Arizona Daily Wildcat — April 14, 2010 WildLife by Arizona Daily Wildcat

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B section

wednesday, april 14, 2010

Wildlife

Steven Kwan Arts Editor 520•621•3106 arts@wildcat.arizona.edu

Not quite enough ‘Razzle Dazzle’

Paul Kolnik/Courtesy of Broadway in Tucson

Brenda Braxton as Velma Kelly and company in a performance of “All That Jazz.”

All-star cast makes a trip to ‘Chicago’ rewarding; minimal staging disappoints By Emily Moore Arizona Daily Wildcat

would make Fosse proud. Some of the numbers were extremely entertaining.“Cell Block Tango”had the audience roaring with laughter as each woman on murderess row kept adding their comical, sexually suggestive tweaks to their monologues, from squeaky voices to hip thrusts to high kicks. MacLeod brought a lot of energy to“I Can’t Do It Alone”with her authentic, sassy vaudevillian dancing. O’Hurley’s Flynn was as snarky as ever. His windpipes were polished and impressive. The sound that came out of O’Hurley was very unexpected because he conveyed a sense of experience with his controlled vocals. He greatly embodied Flynn. Carol Woods played Matron“Mama” Morton and had a stage presence that was larger than life. Her chops would make anyone jealous. In the song“Class,”Woods and MacLeod kept the audience laughing with their tidbits of profanity. Amos Hart, played by Tom Riis Farrell,

Greed, treachery, adultery and murder. All appeared on the Tucson Community Center stage last night for the opening of “Chicago the Musical.” “Chicago”follows Roxie Hart, the wife of an auto mechanic and played by Bonnie Langford, who fools around with furniture seller Fred Casely (Brent Heuser), and murders him when he tries to leave the relationship. Roxie then enters“murderess row,”where the prisoners are known for killing their husbands and lovers. There she meets Velma Kelly (Terra C. MacLeod) who then introduces Roxie to the smarmy lawyer Billy Flynn (John O’Hurley). He plans to spin Roxie’s upcoming trial in her favor, but Roxie has other ideas in mind. The musical opened with MacLeod performing the number“All That Jazz,” one of the show’s most memorable songs. Kelly was joined by other scantily clad vaudeville dancers moving in a way that

thick with Canadian accent, elicited more sympathy than his movie counterpart. He won over the audience’s“Harts”with his lonely act and jazz-handed“Mister Cellophane.” Unfortunately, the cast was not helped with the staging, which was bland and monochromatic. There were few props and no set changes. Lighting was used to dramatize the actors, and the stage occasionally adding fuchsia and red into the dark theatre. With only lighting and a few props, it was difficult to keep track of the scene changes. The show moved too fast and the set changes led to some confusion. It was hard to tell when the scenes changed or where certain acts took place. When Roxie shoots Fred, it appeared to happen in the nightclub during“All that Jazz,”when in reality it happened at Hart’s place. There were also no costume changes. All the chorus members who played characters from reporters to judges, stayed in their mesh tops and fishnets. It was

difficult to take them seriously. When an actress was killed from the 18-member cast, she would reappear onstage minutes later. The overlap became distracting. Overall the dancing was quite impressive, from the man-splits to the renditions of the Charleston. Confetti and disco balls also helped top off the“razzledazzle”show. Although the dancing was impressive throughout the show, it got a little sloppy toward the end. When Kelly and Hart performed“Hot Honey Rag,”the two seemed a little off synch. The orchestra stuck out like a sore thumb since it was placed dead center in the only“set”of the show. Occasionally the actors would interact with the orchestra incorporating them into the scene. The show was entertaining, but not quite convincing. The all-star cast made it worthwhile, yet without the support of the sets and costumes, the show fell a little flat. In the words of Billy Flynn,“That’s Chicago.”

Photo courtesy of Broadway in Tucson

John O’Hurley as Billy Flynn in “Chicago the Musical.”

IF YOU GO

Chicago the Musical Runs until Sunday Tucson Music Hall, 260 S. Church Ave. Visit www.broadwayintucson.com or call 1-800-745-3000 for tickets

Free zombie games to spice up your life By Jason Krell Arizona Daily Wildcat

INSIDE

Illustration by Ken Wright/Arizona Daily Wildcat

Zombies love to eat our brains, and we sure love to kill them, but what can you do when you have a“kill zombies” itch that must be scratched? Well, the answer is simple — and lecturefriendly — for those who don’t feel like paying attention to their professors. Armorgames.com has one of the biggest collections of free zombie games, which span across many genres. There are shooter, arcade, role-playing and strategy games to choose from. But, with so many options available, how do you know which ones are worth your time? That’s what I’m here for. “The Last Stand 2” is an excellent game for anyone who wants a simple yet entertaining shooter. Your overall goal is to travel from your home city — which has been overrun by zombies — to a safe stronghold. The controls are simply to point and click to shoot, but you can customize each game. Usable weapons, range from a classic shotgun to a chainsaw, each change the way you play. As you catch your breath between each wave of zombies, you can search for other survivors to fight with you. It isn’t too difficult at first, but if you

don’t get the hang of it early, the zombies will overwhelm you in the later rounds. “Infectonator! World Dominator”is probably the simplest game on the list, but it’s also one of the most entertaining. You must infect the inhabitants of various cities around the globe until zombies are able to overrun the world. To do this, you pick your city, and a handful of 8-bit people will scurry around the screen as representatives of that city’s population. Then, you click on a spot to drop a bomb that will turn them into zombies. These zombies will then chase down healthy people and try to infect them before decaying into nothing. If you manage to infect or kill the entire city, you can move to the next one. If not, you have to try again. It sounds tedious, but each city is harder than the last, and there are upgrades to make things more interesting. Surprisingly, this game could last the longest since there are plenty of cities and a good part of the game is based on luck. “Boxhead More Rooms”is another straightforward game, but it is actually pretty tough.You are a simple man facing zombies, who pour slowly through doorways and try to kill you. In the beginning, you are only armed with a pistol, but there aren’t many zombies. You have to build high combos by

Lights, camera, action

killing zombies quickly in order to unlock more weapons. That way, when hordes of zombies attack later, you can mow them down without too much trouble. It sounds easy, right? Well, it’s not so easy to unlock the high-tier weapons, and that’s the only way to survive. If you can live long enough to get some of them, you might actually beat it. To be honest, I don’t even know if there is a final level, since I certainly haven’t gotten close. “Sonny”and“Sonny 2”are probably the most complex but best zombie flash games available. It’s a turn-based role playing game about a man who wakes up as a zombie without any recollection of how it happened. While the story doesn’t sound too original, the main focus of the game is the fighting, which includes a complex and diverse ability system that can make each playthrough radically different. The sequel takes it even further and adds three class options to customize the game. It does get a little hard and takes some“grinding”to level-up your characters, but even real RPGs have that quality. In the end, beating this game will probably leave gamers the most satisfied because it actually has a compelling story and the most interesting game play.

