DWWILDLIFE
Arizona Daily Wildcat
B section
WL
wednesday, october ,
ild
Justyn Dillingham Arts Editor 520•621•3106 arts@wildcat.arizona.edu
ife
Photo courtesy of cinemaisdope.com
‘Wild Things’ a giddy, dreamy modern classic
Dylan’s Xmas less than merry page b INSIDE ‘Invention’ flags, fails to amuse page b Saving art from the scrap heap page b dailywildcat.com/wildlife
Sendak fans won’t be let down by new film
By Ali Freedman ARIZONA DAILY WILDCAT Turning a classic book into a movie is often bad news. Generally the issue is that there is so much in a book you simply cannot cram it all into a movie. For Maurice Sendak’s classic “Where the Wild Things Are,” however, it seemed the book would prove much too short
to be turned into movie magic. Boy, was that idea wrong. “Where the Wild Things Are” stuns. There is no denying that this classic story will very soon be considered a movie classic as well. Visually stunning and beautifully written, the film will melt any true wild thing’s heart — it is
The time is ‘Now’
WILD THINGS, page B6
CULTURE SHOCK
My TV problem — and yours
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“playground for young actors.” “I wasn’t involved in much of the company pre-development, save for … some pretty awesome late-night discussions, but I quickly became obsessed with the idea of helping out. Matt made me assistant director, and we suddenly found ourselves kneedeep in putting on a play,”Adams said. Bowdren’s first show was Anthony Minghella’s “Cigarettes and Chocolate,” which the Now produced last September in association with the
thought I liked television. I watched it constantly as a kid, and followed a handful of shows fairly loyally as a teenager. I rolled my eyes when I heard lectures about how we all watched too much TV. Then I started to feel like the rest of the world did watch a little too much TV. Worse, we were taking it way too seriously. It started back in 1999, when “The SoJustyn pranos” deDillingham buted. There had been arts editor critically acclaimed shows before, but I can’t think of any that elicited quite the insane level of praise. Some people compared the hit HBO series to “The Godfather,” and other people thought it was even better than “The Godfather.” David Remnick called it “the richest achievement in the history of television” — no small praise coming from the editor of The New Yorker. It eventually racked up more Emmys than any cable show in history. Polls called it the greatest show ever. Somehow, the more encomiums for the series I ran across, the more irritated I felt. Couldn’t I just watch the damned show, without feeling like I had to take notes? Could anything really be that good? And even if it were that good, did everyone have to constantly remind us that it was? Here’s what Geoffrey O’Brien had to say in 2007, writing for the New York Review of Books: “The mere sight of (Tony Soprano) padding yet again in white bathrobe toward the refrigerator evoked a disheveled Wotan worthy of a show whose capacity to extend and savor its transitions could seem Wagnerian.” Oh, really? The ensuing decade brought an avalanche of shows that you just had to see. “Arrested Development.”“The Wire.”“Mad Men.” “Deadwood.” All of them discussed in the hushed, awestruck tones people usually reserve for Picasso exhibits — or, at the very least, really expensive food. (It didn’t hurt that most of them were on cable channels most of us don’t get.) “Lost,” the ABC series about a band of castaways on a desert island, has probably sparked more academic discussion than “Robinson Crusoe.” International academic conferences assembled to discuss the subtle narrative effects of “Buffy the Vampire Slayer.” Most discussed of all, perhaps, has been “24,” a popular Fox thriller that basically stretches the familiar “ticking time bomb” scenario across season after season after season. When Americans came face to face with their own government’s capacity for sadism and torture, the series provided a useful reference point. I’ll never forget the bizarre spectacle, during a 2008 debate, of one Republican candidate after another sternly telling us that,
THEATRE, page B6
CULTURE, page B2
Colin Darland/Arizona Daily Wildcat
Acting senior John Shartzer, right, and family studies and human development senior Lauren Orlowski rehearse lines for their upcoming production of Neil Labute’s ‘Some Girl(s).’ Shartzer and Orlowski will perform the play with other UA students Nov. 5-22 at the Rogue Theatre, located at 300 W. University Blvd.
Student-run theater group brings relatable character drama to community By Anna Swenson ARIZONA DAILY WILDCAT
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hat are you usually doing between 10 p.m. and midnight on weekends? While the most ambitious of us might be studying, it’s probably a fair bet that there’s not much entrepreneurship, literary analysis or concentrated theatrical production going on for most of us. But for the founders of the Now Theatre, late nights are when they’re working hardest. The theater company that was
founded by and is run completely by students, stages contemporary works performed by and for young adults. “Everything from our ticket prices to our late hours is designed for people under 25 who want to help us dissect art,”said artistic director and theatre arts senior Nic Adams.“Our shows can be momentous, revelatory, funny and poignant … but they’re not going to get any better without an astute audience of hungry and critical participants.” As managing director John Shartzer, a theater arts senior, says, the company was created out of a desire for more
freedom on the stage. “At larger theaters, they have salaries to pay,” as well as a more concrete bottom line, he explained.“We don’t have that. We can say something with a little more depth.” Adams said the Now Theatre is the brainchild of Matt Bowdren, a 2008 UA graduate who founded the company just over a year ago. Bowdren “wanted to create a company that was very ensemble-minded, and committed to putting young artists in charge,”Adams said. Shartzer described the company as a
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• wednesday, october 14, 2009 • arizona daily wildcat
Around town All Souls Procession Benefit Dance Party. Is it just us, or does Hotel Congress have a dance party every week? But hey, we’re not complaining. This party features Flam Chen stilt walkers — who eat fire so you don’t have to — as well as bands and DJ sets starting at 7 p.m. Club Congress, 311 E. Congress St. $10 general admission, $8 with costume.
