at least for now.\nThe U.S. Defense Department's Base Realignment and Closure Commission voted this week on proposals that recommended closures, additions and realignments to the nation's various military installations. \nThe department proposals originally included cutting nearly 700 jobs at the Crane Naval Surface Warfare Center, which is located 30 miles south of Bloomington, said State Rep. Peggy Welch, D-Bloomington. \nAs of Thursday, BRAC will recommend saving 240 positions and cutting 258 positions, according to a memo from Crane. Of the remaining 289 positions, it is not clear how many are slated for cuts.\nWelch credited the Southern Indiana Business Alliance and lawmakers with saving jobs at Crane.\n"We said to the commission, 'Let us help you understand that if you move these jobs, it will not help our country,'" she said. \nThe Pentagon promotes cooperation between the different branches of the military, rather than maintaining exclusive bases, Welch said. Since Crane is already a joint endeavor, BRAC viewed it more favorably.\nThe memo from Crane indicated the jobs lost will be moved to the Picatinny Arsenal in Dover, N.J. The memo also thanked a concerned community for saving the bulk of the positions on the chopping block.\n"This was only possible due to the excellent work, cooperation and support by the State of Indiana, local elected officials, community support and the credible, dedicated work of the SIBA," the memo stated.\nBRAC tweaks are the final stop for line-item changes to the base closure proposals. The commissioners of BRAC must send their report to President George W. Bush by Sept. 8, Welch said. If the president approves the package, it goes to Congress, where legislators vote up or down on the slate of recommendations. \nThe BRAC Committee and staff have been formed to avoid politicizing debates about base closings, Welch said. BRAC proposals are rarely rejected by the president and Congress, according to The Associated Press.\nCrane is not the only base facing change in Indiana. Major votes Thursday included a decision not to bring many expected jobs to Indianapolis' Fort Benjamin Harrison, according to The Associated Press. When the base closings and realignments are final Indianapolis is still expected to be home to around 1,500 new jobs.
(08/04/05 4:00am)
While out on tour O.A.R. agreed to talk to IDS Weekend about their up coming album and life on the road. For those not familiar with the men from the midwest: O.A.R. is known well among young adults for their easy-going, reggae-infused, lyrically-powerful jam rock. Speaking for O.A.R. was saxophone player Jerry DePizzo.\nHow's it going?\nIt's going well. It's going well.\nYou're out on tour right now.\nWe're smack dab in the middle of it. We started July 9, and we go 'til August 22.\nDoes O.A.R. do its best work on stage in or in the studio?\nWith this record we are trying to change that, but, I think, in the past, we -- our live show kind of out-shines what we did in the studio. But I think on this next record we brought the studio work up to par with live show -- something we feel really good about.\nWhat did you change for the upcoming record, Stories of a Stranger?\nWe approached this record completely different. Instead of taking a month or two with this record, we took, almost an entire year, to be quite honest with you. Just writing songs and getting material ready. We went back to the beginning, back to Chris's basement where the band originated. Stayed there for about two months and really analyzed every piece of every song. We broke it down to an acoustic guitar and Marc's vocals and lyrics and made sure everything fit. You know, we are working with this guy named Jerry Harrison who produced the record. He was the keyboard and guitar player for the Talking Heads -- he's worked with a lot of bands, Live, the Violent Femmes. We took a lot of time with him before going into the studio. And then once we went into the studio -- he really challenged us and we really worked hard on this record. We really put everything we had into it and literally finished record the day before we went on tour.\nYou've shared stages with a host of other bands. Are your former tourmates still strangers or have you made any friends along the way?\nOh yeah. I think we have been really lucky. We've really traveled and played with some great people. We maintain relationship with some of them. A guy that we just saw recently was Robert Randolph, he came out to Nashville and played -- we were supporting the Dave Matthews Band and he came out and hung out. A lot of the bands that we played with, we still maintain relationships and contacts with. There are just too many to name to be honest with you.\nRobert has nothing but good things to say about you.\nReally? That's great.\nWill Robert or any other tourmates make guest appearances on Strangers?\nNo, none of those guys show up on the album, but we do have guys who came in and played on the record. But we do have two guys who came in a played on the record. Three guys come to mind: Bernie Worrell of Parliament Funkadelic, Les Claypool, James Brown. And our producer, Jerry Harrison from the Talking Heads came in; he played keys on this record. So, yeah, there's a whole bunch of people -- Lenny Picket from the Saturday Night Live band played. \nWhen people talk about O.A.R. often times Dave Matthews is mentioned. After all, you worked with Glen Ballard and recorded the new album in Charlottesville (home base for the Dave Matthews Band). Are comparisons between you and the DMB justified?\nYeah, we recorded a few things with Glen that turned out great. Bands travel in small circles and they're a big band, so we were bound to work with some of the same people. It's kind of hard to say. People define artists by comparing them and putting them in groups and genres and stuff. Take the Dave Matthews Band for example: they were compared to the Grateful Dead early on in their career. They came before us, so we're compared to them. I really don't mind it, obviously they are an amazing band. It used to bother me, but I don't worry about it too much anymore because I take it as a compliment. And they're very popular and they're great. I think though also we've kind of come up the same way. We've grown our audiences, or fan bases. We're a very grassroots type of band and audience. There are some similarities much more in those terms than musically. There are also some musical similarities as well.\nWhat are your favorite and least favorite things about being on the road?\nThere's pros and cons. In general, we travel in a very comfortable way. On the negative side of things I don't get to see my family as much. Simple things that you would take for granted on a daily basis, like -- shit … walking the dogs, taking out your own trash, cleaning the house -- things that you consider chores. One thing that I miss is yard work. That's something that most people hate, but, you know, that's something I like because I just don't get to do it. Sleeping in bed with my wife -- I guess some days are harder than others. \nWhen you go home and want to relax, do you put on O.A.R.? Coltrane? Dave?\nHave you ever heard that saying: "Don't be that guy who wears a concert T-shirt to a show?"\nOf course.\nIt's kind of the same thing with listening to my own music. If I am listening to O.A.R. it's for critiquing purposes. I try to gather musical influences from other places. To be honest with you, I have so much music on my computer I just hit "shuffle."\nIf you can only have one CD, which is it?\nI would pick Miles Davis's Kind of Blue.\nIs O.A.R. a roots-rock jam band? How do you define your style of music?\nI think we coined the term "island vibe roots rock." It is kind of island vibe with some rock and you just throw it in the blender and out comes O.A.R. To define the band's music is dependant on the listener. You go to a music store and some times we're under pop, some times rock; people call us a jam band -- they call us a whole bunch of things. But if you get the record and come to the shows that's all that matters.\nWould it piss you off if, during this entire interview, I called the band "oar?" Many of your fans seem to take offense to that -- is that one of the band's pet peeves? \nIt's like calling R.E.M. "rem" or P.O.D. "pod." Your name is Sam, it would be like if I called you "Josh" this whole time. It's just not the name of the band. The band's name is Of A Revolution, which is obviously a mouthful, so we shortened it. It does stand for something.