International film festival returns to Tucson

• wednesday, april 14, 2010 • arizona daily wildcat

local scene

To-Do List

WEDNESDAY, APRIL 14

Maynards Market, 400 N. Toole Ave., holds a Titanic Wine Dinner, where the market’s dining room transforms into the scene of the dinner served on the Titanic the night before it went down in the Atlantic Ocean 98 years ago. Hors d’oeuvres served at 5 p.m. $98 per person. Make reservations at Maynards Market or call 545-0577.

THURSDAY, APRIL 15

Arizona International Film Festival has its opening night at Hotel Congress, 311 E. Congress St. Hosting the event is Todd Hanley, general manager of Hotel Congress and Maynards Market + Kitchen. Complimentary refreshments and finger food will be available. 6 p.m. More information at filmfestivalarizona.com or call 882-0204. Free. The Center for Creative Photography, 1030 N. Olive Rd., presents an Artist’s Talk by major contemporary British artist Paul Graham. He will discuss his recent body of work “a shimmer of possibility,” which was exhibited in the Museum of Modern Art in New York in 2009. 5:30 - 7 p.m. Visit creativephotography.org for more information. Free. The annual Pima County Fair kicks off at the Pima County Fairgrounds, 11300 S. Houghton Rd. Carnival hours start at 3 p.m. on weekdays, 11 a.m. on weekends. General admission is $7. Parking is $5. Visit pimacountyfair.com or call 762-9100 for more information.

FRIDAY, APRIL 16

The Willowz play at Plush, 340 E. Sixth St. 11:30 p.m. Tickets are $6 in advance or $8 at the door. Visit plushtucson.com or call 798-1298 for more information. 21+. Jason Russell performs his stand-up act “High Power Antics That Will Drive You Crazy” at Laffs Comedy Caffe, 2900 E. Broadway Blvd. 8 p.m. Preferred seating $15. Visit laffstucson.com or call 323-8669 for more information. 21+.

SATURDAY, APRIL 17

Earth Day 2010: Now Generation Festival will be held at Biosphere 2, 32540 S. Biosphere Rd. Activities include science and art activities, live music, new exhibits, thematic tours, green job panel discussions and sky gazing from the Mount Lemmon SkyCenter telescopes. 9 a.m. 5 p.m. Free with admission to Biosphere 2, $10 for students. Call Whitney Henderson at (530) 305-1890 for more information. The 2010 Run for Your Life 5K Run/Walk, presented by the Student Health Advisory Committee, will be held on the UA Mall. Registration/check-in begins at 8 a.m. $20 for registration. Visit rfyl.arizona.edu or call David Salafsky at 621-8297 for more information.

SUNDAY, APRIL 18

The Urban Assault Ride comes to Tucson. You and your partner set out on a city-wide quest for checkpoints on your bicycles. Each checkpoint includes an obstacle course. The ride starts at Maynard’s Market, 400 N. Toole Ave., at noon. $45 $60 per person. Visit urbanassaultride.com/ tucson for more information. The Fox Tucson Theatre, 17 W. Congress St., presents world-renowned guitarist/composer Pat Metheny-The Orchestrion Tour. Metheny is the winner of 17 Grammy Awards and nominated more than any other performer in Grammy history. 7 p.m. Tickets range from $47 to $124. Call 547-3040 for more information.

MONDAY, APRIL 19

The Invisible Theater presents“The Me Inside of Me,”a performance by The Pastime Players at Catalina High School Auditorium, 3645 E. Pima St. 7 p.m. More information at invisibletheatre.com. Free.

TUESDAY, APRIL 20

Pretty Lights performs at The Rialto Theatre, 318 E. Congress St. 9 p.m. Admission is $16 in advance, $19 day of show. Visit rialtotheatre.com for more information. — compiled by Katie Gault

OUR PICK

Auditions for Summer Theater in the Park, presented by The Arizona Rose Theatre Company, take place at The Berger Performing Arts Center, 1200 W. Speedway Blvd. 6 - 8 p.m. Visit arizonarosetheatre.com or call 888-0509 for more information. Free.

For most audiences, the mention of steel drums calls to mind calypso, the Caribbean, coconut-flavored cocktails and lazy days on the sand. Watching a steel band perform, however, is not a particularly relaxing experience. “Ideally everyone should be out of their seats and dancing,” said Chris Hanning, director of percussion studies at West Chester University. Hanning has been hailed as an icon in the art of drumming alongside a steel pan band. He is an enthusiastic expert, and is drawn to the energy and synergy involved in the steel band sound. “If you go to Trinidad and watch the bands play, everybody’s up dancing and moving around. It’s an exciting, fun thing to listen to,” Hanning said. He will be coming to the UA this

weekend for a clinic and performance with the UA’s two steel bands, Blue Steel and UA Steel. The two bands represent a wide range of ages, experience levels and fields of study. Blue Steel is known as the “apprentice band,” because it is open to first-time steel drum learners and enthusiasts. “For some of these folks, this will have been their first semester actually playing the steel pan,” said Eric Hines, director of Blue Steel. “We only have one percussion major in the entire group.” The second steel band, called UA Steel, is for more experienced musicians and has a slightly different focus. “(UA Steel members) have to be able to come in, play strong and read music straight out,” said Stephen Tipping, UA Steel director. UA Steel members have to

be performance ready because the band puts on shows at a variety of outside venues and events. “We actually played at a basketball game last year, which was interesting,” Tipping said. The concert will feature guest artists Hanning and Kelland Thomas, saxophonist and UA associate music professor. The musical styles will range from the traditional and familiar soca and calypso to jazz fusion, cha cha, funk and jazz. So why should UA students think about checking out the taste-of-theCaribbean concert happening on campus this weekend? “We just have a lot of fun!” Tipping said. “This is such a unique-sounding instrument that no other ensemble can really emulate the experience.” — Marisa D. Fisher