OUR PICK THURSDAY, OCT. 15 Sissy Wish. Isn’t that a great name for a band? If that isn’t enough, this Norwegian singer — said to aurally resemble Goldfrapp and Kate Bush — has been critically acclaimed since her 2003 debut, which — with its distinctive mix of tambourines, maracas and cascading background vocals — was compared to Phil Spector’s famous “Wall of Sound” records of the ’60s. So if you like Norway, and trust critics, this is your kind of show. Pureform opens. 10:30 p.m. Plush, 340 E. Sixth St. $5.
Depedro. According to this celebrated Spanish singer’s MySpace page, his music is “Tex-Mex border music” combined with a “Spanish sense of melody.” Assuming you can believe anything you read on MySpace, that sounds pretty intriguing. Members of Calexico and other special guests open. 9 p.m. Solar Culture, 31 E. Toole Ave. $10.
SUNDAY, OCT. 18 All Queens Chess Day. Want to be the next Bobby Fischer? Well, don’t. As Wikipedia reminds us, he wasn’t a terribly good role model. If you just want to play some chess, however, this is your place. Also, this is an all-women tournament — so even if you did happen to be Fischer, they wouldn’t let you in. 1 to 4 p.m. Bookmans, 6230 E. Speedway Blvd. Free. E-mail jhoffman@9queens.org for more information. “Rebuilding Hope.” This is a documentary about refugees from South Sudan. Not even we are ruthless enough to make a snide comment about this. Especially because it’d have to involve a reference to Tom Petty’s “Refugee.” 7 p.m. The Loft Cinema, 3233 E. Speedway Blvd. $8 general admission; $7 for Loft members.
WEDNESDAY, OCT. 14 Mendelssohn Concert. Faculty artists Kristin Dauphinais, mezzo-soprano, and pianist Michael Dauphinais will perform songs by Felix Mendelssohn, including one that translates as “Witches’ Song” and another one about Joan of Arc. No word on whether Mendelssohn ever wrote a song about Peppermint Patty. 7:30 p.m. Crowder Hall, School of Music. $5. MONO. Yes, their name really is in all-caps. But it’s appropriate: This band’s fifth and most recent album was recorded with producer Steve Albini, who records everything as if it’s being written in allcaps. Maserati opens. 8 p.m. Club Congress, 311 E. Congress St. $8 in advance; $10 day of show. Toubab Krewe. This quintet’s brand of African-flavored music is said by Afropop.com to be “about as good as it gets without buying a plane ticket.” Key Ingredients of African Soul (that’s a band, not a description) opens. 9:30 p.m. Plush, 340 E. Sixth St. $12.
THURSDAY, OCT. 15 Joseph Maples and the Ones That Got Away. And they would have, too, if it hadn’t been for those meddling kids. With Leila Lopez and Jacob Jones. 9 p.m. Red Room at Grill, 100 E. Congress St. Free.
Call to Artists. This is your last day to submit a work for Shooting Souls, an upcoming show related to the All Souls Procession and Day of the Dead. Works should depict the “phenomena of death.” Let’s see: pale, ghostlike, incapable of activity in this world — sounds like me during midterms week. Email allsoulsprocession@ gmail.com for more information.
FRIDAY, OCT. 16 Author Reading. Poets Alison Deming, Boyer Rickel and Pam Uschuk will read their new works. The reading will be followed by a Q &A session. Please don’t ask how you can get rich and famous by becoming a poet. If there is a way, they probably won’t tell you. 7 p.m. Antigone Books, 411 N. Fourth Ave. Free.
SATURDAY, OCT. 17 Used Book Sale. Ever wanted to read more about archaeology of the Southwest and Mexico? No? Well, now’s your chance to start. Books start at a buck, with journals going for as low as 25 cents. The sale is sponsored by the Arizona Archaeological and Historical Society. 9 a.m. to 4 p.m. Arizona State Museum, south building, on campus.
MONDAY, OCT. 19 Arizona Wind Quintet. Compositions include Lee Hoiby’s Sextet for Piano and Winds. Sadly, it doesn’t sound like they’re going to literally let the wind perform — though it’s fun to think about a hushed audience listening to the wind blow for two hours. Pianist John Milbauer opens. Call 621-1162 or visit arizona.tix.com for tickets. 7 p.m. Holsclaw Hall, 1017 N. Olive Road. $5.
