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(07/02/08 6:00pm)
____simple_html_dom__voku__html_wrapper____>As far as memoirs are concerned, onscreen adaptations are always difficult transitions. But in the graphic novel-turned film, “Persepolis,” the shift only enhances the story.We first see the heroine Marjane Satrapi, played by Chiara Mastroianni, as a curious and thoughtful young girl. A native of Iran, she and her family must deal with the country’s Islamic Revolution of 1979 and its subsequent effects. Marjane learns that although she loves her country, she doesn’t have the ability to be free in it. All women must wear a protective garment that covers everything but their faces, but that doesn’t stop her from wearing a “Punk is not ded” jacket, a Michael Jackson button and Nike shoes. This is only the most apparent example of a central theme throughout the film. Marjane struggles to stay true to herself, but her country ultimately prohibits her from doing so. Her parents send their precocious and rebellious daughter to school in Vienna, where she finds it hard to remain patriotic while the Western world has such a negative outlook on Iran. What her peers and neighbors don’t realize is that she and most Iranians were simply victims of the events that occurred in their nation. It would seem difficult to relate to a cartoon figure who is dealing with a far-off war and revolution, all while also just trying to grow up. But rather than detach itself, the animated film and its figures universalize the emotions and events of “Persepolis.” We see a girl experience national turmoil and conflict, while also empathizing with her losses.And while the film is mostly a tragic tale, it also maintains a charming sense of humor. It is neither optimistic nor pessimistic – just painfully and beautifully realistic.After reading and watching the life of Marjane, who not only wrote the novel but also directed the film, the special features exhibit a detailed account of the making of “Persepolis.” Her enthusiasm and determination is subsequently inspiring, and she seems to reflect it in the film’s cast and crew. “Persepolis” is a rare film that is earnest, compelling and insightful. I highly recommend it to anyone who is looking for something truly different and honest.
(06/19/08 12:40am)
____simple_html_dom__voku__html_wrapper____>The Cool Kids proved that you don’t need an album to fill a venue. All you need is a bangin’ MySpace page, the right friends and a notable live show. Although Chuck Inglish and Mikey Rocks, collectively known as the Cool Kids, released their debut release The Bake Sale EP, in early June, they have already opened for M.I.A., recorded a track with Lil Wayne and played at CMJ and Pitchfork. If you haven’t heard the kids via an mp3 blog yet, they’re part of a new-school wave of hip-hop that draws back on the old-school. They rap about girls, their shoes and bikes and parties. Homeboys just want to have fun. And you’ll have fun listening to Bake Sale. Most of the jams are perfect for a party, most notably the flashy “Bassment Party,” which you just can’t help but bump to. Unfortunately, I’ve already heard about five of the 10 tracks on this release from various blogs and sometimes the album can drag on as if it were one long jam session. If you like catchy hip-hop, but you’re sick of redundant riffs and choruses, The Cool Kids are right up your ally. But if your love of the genre cuts thicker than that, you might feel that the kids opt for style over substance. Keep in mind that this is a freshman release, and that Mikey Rocks and Chuck Inglish are only in their early 20s. I don’t see anyone hating on Chris Brown for not singing about anything more serious. And according to the album’s info, The Kids did not write their own lyrics. But Inglish did produce and Rocks recorded each track. If anything, The Bake Sale is an indication that you should keep tuning in to the Cool Kids.
(06/11/08 8:43pm)
It’s no surprise that a TV show about a suburban housewife who deals California’s largest cash crop is both relevant and hilarious.
(05/28/08 7:02pm)
____simple_html_dom__voku__html_wrapper____>On his 21st birthday, IU senior A.J. Dezelan saw Umphrey’s McGee for the 21st time. “It was the best set I’ve ever seen them play,” he said. Dezelan, along with thousands of other music fans, took over Three Sisters Park this past weekend in Chillicothe, Ill., for the eighth annual Summer Camp Festival. In its eighth run, the event expanded to more than just a venue for 21st-century hippies and jam bands. Artists ranged from hip-hop to afrobeat to bluegrass, while an undertone of political and environmental awareness filled the park. The Flaming Lips’ frontman Wayne Coyne said the band doesn’t play shows or festivals often, but that Summer Camp is one of the best festivals in America.He also spoke of the gravity of the Iraq War in between several songs, and urged that Republicans should depart the White House. At the festival, three hundred new voters registered by Sunday afternoon, which was made possible by the efforts of the nonprofit, non-partisan organization HeadCount. Musical artists sponsor this mobilization, whose goal is to reach the generally apathetic 18- to 23-year-old demographic. Chicago Afrobeat Project’s baritone saxophonist, Garrick Smith, said that his band is subtler when it comesto commentary.“We dedicate a song to Obama ’08 from time to time,” he said.Smith jokingly noted that the biggest difference between playing WIUX’s Culture Shock this past April and Summer Camp is the amount of dreadlocks.Indeed — dreadlocks, hemp and accessories with marijuana leaves dominated the park’s catwalk of muddy roads and camping grounds.Clothes vendor Lori Stucker said that the main factor in festival fashion is drugs.