IF YOU GO Percussion Clinic with Chris Hanning Saturday at 2 p.m. Music building, Room 170

UA Steel Bands Concert with Chris Hanning & Kelland Thomas Sunday at 3 p.m. Crowder Hall $9 general, $7 UA employees & seniors 55+, $5 students For tickets, call 621-1162 or www.arizona.tix.com

Ballet to challenge expectations By Dallas Williamson Arizona Daily Wildcat

said.“And they of course are influenced by different styles of dance, like hip-hop, ballet and modern. So it’s really a mounting of all those dance forms.” Over the years, the ballet company has performed the works of numerous renowned choreographers including David Parsons, Lar Lubovitch, George Balanchine, Jiri Kylian and the UA’s Sam Watson, who now serves on the faculty of the School of Dance. Friday’s concert will be no exception to the company’s devotion to delivering an energetic and vibrant show, bringing both American and European influences to the stage. The performance will include selections from such artists as Twyla Tharp, William Forsythe and Nicolo Fonte, as well as a work by Finnish choreographer Jorma Elo. The choreography’s accompanying

Aspen Santa Fe Ballet is set to bring diversity and vigor to Centennial Hall Friday night, along with the hopes of changing common misconceptions about the world of ballet. Since its inception in 1990, the company, which now shares a home in Aspen, Colo., and Santa Fe, N.M., has been devoted to offering a diverse dance experience. Unlike many companies, whose repertoires often stem from a central choreographer, Aspen Santa Fe Ballet was established with the goal of incorporating pieces from different artists around the globe. “We are not a one-choreographer-based dance company,” said Jean-Philippe Malaty, executive director of Aspen Santa Fe Ballet.“We showcase the work of many different choreographers, so that provides for a very diverse evening of dance.” While it is considered a contemporary ballet company, the goals of diversity and eclecticism hold true as Aspen Santa Fe Ballet blends classical, sophisticated training with more modern movement. “We work with the choreographers of our generation,”Malaty Photo courtesy ofUApresents

musical scores also emphasize the varied style of Aspen Santa Fe Ballet’s repertoire. With musical genres ranging from classical composer Antonio Vivaldi to the early jazz rhythms of Fats Waller, the versatility of the company’s dancers will be on display. “(The show) is going to break the misconception people have of what ballet is or should be,” Malaty said. “Ballet is a living art form and it’s developing and always changing, and we want to showcase that.” The Centennial Hall stage is a special venue for one of the Aspen Santa Fe Ballet’s 10 dancers. Seia Rassenti, who is in her first season with the company, began her training at the Tucson Regional Ballet School and will be making her home debut Friday night.

IF YOU GO Aspen Santa Fe Ballet Centennial Hall Friday, April 16 8 p.m. $15-$44 Military, seniors, students and UA faculty and staff discounts available

Dance closes series with ‘Spring Collection’ By Dallas Williamson Arizona Daily Wildcat As the semester draws to a close, a legacy is also nearing its end. For the University of Arizona’s School of Dance, this farewell appears in the form of a celebration: the final concerts in its“Legacy Series”season. During the next two weekends, the UA Dance Ensemble will present two concert events on alternating dates, a culmination that forms a fusion of skilled aficionados and eager novices that serve to honor the past and celebrate the future. While new works will make their world premiere in the department’s annual“Spring Collection”concert, such as James Clouser’s“The Man in the Chair”and Barbea Williams’s African Dance Ensemble, the program ultimately recognizes and pays homage to those things from which we draw our inspiration. Whether it be gothic architectural icons, which are brought into the modern world in Sam Watson’s“Gargoyles,”or the unforgettable melodies of Johnny Cash and Rodger Miller, emanating through the dancers’physical movement in Elizabeth George’s“The Road,”the concert looks to rejoice in revitalizing the past. As part of its commemorating performance, the ensemble will also breathe life into the masterwork of a legend, as they present Donald McKayle’s illustrious “Rainbow Round My Shoulder.” A prominent modern dancer, choreographer and

teacher, McKayle visited the School of Dance in January to audition and cast students for“Rainbow,”one of his most prominent and socially conscious works. Created in 1959,“Rainbow Round My Shoulder”is a poignant narrative which traces the lives of chain gang prisoners in the American south. Through visions of a beautiful woman and dreams of memories past, McKayle portrays the captive men’s longing to be free, and the powerful choreography, set to the bittersweet resonance of traditional African folk music, captures the grueling reality of their physical labor. However, in addition to its veneration for former greats, the future greats will also get their chance to shine on the Stevie Eller stage. “The Next Generation,”the student spotlight concert that will alternate stage time with“Spring Collection,” is a show featuring only student choreographed works. Showcasing pieces created by freshmen and seniors alike, the show reveals the new era of artists that are ready to leave their mark on the performance scene. From a neo-classical ballet pas de deux, to a piece inspired by the compelling songs of Celine Dion,“The Next Generation” represents the versatility of the school’s dancers and has long since been an audience favorite. “(The Next Generation) is such a great opportunity to showcase our talents and choreography as students at the university” said Annie Kim, a dance junior and student choreographer.“As

students we are swamped with classes, projects and tests, but some students go above and beyond to showcase there artistic creativity. The satisfaction of presenting our hard work and creativity in front of an audience makes the sweat, tears and 11 p.m. rehearsals worth every moment.”