TUESDAY, OCT. 20 Jonah Smith. While his name might make him sound like a 19th-century preacher, Smith is actually an indie singer from Syracuse, N.Y. He’s said to sound a little like jazz, a little like “roots rock” and a little like country, which makes him sound like one of those 21st century indie singers. All of them. Doors open at 7 p.m. Club Congress, 311 E. Congress St. Free. Nowhere Man and Whiskey Girl. Not to be confused with Tucson’s own Nowhere Man, this sibling duo hails from Bisbee. Like Bisbee, they’re simple, original and fun; unlike Bisbee, they’re … not in Bisbee. 9:30 p.m. Plush, 340 E. Sixth St. No cover. — compiled by Justyn Dillingham
What was your last text? “Jim are you going to larry arms in November?” — Greg Goodrum, geography senior “What happened last night?” — Justin Thal, pre-business freshman “Would you rather marry Professor Lupin or Draco Malfoy?” — Lauren Miller, history junior “Where am I?” — Kurt Peters, pre-business freshman — compiled by Alex Gendreau
Top iTunes downloads Top Songs of the Week 1.“3,” Britney Spears 2.“Party in the U.S.A.,” Miley Cyrus 3.“Fireflies,” Owl City 4.“Whatcha Say,” Jason Derulo 5.“Down,” Jay Sean
Top Movies of the Week 1.“X-Men Origins: Wolverine” 2.“Ghosts of Girlfriends Past” 3.“My Life in Ruins” 4.“Year One” (Unrated) 5.“The Proposal”
Top TV Show Episodes 1.“Wee Small Hours,” from “Mad Men” 2.“Spies Reminiscent of Us,” from “Family Guy” 3.“Never Judge a Lady By Her Lover,” from “Desperate Housewives” 4.“Niagara, Pt. 2,” from “The Office” 5.“Niagara, Pt. 1,” from “The Office”
CULTURE
continued from page B1
Overanalyzing TV shows robs them of their fun
when it came to terrorism, they’d do what Jack Bauer — Kiefer Sutherland’s ruthless agent on “24” — would do. The fact that the elaborate, far-fetched scenarios on “24” seemed highly unlikely ever to happen even in a post-9/11 world could have been raised — but it wasn’t. Everyone just took it for granted that a TV series had something important to tell us about the way we should conduct our anti-terrorism policy. In a way, that was scarier than anything on “24.” It’s not that television shows can’t be legitimate art or social commentary. Judged as art, the first six or seven seasons of “The Simpsons” probably rank with any handful of Philip Roth novels. For that matter, “30 Rock” is sharper and
funnier than any new novel I’ve read in years. The problem is that talking about these shows this way just makes them seem like no fun. I’m sure it’s a masterwork of some sort, but I’ve never been able to watch “The Sopranos” without feeling the way some English majors must feel when they try to crack open a book for pleasure. Nothing against the critically-acclaimed shows that most of us can’t afford to see, and nothing against anyone who likes them. But I need a break from hearing about how great they are. — Justyn Dillingham is the arts editor of the Daily Wildcat. He can be reached at arts@wildcat.arizona.edu.
arizona daily wildcat • wednesday, october 14, 2009 •
The Bibliophile Young adult literature: so what?
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ewsflash, casual readers: Young adult address the serious social, intellectual and moral literature is not just for kids. issues teens and young adults are dealing with. Most readers misunderstand the young The mark of an accomplished novel is no different adult classification. But get for young adult books than it is for Anna it straight: books written for adult novels, and no one should a teen audience are often overlook a book because it has a Swenson even more compelling, young protagonist. controversial and literary as As college students, we are ofarts writer books written for adults. ten subject to ageism; do middleThe genre is believed to aged soccer moms get pulled over have started with J.D. Salinger’s classic“The Catcher as often as we do for speeding? Are their bags in The Rye,�a book about a young man and how searched for shoplifting as often as ours are? To his life is so“goddam crumby.�You can see how this dismiss a book that is written for young people might turn people off from the genre. But it’s an imis in the same vein of discrimination. If the world portant distinction that Holden Caulfield considers took us seriously and stopped patronizing us, it his story from some time after it happened, and that might learn something. Just like readers all would the book was marketed to adults.“The Catcher in from reading books for and about young adults. the Rye�is a great book, but it lacks what makes the On the current New York Times young adult genre special. list of bestselling hardcover In a recent Washington Times article (“Chilfiction books for adults, there dren’s books lack moral lessons,�Oct. 4), colare five crime novels and five roumnist Julia mance novels. The bestsellers in Duin expressed children’s books, which includes exactly what young adult novels, features a readers of books book about a suicide, one about exclusively mardrug addiction, a Newberryketed to adults winning allegory of childhood, fail to underand two in a series about poststand. Young apocalyptic dystopian America adult books are (and oh, yeah, some book by not about moral “Hills� star Lauren Conrad). lessons, as It seems obvious which list has Duin suggests more heft and depth behind its they should members. Books written for teens be. This is not deal with issues adult novelists “Dick and Jane are too commercial or too literary Learn to Share.� to deal with, but deserve to be Books written considered nonetheless. for teenagers It’s possible to read the entire should and do adult list and find no relevance courtesy of k12.ny.us
to your own life, unless you’re a Scottish rogue, a Harvard symbologist or a Pattersonian sociopath. That is not possible with the list of books for teens: the issues there are pertinent, relevant, immediate and personal. The real first book in the young adult genre was S.E. Hinton’s 1967“The Outsiders.� It considers important issues teens and young adults face, but not from the perspective of a jaded almost-adult, like “Catcher in the Rye.�It considers the agony of being young and trying to be an adult from the perspective of a teen (and was written by one, too; Hinton was 15 when she began writing the book). There’s more to young adult literature than “Twilight.�Most of the books written for the genre are smart, honest and readable — characteristics that much of adult and literary fiction sorely lacks. As Newberry-winning author Kate DiCamillo said in an interview with Barnesandnoble.com, the only difference between writing for adults and writing for a younger audience is that she tries to end on a note of hope. There are more than a few adult books that would have been much better if written with this in mind (“Catcher in the Rye�arguably being one of them). But young adult books don’t have to be happy or hopeful. What they have to be, most often, is fresh, creative and real. If you’re a skeptic, try reading Megan courtesy of vox.com
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courtesy of wordpress.com
McCafferty’s “Sloppy Firsts� series and try to say the portrayal of college is in any way inauthentic. Pick up John Green’s “Paper Towns� and say you’ve never mis-imagined someone. Finish Suzanne Collins’“The Hunger Games� and say you’re not scared for the future of America. Read through M.T. Anderson’s National Book Award winner “The Astonishing Life of Octavian Nothing� and be challenged to reconsider history. It’s no coincidence that books for young people are the ones with the most passion, poise and punch in the current literary landscape. — Anna Swenson is a sophomore majoring in English. She can be reached at arts@wildcat.arizona.edu.