“It’s about whatever looks trippy; you put the brightest, gaudiest thing up there and it will get taken,” she said.Illegal substances were not permitted on the campground, though. By Saturday afternoon, 14 arrests were made, whose causes ranged from counterfeit wristbands to cocaine possession, Chillicothe Police Sergeant Daniel Adcock said. The main reason that individuals came to the festival’s Trauma Center on Saturday was not drugs, but heat exhaustion. Manager of trauma Sue Behrens said that this was due to dehydration and lacerations of the feet. Bare feet contributed to many festivalgoers’ desires to be one with nature. Although trash still invaded the fest, a group of recyclers known as The Green Team and volunteers were constantly there to pick up after folks.In keeping with the environmentally conscious atmosphere, many merchants also stressed their products’ organic quality. Husband and wife vendors Jim and Janet Phelps, collectively known as The Phoenix Traders, are strict importers of fair-trade items. This means they investigate items they are acquiring, and often pay above market prices, Jim Phelps said.Vendors like Howard Schwartz of Malt Shop Toys were more about bringing the fun to the fest. “I made a list of all the things I want in a job — and they were toys, music, camping out and friendly folk,” he said in deciding his profession. Schwartz specializes in everything from kites to Yo-Yo’s.Only a few feet away from the main vendor and stage area, IU senior Ryan Hobley and his crew of alumni pitched an Indiana-imprinted tent. “We made sure the Hoosiers did it right,” he said.Hobley came to Summer Camp for artists like Sound Tribe Sector 9, George Clinton and the festival’s co-founders, moe. Even artists — such as Gregg Gillis aka Girl Talk — were excited to see other acts performing. Gillis played just before The Flaming Lips, and told the crowd he hadn’t seen the band perform since he was in eighth grade. The laptop aficionado dedicated his set solely to “classics” and material off his new album, Feed the Animals, which he said will be available on his label's —Illegal Art — Web site, by June.On performing at IU again, Gillis said he’d “love to make it happen.” The artist said he feels obliged to the Bloomington crowd to make up for his March 2007 show at the Buskirk-Chumley Theatre, in which he faced several technical difficulties and various conflicts. The artist closed his set with his traditional cover of Nirvana’s “Scentless Apprentice.” Gillis wasn’t the only artist that covered his peers. Summer Camp’s hip-hop representatives, The Roots, are known for their medley of covers. From Biz Markie to Bob Dylan — the instrumentation and vocals drew from several genres. Umphrey’s McGee superfan Dezelan said the band also ranged from blues to rock to jazz throughout their set, and that it also covered The Beatles and Nine Inch Nails. Although Dezelan was uncertain whether he would have attended Summer Camp without Umphrey’s presence, he praised the festival for its diversity.“You can see anything from funk to bluegrass here,” he said.So whether you came for the pot, the politics or even the music -- there was something for everyone at this year’s Summer Camp.
(05/21/08 10:48pm)
The Flaming Lips. The Roots. George Clinton & Parliament Funkadelic. Girl Talk. These are only a few of the artists that will be playing at this weekend’s Summer Camp Festival in Chillicothe, Ill. Less than 300 miles- about a five hour drive from Bloomington- the festival is dedicated to showcasing its artists to the fullest capability.
(05/21/08 10:25pm)
____simple_html_dom__voku__html_wrapper____>Casual Woody Allen fans might be surprised by "Cassandra’s Dream." The film is not a neurotic New York comedy starring the brilliant writer/director, but rather a British drama about murder and morals.Allen has always been intrigued by these themes, though, and often incorporates them in his plots. In fact, his most famous film, "Annie Hall," was intended to be a murder mystery with romance only as a subplot.His past two films, 2005’s "Match Point" and 2006’s "Scoop," also deal with London murders by seemingly unlikely killers. While "Cassandra’s Dream" poignantly portrays the ethical boundaries of human nature, it is not as compelling or mysterious as one would hope.As two brothers, Ian and Terry (Ewan McGregor and Colin Farrell), scrap up to sail away on "Cassandra’s Dream," they subsequently attempt to do whatever it takes to make a name for themselves.When Terry falls knee-deep into debt and Ian must live up to the girl he loves, they turn to their successful uncle Howard (Tom Wilkinson) for help. In exchange for his support, Howard implores his nephews to kill a man who will otherwise ruin his career.What makes Allen’s 21st-century British murder mysteries so compelling is that he portrays average citizens who compromise their morals by turning to murder. In essence, he is humanizing the crime. But unlike his most recent films - or even 1993’s "Manhattan Murder Mystery,"- there are no surprises in this film.The foreshadowing, gives away too much-from the solemn classical music to Ewan McGregor’s reference to the fate of the Barrow Brothers-as in the Bonnie and Clyde fame.Perhaps I have become so in tune with my favorite director that his plots have become predictable. Or maybe I’m being too hard on him, and the man wanted to make more of a character study than murder mystery.Allen has always shined with a muse on hand (see Diane Keaton in any of his films), though, which means this September’s "Vicky Christina Barcelona" starring Scarlett Johansson and Penelope Cruz should be far superior than "Cassandra’s Dream." Don’t let me down, Woody!
(05/15/08 1:18am)
Drew Barrymore, everyone’s favorite former alcoholic child actress turned Hollywood starlet, is now adding director to her resume. The film is “Whip It,” and it’s all about a teenage girl named Bliss who finds her place at the roller derby.