IF YOU GO “Spring Collection” & “The Next Generation” Stevie Eller Dance Theatre Spring Collection April 16-17 & April 23-24, 7:30 p.m. April 18 & April 25, 1:30 p.m. The Next Generation April 15 & April 22, 7:30 p.m. April 17 & April 24, 1:30 p.m. For tickets call the Fine Arts box office at 621-1162 or go online at http://arizona.tix.com Adults $22 Senior, military, UA employee $18 Students $12

arizona daily wildcat â&#x20AC;˘ wednesday, april 14, 2010 â&#x20AC;˘

Musical â&#x20AC;&#x2DC;Violetâ&#x20AC;&#x2122; a triumph on a minimalist set leaves the audience crying. Spigelman is destined for great things, so donâ&#x20AC;&#x2122;t miss her performance. Musical theater junior Damian Arizona Repertory Theatre presents Hudson plays Flick, an African its closing show of the season, American soldier struggling to â&#x20AC;&#x153;Violet,â&#x20AC;? in Tornabene Theatre, and the find acceptance in performance entertains. the racist South of The show follows the 1940s. He offers a girl named Violet an array of humor on her pilgrimage to and seriousness Tulsa, Okla., to heal Violet throughout the a scar running down Runs until May 2 show as he comes her face. Through her 1:30 and 7:30 p.m. shows to terms with Violet travels, she meets Tornabene Theatre and her desired Flick and Monty, two transformation. soldiers traveling on Visit web.cfa.arizona.edu Hudson is a strong the Greyhound bus Call 621-1162 for tickets lead and gives a with her. and information stunning performance. The theatre did a $21 - $31 He has a great voice wonderful job casting paired with comedy the show. Playing and brought the the title role, musical audience to a standing ovation. theater senior Rebecca Spigelman Travis Brown, a musical theater plays a complex character, easy to senior, plays Monty, a traveling love and cheer for during the musical. soldier who meets Violet. Monty is Spigelman has an incredible singing one of the main comedic players, and voice and acting talent to match; she

By Bryan Ponton Arizona Daily Wildcat

if you go

Michael Ignatov/Arizona Daily Wildcat

From left, Monty (Travis Brown), Violet (Rebecca Spigelman) and Flick (Damian Hudson) in â&#x20AC;&#x2DC;Violet,â&#x20AC;&#x2122; the last show of Arizona Repertory Theatreâ&#x20AC;&#x2122;s season.

Brown keeps the audience laughing throughout. Brown adds another astounding voice to the songs, and his acting skills are wonderful. The musical is on a minimalist set. The stage and props are basic and simple. Gone is the complexity seen in their previous musicalâ&#x20AC;&#x153;Best Little Whorehouse in Texas,â&#x20AC;?but this gives the show a contemporary feel. With a couple of steps surrounding a circle platform, the audience is forced to use their imagination to see the surroundings of the characters, making the show a different experience for everyone. Unlike traditional musicals, the show features an electric guitar, making the sound as contemporary as the set. The band is located above the stage, giving the audience a chance to watch them play. The music is phenomenal, and the band brings the musical to life. As the last show of the year, Arizona Repertory Theatre does an excellent job bringing the contemporary musical â&#x20AC;&#x153;Violetâ&#x20AC;? to the stage.

UA students bring down the house in â&#x20AC;&#x2DC;Il Matrimonioâ&#x20AC;&#x2122; By Jason Krell Arizona Daily Wildcat

Walking into Crowder Hall on Thursday night, I found myself wondering what to expect from â&#x20AC;&#x153;Il Matrimonio Segreto.â&#x20AC;? Having never been to an opera before, I wasnâ&#x20AC;&#x2122;t so sure I would enjoy it. But thanks to the talented cast and symphony, I found myself loving it much more than Iâ&#x20AC;&#x2122;d ever anticipated. The light, humorous atmosphere that was maintained throughout the show made it accessible to first-time opera goers. Even before the performance began, the symphony was playing what seemed like a hodgepodge of entertaining music as a warm up, meant to set a fun tone for the night. The audiencesâ&#x20AC;&#x2122; attitude certainly helped too. As people packed into the cozy theater, they were abuzz with anticipation and chatted excitedly about the show, creating a positive vibe before the curtain even went up. I realized how much I was going to like this show as the overture began. The whimsical piece provided a perfect introduction to the comical soapopera style drama that was about to unfold. It was beautifully performed by the skillful Arizona Symphony Orchestra. The music was wonderful, but the acting made the show great. The cast members proved how talented they were within just a few minutes of their first onstage appearances. While everyone did a stellar job, two actors in particular managed to stand just a few inches above the rest. Asleif Willmer and Dennis Tamblyn gave flawless performances. Willmer, the only undergraduate in the show, was perhaps the most impressive and managed to portray the fiery Carolina with ease. The most notable part of her performance was how well she expressed emotion as she sang, transitioning from upset to excited to angry and never missing a beat. Tamblyn, who played Carolinaâ&#x20AC;&#x2122;s secret husband

Paolino, arguably faced the greatest challenge. What made the portrayal of his character so difficult was that, while everyone else had very defined emotions to display, Paolino had to be much more subtle to keep his marriage a secret. While other characters could overflow with love, rage or jealousy, Paolino had to communicate the same intensity discreetly. Thanks to Tamblynâ&#x20AC;&#x2122;s excellent body language and facial expressions, the audience had no problem understanding just how he

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Rodney Haas/Arizona Daily Wildcat

The members of the cast in â&#x20AC;&#x153;Il Matrimonio Segretoâ&#x20AC;? (The Secret Marriage).

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felt the entire show. Most of the comedy came from either Geronimo or Count, played by Chris Herrera and Greg Guenther respectively. Herrera managed to sing excellently while still conveying his characterâ&#x20AC;&#x2122;s confusion and anger. His timing was excellent and his facial expressions were priceless. Most of the scenes during which he was onstage

he left the audience laughing. Guentherâ&#x20AC;&#x2122;s Count, with a tendency to make insulting remarks in asides or straight to another characterâ&#x20AC;&#x2122;s face, made for some entertaining situations that had the audience waiting to see the reaction. Guenther also managed to make being head-over-heels in love funny, which is no easy feat. Not to be overlooked are

Katie Vanderhooning and Mackenzie Romriell, who played Elisetta, Carolinaâ&#x20AC;&#x2122;s sister, and Fidalma, Carolinaâ&#x20AC;&#x2122;s aunt. Both of them were brilliantly convincing in their jealousy of Carolina and in their scheming against her, but still managed to keep things light. Elisettaâ&#x20AC;&#x2122;s arrogant attitude comes off as amusing instead of annoying, and Fidalma is manipulative

without seeming like a villain. The plot was funny by itself and the cast highlighted the best moments. It was slightly ridiculous, but most operatic plots seem to be. Despite misunderstandings and multiple love triangles, everything worked out well in the end. It wasnâ&#x20AC;&#x2122;t as if anyone was expecting anything different.