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Gogol Bordello will start wearing purple in Tucson By Alex Gendreau Arizona Daily Wildcat Gogol Bordello is back, infiltrating the ears of gypsy-punk wannabes with Live From Axis Mundi, a compilation of BBC Sessions and demos with a DVD bonus. The band of raucous immigrants — most of them from Eastern Europe — formed in the Lower East Side of New York City in 1999. Since then, Gogol Bordello has been tearing up airwaves and stages across the world. Live From Axis Mundi is a prime example of that. With Ukranian-born Eugene Hßtz, the mustachioed face of Gogol Bordello, screaming accented insanities, the album
ensures an unruly experience. Live From Axis Mundi is a Gogol enthusiast’s dream. Included are some of the band’s greatest hits, such as an acoustic version of “Immigrant Punkâ€? and the hysterically cynical song “American Wedding.â€? The DVD also includes a concert — Live at Irving Plaza — as well as music videos, extra tracks and bonus material. Some of the material highlights HĂźtz’s intense theatrical presence. At one point he takes lights from the audience for a cigarette break on stage to the tune of “Start Wearing Purple.â€? But don’t take my word for it. Gogol Bordello will be in Tucson for an evening at the Rialto Theatre on Oct. 21. You might even
“Start Wearing Purple�too, if Hutz breaks out the wine bottle for the occasion. If last year’s event was any indication of this year’s, then attendees are in for a head-banging time. Attending a Gogol Bordello show means immersing yourself in an atmosphere of chaos and good company where music is at the forefront. With their new compilation and a slew of former hits, their return to Tucson will be met with excitement. Gogol Bordello plays at The Rialto Theatre on Oct. 21, doors open at 7 p.m. and the show begins at 8 p.m. with the Apostle of Hustle. Tickets are $20 in advance online or $22 the day of the show.
Bestselling Books for the Week of Oct. 13, 2009 Hardcover Fiction 1. THE LOST SYMBOL, by Dan Brown 2. AN ECHO IN THE BONE, by Diana Gabaldon 3. ROUGH COUNTRY, by John Sandford 4. THE LAST SONG, by Nicholas Sparks 5. THE HELP, by Kathryn Stockett Paperback Trade Fiction 1. SAY YOU’RE ONE OF THEM, by Uwem Akpan 2. THE SHACK, by William P. Young 3. THE TIME TRAVELER’S WIFE, by Audrey Niffenegger 4. THE GUERNSEY LITERARY AND POTATO PEEL PIE SOCIETY, by Mary Ann Shaffer and Annie Barrows 5. PUSH, by Sapphire
Hardcover Nonfiction 1. HAVE A LITTLE FAITH, by Mitch Albom 2. ARGUING WITH IDIOTS, written and edited by Glenn Beck, Kevin Balfe and others 3. TRUE COMPASS, by Edward M. Kennedy 4. THE TIME OF MY LIFE, by Patrick Swayze and Lisa Niemi 5. THE MURDER OF KING TUT, by James Patterson and Martin Dugard Paperback Nonfiction 1. GLENN BECK’S ‘COMMON SENSE’, by Glenn Beck 2. I HOPE THEY SERVE BEER IN HELL, by Tucker Max 3. THREE CUPS OF TEA, by Greg Mortenson and David Oliver Relin 4. MY LIFE IN FRANCE, by Julia Child with Alex Prud’homme 5. THE GLASS CASTLE, by Jeannette Walls — courtesy of The New York Times
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• wednesday, october 14, 2009 • arizona daily wildcat
Photo courtesy of MTV.com
Mid-afternoon metal show brings surprises By Emily Moore Arizona Daily Wildcat Monday was a day of firsts. When was the last time you heard of a concert happening at 4 p.m.? It was a new experience on so many levels. Tucson usually doesn’t get its proper fix of metal concerts. I’m Seeing Stars, In Fear and Faith, Parkway Drive and A Day to Remember put on a show while the sun was still up. Due to a fluke in their booking, the lineup had 20 hours to get from Tucson to Oklahoma, making them move up their starting time. The Aussies of Parkway Drive insisted on growling instead of singing; it seemed like they were trying to mimic the great Cookie Monster. Never before had I seen “polite” moshing. A man in a wheelchair somehow found himself in the mosh pit and as people kept ramming into him and his chair, they apologized. That was definitely a first. People were flailing every limb and smacking into each other, and some even had mouth guards to protect them from ruining their teeth during this “fun.” One guy had a deep split lip, with blood seeping down his chin. Then the crowd surfers took flight.