(05/07/08 8:57pm)
____simple_html_dom__voku__html_wrapper____>I expected a lot from Tina Fey in her leading role debut: her writing in both “Mean Girls” and “30 Rock” was smart and reverent, while it never conformed to the Hollywood buck. Although this style is apparent in “Baby Mama,” it would have made all the difference if she and not director Michael McCullers (“Undercover Brother,” “Austin Powers in Goldmember,” “Saturday Night Live” circa 1997) had written the script. So while “Baby Mama” has some remnants of Fey’s gold, it’s obviously just an attempt for a box office hit. The film is certainly humorous, but her fans should expect more. Sure, it’s got more depth than all of Will Ferrell’s films combined, but that’s not saying much. “Baby Mama” is the story of successful businesswoman Kate (Fey) who just can’t get knocked up and employs a lower-class surrogate mother, Angie (Amy Poehler). Fey plays an anal executive who can’t relate to people, while Poehler is a caricature of an uneducated hillbilly who can’t recognize the taste of water. Angie and Kate only become likeable when they unite and are hilariously wonderful together. When the two go out clubbing or karaoke to Cyndi Lauper’s “Girls Just Wanna Have Fun,” they become the quintessential modern-day odd couple. Their unlikely pairing leads the two to realize they are not just stereotypes restricted to their class or backgrounds. The anti-social Kate realizes she can go beyond the restraints of her apartment and live a little, while Angie is moved by her Baby Mama to go to college. The film is also quite reverent to our time, most noticeably with its pop culture references. Perhaps the best examples are when Angie dubs the best boyfriend she ever had as her “Justin Timberlake,” and when she names her child Stefani, after Gwen herself. Unfortunately, like most commercial comedies, “Baby Mama” chooses to employ forced hip-hop humor through a token character who is mostly there to quote rap songs and make baby mama puns. Instead of capitalizing on the unlimited talent of Fey and Poehler, "Baby Mama" simply tries to cash in on the box office buck.
(04/22/08 10:17pm)
____simple_html_dom__voku__html_wrapper____>Air’s 1998 debut album Moon Safari sounds just like the title implies. The French duo takes the listener through a 45-minute cosmic journey to exactly what electronic music should be. It’s rare to come across a freshman effort that shows such innovation, pop appeal and high production value. With the 10th anniversary of Air’s first release comes a special-edition set that includes the original album, a 10-song bonus disc, a DVD and 12-page booklet. Of course, it’s for any fan of Air, but it’s also for anyone who needs an album that will make you both unwind and tap your feet.Moon Safari is a chiller of an album – it’s in no way the kind of electronica you’d rave to. Naturally, one would assume that chilled out electronic music might be the most boring thing that’s happened to music since Kenny G. Trust me on this, though – it’s neither Dirty Vegas nor a feeble attempt at trendy elevator music. Instead of drawing from experimental contemporaries, Air looks back at the poppy sounds of the ’60s and ’70s. Some jams sound so groovy and psychedelic you feel like you’re a mod in Swinging London. Others are so smooth, suave and disco-esque that they’d fit perfectly at Studio 54.Moon Safari isn’t exclusive to just electronic beats, either, as the use of piano, horn and strings often adds a lovely effect. And it’s through just the right balance of throwback influence, modern technology and sultry vocals that Moon Safari becomes a classic record. The mistake of many electronic artists, who try to make their jams have commercial quality, is their choice to oversimplify. And the oversimplification begins to sound redundant – with an overused lyric and extended repetitive beat. Air adds depth to electronica without trying too much all at once. Moon Safari has such a debonair and polished sound – you can’t help but feel powerful affect while listening to it. The sleek synths and Bond-esque buildups in some songs make you feel like you’re in a foreign movie too obscure to even know. And you don’t know whether you should shoot at Russian criminals or make love to your equally gorgeous undercover spy partner. The album makes you feel so good you think you could actually star in such a movie. And as Air’s contribution to the 2000 Sofia Coppola film “The Virgin Suicides” indicates, there is no one audience or setting this band appeals to. The sound waves almost emit endorphins through your ears to your body, making it impossible to not be relaxed. And trust me – this is coming from one of the least calm individuals you will ever meet. Even though a lot of songs are in English, the guys from Air – Nicolas Godin and Jean-Benoit Duckel – are so French you can practically smell the buttered croissants and clove cigarettes on them. The hour-long documentary that comes along with this special edition set, “Eating, Sleeping, Waiting and Playing,” is an arty look at Air on tour. If you’re already annoyed by my use of spacey imagery and romantic metaphors, there’s no hope for you to enjoy the music, much less the vision of Air.The artists that perform with Godin and Ducket speak on the documentary of the two’s style - one musician cited that he has the freedom to play however he wants, as long as it coincides with the band’s feeling behind the music. Other features on the DVD include the complete Air music video collection (all four of them), as well as a storyboard for “Kelly Watch the Stars” video and a drawing for the “Sexy Boy” clip, as provided by their director Mike Mills. As for the extra CD, one can find live versions of “Sexy Boy,” “Kelly Watch the Stars” and “Take It Easy,” as well as a few remixes and demo versions of other jams.Air is an example of how a band can provide catchy hooks and complex layers to a generally misconceived genre. Whether you’re an electronic-music fan or hater, there’s something you’ll appreciate in the dreamy Moon Safari.
(04/16/08 4:28pm)
White Hinterland’s debut album is a modern girl’s answer to nerd rock.