\nO.A.R. seems to be a polarizing force -- either you love it or you hate it. Why do you think listeners react that way?\nIt's one of those things you can't put your finger on it. It's an intangible thing. Some of it has to do with the type of music we play, some of it has to do with he audience's connection to Marc's lyrics. I think we can connect in a very personal and meaningful way. It's that intangible thing that happens when we play. I think it's the relationship between us guys and the fans. You really can't say its one deciding thing; it's a combination of both.\nIt seems O.A.R. hates being labeled a college touring band. Why is breaking that mold so important to you?\nIt's one aspect of what we showed up to do on this record. For some reason a college band these days doesn't have the same meaning as when I grew up. When you said college radio it was bands like R.E.M. It had integrity to it. Now people say "oh they're a college band" and just write you off. We have worked much too hard to be written off. On this next record we set out not only to prove to other people, but mostly ourselves that we could rise above what we were as a band -- to be better. On this record we set out to write a variety of different songs. We wrote songs on this record that are pop songs, jamming songs, reggae songs, ballads, rock tunes -- hell, we wrote a country tune. We want to span these different genres of music, without relying on one. I was telling you earlier how hard we worked on this record. I think we accomplished something special. We put everything we had into it. Physically, emotionally -- we tested our relationships and it turned out nicely.\nDo you like hanging with your coworkers outside of work? Is everyone friends in the band?\nIt's more than friends, it is family. It's weird, some days you love everyone, some days you hate everyone. It's not always ... you're not always happy. I am sure you have a family and you know -- it is just like that: you have to make it work. The majority of the time we have a good time. I couldn't ask for anything more out of a band or a group of guys.\nIn an interview Marc said he passed on a chance to work with super-producers the Neptunes when they were essentially unknowns. Now that you've toured with them, would you like to get back that chance to work with Chad and Pharrell?\nThey are talented and they've got the ears of gold. I would definitely work with them. I doubt they would actually produce a record for us ... I doubt we could afford them.\nIs there anyone you are dying to play or record with?\nI'd like to tour again with Robert (Randolph) at some point. We've actually been fortunate to always go out with some great bands. I would like to tour with U2, just to see what that is like, or the Rolling Stones, Pearl Jam. I really enjoyed working with Jerry. There are a lot of producers out there that do great work. I'd be interested to see what Rick Rubin would do with us. I don't think he's made a record I didn't like. \nAnything else you'd like IU to know?\nWhen we come (to Indianapolis's The Lawn At White River State Park) it's going to be great show. We're on tour with some great bands: The Southland and Pepper. We've complete revamped our stage show. We've got a videos screen, which is pretty fucking crazy and going to be a lot of fun. It's all getting ready for the record coming out on Aug. 4.
(08/04/05 4:00am)
Jason Mraz is king of the wordplay, even if he doesn't like the title. Mraz's latest album, the cleverly-titled Mr. A-Z, carries on the Mraz shtick of intricate and witty announcements of the mundane.\nHe isn't just a smart word-artist: the man can sing with the best of the contemporary pop-rockers (Jack Johnson, John Mayer, Adam Levine -- artists who Mraz will always be unfairly compared to). He's obviously increasing his vocal range constantly, which is nice with a perfect pitch voice like his. On top of all that, he can write clever pop songs as well as Gwen Stefani or Mark McGrath. (As much as Sugar Ray sucks, their songs are rabidly catchy.)\nBut with obvious potential and ability, expectations were high for A-Z. And, in some ways, the record disappoints. Songs like "Wordplay" (the album's first single) and "O, Lover" speak well of Mraz's talent, but not every song is nearly as catchy. "Wordplay" and "Did You Get My Message?" take stabs at the music industry and the songwriting process, respectively -- which are fine, except "Message" is followed by a serious piano-opera ballad, "Mr. Curiosity." The transition from the rhythmic lyrical stylings associated with Mraz to falsetto opera can be, well, hard to stomach.\nBut right out of "Curiosity" comes "Clockwatching," a fun, James Taylor-meets-Coldplay-style sing-along.\nOn "Bella Luna" Mraz pays homage to Jack Johnson and Norah Jones, crooning a love song to the Moon. Before I listened to "Luna" fully, this idea sounded as if it would become his worst project ever. But, I must give props where props are due.\nEach song on the album is a treat in its own right. (Don't miss "Plane," or really any song.) And producer Steve Lillywhite (Dave Matthews Band, U2, Rolling Stones, Talking Heads) did what he does best -- Mr. A-Z is as smooth as a glass-bottom pool. But I doubt Mraz did his best on his sophomore release, mostly in the area of final song choice. His efforts would probably be more productively spent on lyrical rhythmic songs of old ("Dreamlife of Rand McNally") and built-up ballads from his freshman effort ("You and I Both"). "You and I" and "Rand McNally" would fit much better side-by-side, even though they are intensely different songs.\nThe more I listen, the more I like Mr. A-Z, but, to be sure, each song stands alone. All in all, that's my only major complaint. My copy of this record will find itself worn from rotation.
(08/04/05 1:34am)
Jason Mraz is king of the wordplay, even if he doesn't like the title. Mraz's latest album, the cleverly-titled Mr. A-Z, carries on the Mraz shtick of intricate and witty announcements of the mundane.\nHe isn't just a smart word-artist: the man can sing with the best of the contemporary pop-rockers (Jack Johnson, John Mayer, Adam Levine -- artists who Mraz will always be unfairly compared to). He's obviously increasing his vocal range constantly, which is nice with a perfect pitch voice like his. On top of all that, he can write clever pop songs as well as Gwen Stefani or Mark McGrath. (As much as Sugar Ray sucks, their songs are rabidly catchy.)\nBut with obvious potential and ability, expectations were high for A-Z. And, in some ways, the record disappoints. Songs like "Wordplay" (the album's first single) and "O, Lover" speak well of Mraz's talent, but not every song is nearly as catchy. "Wordplay" and "Did You Get My Message?" take stabs at the music industry and the songwriting process, respectively -- which are fine, except "Message" is followed by a serious piano-opera ballad, "Mr. Curiosity." The transition from the rhythmic lyrical stylings associated with Mraz to falsetto opera can be, well, hard to stomach.\nBut right out of "Curiosity" comes "Clockwatching," a fun, James Taylor-meets-Coldplay-style sing-along.\nOn "Bella Luna" Mraz pays homage to Jack Johnson and Norah Jones, crooning a love song to the Moon. Before I listened to "Luna" fully, this idea sounded as if it would become his worst project ever. But, I must give props where props are due.\nEach song on the album is a treat in its own right. (Don't miss "Plane," or really any song.) And producer Steve Lillywhite (Dave Matthews Band, U2, Rolling Stones, Talking Heads) did what he does best -- Mr. A-Z is as smooth as a glass-bottom pool. But I doubt Mraz did his best on his sophomore release, mostly in the area of final song choice. His efforts would probably be more productively spent on lyrical rhythmic songs of old ("Dreamlife of Rand McNally") and built-up ballads from his freshman effort ("You and I Both"). "You and I" and "Rand McNally" would fit much better side-by-side, even though they are intensely different songs.\nThe more I listen, the more I like Mr. A-Z, but, to be sure, each song stands alone. All in all, that's my only major complaint. My copy of this record will find itself worn from rotation.