Somersaulting over people’s heads, logrolling across the width of the venue, losing shoes, money and hats, one by one people made their way to the front of the stage. It looked more painful than anything. The moshing crowd was like a cage fight circus on steroids. I expected some flips or something, but it didn’t happen. The crowd’s angsty hype was building; everyone was ready for the headliner. Finally the band’s banner was unfurled. Caricatures of the members gleamed with red eyes over the crowd. The stage was dark, and the cheering roared. The darkness was drawn out and milked the crowd of their applause. A Day to Remember took to the stage, pumped and ready. They opened with “Downfall of Us All,” and immediately got the audience to interact with them. A Day To Remember hopped around the stage and brought up the audience’s energy level until everyone was hopping in unison. Whether it was new songs or old songs, true fans were screaming every word. For it being a day concert, the sold-out show was successful. Upon leaving the venue, it was clear everyone enjoyed themselves as the last sounds of A Day To Remember rang in their ears.
Ashelee Salamon/Arizona Daily Wildcat
Theresa Mowery, a chef at Mama Louisa’s, cooks homemade pasta for their Monday-Saturday lunch pasta bar. Mama Louisa’s is located on Craycroft Road and 29th Street.
50 years of fresh pasta By Ali Freedman Arizona Daily Wildcat The Old Pueblo seems an odd place to find mouth-watering Italian food, but it certainly exists. Try Mama Louisa’s, a true Tucson classic. This restaurant is family owned and operated and has been serving great food at reasonable prices since 1956. If freshly made pasta is up your alley, then Mama Louisa’s is a must-try: It’s their main attraction, but cetainly not all there is to be had. Located a bit east and a 15-to-20 minute drive from campus, Mama Louisa’s is located just past 29th Street on Craycroft Road. The great glowing sign that sits above the street lets you know that you’ve arrived and the murals that cover the walls inside give you a glimpse into Italy, but it’s the food we’re here to talk about. You can’t go to Mama Louisa’s without trying Joe’s Special. This delectable dish is a simple blend of flavors and textures. Homemade linguini is topped with their special cheese, hot pepper seeds, freshly chopped garlic and tomato sauce. The fresh pasta, melted cheese and sweet but tangy sauce make for an irresistible combination. If meat is more your dish, there is plenty to be had. Mama Louisa’s offers meatballs, meat ravioli, pork parmigiana, chicken parmigiana, and veal parmigiana among other carnivores’ delights. Any of the parmigianas paired with Joe’s Special creates
the perfect plate for a first-timer. The meats are all breaded and cooked to tender perfection before being topped with sauce and cheese. If you’re in the mood for something creamier, their rich, thick alfredo is another great option. The array of baked pastas and raviolis are also worth a try. There are combo plates and pizzas as well. The all-you-can-eat salad bar is the only letdown. While the soups are delicious, the salad bar is nothing to write home about, but with all the options Mama Louisa’s has to offer, salad is the least of your worries. Vegetarians can rejoice; the eggplant parmigiana is a fantastic option. Lightly breaded and fried pieces of eggplant layered with cheese and tomato sauce — it’s a classic done right and served in good-sized portions. With friendly staff, fantastic food and fresh pastas, Mama Louisa’s clearly has brought the right kind of grub to the table to keep its doors open for more than 50 years. From lunch to dinner to dessert, you’re covered — especially when it comes to dinner and dessert. Tiramisu, the Mt. Vesuvius liqueur-covered sundae and chocolate lava cake are only a few of the desserts offered — but be sure to save room, because the portions are hefty and it can be hard to put your fork down. If you’re looking to stop by on the weekends, consider making reservations to bypass the wait. Take-out is also available, but the charm of this family-owned joint and its friendly staff makes it well worth dining in.