(04/15/08 8:40pm)
____simple_html_dom__voku__html_wrapper____>Unicorns and rainbows are adorning the Bluebird while a Björk cover band takes stage. This is not your high school prom.The fifth annual Rock ’N Roll Prom will take place at 9:30 p.m. this Saturday, April 19, at the Bluebird Nightclub. The prom, hosted by Boxcar Books and The Midwest Pages for Prisoners Project, will transform the nightclub with its “Over the Rainbow” theme and showcase four cover bands, made up of members of local groups, covering acts from Björk to Bruce Springsteen. Boxcar Books General Coordinator Abbey Friedman feels confident in calling the prom the “best and biggest dance party of the year,” as its Facebook tagline proclaims. By the time Rock ’N Roll Prom ends at 3 a.m. each year, she has to kick people out because they won’t stop dancing.The prom all started with former Boxcar Books volunteer Rebecca Rakstad’s dream of a punk-rock prom, so the store hosted the first prom five years ago at the Bloomington Playwrights Project, then known as Vertigo. “We wanted to reinvent the really bad prom,” Friedman said. About 150 people went to the first prom, including four-year veteran performers the Mothertruckin’ DJs. The two spinners, Heath Byers and Jonathan Richardson, dressed up as stereotypical dance chaperones with corduroy suits and required name tags.But there was no set theme until last year’s Under the Sea Prom, at which more than 700 attendees filled the Bluebird during Easter and Passover weekend, when many students leave town.IU senior Ellie Schreiner attended last year’s prom and plans to attend this year’s as well. “I am mostly looking forward to just dressing up, looking ridiculous and having a silly, fun time,” she said. Schreiner already purchased blue press-on nails from a dollar store and hopes to find something with a unicorn for her prom outfit. A group of guest judges will select winners who will be crowned prom king and queen, as well as prizes for most imaginative and most colorful attire. Friedman said the theme is open for interpretation and that she is hoping for wild and colorful getups. Prom attendees not crowned for their outfits will receive various party favors. Past favors have included matchbooks and guitar picks. A long-standing tradition that Rock N’ Roll Prom adheres to is the photo booth, where attendees can take photos in front of a themed backdrop, for $1 per person. Friedman and other individuals from The Midwest Pages to Prisoners Project and Boxcar Books have been making decorations – from streamers to unicorn cutouts to rainbows made of colored paper – for the prom at the organizations’ headquarters, located next door to each other at 310A and 312 S. Washington St., respectively. Although Friedman said she can’t explain the rising popularity of the Rock 'N Roll prom, she thinks it must have something to do with the diverse lineup of bands they showcase each year. This year, four cover bands will each play approximately 20-minute sets, while the Mothertruckin’ DJs will spin in between acts. One band, which consists of members of local bands The Door-Keys, Kentucky Nightmare and Defiance, Ohio, will be imitating new-wave act The Go Go’s.Additionally, Prizzy Prizzy Please will join forces with Vehicle Field band member and IU sophomore Michael Hodges to form a Bruce Springsteen and John Cougar Mellencamp hybrid called “Bruce Cougar Melensteen.” Hodges said he will take on the role of Springsteen and play guitar for Mellencamp. Prizzy’s Mark Pallman will emulate Mellencamp and play saxophone for the would-be E Street Band.“We are going to essentially go back and forth between the two,” Hodges said. Last prom’s all-girl cover band Tina and the Turners are returning this year to play Björk jams. To top off the night, members of Whipporwill, The Coke Dares and Early Day Miners will cover late-’70s tunes as supergroup Le May. Bluebird director of promotions Ari Solomon said the prom is a way for IU students to branch out to the local music scene. He said many students don’t get to hear a lot of talented local acts that are usually under the radar here in town. He thinks the prom’s highly entertaining vibe and the purpose behind it makes for an ideal way to spend a Saturday night. The Bluebird will not charge the hosts for space on prom night. Boxcar Books and The Midwest Pages to Prisoners Project will split door profits, while the nightclub will receive bar earnings.Friedman said this is a wonderful deal for all parties involved. Although she feels for the younger crowd who can’t get into the 21+ prom, she noted that alcohol draws more attendees and that no other venue could fit such a high attendance.She encourages all attendees to show up early, as the event tends to get packed and the line to enter can be long.And if you’re worried about finding that special someone to go to the prom with, Friedman said you shouldn’t fret.“You never need a date, because you’ll find one there.”
(04/15/08 12:40am)
Next month, a piece of art is predicted to sell for $35 million. It’s not a Warhol of Marilyn Monroe or an elongated Modigliani nude – but it’s a nude nonetheless. It’s a life-size portrait of a 280-pound civil servant.\nThe painter, Lucian Freud, chose his robust subject, Sue Tilley, most likely because of his “predilection towards people of unusual or strange proportions,” according to the UK Times. \nThe subject matter of the projected highest-selling artwork ever indicates a few things about our society. Despite our obsession with being thin, beautiful and superficial, we are intrigued by the sincerity of someone such as Tilley.\nPerhaps one of the most famous painters who glorified hearty women is Peter Paul Rubens. Back in his day – the early 17th century – big women were praised because heft indicated wealth. If you were skinny, you were probably just malnourished and poor.\nAt some point in history, society started believing that being a bit chubby was gluttonous. Eighteenth-century painter William Hogarth still used larger individuals as a sign of high social status, but he instead capitalized on their laziness and excess. \nThen again, even in the ’60s, Marilyn Monroe’s voluptuous body was idealized. \nBut Monroe was not quite as stout as Tilley, whom Freud painted in 1995, a time when thin ruled. Freud has also painted the likes of supermodel Kate Moss, but it was “Big Sue” he was enamored with portraying. \nWhile painting Tilley, he said he was “very aware of all kinds of spectacular things to do with her size, like amazing craters and things one’s never seen before.” \nThere’s something very honest about that portrait of a naked Tilley reclining on a sofa. She appears natural and hardly self-conscious. \nTilley possesses a rare quality. In the United States, it seems everyone is battling weight troubles. They’re either too caught up with dieting and starving or they eat so much that it has made them unhealthy. \nIt’s difficult to find someone in between. And of course, Tilley could have serious weight issues like everyone else. According to the Times article, she thinks Freud chose to portray her because of her “ordinariness.” \nBut what Tilley may not realize – and what Freud and the future owner of the painting might already know – is that her ordinariness is what makes her unique. \nFreud isn’t trying to make her particularly beautiful like Rubens would have done, or grotesque like Hogwarth would have tried to do. It’s just an accurate physical depiction of a body type.\nI certainly don’t think that our society will ever return to a Rubenesque glorification of voluptuous women – we are far too superficial for that. But what I do believe is that we might be close to reaching a maturity and sensitivity toward the human body. \nI’ve personally never lived in a time where anything but skinny women were commercially attractive, but I’d love to someday feel that the world is not looking at me and my jelly rolls at the beach.