• wednesday, april 14, 2010 • arizona daily wildcat

Club Crawl unites unique minds, music

Tucson’s all-night concert starts again By Zachary Smith Arizona Daily Wildcat Tucson catches a lot of flak for being a city with very little to do in terms of nightlife. Much of the area around the UA is devoid of major events for late-night gatherings of the over-21 crowd. You can only hit ’80s Night at O’Malley’s so many times before Whitesnake covers start to sound stale. Thankfully, there is a remedy for your local scene blues. Club Crawl, Tucson’s largest barbased music festival, arrives this Saturday at 8 p.m. Boasting 80 bands on 25 stages, this will be the 17th year that Club Crawl takes over downtown Tucson, transforming Fourth Avenue and Congress Street into a bona fide block party. The purchase of a wristband — $8 in advance at Zia Records or $10 at the gates — gives the wearer access to every club taking part in the event, as well as the outdoor stages on Congress Street. While the wristband does not guarantee cheap drinks — most venues are without endearingly underpriced drinks for the event — it provides for a night of ludicrously inexpensive music. With most clubs and stages providing four or five musical performances during the night, even the most ADD-addled clubgoer can find something to like in a matter of minutes. Among the bands performing at Club Crawl, Triple Double Band and Cosmic Slop are two fun-loving, party-starting, crowd-friendly Tucson bands that embody the spirit of the event. Triple Double, a five-piece soulreggae-rock group, ignites the stage with dynamic, unpredictable sounds. “We all have a ton of different influences,” said bassist Preston Winter.“For us, one genre is boring. We want you to have fun at our shows, even if only for a minute.”

Without missing a beat, bandmate and drummer Tom Cracovaner joked, “Hopefully for longer than only a minute.” Performing on the KRQ stage at 9 p.m., the members of Triple Double expressed great excitement about the show. “It’s such an incredible opportunity to be performing at such a large event,”Winter said. “You wouldn’t think Tucson had such a crazy amount of bands. There’s going to be all kinds of music at the festival,” added guitarist Jimi Cracovaner. When asked about their live performance, the band members smiled at each other, as if there was some sort of mutual understanding. “Our show is definitely highenergy. We feel the music, get into it. We try to involve the audience as much as possible, get them moving around,”Winter said. It felt as if they were trying to be modest about their shows, as the Cracovaner brothers nodded in agreement with Winter, smirking a little. Across the musical universe lies Cosmic Slop, an old-school funk band that wears the ’70s like a favorite pair of jeans. They’re the type of band who invites an arts writer to the strip club to kick it before the interview, so you can only imagine what their show must be like. The band was created by frontman Dondi Marble to satisfy his desire for a band “like Funkadelic” in Tucson. After several different incarnations of the band, Marble settled on the current five-piece. The current line-up is “the best we’ve ever had,” said drummer Ed Garcia.“We all have different backgrounds — funk, ’80s hair metal, alternative, classic rock — and we bring it together to make a funky sound.” Marble added,“That works perfectly for us because funk is a gumbo, man.”

As for the band’s infamous live performances, the members were more than happy to share anecdotes. “Let me tell you something about thongs, man. Thongs are great on women. Our lead singer likes wearing thongs on special occasions. Which is fine for the audience, they get a kick out of it. But for me, it’s not pretty,” Garcia said. “Jai (the guitarist) likes to wear a kilt commando and we had a girl one time just tuck herself up in there. That is the kind of stuff that happens when we play. “During the last song, we invite the crowd up on stage. The stage starts to buckle and a lot of people have been drinking, so we’ll have 20 girls on stage taking their shirts and shorts off. Then the bras start flying and it is fantastic! I’m trying to keep time and there’s a bra in my face. Our live show is the most fun you will ever have in your life,” Garcia added. Playing outside of The Hut at 11 p.m., Cosmic Slop promised a “no-holds barred party,” one where “you shouldn’t be surprised if something pops out.”

Dusty Rhodes and the River Band

Photo courtesy of SideOneDummy Records

Dusty Rhodes a high-energy hootenanny By Brandon Specktor Arizona Daily Wildcat Dusty Rhodes and the River Band defy categorization. On one hand, the six-piece outfit from Orange County rocks out old school with yowling Creedence-esque vocals, layered guitar, synth riffs and singalong Motown flair. On the other, they’ve got a fiddle. “We’re a bunch of dichotomies and oxymorons that somehow work,” admits Edson Choi, one of the band’s two guitarists and multiple vocalists. Choi is joined onstage every night by vocalist/keyboardist/fount of energy Dustin Apodaca (the titular “Dusty” in Dusty Rhodes), guitarist and vocalist Kyle Divine, violinist and random instrument expert Andrea Babinski, bassist Brad Babinski and drummer Eric Chirco. It is the coalescence of these six diverse and strong personalities to which Choi attributes the band’s unusual harmony. With grassroots titles about “Leavin’Tennessee” or being a rough-and-tumble “Street Fighter,” it might be tempting to classify Rhodes as Southern rock. But spurts of synth-heavy psychedelia complicate that description. The band’s genre is elusive, even to its members.“I’m gonna say (the band falls into) rock, because rock is so all encompassing,” Choi said. “I mean, people know you’re gonna have guitars, drums and a bass … but I feel like rock just means like high-energy, you know?”