arizona daily wildcat • wednesday, october 14, 2009 •
Dylan’s newest a holly jolly headache By Brandon Specktor Arizona Daily Wildcat In any other country on Earth, and from any other artist on Earth, it would seem unusual for a Christmas album to debut in October. But this is America, the land of opportunity, where Bob Dylan can do whatever the hell he wants, and if he wants to release an album of fifteen overplayed holiday covers before Halloween then, god knows, I’m not going to be the one to stop him. But I’m not going to be the one to buy it, either. Christmas in the Heart is the latest album from Bob Dylan, the messiah of American folk-rock who is as timeless as he is unpredictable, and in some ways the album lives up to that reputation. Christmas standards are folk music in the sense that they have been passed on and regurgitated ad nauseum throughout American musical history, so the selection is not entirely unfitting territory for the born-again Bobby D. Despite that, the wise, observational style of old-school lyrics and the warming, soulful voice that launched Dylan’s renown have been hastily replaced by banal jingles and wheezing vocals that would probably send children running in fear if they were to encounter him caroling on a poorly-lit street some snowy night. These may be your parents’ Christmas carols, but this is not your parents’ Bob Dylan. Even more overdone than Dylan’s accordion-laden April release Together Through Life, Christmas in the Heart reeks of hammy embellishments on songs that, let’s be honest, exhausted their creative potential a century ago. The gospel back-up singing on “O Little Town of Bethlehem” brings a showy insincerity to lyrics that are already difficult for a secular ear to tolerate, and an excess of slide guitar on tracks like “Christmas Island” lend an unbearably artificial feel to songs that have traditionally come from an allegedly emotional place. Dylan’s generation-defining voice becomes less and less charming as the decades pass, and his Tom-
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The Avett Brothers rock out with their hearts out By Alex Gendreau Arizona Daily Wildcat
RATING: Waits-with-a-nasal-infection sound on tracks like “I’ll Be Home for Christmas” are sterling case studies. With fifteen tracks of histrionic holiday pablum that are devoid of any of Bobby’s characteristic artistry, one must wonder why Dylan, a man legendary for rebellious lyrics and separating himself from overused mainstream conventions, would even make such an album. The cynical answer is because he’s getting old and it’s easy. As Christmas fever begins spreading with more intensity than swine flu, you can rest assured that you will hear Dylan’s version of “Winter Wonderland” blasting from highend retail speakers and “Here Comes Santa Claus” inundating Starbucks lobbies, and it will make money. Fortunately, Dylan has pledged a portion of his royalties to the Feeding America charity, which is easily the most sincere and admirable aspect of an otherwise intolerable album.
On the opening track of their newest release, The Avett Brothers sing about the three hardest words to say: I love you. On their latest installment, I and Love and You, brothers Seth and Scott Avett have incorporated the idea that a lust for life can conquer all, despite its ups and downs. With the aid of upright bassist Bob Crawford, the brothers jam out to bring their listeners heartfelt roots rock. Growing up in the heart of North Carolina might do that to you. Although the album is a conglomerate of tunes about love, The Avett Brothers still take the time to capture the no-holdsbarred attitude that is rock music. Songs like “Ten Thousand Words” and “The Perfect Square” capture the essence of classic folk rock, gritty vocals and all. Their outlook on producing romanticized folk continually grows through each album them put on the shelves. I and Love and You is no exception. However, overall The Avett Brothers take a softer approach than can be seen in albums like The Second Gleam, which was released in 2008. This doesn’t discredit I and Love and You or any other Avett Brothers project, but defines the diversity they have created within the modern generation of music.
Photo courtesy of amazon.com
Other unlikely Christmas albums we’d like to see: “Better Than Jesus: An Unbearably Kanye Christmas” by Kanye West “Blood and Holly, the Untold Legend of Santa Claws” by Mastodon “All I Want for Christmas is to Not Be A Pariah” by Britney Spears “Just Calm Down and Shop” by Barack Obama (feat. T-Pain)
RATING: Photo courtesy of amazon.com
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• wednesday, october 14, 2009 • arizona daily wildcat
cinema center
By Brandon Specktor Arizona Daily Wildcat Cinema has a way of introducing the American masses to some of life’s most ponderous, nuanced questions. What would you do if you were suddenly incapable of lying? What if you could internalize every woman’s most intimate thoughts? How about if Morgan Freeman allowed you all the powers of a god? “The Invention of Lying,” the new magical realist comedy from the beloved, bumbling Britishman Ricky Gervais, uses a similar question as its platform: what would you do if you were the only person alive capable of lying? It is thus with blockbuster bravado and a scrutinizing eye for the moral fragility of mankind that Gervais’ brainchild embarks on a touching, provocative laugh-riot of a journey to the center of the human psyche that can only be described as the next great catalyst to reshape Western philosophy and shatter all that we believe in. Okay, that’s a lie. “The Invention of Lying” follows the formula of any family-friendly romantic comedy complicated by a bit of unexplainable magic, a la “Liar Liar” (1997), “What Women Want” (2000) and “Bruce Almighty” (2003), and is just as predictable. Gervais, who co-wrote and directed the film, plays Mark Bellison, your typical out-of-luck schmuck (a screen-writer who specializes in the 13th century)