(04/09/08 4:30pm)
____simple_html_dom__voku__html_wrapper____>Dennis the Menace’s terrorist tendencies and the perils of the HPV vaccine aren’t exactly typical banter for a live show. But that was the subject matter Grand Buffet chose to discuss in between songs during last Thursday's show at the Statehouse, 321 E. Wylie St.The rap duo might come off as goofballs at first, but there’s something behind their brand of hip-hop that a basement-show crowd, or any casual listener, would not expect.Much has changed since Grand Buffet first started making music in 1996. They have produced a loyal cult following and influence in the underground hip-hop scene, but the members have remained mere observers of the commercial music industry. And as its albums have progressed throughout the years, the quintessence of the band remains the same: While they often rap about serious things, they do so in a satirical way, never taking themselves too seriously.“Satire is the humor of the intellectual. But at the same time, we’re still doing a bunch of crazy shit,” member Jackson O’Connell-Barlow said. While in high school together, the duo started Grand Buffet through a common interest in hip-hop. Jarrod Weeks, the group’s other member, said he became interested in rap at an early age. But he fell out of favor with it during his teenage years, as he started getting self-conscious about liking hip-hop.“Puberty makes you do a lot of weird stuff, and it made me diss hip-hop.”It wasn’t until he paired up with O’Connell-Barlow that Weeks regained his outward love for the genre. For O’Connell-Barlow, hearing Public Enemy changed his life. He said at that moment, the group was the most exciting music he had encountered. “It’s comparable to the way punk was in the generation before us, ” he said. He added that nowadays, he still seeks out the same energy and excitement in new music. Although he seems less than impressed with a lot of current music, he and Weeks both keep up with pop music.While the band is quite aware of the sound and infrastructure of the mainstream music industry, both members expressed that they are very much not a part of it. “We don’t have a pot in which to piss,” Weeks said. They have full creativity in their music because a label doesn’t bind them. On the downside, they aren’t reaching an audience beyond their own loyal fan base. Although Weeks and O’Connell-Barlow both said they would sign with a major label, they also expressed their reluctances toward the commerce of music.O’Connell-Barlow cited Prince as an artist who suffered the repercussions of his label. “He had carte blanche for a while after Purple Rain, and when things started trumping, he built up a new contract. Unhappy contractually, he wanted to leave, but he couldn’t,” he said.He added that the same thing happened with other giants like George Michael and Joe Strummer. Instead of being alienated by record labels, when O’Connell-Barlow and Weeks started Grand Buffet, their hometown’s music scene embraced them.“Pittsburgh hadn’t been touched by the pretentious progressive music scene then,” O’Connell-Barlow said. “People were initially taken back by two dudes who showed up with a stereo.”He said that those who looked into Grand Buffet’s music would find “a band that’s unique in their personality.”Weeks said that to this day, Pittsburgh doesn’t have a cohesive scene.Although the two played in Pittsburgh since 1996, they didn’t start touring until 2001. This was after the group released what Weeks calls its first official album, Sparkle Classic. Whether or not Grand Buffet remains an under-the-radar band or the next big thing, the two Pittsburgh MCs will continue to make music. As O’Connell-Barlow said, it’s about making albums with as much energy and quality as Public Enemy once possessed. While the 30-year-old still feels like he just graduated high school, he also believes he possesses a maturity because he’s doing what he wants to do. “If people give the time to just relax and think about what they want to do with their own lives, it could revolutionize the world.”