(08/03/05 10:59pm)
While out on tour O.A.R. agreed to talk to IDS Weekend about their up coming album and life on the road. For those not familiar with the men from the midwest: O.A.R. is known well among young adults for their easy-going, reggae-infused, lyrically-powerful jam rock. Speaking for O.A.R. was saxophone player Jerry DePizzo.\nHow's it going?\nIt's going well. It's going well.\nYou're out on tour right now.\nWe're smack dab in the middle of it. We started July 9, and we go 'til August 22.\nDoes O.A.R. do its best work on stage in or in the studio?\nWith this record we are trying to change that, but, I think, in the past, we -- our live show kind of out-shines what we did in the studio. But I think on this next record we brought the studio work up to par with live show -- something we feel really good about.\nWhat did you change for the upcoming record, Stories of a Stranger?\nWe approached this record completely different. Instead of taking a month or two with this record, we took, almost an entire year, to be quite honest with you. Just writing songs and getting material ready. We went back to the beginning, back to Chris's basement where the band originated. Stayed there for about two months and really analyzed every piece of every song. We broke it down to an acoustic guitar and Marc's vocals and lyrics and made sure everything fit. You know, we are working with this guy named Jerry Harrison who produced the record. He was the keyboard and guitar player for the Talking Heads -- he's worked with a lot of bands, Live, the Violent Femmes. We took a lot of time with him before going into the studio. And then once we went into the studio -- he really challenged us and we really worked hard on this record. We really put everything we had into it and literally finished record the day before we went on tour.\nYou've shared stages with a host of other bands. Are your former tourmates still strangers or have you made any friends along the way?\nOh yeah. I think we have been really lucky. We've really traveled and played with some great people. We maintain relationship with some of them. A guy that we just saw recently was Robert Randolph, he came out to Nashville and played -- we were supporting the Dave Matthews Band and he came out and hung out. A lot of the bands that we played with, we still maintain relationships and contacts with. There are just too many to name to be honest with you.\nRobert has nothing but good things to say about you.\nReally? That's great.\nWill Robert or any other tourmates make guest appearances on Strangers?\nNo, none of those guys show up on the album, but we do have guys who came in and played on the record. But we do have two guys who came in a played on the record. Three guys come to mind: Bernie Worrell of Parliament Funkadelic, Les Claypool, James Brown. And our producer, Jerry Harrison from the Talking Heads came in; he played keys on this record. So, yeah, there's a whole bunch of people -- Lenny Picket from the Saturday Night Live band played. \nWhen people talk about O.A.R. often times Dave Matthews is mentioned. After all, you worked with Glen Ballard and recorded the new album in Charlottesville (home base for the Dave Matthews Band). Are comparisons between you and the DMB justified?\nYeah, we recorded a few things with Glen that turned out great. Bands travel in small circles and they're a big band, so we were bound to work with some of the same people. It's kind of hard to say. People define artists by comparing them and putting them in groups and genres and stuff. Take the Dave Matthews Band for example: they were compared to the Grateful Dead early on in their career. They came before us, so we're compared to them. I really don't mind it, obviously they are an amazing band. It used to bother me, but I don't worry about it too much anymore because I take it as a compliment. And they're very popular and they're great. I think though also we've kind of come up the same way. We've grown our audiences, or fan bases. We're a very grassroots type of band and audience. There are some similarities much more in those terms than musically. There are also some musical similarities as well.\nWhat are your favorite and least favorite things about being on the road?\nThere's pros and cons. In general, we travel in a very comfortable way. On the negative side of things I don't get to see my family as much. Simple things that you would take for granted on a daily basis, like -- shit … walking the dogs, taking out your own trash, cleaning the house -- things that you consider chores. One thing that I miss is yard work. That's something that most people hate, but, you know, that's something I like because I just don't get to do it. Sleeping in bed with my wife -- I guess some days are harder than others. \nWhen you go home and want to relax, do you put on O.A.R.? Coltrane? Dave?\nHave you ever heard that saying: "Don't be that guy who wears a concert T-shirt to a show?"\nOf course.\nIt's kind of the same thing with listening to my own music. If I am listening to O.A.R. it's for critiquing purposes. I try to gather musical influences from other places. To be honest with you, I have so much music on my computer I just hit "shuffle."\nIf you can only have one CD, which is it?\nI would pick Miles Davis's Kind of Blue.\nIs O.A.R. a roots-rock jam band? How do you define your style of music?\nI think we coined the term "island vibe roots rock." It is kind of island vibe with some rock and you just throw it in the blender and out comes O.A.R. To define the band's music is dependant on the listener. You go to a music store and some times we're under pop, some times rock; people call us a jam band -- they call us a whole bunch of things. But if you get the record and come to the shows that's all that matters.\nWould it piss you off if, during this entire interview, I called the band "oar?" Many of your fans seem to take offense to that -- is that one of the band's pet peeves? \nIt's like calling R.E.M. "rem" or P.O.D. "pod." Your name is Sam, it would be like if I called you "Josh" this whole time. It's just not the name of the band. The band's name is Of A Revolution, which is obviously a mouthful, so we shortened it. It does stand for something.\nO.A.R. seems to be a polarizing force -- either you love it or you hate it. Why do you think listeners react that way?\nIt's one of those things you can't put your finger on it. It's an intangible thing. Some of it has to do with the type of music we play, some of it has to do with he audience's connection to Marc's lyrics. I think we can connect in a very personal and meaningful way. It's that intangible thing that happens when we play. I think it's the relationship between us guys and the fans. You really can't say its one deciding thing; it's a combination of both.\nIt seems O.A.R. hates being labeled a college touring band. Why is breaking that mold so important to you?\nIt's one aspect of what we showed up to do on this record. For some reason a college band these days doesn't have the same meaning as when I grew up. When you said college radio it was bands like R.E.M. It had integrity to it. Now people say "oh they're a college band" and just write you off. We have worked much too hard to be written off. On this next record we set out not only to prove to other people, but mostly ourselves that we could rise above what we were as a band -- to be better. On this record we set out to write a variety of different songs. We wrote songs on this record that are pop songs, jamming songs, reggae songs, ballads, rock tunes -- hell, we wrote a country tune. We want to span these different genres of music, without relying on one. I was telling you earlier how hard we worked on this record. I think we accomplished something special. We put everything we had into it. Physically, emotionally -- we tested our relationships and it turned out nicely.\nDo you like hanging with your coworkers outside of work? Is everyone friends in the band?\nIt's more than friends, it is family. It's weird, some days you love everyone, some days you hate everyone. It's not always ... you're not always happy. I am sure you have a family and you know -- it is just like that: you have to make it work. The majority of the time we have a good time. I couldn't ask for anything more out of a band or a group of guys.\nIn an interview Marc said he passed on a chance to work with super-producers the Neptunes when they were essentially unknowns. Now that you've toured with them, would you like to get back that chance to work with Chad and Pharrell?\nThey are talented and they've got the ears of gold. I would definitely work with them. I doubt they would actually produce a record for us ... I doubt we could afford them.\nIs there anyone you are dying to play or record with?\nI'd like to tour again with Robert (Randolph) at some point. We've actually been fortunate to always go out with some great bands. I would like to tour with U2, just to see what that is like, or the Rolling Stones, Pearl Jam. I really enjoyed working with Jerry. There are a lot of producers out there that do great work. I'd be interested to see what Rick Rubin would do with us. I don't think he's made a record I didn't like. \nAnything else you'd like IU to know?\nWhen we come (to Indianapolis's The Lawn At White River State Park) it's going to be great show. We're on tour with some great bands: The Southland and Pepper. We've complete revamped our stage show. We've got a videos screen, which is pretty fucking crazy and going to be a lot of fun. It's all getting ready for the record coming out on Aug. 4.