By that definition, Dusty Rhodes is about as rocking as they come. Starting out in Orange County when punk and screamo were the order of the day, the band have pushed themselves constantly to match the energy of their rowdier peers without compromising the communal effort that defines their sound. Six members on one stage can be a tight squeeze, but that doesn’t prevent frontman Apodaca from garnishing his vocal performances with lighthearted twirls and bobs of his curly mane, nor does it prevent Choi from throwing his whole body into a single guitar lick, or Andrea from dominating the stage with a blistering violin solo. “(It’s like) being this little flower in this desert with a violin and harmonies amongst all these punk bands,” Choi said. Though Choi, Divine and Apodaca usually split songwriting duties, a Dusty Rhodes song will more often than not focus on the unity of the entire band, not its specific members.“We don’t want to be the band buffet — and you just go there because you like the shrimp,” Choi said.“We want to provide an overall cohesive experience.” For a musical experience not quite like any you’ve had before, check out Dusty Rhodes and the River Band at midnight on the Mountain Stage. Bring a lighter and some moonshine. The switch from power ballad to hootenanny could come at any moment.

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Check out dailywildcat.com for a full schedule of Club Crawl bands playing this weekend

arizona daily wildcat • wednesday, april 14, 2010 •

Club Crawl preview

Creeps and geeks inquire within Tucson’s Mission Creeps play horror rock for everybody By Brandon Specktor Arizona Daily Wildcat Perhaps you’ve seen them prowling Fourth Avenue or the alleyways of downtown Tucson. Perhaps you heard them rally armies of the undead with chunky surf rock beats after the Tucson Zombie Walk. Perhaps you’ve never seen them — in which case your chance has finally come, because The Mission Creeps will be creeping through Club Crawl this Saturday, ready to rock your toe-tags off. Singer and guitarist James Arrr, the band’s iconic leather-clad, glasses-wearing frontman, met bassist Miss Frankie Stein when the two were playing in separate groups that eventually dissolved. Drummer Jeff “Die Day” DiDay joined the duo later to round out their thundering surf sound. “The reason (James and I) really connected was because we were both fans of this obscure band called The Ghastly Ones,” Stein said over coffee at Epic Café.“They’re a horror/surf band from Los Angeles and no one’s really heard of them … to each find out we had the same obscure like and interest was really neat.” From that mutual interest evolved The Mission Creeps, a surf goth horror rock trio with a one-of-a-kind style founded on a love for the bare-bones garage punk compositions of The Cramps, as well as the psychologically spooky imagery of David Lynch. Behind simple, heavy blues riffs threaded through narratives about cannibal love, graveyard fraternization and the merits of creepiness, the influences are easy to see.“To use a movie metaphor, (The Mission Creeps is) a psychological thriller, not some campy slasher,” Stein said. In addition to their varied artistic influences, though, living in Tucson has had a huge impact on The Mission Creeps, both musically and socially. “It seems that the desert does have some influence in allowing space into the music,” Stein said.“We definitely feel like space sometimes speaks more volumes than filling it all in with more notes and more words, and more stuff … it’s kind of like a desert highway.” The city has also afforded the band collaborations with performance art groups like Flam Chen, for whom they have scored multiple choreographed performances. The Mission Creeps have also played the All Souls fundraiser multiple years running, as well as local events like the Tucson Zombie Walk. This fun-loving culture of the dead is a Tucson phenomenon, Stein said.“Where else are you going to get that?” But below the mascara and sunglasses of their gothic rock exterior, The Mission Creeps are surprisingly down to earth. Though Arrr’s signature shades may scream “rock star persona,” they are fitted with prescription lenses that prevent him from being “blind as a bat,” as Stein put it. “He’s always been self-conscious about wearing them … but finally he kind of found his look,” she added. “People think he’s trying to look cool with his glasses on stage, but the fact is he can’t see anything without them.” Stein added that Arrr has a Ph.D. in sociology, and has personally assembled several theremins, including the one he uses in live performances.“He’s definitely not a rock star type, he’s more of a brainiac,” she said. “Geeky” is another word that was applied both to the band itself and its multifaceted fans. Despite their spooky style, The Mission Creeps’ high-energy live performances and songs about love among wretched graveyard denizens hold a message of inclusion. “It’s sort of geeky in a way, and maybe that’s what the theremin is about too, but … whatever your thing is, don’t fret. This is for everybody — especially if you’re self-conscious.” Whether you’re a zombie, witch, monster or just a plain old creep, come engage in some equal opportunity rocking with The Mission Creeps at 10 p.m. on the KRQ Stage. If your hips aren’t swaying by the first song, it’s probably because you’re actually dead.

Illustration by Ken Wright/Arizona Daily Wildcat

Young Mothers fresh and talented By Kathleen Roosa Arizona Daily Wildcat In a smoky room sit five young men. One has a gray bandana holding back a torrent of hair. A UA jersey is draped over another guy. Another wears a pink shirt with cartoon roses on it. There’s a ’70s porn moustache on one guy. Oh, and there is a ginger in the corner. This is Young Mothers. Certainly a funny group, you’ll be amazed at what these guys come up with. ThoughYoung Mothers have made music for about three years, the current lineup only coalesced in early January.What started as a solo project morphed into an amazing five-person rock band. “It’s a collaboration,” said Nate Jasensky, guitarist,“but it definitely has a starting point.”That point is Zach Toporek, the not-so-evil mastermind behind the group. As the lead singer, guitarist and songwriter, he has made some great decisions about the band’s lineup. Tommy Cormier happily plunks along on keyboard, Jasensky as another guitarist, Andrew Bates thrums along on bass, and Ryan Slater kicks it on the drums with a sly smile. Composed of three UA alumni and two current seniors, Young Mothers owe much to the music program. With majors ranging from straightup music degrees to music business management, the five all interacted in the hallowed halls of the Music building, bonding over Steely Dan shirts or business networking. If you ask the band who influences them, they’ll name R. Kelly. In reality, you’re more likely to catch shades of The Decemberists, Death Cab for Cutie and The Shins. But the group isn’t trying to emulate anyone. “We’re going to sound like something. And if it’s good, people will listen. In the end we’ll sound like

Gordon Bates/Arizona Daily Wildcat

From left: Andrew Bates, bass, Nate Jasensky, guitar, Zachary Toporek, guitar and vocals, Ryan Slater, drums and Tommy Cormier, keyboard.