whose existence is marred by an unfulfilling professional, social and sex life. The twist? He is the only man exempt from the truth in a parallel version of human history where nobody is capable of lying or fabricating — a world where everyone simply says exactly what they’re thinking all the time and the best-selling movies consist of well-known “readers” reciting biographical facts from history. This reality presents an immediate plot hole, positing a world where humans are incapable of producing fiction or imagining things that have not happened but are capable of inventing automobiles, movie theaters and every other modern convenience. But let’s forget that and focus on the film’s merits. Here’s one: the cast. Perhaps the only saving grace of an otherwise mediocre film is the all-star list of players who appear in cameo roles throughout the film’s comic vignettes. Aside from Gervais and leading love interest Jennifer Garner (“Juno,”“Alias”), cynical comedian Louis C.K. and portly character actor Jonah Hill (“Superbad,”“Funny People”) fill out Bellison’s core of comrades as he exploits his newfound gift of deceit to move up the socioeconomic ladder. Rob Lowe plays a smarmy rival screenwriter with Tina Fey as his equally douchebaggy cohort; Edward Norton is an overly-aggressive, overly-mustachioed traffic cop; John Hodgman is a minimalistic clergyman; and Philip
Photo courtesy of scene-stealers.com
‘The Invention of Lying is a masterpiece!’ and other white lies
RATING: Seymour Hoffman, in perhaps the funniest scene in the entire film, is a laconic bartender with mammaries on the mind. Between these big names are infrequent spurts of hilarity, playing off of each actor’s reputation for full comedic effect in an otherwise dragging narrative. Other than that, Gervais’ “Invention” has very little going for it. The shaky premise combines with a blatant
critique of white-collar America and, eventually, a blunt denunciation of organized religion to leave the audience with a film that is more awkward than it is funny, more tactlessly critical than it is thought-provoking. The PG-13 rating robs Gervais of the vulgar comic potential — both as a writer and actor — that defined his lauded role in the BBC “Office,” and that absence
Alternative energy catches second wind in documentary ‘Fuel’ By Steven Kwan Arizona Daily Wildcat Josh Tickell’s “Fuel” shows how oil is surprisingly pervasive in our everyday lives. The documentary pares down the science, technology and politics of alternative energy into a persuasive lesson that manages to avoid the heavy-handed lecturing. “Fuel” begins with Tickell’s personal journey to becoming an advocate for alternative energy. While studying in Europe during college, Tickell discovers the wonders of biodiesel — a fuel made from vegetable oils that is more efficient and cleaner for engines to use than diesel derived from petroleum — and begins a crusade advocating its use. The movie then delves into the multiple causes that have brought the United States and the world to its current dependency on oil. There’s the story of Louisiana’s oil refineries and how their lax oversight and numerous accidents have created an area known as “Cancer Alley,” where residents suffer from higher than average rates of cancer. There’s the story of how the world’s economy is driven, of-
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ten quite literally, by oil. From oil tankers to construction vehicles to commercial truck fleets, global trade relies on cheap gasoline to move and build goods. “Fuel” also presents the American auto industry’s dark history with oil. In the 1980s, American automobile companies had the chance to invest in alternative energy technologies for their future cars. Toyota most notably took advantage of this opportunity, resulting in today’s Prius. Meanwhile, Ford, General Motors and other American companies made some concessions to demands for fuel-efficient cars, but they did an about-face once the federal government began giving tax credits for SUVs and Hummers after Sept. 11. In drawing the connections between these stories,“Fuel”proves to be a dense movie. But the use of polished, animated infographics and Tickell’s enthusiasm — which is reminiscent of a younger Bill Nye sans the lab coat — proves infectious, making the scientific explanations easier to digest. What’s also welcome is Tickell’s willingness to question his knowledge and faith in biodiesel in the face of contradictory evidence. “Fuel” ends with an optimistic
makes itself clear too often (specifically when a brutally honest bit character reveals “I just took the biggest poop of my life!” in an opening montage). With the aggregate talent of its constituents and the intriguing prospect of a world without lying, “Invention” had so much potential to be more than a drab familyfluff piece, but to say it exceeded that description would just be a lie.
THEATRE
Troupe looks for shows with momentum, ‘chuckles’
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vision of the future where technology nurtures nature, and nature literally fuels technology. With Tickell’s enthusiasm and the movie’s classroom-friendly presentation, “Fuel” makes the idea of an oil-free world seem all the more plausible.
Rogue Theatre. Last season, the company also produced Edward Albee’s “The Zoo Story,” starring Shartzer and Adams, and Tennessee Williams’“This Property is Condemned.” “We want to choose shows that speak to us artistically,”Adams said. The Now Theatre is opening its second season with Neil LaBute’s“Some Girl(s),”the story of one man and four women who struggle with modern love. “We like shows with a good momentum, focused intent, and, as Matt first wrote, ‘a hearty chuckle or two,’” Adams said about selecting shows. UA students and young actors also handle the business, marketing, copywriting and public relations aspects of the company. “It’s been horrible,” Shartzer said with a smile about the responsibility of production. It’s been harder now that Bowdren has graduated and Adams is studying abroad in Guatemala, he said. “Some Girl(s)”opens Thursday, Nov. 5. “The play, which I read as kind of an existential cross-examination hiding under a veil of comedy, will make
RATING: Photo courtesy of loftcinema.com
young participants laugh, connect, reflect and think,”Adams explained. Shartzer, Lauren Orlowski, a family studies and acting senior, and four other actresses make up the cast of the production. Holly Carlson, a theatre arts senior who plays Lindsay in the show, said people should come see the show not just for the more racy aspects of the piece, but also to identify with the characters. Carlson said that though she isn’t personally as vengeful as her character, she can relate to how her character acts. “Her revenge is very calculated,”Carlson said.“Although she wants it to seem like she hasn’t thought about it at all, she had obviously put a lot of thought into what she does. She’s ballsy.” Junior Danielle Hecht, who plays Tyler, said almost everyone can relate to the situations her character finds herself in. “I’ve been in a relationship like that, in a situation like that,” Hecht explained.“Where you think ‘I liked that person,’ a friend, even, and then they’re gone.”