(07/18/05 4:23am)
Danny Jackson entered Phi Kappa Tau on move-in day. He was the first pledge to move in -- no one else was in the house, unbeknownst to him. So, when he heard the sound of footsteps drudging down the stairs, he wasn't surprised. \nJackson approached the source of the sound, calling out "Who's there, who's there?," looking for his fellow house mates. He rounded the corner toward the stairs and the sound stopped. He saw nothing and froze. The touch of a hand rested on Jackson's shoulder sending him into a seizure. His brothers found him soon after and helped him to the Health Center. \nOr so the legend goes.\nThe Career Center, formerly the Phi Kappa Tau fraternity house, is one of the many "haunted" places on campus, including the Indiana Memorial Union and Read dorm. As many as 45 percent of IU students might be inclined to believe the local legends according to a recent Gallup poll. The poll asked a sample of more than 1,000 Americans if they believed that "ghosts/spirits of dead people can come back." \nLynn Taylor, founder of the Association for Aerial Anomaly Research and Cataloging, believes the University possesses key qualities increasing the occurrence of tales of the occult.\n"It all boils down to history," she said. "The more history there is, the more fertile the ground is for ghostly legends to take root and grow." She also said younger people possess open minds, but also "are more imaginative and subject to suggestion."\nGeography, too, might lend to this paranormal "hot spot." Nearby military bases, bodies of water, sizeable populations and relative seclusion from other large cities add to the occurrences of sightings, Taylor said. Bloomington has all of these in the Crane Naval Surface Warfare base, Lake Monroe (and other lakes) and a population estimated at around 70,000. The nearest city of equal or greater size is Indianapolis whose downtown is approximately 52 miles from Bloomington's 3rd Street and Walnut Avenue.\nLocal stories range from the typical to the strange. \nAn all-black-clad forlorn mother is said to haunt the Monroe-Morgan County State Forest's Stepp Cemetery. The mother supposedly can be seen at full moon mourning the loss of her baby, also buried there. Stepp Cemetery is approximately 15 miles north of campus. It remains a popular stop for late-night visitors, though the high traffic has led to the defacing of many grave stones.\n"It can also be a dangerous place," Taylor said. "We have found remnants of ritual practices that suggest people don't just visit that cemetery to mourn the dead. Be careful, one of the guys with us brought a gun, just in case."\nA fundamentalist religious cult once called the secluded cemetery home. The Crabbites, the legend goes, claimed the ground early in the 20th century. Crabbites gained a reputation for unsavory sexual practices in the community.\n"I've been there and it can be spooky in the woods at night," said Maggie Anaya, co-founder of Indiana Paranormal Investigators. But sightings, she said, are the domain of students looking for a thrill -- not ghost hunters like the IPI and others. "All the stories seem to come from teenagers who go there looking for a thrill, and are rarely disappointed."\nThe Career Center supposedly remains the haunt of children aborted there during a doctor's extended stay early in the building's history, among its other harrowing tales. The builder was supposedly driven to build the house in a fit of insanity and killed himself after completion -- just before the doctor moved in.\nSkeptics of such ghost stories are not alone, though, neither are believers. An idsnews.com poll had believers at 47 percent as of time of print -- about equal to the Gallup data for believers 18 to 29. \nGroups like the AAARC and the IPI have become shelters for dedicated believers. Anaya believes cultural misconceptions paint ghosts as evil and vindictive. "If ghosts really are the dearly departed, why would they want to scare us?" \nIUPD Lt. Jerry L. Minger has heard some strange stories while with the force. But, he said, "weird things reported to IUPD are closer to reality than to the paranormal." \nIn his 33 years with IUPD, Minger said ghost sightings are prevalent among story tellers, not distressed callers. Students' study habits and demographics prevent students from sharing many ghoulish experiences, Minger said.\n"Our officers have gotten some pretty strange stories from persons that have been arrested under the influence of drugs or alcohol," Minger said, "but I wouldn't attribute these sightings to a visit from 'the other side."
(07/14/05 4:00am)
The All-American Rejects continue their hot pop-punk writing with Move Along, which debuted July 12. \nThe album, originally titled Change Your Mind, contains the Boxcar Racer-like pop-punk that the Rejects mastered for their first, self-titled album. More than any other band, though, the band from Oklahoma rings more of Rooney through an effect pedal with Move. \nLead singer Tyson Ritter, probably best know for his absurd vocal jumps on "Swing, Swing," continues to drive much of the band -- for better or for worse. It's for better on most tracks, but Move Along is missing its version of the instrument-driven "The Last Song."\nThe Rejects continue their vocal cascade style (where it appears Ritter sings backup vocals for himself) in the track "11:11 p.m." The title track has a great sing-along chorus (featuring a real choir) and, like much of the album, sticks to the power-chord-infused hit formula. Verse, chorus, verse, chorus, bridge, chorus... \nBut the monotony of formulaic songs works wells for the All-American Rejects. "It Ends Tonight" is a cool, pump-your-fist piano-rock song. Something about the song as a whole makes me think AAR might have a Something Corporate record or two in their iPods. \nWhile their last effort received critical praise that exceeded sales, I have to believe that this record will do just the opposite. \nAll in all, Move is an enjoyable record from front to back without exception. Every song moves smoothly and cleanly through desperate lyrics ironically piped over happy punk-rock chords. I can see myself dancing in my living room or singing in my shower to this record -- and enjoying it.\nBut no song reaches the level of "Swing, Swing" or "The Last Song," though some come close. If you loved their last effort you'll like this one. If you dig anything from the OC-style-indie rock to pop-punk you should check out this new AAR record.
(07/14/05 1:06am)
The All-American Rejects continue their hot pop-punk writing with Move Along, which debuted July 12. \nThe album, originally titled Change Your Mind, contains the Boxcar Racer-like pop-punk that the Rejects mastered for their first, self-titled album. More than any other band, though, the band from Oklahoma rings more of Rooney through an effect pedal with Move. \nLead singer Tyson Ritter, probably best know for his absurd vocal jumps on "Swing, Swing," continues to drive much of the band -- for better or for worse. It's for better on most tracks, but Move Along is missing its version of the instrument-driven "The Last Song."\nThe Rejects continue their vocal cascade style (where it appears Ritter sings backup vocals for himself) in the track "11:11 p.m." The title track has a great sing-along chorus (featuring a real choir) and, like much of the album, sticks to the power-chord-infused hit formula. Verse, chorus, verse, chorus, bridge, chorus... \nBut the monotony of formulaic songs works wells for the All-American Rejects. "It Ends Tonight" is a cool, pump-your-fist piano-rock song. Something about the song as a whole makes me think AAR might have a Something Corporate record or two in their iPods. \nWhile their last effort received critical praise that exceeded sales, I have to believe that this record will do just the opposite. \nAll in all, Move is an enjoyable record from front to back without exception. Every song moves smoothly and cleanly through desperate lyrics ironically piped over happy punk-rock chords. I can see myself dancing in my living room or singing in my shower to this record -- and enjoying it.\nBut no song reaches the level of "Swing, Swing" or "The Last Song," though some come close. If you loved their last effort you'll like this one. If you dig anything from the OC-style-indie rock to pop-punk you should check out this new AAR record.