(04/08/08 12:48am)
I always knew that celebrities’ choices for political candidates sway the vote. It’s simple, really: They’ve got the money and the influence. But lately, celebrity endorsement has gone too far. \nNo offense to Kal Penn or Dave Matthews, but unless the 2008 Democratic candidates, specifically Sen. Barack Obama, want to be taken as seriously as I take White Castle and inane jam bands, I suggest they get more exclusive about what celebrities they are allowing to campaign on their behalf. The support of Oprah is ideal: she’s loaded, classy and has mad commercial appeal. Obama really should be giving her foot massages when Stedman’s not around. \nObama should be shunning Will.i.am’s support, though. The musician encourages Fergie to misspell simple words like “tasty” in her song “Fergalicious.” Now, how is that supposed to make me feel about your education plan, Barack? \nTracy Morgan is a great contrast to Oprah. Sure, he’s a bit nutty, but he speaks to the people. And you can’t go any better than a phrase like “black is the new president,” as he exclaimed when he openly and hilariously counteracted Tina Fey’s “bitch is the new black” statement on “Saturday Night Live”’s “Weekend Update.”\n Then for Sen. Hillary Clinton, the ideal supporter is Jack Nicholson. The self-proclaimed loyal Clintonista rarely even does interviews, but he decided to for the Clinton campaign in early March. Not only did he release a rather kitschy video endorsement, but he also explained to the folks at MTV, why he is backing her up. \nLet’s face it: if you’re a loyal Clinton supporter and a hardcore feminist, the support of Carol Kane or any other fellow feminist isn’t going to sway your vote. Unless, that is, a fellow feminist is supporting Obama. \nAn endorsement from someone like Reese Witherspoon, who has yet to pick a candidate, could show some real leverage. In January, SlateV.com released a humorous yet accurate comparison of high school student body president candidate Tracy Flick, played by Witherspoon in the film “Election,” with Clinton. Flick also dealt with opposition from a more personable opponent with less experience: her school’s beloved jock, played by Chris Klein. Like Hillary, Flick didn’t seem to have many friends because she was too busy planning world domination. Witherspoon also starred in “Legally Blonde,” a film that captures the essence of blonde ambition and empowerment. So while she has a great mainstream audience, she’s also a respected Academy Award-winning actress. Additionally, one of her ancestors, John Witherspoon, signed the Declaration of Independence for crying out loud! \nIf only the Obama and Clinton campaigns targeted both popular and respected candidates, the American public would respond. I’m sure it can be hard to pass up on endorsement from popular figures, though. \nHowever, every IU student knows that it’s natural to want the acceptance of a celebrity who bats his or her eyelashes at you and subsequently wants to give you cash and glory. But like the voters themselves, presidential candidates should possess the utmost caution and reverence in their decision-making.
(04/02/08 7:29pm)
____simple_html_dom__voku__html_wrapper____>Before Beyonce and Jay-Z, Justin and Britney and even before Joanie and Chachi, there was Bonnie and Clyde.It’s hard not to romanticize the story of 21-year-old Clyde Barrow (Warren Beatty) and 19-year-old Bonnie Parker (Faye Dunaway), two bored Texans during the Depression era who decide to rob banks for a living. From the instant Bonnie first lays her hands on Clyde’s pistol, she’s hooked. The 1967 masterpiece “Bonnie and Clyde” is a sexy and adventurous recount of America’s most notorious outlaw couple and their two-year, five-state journey of criminal delinquency. For some reason, this gorgeous film seems to have been overlooked in the past few decades. I hope that with its 40-year-anniversary special edition DVD, it will get the recognition it deserves from our generation.While the first disc shows a digitally remastered version of the film, the second one is focused solely on special features. This includes commemorative documentaries of the film, additional scenes and Warren Beatty’s wardrobe tests.Quite easily, however, the best feature is The History Channel’s “Love and Death: The Story of Bonnie and Clyde.” It shows that while the actual film doesn’t make the Barrow Gang heroes over the police, it does overlook the outlaws’ bloody and senseless killings. Additionally, the real story of Bonnie and Clyde wasn’t nearly as fast-paced as the film, but one must keep in mind that “Bonnie and Clyde” covers two years in less than two hours.What director Arthur Penn brilliantly achieves is the relationship and spirit of Bonnie and Clyde. As the documentary states, the two were inefficient thieves. They didn’t steal for money; they did it for the thrill. And during the Depression, a bank robbery often didn’t mean earning any more than a few dollars. But the fact that Bonnie and Clyde would risk their lives for a measly few dollars enhances the story’s romanticism. The rest of the gang – C.W. Moss (Michael J. Pollard), Clyde’s brother Buck Barrow (Gene Hackman) and his wife Blanche (Estelle Parsons, who won the Best Supporting Actress Oscar for the role) portray a stark contrast. While Blanche is always scared and meek at the sound of guns, it serves as an aphrodisiac for Bonnie. Although the couple and their posse might have been lousy thieves, they got away with their crimes for a few reasons. Once they rode off in their stolen cars immediately after a heist, they never turned back. And as a scene in the film portrays, police officers were less than willing to leave their jurisdiction.The cops – or “the laws,” as Clyde calls them – and the gang’s entourage are often the voices of reason and justice throughout the film. But instead of siding with them and rationality, as a viewer, you want to side with Bonnie and Clyde’s criminal recklessness. As a viewer, once you see the Barrow Gang has escaped, there’s a sense of relief. The film’s ability to capture the essence of each character and the adrenaline high of each heist makes you feel like you’re riding in the backseat. Consequently, you find yourself rooting for the bad guys more than ever before. Throughout their story, it’s not the impoverished sharecroppers who the gang robs; it’s the banks that took away their homes. This Robin Hood element makes them seem more folk-heroic and self-righteous than your average petty thief. The style of the film is just as capturing as the story, which can be attributed to the smooth wardrobe and poignant art, to which cinematographer Burnet Guffey won the film’s second Oscar. Surrounded by the economic devastation of the Great Depression and its dusty Southwestern roads, Bonnie and Clyde are shown as bright diamonds in the rough. While the majority of the film’s characters are seen as overall-wearing sharecroppers or dusty-suited bank tellers, Bonnie and Clyde always look ready to put on the Ritz. A charismatic and slender Beatty wears finely tailored suits and sharp hats. Although women didn’t appear to wear dresses or skirts above their ankles, Dunaway’s starry eyes, sleek blonde hair and stylish accessories all but make up for it. Like the real-life Bonnie and Clyde, it’s the uncanny dynamic between Faye Dunaway and Warren Beatty that make this criminal stint classic and enthralling. The two criminals completed each other until their death. The glorification of the deviant criminal existed before and after “Bonnie and Clyde,” but no one has ever made the thrill of violence so gripping and so glamorous.