our own specific thing,”Toporek said. And they certainly do. The sound is full-bodied, at once cinematic and gritty, polished and humble. A pause in a song feels like the moment in a movie right before the hero sees his beloved in a crowded train station — full of barely suppressed anticipation and energy. Sometimes Toporek croons, hitting every note dead-on without the whine so often heard in rockers’ voices. Sometimes you’ll see a vein or two popping out in his neck while the band belts it out. Either way, it’s damn good. Between chuckling about cheap wine, Lady Gaga and the unknown future of a college graduate with a fine arts degree, the members express

high hopes for what lies ahead. “We’re really on the cusp of taking this stupid serious,”Toporek said. And that’s pretty much how the band functions. They’re pretty goofy, but you can tell they love what they do, and they’re really good at it. Music fans have four chances to catch Young Mothers play this week. The band will be playing a free show at Club Congress on Thursday with the Ohio-based Bad Veins. Doors open at 7 p.m., and the show is 21+. Young Mothers will be playing three shows on Saturday to celebrate both Earth Day and the launch of their debut record. They will begin at noon for a solar-powered Earth Day

celebration at Biosphere 2, north of Tucson. Admission to Biosphere 2 is $20 for adults, $10 with a CatCard. At Zia Records on Speedway at 4 p.m. they’ll perform again and unveil their first professional release — a seven-inch from Fort Lowell Records, with two songs, “Come On, The Cross” and “Good Swords.”The launch coincides with Record Store Day, an annual event that celebrates independently-owned music stores and promotes record sales over illegal downloads. Finishing up an exhausting day, Young Mothers are scheduled to have a free performance at Sky Bar, 536 N. Fourth Ave., around 10:30 p.m. 21+.

• wednesday, april 14, 2010 • arizona daily wildcat

2010 ARIZONA INTERNATIONAL FILM FESTIVAL and Music is Life (USA, 3 min)

Screenings will be held at these locations:

The Screening Room 127 E. Congress St. 882-0204

THURSDAY, APRIL 15

6 - 7:30p.m. - Hotel Congress Opening Night Celebration

8 p.m. - The Screening Room

Opening Night Shorts Ana’s Playground (USA, 20 min) Charlie and the Rabbit (USA, 10 min) Celestial Avenue (Australia, 20 min) Ah Gong is a hardworking kitchen hand in Chinatown with the singing voice of a Cantonese angel. The twist: He’s also a white dude. When the loveless Kath overhears him singing his sad and beautiful song in the alley, she abandons her smarmy blind date to pursue this Caucasian/Cantonese mystery. What results is a laugh-out-loud short that rivals Quentin Tarantino in crosscultural visual experimentation. Part kabuki performance, part karaoke music video and part kung-fu flick,“Celestial Avenue”is a visually stunning tribute to Chinese storytelling — and damned if it isn’t a cute love story to boot. —Brandon Specktor Seed (Czech Republic/USA, 12 min) The Time Machine (USA, 12 min)

Crossroads Cinemas 4811 E. Grant Rd. 327-7067

7:30 p.m. - Crossroads

Comrade Couture (Germany, 82 min) Marco Wilms, an ex-model in East Germany, explores the movement of counter-culture behind the subversive fashion industries during the 1980s. In an attempt to recapture the vitality of his youth, Wilms seeks out famous stylists and designers from nonconformist sects to restage an illicit fashion show. Set against the backdrop of a police state,“Comrade Couture” is a bracing look at how fashion gave life to those without a voice in the German Democratic Republic. —Zachary Smith preceded by The Poodle Trainer (USA, 9 min)

Guillotine Guys (USA, 7 min) TUB (USA, 12 min)

10 p.m. - Music Cafe at Club Congress Cash’d Out (Johnny Cash Tribute Band)

11 p.m. - The Screening Room

East Planet (Japan, 64 min) In this “experimental sci-fi film” from festival regular Hiroshi Toda, the astronaut Kuma lands on East Planet to discover a heartless dictator who executes the enslaved population by lethal injection. He escapes and meets a woman who survived execution. —Steven Kwan Preceded by Latte America (Canada, 10 min)

SATURDAY, April 17 1 p.m. - Art Institute Filmmaker Panel 1

1 p.m. - Crossroads

Such Good Friends (USA, 84 min)

3 p.m. - Art Institute Filmmaker Panel 2

3 p.m. - Crossroads

No Tomorrow (USA, 80 min) followed by panel

6 p.m. - Crossroads

The Tijuana Project 8 p.m. - Crossroads

Don’t Let Me Drown (USA, 105 min)

The Tijuana Project (USA/Mexico, 62 min) preceded by The Fence (USA, 35 min)

10:15p.m. - Crossroads

3 - 6 p.m. - Old Town Artisans

Dramatic Shorts Ana’s Playground (USA, 20 min) The Armoire (Canada, 22 min) Head in the Sand (USA, 16 min) Little Accidents (USA, 18 min) A young female factory worker is coming to terms with the emotional turmoil of suspecting that she is expecting an unplanned-for infant. She coerces an old friend, who recently became mentally disabled after a debilitating accident, into driving her to the pharmacy in the dead of winter to steal a pregnancy test. The desperation and poignancy of her situation weighs heavily on the audience for each moment of this short. —Marisa D. Fisher Out of Here (Spain/United Kingdom, 8 min) Patience of the Memory (Germany, 7 min)

Book Release Party “Crossing with the Virgin”

3 p.m. - Crossroads

65_Red Roses (Canada, 70 min) followed by panel

3 p.m. - The Screening Room

Be Calm and Count to 7 (Iran, 89 min) preceded by Roos Djaj (Palestinian Territories, 15 min)

5 p.m. - The Screening Room

Cine Espanol Di Me Que Yo (Spain, 15 min) Jesusito de mi Vida (Spain, 9 min) La Tama (Spain, 19 min) Martina y la Luna (Spain, 12 min) Nino Balcon (Spain, 9 min) Te Quiero (Spain, 10 min) Tengo Algo Que Decirte (Spain, 8 min)

5:30 p.m. - Crossroads

Situations Vacant (Ireland, 97 min) preceded by Birth (Italy/USA, 12 min)

7 p.m. - The Screening Room

SUNDAY, APRIL 18 1 p.m. - Crossroads

Don’t Let Me Drown (USA, 105 min)

1 p.m. - The Screening Room

D*I*Y (USA, 84 min) preceded by Skrappy’s (USA, 3 min)