(07/07/05 4:00am)
Bloc Party is starting to make a big splash on the music scene. \nFollowing in the wave of Brit-rock bands taking over a good portion of the music scene, Bloc Party's rookie record, Silent Alarm, is being spun more and more. The boys from the United Kingdom got their big break when Franz Ferdinand heard their demo and invited them to open a concert. From there, lining up record companies for demo and single releases was no problem until they finished Alarm -- released on Vice and distributed by Atlantic.\nTheir sound you ask? Well, the aforementioned Ferdinand is good parallel, but their sound rings of the Cure, too. And throw in a little of the underrated Modest Mouse and some Kings of Leon to the mix. Every song on Silent Alarm is either begging for a sing-along or a slight nodding-to-the-beat. Anything on the album would work as a radio single -- some songs work as airy atmosphere/ambient rock, some work with sparse, heavy drumming and piping lyrics. \nHowever, every song screams of hard work and dedication. Each effect is perfect, each guitar riff is catchy and every lyric is full of angst, attitude, apathy and austerity. Songs regularly drift between each speaker, left to right over Coldplay-meets-the-Killers-esque riffs. \nBloc Party sets themselves apart from contemporaries Interpol and the Kaiser Chiefs with a firm grasp on pop culture. Their upbeat songs hold bass lines that invite dancing and they drop the music just enough to keep you on your feet. With their firm rooting in pop, they rise above the standoffish sound that indie bands can very easily slip into. Instead they move toward what might be our generation's Velvet Underground, though they don't share that much in common. \nThere's little to compare Bloc Party's debut with; Gang of Four and Joy Division are common metaphors, but neither is wholly accurate. They bring something refreshing to the table -- a combination of sounds that even a guy who avoids 80s-esque pretentious indie-rock like the plague can enjoy immensely.
(07/07/05 12:19am)
Bloc Party is starting to make a big splash on the music scene. \nFollowing in the wave of Brit-rock bands taking over a good portion of the music scene, Bloc Party's rookie record, Silent Alarm, is being spun more and more. The boys from the United Kingdom got their big break when Franz Ferdinand heard their demo and invited them to open a concert. From there, lining up record companies for demo and single releases was no problem until they finished Alarm -- released on Vice and distributed by Atlantic.\nTheir sound you ask? Well, the aforementioned Ferdinand is good parallel, but their sound rings of the Cure, too. And throw in a little of the underrated Modest Mouse and some Kings of Leon to the mix. Every song on Silent Alarm is either begging for a sing-along or a slight nodding-to-the-beat. Anything on the album would work as a radio single -- some songs work as airy atmosphere/ambient rock, some work with sparse, heavy drumming and piping lyrics. \nHowever, every song screams of hard work and dedication. Each effect is perfect, each guitar riff is catchy and every lyric is full of angst, attitude, apathy and austerity. Songs regularly drift between each speaker, left to right over Coldplay-meets-the-Killers-esque riffs. \nBloc Party sets themselves apart from contemporaries Interpol and the Kaiser Chiefs with a firm grasp on pop culture. Their upbeat songs hold bass lines that invite dancing and they drop the music just enough to keep you on your feet. With their firm rooting in pop, they rise above the standoffish sound that indie bands can very easily slip into. Instead they move toward what might be our generation's Velvet Underground, though they don't share that much in common. \nThere's little to compare Bloc Party's debut with; Gang of Four and Joy Division are common metaphors, but neither is wholly accurate. They bring something refreshing to the table -- a combination of sounds that even a guy who avoids 80s-esque pretentious indie-rock like the plague can enjoy immensely.
(06/30/05 4:00am)
I sold my car last week. The big beaut was rife with sentimental value -- I had put blood, sweat and tears in that bucket of bolts and it had given me back years of memories. And, because music is one of my biggest passions, I needed something just right to put me in a good mood on my final cruise. The Transplants' Haunted Cities proved to be perfect for my Kenwood deck.\nIt's hard to encapsulate what subgenre of music Haunted Cities falls under. It's mostly rock, with Latin, punk, rap and reggae undertones. Although they may constantly be paying tribute to the Clash, their record is thoroughly haunted (pun intended) by Sublime's Sublime. \nI have to be honest: I would not have purchased this CD if Travis Barker (of blink-182 fame) weren't promoted as the band's face. I was a huge blink fan and distinctly do not like Tim Armstrong's main group, Rancid. If you're not a fan of the high-school dropouts blink-182, don't worry, Cities is nothing like Take Off Your Pants & Jacket.\nWith a catchy, awesome, albeit not yet popular single "Gangsters & Thugs" running on the promo commercial, I knew there would be at least one good song on this CD. But the Transplants are better than just one Clash-esque, top-20 single. \nIt turns out I was already familiar with some of their previous work, but had not made the association in mind before listening to Haunted Cities. The T-plants's self-titled first album produced the mildly successful single "Diamonds & Guns," a song most probably know better as the piano-punk song behind every Garnier Fructis commercial.\nWith their first major label release, the punk-rock supergroup (rounded out by wildcard Rob Aston) has created a progressive album which, when it all shakes out, will be one of the ten best albums of the year. And top ten isn't bad in a year when The Mars Volta, Coldplay, the White Stripes, Audioslave and the Dave Matthews Band all drop epic or near-epic albums before July (not to mention a Red Hot Chili Peppers album that is due out later this year). \nCities isn't a perfect album, mostly because Aston tries a little too hard to be, well, hard. And "Pay Any Price" is annoying -- but it's the only skipable song on the CD. \nOther songs, "Killafornia" (with Sen Dog from Cyprus Hill) and "Hit The Fence," are certified badass. But more than that, the album has as much variety as a spice rack. "I Want It All" is a funky piano-driven song and has wicked guitar licks, much like "Crash and Burn." Look for "What I Can't Describe" to be the next hit off the album. The song has deadly lyrics (literally) with a happy organ piping away -- it's just a fresh song. \n"Fresh" might be the best way to describe this album. With Haunted Cities, the T-plants have bent musical purists to their breaking point with a forward-looking album that's too cool for any more words.