(04/01/08 1:39am)
At a campus where anything anyone does seems to be a statement, the phrase “you are what you eat” rings true above all else. Additionally, “breakfast is the most important meal of the day” is also pretty accurate, but not in its conventional sense. \nLate night pizza is certainly one of the biggest staples of college life. If you search “pizza” in the online Yellow Pages for Bloomington, 51 businesses have it in their name, and 27 have it listed in their information. \nWith this abundance of pizza-serving businesses, one would think there would be a pizza joint to meet the wants and needs of every IU students. For students, where they choose to get their pizza can often determine their personality.\nWith four locations in Bloomington, Pizza Express is hands down the most popular pizza place in town. It was founded in 1982 by a Kelley business student to break the pizza monopoly, although it seems to have established its own nowadays.\nThe typical IU student is going to order delivery from Pizza Express. This is the choice for wholesome Midwestern boys and girls after an adventurous night on the town. It’s also the choice for overzealously horny kids, as the restaurant sometimes provides free condoms to its customers. Talk about great marketing! \nLocated on North Walnut Street right next to the Bluebird, Rockit’s Famous Pizza serves to fill the stomachs of inebriated club hoppers. The place reminds me of a New York pizzeria.\nBut if you aren’t inebriated and still happen to be on North Walnut Street, Greek’s Pizzeria — with its glorious sweet dough — serves as a great alternative. Greek’s also has great pasta and salad dishes. Greek’s is too often overlooked. It’s like that band everyone loves, but will never get its video on MTV or the radio.\nIf you’re looking for a great choice for pizza regardless of whether you are sober or drunk, look no further than Third Street’s Mother Bear’s. Mother Bear’s isn’t trying to be anything more than a pizzeria with quality food, and it also serves as a great hangout spot. This is for your chill college student who values excellence and a modest mentality.\nWhile Aver’s Pizzeria is known for its gourmet, tasty dishes, it might be a bit too much for a college student. \nBloomington’s varied pizza selection just offers more proof of why it’s the ideal college town. Like IU’s selection of majors and the city’s numerous bars, the pizza market offers enough variety for students to find their respective niches. So whether you’re a party girl or boy or just looking for whatever’s best, there’s no reason you can’t find what you’re looking for.
(03/26/08 7:30pm)
____simple_html_dom__voku__html_wrapper____>I rarely have anticipated an excellent album based on the artist’s first single, except for maybe Christina Aguilera back when I was in junior high. Unfortunately, I made the same rookie mistake with Yael Naim’s self-titled sophomore release.“New Soul” is somewhere in between Natasha Bedingfield’s “Unwritten” and Feist’s “1234.” It’s sweet and charismatic – the perfect debut tune.But as a whole, the new album is pretty average. Don’t get me wrong; it’s definitely not bad. This just isn’t a breakthrough hit. I know a lot of critics disagree with me, but just because an artist is featured on a Mac commercial doesn’t mean they should receive an automatic seal of approval (See: Jet).With Yael Naim’s French-Israeli nationality, one would hope for a bit more diversity in her songs. She was born in Paris, and she lived in a small town outside of Tel Aviv, Israel, for most of her life with her Tunisian parents.The simplicity in songs such as “Lonely” is cute, but not extraordinary. Perhaps it’s meant to showcase her pure and soft-spoken voice, but frankly, the song drags eventually. Sweet songs like “Far Far” make this album enjoyable, but nothing more. Then, her cover of Britney Spears' “Toxic,” in an almost Tori Amos-like eeriness shows that Naim has a sense of humor.It might seem unfair to compare Naim to other female artists, when she’s trying to establish herself independently. But the truth is that there is very little space for a woman to be successful in the music business. And each one needs some sort of “niche.” Feist’s got that indie-pop sensibility, Cat Power’s got the soul and Regina Spektor has the Russian piano quirk.Even these artists had early lo-fi releases that didn’t amaze critics or fans. If anything, Naim just needs a bit more time to develop. She’s got the voice, now all she needs is the style.
(03/26/08 5:16pm)
____simple_html_dom__voku__html_wrapper____>When Bloomington-based band Kentucky Nightmare plays the Art Hospital, it breathes life into the local music scene. This Saturday, the group will play at the venue alongside fellow Bloomington act Alexander the Great as well as West Coast rockers Bodies of Water and Throw Me the Statue. The seemingly dull facade of the building hardly represents the eclectic acts the hospital brings.Located at 1021 S. Walnut Ave., the Art Hospital is a communally-run venue for art exhibits and music performances. It is one of the few all-ages venues in Bloomington, its co-founder and IU alumnus Mark Rice said. Many of its 13 organizers are also musicians and artists in the Bloomington scene who book diverse musical and arts events – anything from jazz bands to photo exhibits. IU Senior Jenna McKinzie goes to music shows at the Art Hospital for several reasons.“It’s cheap, people don’t give a shit about what you’re wearing, there’s graffiti on the walls and the music ain’t half bad,” she said. Kentucky Nightmare guitarist and singer Simon Moore loves playing at the Art Hospital because he gets to be surrounded by people who share the same passion for music as him and his band. Moore said Kentucky Nightmare’s melodic rock sounds like “classic rock you hear on radio stations.” Bryant Fox, IU junior and vocalist/guitarist of Alexander the Great, echoed Moore’s sentiments about playing at the Art Hospital.“It allows us to get involved with the thriving underground community of artists and musicians in Bloomington,” he said. Bodies of Water and Throw Me the Statue are both on Bloomington’s own Secretly Canadian record label. The label’s publicist Lucy Robinson said that while Bodies of Water has a “rock gospel sound," Throw Me The Statue has “super-poppy rock songs.” Ten of the 13 members of the Art Hospital book shows as well as have studios within the hospital for their own music and art projects, while the other three members focus solely on booking shows. Currently, these 13 members must pay a $40 monthly fee to book shows and participate in the Hospital’s weekly meeting. Rice noted that this price is likely to change within the next week, however.Although Moore said Kentucky Nightmare tries to play as many venues as they can in Bloomington, there are certain things about the Art Hospital he appreciates over other places.“There is no establishment around it. It’s as real underground as it gets,” he said. That is, music aficionados are putting on shows for other music aficionados. Rice said that Art Hospital members must sponsor their own events, which means they are individually responsible for paying the artists performing and producing a minimum profit of $25, or $1 per attendee. Moore believes that music fans should want to see shows at the Art Hospital because of its overall “cool vibes” provided by live music and the like-minded yet individualistic crowd and members. “The Art Hospital reminds you how much young people can accomplish,” he said.