Monsters detailed, convincing in hip adaptation of kids’ classic
a “wild rumpus” indeed! The film begins with Max, a little boy asking for attention from his family. There is a wild thing lurking below his sweet exterior because he is a boy destined to be a king in wolf’s clothing. Cinematically the film is remarkable, and in terms of the story “Wild Things” is great. From Max’s room to the monsters he meets, no detail is dull or drab. From Max’s interaction with his mom to his first encounter with Carol, Ira and the rest of the wild things, no word feels out of place. You can’t help but fall in love with
Max. The outcast little boy turns out to be a remarkably complex character. When Max decides to run away from home, he lands in a forest far away after a long boat ride. From the first glance at the monsters it is clear Dave Eggers, who helped write the script, and Spike Jonze, who directed, did not miss a thing. The detail of the monsters is mind-blowing. You cannot help but want to give Carol a big hug. His bulbous nose and big eyes are beautifully realistic. If monsters were real, they would be like this. Each hair and every expression on the
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monsters are perfect. Never before has a children’s book been brought to life like this. Stretching such a short book into a 90-minute film seems a feat for even the most talented, and has left many Sendak lovers skeptical. The fleshed out story is beautifully done. It is touching. It is funny. It may even draw a tear or two because we all have a little Max the king and Carol the monster in us. We all need to belong and sometimes it’s hard to understand why we are stuck with the families we have, but Max shows us that the bonds each family has are
unique and there for a reason. Once Max finds himself the king of the wild things, he learns the ins and outs not only of being a king, but of being a wild thing himself. Max’s kingdom is a fantastical world anyone would want to visit. Forests meet the sea and the desert all under a neverending blue sky. Again, the detail and clarity of the film is mind-blowingly perfect. The range of emotions that the monsters express in their faces and voices almost makes you forget they are giant, furry, feathered and sharp-toothed monsters.
The moral of the story is that despite the brevity of a book it can be brought to life on the big screen with the right care and attention to detail. Watching Max grow and learn with his wild friends and eventually find his way home is not only true to the book but uplifting and pretty-darn moving for being a kids film. “Where the Wild Things Are” is a thrill ride of amazing cinematography, perfect lighting and an interesting world of wild things. If nothing else, see it for the monsters. They are the cutest mix of monsters you’ll ever see.
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arizona daily wildcat • wednesday, october 14, 2009 •
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• wednesday, october 14, 2009 • arizona daily wildcat
Kuzu turns trash into treasures By Tauni Malmgren Arizona Daily Wildcat After being closed all summer, Kuzu Salon reopened this past weekend for its “Age of Aquarius” art opening and fall fashion show, revealing months of hard work. In reference to the event, co-owner and welding artist Hazel Coldwitz said, “It was a huge success. There was at least 100 people. It was very fun … It was such a great event we actually had cops come by. … They said, ‘Is this a club? You have a club-like atmosphere going on here.’” It’s not easy to classify Kuzu. It is simultaneously a clothing boutique, an art gallery, an artist workspace and it can be considered somewhat of a hideaway since it is located in remote South Tucson. Amidst a sea of beige and concrete typical of the area, Coldwitz’s minimalist sculpture by the front entrance is one of the only ways to distinguish Kuzu from the surrounding commercial buildings. Though Kuzu is good at being mysterious, it is perhaps even better at being crafty. “I’d say at least 90 percent of everything we use is recycled in some way,” said Laurel Burton, co-owner and clothing designer of Kuzu. Most of Coldwitz’s art is made out of junkyard scraps, and the fashion show for their sustainable fall line was made from a previous show’s material. To make wearable, hangable and collectable products out of what normally appears to be nothing, takes passion, diligence and, to pull it off with Kuzu’s level of success, a bit of enchantment. Heading inside Kuzu, mystery gives way to fascination. The space, suited for cultural hubs like New York or Los Angeles, is an oasis of art and fashion not normally found in Tucson. Perhaps what makes Kuzu so special is that the three talented women who run it are family: Coldwitz is the mother of co-owners and
sister designers Laurel and Mariko Burton. “We start with family and then expose it to everybody else and then just let it ride,” Coldwitz said. “I think that, creatively, we work really well together,” said Laurel Burton of the collaboration between her and her sister. “My mom has always described us as being ‘night and day’ since we were little, and I think that in sharing a clothing line together that actually works … I see myself designing and creating with Mariko for a long time.” The Burton sisters’ handmade clothing sits in the storefront. It’s a cutting-edge collection that despite being made by ‘night and day’ designers, comes across as consistent and fluid. Yet there are a couple of ways to tell one designer from the other. Laurel’s garments often have a feminine, pixie aesthetic, while Mariko’s style tends to be slightly darker and more avant-garde. This difference is welcome, since it diversifies the collection. Among the impressive line of clothes and accessories, the storefront is decorated with Coldwitz’s salvaged junkyard art. On one end of the store is a rusty, salmon-orange plane body displaying Chicago-handmade cyclist hats in what used to be the plane’s windows. In the middle of the space, a beautiful podshaped sculpture featuring multi-colored metal petals attracts the eye. Continuing through the storefront into the back of the warehouse, one can see that the space is filled with a wide array of influences and artworks. Virtually every nook of the salon has something visually stunning, from a large graffiti-inspired seahorse mural and more welded combine-sculptures in the warehouse to magazine clippings and small Japanese toys in the upstairs workspace. “It’s just a hodgepodge of things we like, things that inspire us, things that we think maybe one day we’ll use,” said Laurel. Amused, she continued, “I think the three of us just pull all this out of our crazy brains.”
Photos by Amir Adib/Arizona Daily Wildcat
Kuzu Salon, a newly opened, family-owned and operated salon in Tucson, has various types of art and fashion items for sale, most of which are made from recycled materials.
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