(06/30/05 12:13am)
I sold my car last week. The big beaut was rife with sentimental value -- I had put blood, sweat and tears in that bucket of bolts and it had given me back years of memories. And, because music is one of my biggest passions, I needed something just right to put me in a good mood on my final cruise. The Transplants' Haunted Cities proved to be perfect for my Kenwood deck.\nIt's hard to encapsulate what subgenre of music Haunted Cities falls under. It's mostly rock, with Latin, punk, rap and reggae undertones. Although they may constantly be paying tribute to the Clash, their record is thoroughly haunted (pun intended) by Sublime's Sublime. \nI have to be honest: I would not have purchased this CD if Travis Barker (of blink-182 fame) weren't promoted as the band's face. I was a huge blink fan and distinctly do not like Tim Armstrong's main group, Rancid. If you're not a fan of the high-school dropouts blink-182, don't worry, Cities is nothing like Take Off Your Pants & Jacket.\nWith a catchy, awesome, albeit not yet popular single "Gangsters & Thugs" running on the promo commercial, I knew there would be at least one good song on this CD. But the Transplants are better than just one Clash-esque, top-20 single. \nIt turns out I was already familiar with some of their previous work, but had not made the association in mind before listening to Haunted Cities. The T-plants's self-titled first album produced the mildly successful single "Diamonds & Guns," a song most probably know better as the piano-punk song behind every Garnier Fructis commercial.\nWith their first major label release, the punk-rock supergroup (rounded out by wildcard Rob Aston) has created a progressive album which, when it all shakes out, will be one of the ten best albums of the year. And top ten isn't bad in a year when The Mars Volta, Coldplay, the White Stripes, Audioslave and the Dave Matthews Band all drop epic or near-epic albums before July (not to mention a Red Hot Chili Peppers album that is due out later this year). \nCities isn't a perfect album, mostly because Aston tries a little too hard to be, well, hard. And "Pay Any Price" is annoying -- but it's the only skipable song on the CD. \nOther songs, "Killafornia" (with Sen Dog from Cyprus Hill) and "Hit The Fence," are certified badass. But more than that, the album has as much variety as a spice rack. "I Want It All" is a funky piano-driven song and has wicked guitar licks, much like "Crash and Burn." Look for "What I Can't Describe" to be the next hit off the album. The song has deadly lyrics (literally) with a happy organ piping away -- it's just a fresh song. \n"Fresh" might be the best way to describe this album. With Haunted Cities, the T-plants have bent musical purists to their breaking point with a forward-looking album that's too cool for any more words.
(06/09/05 4:00am)
Audioslave is a solid band -- how could they not be? With Chris Cornell powering out his catchy vocals and top-20-all-time-guitarist Tom Morello reproving himself on every song, every Audioslave album should be good.\nAs with any superband, though, the expectations are high. I grew up on Soundgarden (Cornell) and Rage Against the Machine (everyone else in the band), and find myself listening to Out of Exile wishing it was Rage's self-titled CD.\nWhen I get past that, though, I find myself enjoying my Exile.\nTracks like "Doesn't Remind Me" resurrect an early-90s grunge feel, without the unclean feeling that comes when other bands try the same sound. Other songs, like the album's namesake, are just plain captivating, with great choruses and even better guitar solos. Though I must say the handful of songs that aren't impressive are a bore -- there's not much middle ground.\nEvidently, Morello's hands are faster than I ever knew. Many rock guitarists go for speed and inherently sacrifice quality, reverting to stereotypical metal solos -- like the kind you might hear in boring Motörhead-esque speedmetal ballads. Not Morello. He lays down ridiculous, so-fast-you-know-they're-one-handed solos on top of his inventive verse and chorus riffs, yet stays fresh.\nFor guitar solo superiority in our generation of musicians, Morello is challenged only by the great blues/funk table-steel guitarist Robert Randolph, The Mars Volta's Omar Rodriguez-Lopez and Tim Reynolds. \nOn Tracks like "#1 Zero" and the aforementioned "Doesn't Remind Me" and "Out of Exile," Cornell shreds down the house like it's made of cheese.\nBut not everything's fantastic Out here. Cornell's lyrics just don't match the energy of the boys from Rage sometimes. They are making great music, but I, and I expect others, can feel how much better their energies could coalesce. I miss Zack de la Rocha's fire on the mic. Regardless of whether you agree with the man's political leanings, he had a way of making you empathize and then want retribution. \nBut Out of Exile is given some off-the-bench support from bassist Tim Commerford. He makes a mark for himself on this record. No longer simply adding depth to Morello's ideas, he takes the bass out for a walk on the lighter songs and punches down the deep notes during what would otherwise be modest drum breaks. "Yesterday to Tomorrow," for example, breaks you off with a deadly riff from Commerford.\nThis album is not quite as good as Audioslave's self-titled first effort, which I loved front to back, despite critics hailing down hate.\nIf you like rock -- not just indie, not just nu-metal, not that terrible Nickleback/Three Doors Down-esque pop-rock pile of dog crap -- then this album is worth some spins.
(06/09/05 12:16am)
Audioslave is a solid band -- how could they not be? With Chris Cornell powering out his catchy vocals and top-20-all-time-guitarist Tom Morello reproving himself on every song, every Audioslave album should be good.\nAs with any superband, though, the expectations are high. I grew up on Soundgarden (Cornell) and Rage Against the Machine (everyone else in the band), and find myself listening to Out of Exile wishing it was Rage's self-titled CD.\nWhen I get past that, though, I find myself enjoying my Exile.\nTracks like "Doesn't Remind Me" resurrect an early-90s grunge feel, without the unclean feeling that comes when other bands try the same sound. Other songs, like the album's namesake, are just plain captivating, with great choruses and even better guitar solos. Though I must say the handful of songs that aren't impressive are a bore -- there's not much middle ground.\nEvidently, Morello's hands are faster than I ever knew. Many rock guitarists go for speed and inherently sacrifice quality, reverting to stereotypical metal solos -- like the kind you might hear in boring Motörhead-esque speedmetal ballads. Not Morello. He lays down ridiculous, so-fast-you-know-they're-one-handed solos on top of his inventive verse and chorus riffs, yet stays fresh.\nFor guitar solo superiority in our generation of musicians, Morello is challenged only by the great blues/funk table-steel guitarist Robert Randolph, The Mars Volta's Omar Rodriguez-Lopez and Tim Reynolds. \nOn Tracks like "#1 Zero" and the aforementioned "Doesn't Remind Me" and "Out of Exile," Cornell shreds down the house like it's made of cheese.\nBut not everything's fantastic Out here. Cornell's lyrics just don't match the energy of the boys from Rage sometimes. They are making great music, but I, and I expect others, can feel how much better their energies could coalesce. I miss Zack de la Rocha's fire on the mic. Regardless of whether you agree with the man's political leanings, he had a way of making you empathize and then want retribution. \nBut Out of Exile is given some off-the-bench support from bassist Tim Commerford. He makes a mark for himself on this record. No longer simply adding depth to Morello's ideas, he takes the bass out for a walk on the lighter songs and punches down the deep notes during what would otherwise be modest drum breaks. "Yesterday to Tomorrow," for example, breaks you off with a deadly riff from Commerford.\nThis album is not quite as good as Audioslave's self-titled first effort, which I loved front to back, despite critics hailing down hate.\nIf you like rock -- not just indie, not just nu-metal, not that terrible Nickleback/Three Doors Down-esque pop-rock pile of dog crap -- then this album is worth some spins.