(03/25/08 3:34am)
The Bloomington music scene has turned me into a jaded music aficionado. And anyone who has ever seen “High Fidelity” knows that music aficionados are some of the most bitter people around. \nBefore I moved here, I never cared about where I was watching a band I loved play — I just knew I had to be there. I ignored the crowd I was surrounded by and swarmed through them if I wanted to get up close. I even traveled out of state to see a band if I had to.\nEver since I arrived in Bloomington, though, I have felt discouraged by the many crowds at shows. Unless they were sloppily or obnoxiously drunk, most concert-goers seemed too cool to do anything more than tap their precious feet. \nPerhaps it’s because Bloomington is pretty spoiled when it comes to live acts — we have the perks of city life while living in a fairly small college town. I remember when I spoke with Kristin Ferebee of the breakout band Beirut last summer. She said that New York City crowds tend to be a bit stuck up and less willing to move. She said that smaller towns are more excited and enthused.\nNo matter where you live, you should appreciate good music around you. Concerts shouldn’t be about being seen there. They should be about the love and passion of music. \nThis past Thursday, for example, I bit the bullet and decided to attend my first show at Rhino’s. I was beyond skeptical. I heard the venue was a mecca for Bloomington high school students with awful vibes. Had my friends, who were visiting from home, not urged me to go see the outstanding band, Islands, I wouldn’t have attended. I also realized that practically every venue in Bloomington already gave me bad vibes, so this wouldn’t be so different.\nThe Rhino’s crowd reminded me of me in my pre-jaded youth, and the show turned out to be one of the best I had been to in a while. There were no glares because someone was goofily dancing or wearing something a bit odd. A friend of mine who I bumped into at the show really got it down when she said, “Rhino’s is pretty shitty, but it’s shitty good.”\nEven if you hate everyone in the crowd at the next local show you go to, don’t let it out on others who just want to see the show. If anything, move around for the sake of the bands that don’t get paid enough and probably haven’t showered in a couple of weeks. For any struggling artist, there’s nothing like seeing a fan sing and dance along to his or her music. And keep in mind, kids: We aren’t New York. Most bands have no obligation to come out and play for us pretentious, immobile bums.
(03/04/08 1:21am)
Once most figures have reached a certain level of prominence and prestige, it often seems that they stop trying to do their job. Talk show host Larry King, for example, called Ringo Starr “George” when he interviewed the remaining Beatles members this summer. \nKing somehow still maintains his ego, however. During a Democratic debate aired on CNN last summer, he was caught on camera asking why Anderson Cooper received more air time for his panel than he did. \nOnce you make it to the top, it can often be hard to keep trying to do better. But judging from his lecture this past Sunday at the IU Auditorium, this was certainly not the case with Charlie Rose.\nHe has hosted his self-titled PBS program since 1979, and has interviewed everyone from Shaquille O’Neal to Sean Penn to Saudi Prince and Foreign Minister Saud al-Faisal. During his lecture on Sunday, Rose said journalist Bob Woodward once told him that he thinks Rose truly picks his brain when interviewing him.\nUnlike Woodward, who also spoke at the IU Auditorium this school year, Rose had a greater sense of connecting the past with the future. He also spoke with more fervor on topics as widespread as the individuals he interviews — from the art of Frank Gehry to the intricacies of the current U.S. presidential election. While Woodward’s speech was concise and organized, akin to a clean-cut newspaper article, it would probably not differ from any other lecture he would have given in 2007.\nRose, on the other hand, cited newspaper stories he had read within days, as well as a conversation he had earlier with an IU dean. \nRose was also the perfect individual to conclude IU’s ArtsWeek.\nWhat really impressed me was his ability to show how art reflects a nation’s given state, and he also stressed the importance of art in politics and the media. The world of arts and politics are often too isolated, and I am too often encountered with individuals on campus who are only interested in one or the other. \nEither political buffs believe that nothing is as important as our nation’s government, or art enthusiasts believe they can provide nothing to affairs of the state. \nIt is people like Rose who are capable of providing a cohesive understanding of arts and politics in his talk show and in his lectures. This can only further educate our masses. Rose did not boast of his high intellect on various topics, but he cited the people and sources he obtained his knowledge from gladly. \nIf you missed out on Rose’s lecture this past Sunday, his show has a wonderful way of surprising you in the wee hours of the morning. He was even referenced on the former teenage dramedy “The OC”, when Seth Cohen suggested what was perceived as a cradle-robbing affair might be something more innocuous: “Maybe they’re not having sex. Maybe they just go to spoon and watch Charlie Rose.”