(05/19/05 3:49pm)
Stand Up is not the Dave Matthews Band's best album. Just as Pearl Jam will never make another Ten and U2 will never make another Joshua Tree, DMB will never make a triplet of albums comparable to Under the Table and Dreaming, Crash and Before These Crowded Streets. \nBut Stand Up is a damn good album. \nLyrically, Matthews continues to impress. His voice now sounds old -- like it is a thousand years old, calling from the past. His vocal range has only improved with time, and this go-round is no different. \nCarter Beauford (drums) has long been considered the most overtly and technically talented member of the band. Recently, he has become so potent on the drum set that it seems as if time is slowed down for his ambidextrous hands. For Stand Up, he became more concise, learning to do more with less. The product: his off-beat fills are more mind-bending than before, yet they are still the concrete base of the band. \nAll in all, it's a good record, though the album doesn't hit its stride until the fourth track, "American Baby Intro," where it really takes off. What comes in the first three tracks is fun but not really imaginative, probably the result of heavy influence by producer Mark Baston. Baston is known for his work producing hits for 50 Cent, Eminem and Beyoncé, and has worked with Sting, India.Arie and Seal.\nStand Up features beautiful tracks like "Stolen Away on 55th and 3rd" and "Out of My Hands" and tracks like "Louisiana Bayou," "Smooth Rider" and "You Might Die Trying," which can only be described as simple, Dave-like classics.\nThere will be fans who draw unjustified, negative comparisons that this album is too similar to Everyday, as songs from Stand Up will probably receive significant radio play. This might be obvious to everyone other than entrenched musical purists, but I must say: radio play doesn't make a song or album bad.\nThat being said, this is not the album I expected, especially after the band wrote four or so songs for the summer 2004 tour which turned into crowd favorites quickly -- only one of which made it on the album ("Hello Again"). Those songs were deeper, more organic and much more like the DMB of Before These Crowded Streets. \nThough I like many tracks on Everyday and love all of Busted Stuff and Stand Up, it is time for the band to take over executive production or return to former producer Steve Lillywhite (Under the Table and Dreaming, Crash, Before These Crowded Streets). \nHowever, kudos to DMB for proving once again that they're versatile and ingenious. This album makes me want to dance around singing, sit in quiet awe of the music and create music of my own -- all at the same time. You can't ask for more.
(05/19/05 4:00am)
Stand Up is not the Dave Matthews Band's best album. Just as Pearl Jam will never make another Ten and U2 will never make another Joshua Tree, DMB will never make a triplet of albums comparable to Under the Table and Dreaming, Crash and Before These Crowded Streets. \nBut Stand Up is a damn good album. \nLyrically, Matthews continues to impress. His voice now sounds old -- like it is a thousand years old, calling from the past. His vocal range has only improved with time, and this go-round is no different. \nCarter Beauford (drums) has long been considered the most overtly and technically talented member of the band. Recently, he has become so potent on the drum set that it seems as if time is slowed down for his ambidextrous hands. For Stand Up, he became more concise, learning to do more with less. The product: his off-beat fills are more mind-bending than before, yet they are still the concrete base of the band. \nAll in all, it's a good record, though the album doesn't hit its stride until the fourth track, "American Baby Intro," where it really takes off. What comes in the first three tracks is fun but not really imaginative, probably the result of heavy influence by producer Mark Baston. Baston is known for his work producing hits for 50 Cent, Eminem and Beyoncé, and has worked with Sting, India.Arie and Seal.\nStand Up features beautiful tracks like "Stolen Away on 55th and 3rd" and "Out of My Hands" and tracks like "Louisiana Bayou," "Smooth Rider" and "You Might Die Trying," which can only be described as simple, Dave-like classics.\nThere will be fans who draw unjustified, negative comparisons that this album is too similar to Everyday, as songs from Stand Up will probably receive significant radio play. This might be obvious to everyone other than entrenched musical purists, but I must say: radio play doesn't make a song or album bad.\nThat being said, this is not the album I expected, especially after the band wrote four or so songs for the summer 2004 tour which turned into crowd favorites quickly -- only one of which made it on the album ("Hello Again"). Those songs were deeper, more organic and much more like the DMB of Before These Crowded Streets. \nThough I like many tracks on Everyday and love all of Busted Stuff and Stand Up, it is time for the band to take over executive production or return to former producer Steve Lillywhite (Under the Table and Dreaming, Crash, Before These Crowded Streets). \nHowever, kudos to DMB for proving once again that they're versatile and ingenious. This album makes me want to dance around singing, sit in quiet awe of the music and create music of my own -- all at the same time. You can't ask for more.
(04/21/05 4:46am)
Tuesday, April 12, should have been the last day any IU student ever drove without a seat belt fully secured. Before that date, you might have gotten away with claiming ignorance or laziness, but now you know. From this point on, take heed and buckle up. \nOn that day, the death of Ashley Crouse occurred in a tragic hit-and-run accident. She was the passenger in a Jeep Grand Cherokee -- the only fatality, the only one not buckled. I find myself thinking more and more about all the times I've told myself that seat belts are unnecessary if it's a short drive around campus. \nWith a student death so fresh in our minds, whatever excuse I had that might have prevented pulling down that strap is gone. \nBless the Crouse family, the women of Kappa Kappa Gamma and anyone else who knew her, as these must be excruciating times. Keep situations like theirs in mind when you enter one of the most dangerous and prolific weapons of all time: the automobile. I implore you to lock yourself down before you put the car in drive. \nJust like Emilla Bristow said in Tuesday's Jordan River Forum in the Indiana Daily Student, "Hopefully ... everyone realizes just how reckless it is to ride in a car without using a seat belt."\nThere's no doubt that seat belts save lives and are a necessary precaution. But with that said, mandating who wears a seat belt is senseless, though it is law in Indiana. Adults who drive or ride in car have working seat belts should be able to make a choice as to whether they want to strap in before they drive. Mandating the use of seat belts for fully competent adults is comparable to banning cigarette smoking. The government doesn't have the authority to dictate whether or not people can put themselves in danger.\nA counterargument has been made that accident clean up and medical care place a higher burden on the state (and therefore the taxpayers) when drivers choose not to wear the belt. But if police officers must spend their time ticketing drivers without seat belts, they therefore create a similar burden on the taxpayers.\nMuch could be done to ensure that drivers (and passengers) are better informed and more capable drivers. Laws upon laws could be passed that would make the modern automobile and road much safer for everyone involved. Money could also be allocated to enforce and patrol speed limits and safer roads.\nThe state could certainly be more active in reducing dependence on cars. Planning cities with more density (rather than sprawl, which increases dependence on cars), creating more bike lanes and sidewalks and increasing bussing are allocations of money that could reduce more than just the number of people not wearing their seat belts. Using tax payer dollars in those ways could reduce dependence on foreign oil, reduce obesity or reduce carbon dioxide emissions. \nThe burden of safety on the road is ultimately on the people who use it: the drivers. The state's role should therefore be to educate or train better drivers and produce better driving conditions.\nIt's hard to argue that a crime has been committed when there is no victim per se, as is the case of fining seat belt offenders. And random seat belt checks will not force those who refuse to wear their seat belts to do just that. Worse yet, the money necessary to fund the "Operation Pullovers" around the nation could be better spent on the prevention of urgent crimes.\nWear your seatbelt -- just do it. It's not lawmakers' responsibility to force you to take care of yourself -- it's yours.
(04/21/05 4:00am)
Talib Kweli wants you to stay in school.\nBut if, like Kweli, you find you've missed out on what's going on in the real world, there's another education out there. \n"I left NYU to get a real-life education," he said. "I'm not suggesting that anyone drop out, but (go to school) for you, not for your parents, not to learn how to get up in the morning and conform. \n"Everyone has a natural inclination toward knowledge. Don't let the system beat it out of you." \nYet, for a college dropout, he is obviously well educated.\nKweli spoke at Sunday's IU National Association for the Advancement of Colored People's First Annual Freedom Fund Banquet. For the banquet's keynote address, Kweli spoke on social issues ranging from corporate domination of media, inner city education and AIDS education in Africa. He used the forum to implore people to continue to educate themselves and then use that knowledge for good, breaking stereotypes and injustices.\n"I have an opportunity to reach people on a more personal level," Kweli said. He added that he thought it was important to understand what hip-hop is.\n"Hip-hop is a folk music," he said. "Media perception of hip-hop is different (than what hip-hop really is)." During the convention, Kweli was first and foremost an activist, taking well informed verbal shots at many things, including the Reagan administration and Interscope Records.\nBut the critically-acclaimed rapper remained positive throughout, talking up his family and friends, including LOX rapper Styles P and former Black Star compatriots Mos Def and DJ Hi Tek. \nKweli's particular beef with Interscope stems from their ownership of Rawkus, Kweli's original record label. Interscope folded Rawkus into the larger label, essentially ending Kweli's personal relationship with his producers. \nHis disaffected view of mainstream record companies has led him to want out of his current deal with Interscope. When asked about keeping "conscious rappers" like him on the forefront of music, Kweli felt fans should question the mainstream.\n"50 Cent is concerned with your pocketbooks," he said. "Record companies are concerned with your pocketbooks. If you depend on corporations to tell you what's good, you're going to be let down."\nWhen discussing the current state of hip-hop, Kweli's description of the underground music scene was significantly more diverse than the gangsta style that dominates the mainstream charts like "MTV2 Hip-Hop Countdown." He told of artists who were actively against the typically misogynistic, homophobic or homicidal lyrics of such rap.\nKweli believes that rappers and DJs who rap and spin against the grain don't fit the media-driven image of hip-hop. He would like to see members of the hip-hop community actively "participate in spreading knowledge."\n"Corporations that try to sell to our kids spend a lot of time researching how they can better sell things," Kweli said. "If we're going to be serious about uplifting our people, we have to figure out how we can relate."\nHip-hop is that avenue, he claimed. \nKweli informed the convention hosts that he was mildly offended by the use of the word "colored" in NAACP. But he stresses that it is a mild point, and he recognizes the acronym has historical roots.\nBut the point was raised, he said, to exemplify the necessity of reaching out to black youths through hip-hop.\n"These kids, they're not listening to their teachers, their parents -- they're listening to hip-hop," he said. "They look up to these artists." \nFor all his concern for social issues, Kweli considers entertainment his primary interest.\n"The entertainment comes first," he said. "If it doesn't sound good, it doesn't matter what I say. Music can be tough because you've got to sell yourself and it can feel like selling your soul"
(04/20/05 5:27am)
Talib Kweli wants you to stay in school.\nBut if, like Kweli, you find you've missed out on what's going on in the real world, there's another education out there. \n"I left NYU to get a real-life education," he said. "I'm not suggesting that anyone drop out, but (go to school) for you, not for your parents, not to learn how to get up in the morning and conform. \n"Everyone has a natural inclination toward knowledge. Don't let the system beat it out of you." \nYet, for a college dropout, he is obviously well educated.\nKweli spoke at Sunday's IU National Association for the Advancement of Colored People's First Annual Freedom Fund Banquet. For the banquet's keynote address, Kweli spoke on social issues ranging from corporate domination of media, inner city education and AIDS education in Africa. He used the forum to implore people to continue to educate themselves and then use that knowledge for good, breaking stereotypes and injustices.\n"I have an opportunity to reach people on a more personal level," Kweli said. He added that he thought it was important to understand what hip-hop is.\n"Hip-hop is a folk music," he said. "Media perception of hip-hop is different (than what hip-hop really is)." During the convention, Kweli was first and foremost an activist, taking well informed verbal shots at many things, including the Reagan administration and Interscope Records.\nBut the critically-acclaimed rapper remained positive throughout, talking up his family and friends, including LOX rapper Styles P and former Black Star compatriots Mos Def and DJ Hi Tek. \nKweli's particular beef with Interscope stems from their ownership of Rawkus, Kweli's original record label. Interscope folded Rawkus into the larger label, essentially ending Kweli's personal relationship with his producers. \nHis disaffected view of mainstream record companies has led him to want out of his current deal with Interscope. When asked about keeping "conscious rappers" like him on the forefront of music, Kweli felt fans should question the mainstream.\n"50 Cent is concerned with your pocketbooks," he said. "Record companies are concerned with your pocketbooks. If you depend on corporations to tell you what's good, you're going to be let down."\nWhen discussing the current state of hip-hop, Kweli's description of the underground music scene was significantly more diverse than the gangsta style that dominates the mainstream charts like "MTV2 Hip-Hop Countdown." He told of artists who were actively against the typically misogynistic, homophobic or homicidal lyrics of such rap.\nKweli believes that rappers and DJs who rap and spin against the grain don't fit the media-driven image of hip-hop. He would like to see members of the hip-hop community actively "participate in spreading knowledge."\n"Corporations that try to sell to our kids spend a lot of time researching how they can better sell things," Kweli said. "If we're going to be serious about uplifting our people, we have to figure out how we can relate."\nHip-hop is that avenue, he claimed. \nKweli informed the convention hosts that he was mildly offended by the use of the word "colored" in NAACP. But he stresses that it is a mild point, and he recognizes the acronym has historical roots.\nBut the point was raised, he said, to exemplify the necessity of reaching out to black youths through hip-hop.\n"These kids, they're not listening to their teachers, their parents -- they're listening to hip-hop," he said. "They look up to these artists." \nFor all his concern for social issues, Kweli considers entertainment his primary interest.\n"The entertainment comes first," he said. "If it doesn't sound good, it doesn't matter what I say. Music can be tough because you've got to sell yourself and it can feel like selling your soul"
(03/31/05 4:07am)
The Republic of Turkey finds itself in the middle of some of the world's most prominent conflicts.\nSituated north of Iraq, west of Kyrgyzstan, northeast of Syria and Israel and east of the Balkans, Turkey is surrounded by strife. Simultaneously, the Turkish people find themselves struggling to balance a friendly relationship with neighbors and the United States, battling ethnic conflict within their borders, stabilizing an unstable region and reforming their society to prepare for evaluation for acceptance into the European Union. \nBut at a speech Friday in Ballantine Hall, the Turkish ambassador to the United States, Dr. Osman Faruk Logoglu, highlighted Turkey's accomplishments.\n"What country has the highest percent of women professors in the world?," he asked. "Turkey. Thirty-five percent of our professors are women.\n"I think that's why we have so many smart people," he said.\nTurkey, with its high Islamic population, has considerably better gender equality than many of its contemporaries, Logoglu said. He attributed his country's merit in this area to a strong, secular, republican government.