9 p.m. - Music Café at the Red Room

MONDAY, APRIL 19

6 p.m. - The Screening Room Haze (USA, 82 min)

8 p.m. - The Screening Room

“Bridging Culture” Shorts Easy Made Hard (USA, 12 min) In Space (Thailand/USA, 17 min) Laredo, Texas (USA, 11 min) Lychee Thieves (USA, 29 min) The Visitors (USA, 6 min) This dramatic short places you directly into the lives of Nisa and Daniel who originally only have to deal with a mouse infestation and dirty apartment. Their relationship is thrown off-kilter, though, when Nisa’s traditional Asian parents come to visit. Focused performances from Visra Vichit-Vadakan (Nisa) and Sebastian Beacon (Daniel) coupled with tight camera movements make for a brutally honest short that force you to focus exactly where director, writer and producer Samina Akbari wants you to look. And that’s directly at a snapshot of a young woman growing up and making her own decisions. —Kathleen Roosa

10 p.m. - Music Cafe at Club Congress Retro-Lution with DJ Sean T

East Planet

FRIDAY, APRIL 16

5 p.m. - Raices Taller Gallery Filmmaker Reception

5 p.m. - The Screening Room Global Shorts Babylon 2084 (Germany, 30 min) old fangs (Ireland, 11 min) Roos Djaj (Palestinian Territories, 15 min) TV (Italy, 13 min)

7 p.m. - The Screening Room The Tijuana Project (USA/Mexico, 62 min) preceded by The Fence (USA, 35 min)

9:30 p.m. - The Screening Room Comedy Shorts Can’t We Talk (United Kingdom, 11 min) Celestial Avenue (Australia, 20 min) Gayby (USA, 12 min) GPS (Spain, 8 min)

The Road to Freedom (Cambodia/ USA, 93 min) The road to freedom is paved with conflict and dangerous journalism, according to 21-year-old direct Brendan Moriarty. It also bears a powerful, tone-setting soundtrack and vivid contrast between the vibrant Cambodian landscapes and the harsh reality of war. The film is set in the early 1970s and follows two journalists on a trek for an award-worthy story in the southern Cambodian jungle. They find their story smack dab in the heart of Khmer Rouge territory. The next challenge is to break the news. —Marisa D. Fisher

8 p.m. - 1 a.m. - The Screening Room

Acoustic Stage of the Club Crawl featuring music of Al Perry, Al Foul, Billy Sedlmayr, Maggie Golston & Fish Karma

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arizona daily wildcat • wednesday, april 14, 2010 •

TUESDAY, APRIL 20

8.5 Hours (Ireland, 87 min) preceded by Cold April (USA, 16 min)

A Recipe for Disaster (Canada, 5 min) Sex Trafficking (Arizona, 2 min) Skrappy’s (Arizona, 3 min) Sustainable Desert Foods (Arizona, 2 min) The UnDeadUcated (Texas, 21 min)

10:30 p.m. - The Screening Room Edgy Shorts Aftermath (Ireland, 10 min) Babylon 2084 (Germany, 30 min) A man named E90-1248 lives in a dystopian society where Earth’s population lives in one of two towers after a catastrophe submerges the world underwater. The entirety of E90’s existence is to sort scraps dug up from the bottom of the ocean, which are used to increase the height of his tower to combat the rising water level. After an accident sends him down into the depths of the tower where society’s rejects live, he finds out the truth behind the world’s plight and how he is the only one who can stop it. — Jason Krell Latte America (Canada, 10 min) Meatwaffle (USA, 9 min) Seed (Czech Republic/USA, 12 min) Stuttering Ears (USA, 9 min)

4 p.m. - The Screening Room Border Shorts Desconocidos (USA, 12 min) The Fence (USA, 35 min) Point of Entry (USA, 27 min) followed by panel

6 p.m. - Arts Institute Awards Night

8 p.m. - The Screening Room

The Crimson Mask (USA, 89 min) preceded by My Superhero (USA, 17 min) Director Zack Zhou presents a short film about the irony of an African American boy finding personal freedom in a white superhero character as the U.S. struggles with conflicting ideals during the 1960s. —Steven Kwan

10:30 p.m. - Music Cafe at Sharks Celestial Avenue 6 p.m. - The Screening Room A Village Called Versailles (USA, 67 min) preceded by Point of Entry (USA, 27 min)

8 p.m. - The Screening Room

Comedy Shorts Can’t We Talk (United Kingdom, 11 min) Celestial Avenue (Australia, 20 min) Gayby (USA, 12 min) GPS (Spain, 8 min) Guillotine Guys (USA, 7 min) TUB (USA, 12 min)

Metamora (4 min) Omega 3000 (USA, 8 min) River Without Water (USA, 3 min) Todas Almas (USA, 8 min) “Todas Almas”takes place during Tucson’s All Souls Procession, a part of the Dia de los Muertos celebration. This festival impacts a young girl especially hard as she grieves over the loss of her lover, who was a military man. She paints her face and dresses in her wedding gown to join the throng in the streets, all the while carrying a sign calling for the end of the violence of war. —Marisa D. Fisher

of interdimensional travel, as well as the theoretical composition of the universe. “Over the River”is an eye-catching, intriguing and entertaining examination of modern scientific theories. Warning: May be too confusing for your grandma. —Brandon Specktor Patience of the Memory (Germany, 7 min) Raubbau (Germany, 5 min) Seed (Czech Republic/USA, 12 min) Wisdom Teeth (USA, 5 min)

9:30 p.m. - The Screening Room

10 p.m. - Hotel Congress

10 p.m. - The Shanty

AIFF Speakeasy

Arizona Filmmaker Party

Action Shorts The End (Spain, 28 min) Little Odessa (USA, 13 min) Territorio Enemigo (Spain, 11 min) Trunk (USA, 16 min)

WEDNESDAY, APRIL 21

THURSDAY, APRIL 22

10 p.m. - Music Cafe at On A Roll

Lunch Shorts

65_Red Roses (Canada, 70 min)

Noon - The Screening Room

4 p.m. - The Screening Room Dramatic Shorts Ana’s Playground (USA, 20 min) The Armoire (Canada, 22 min) Head in the Sand (USA, 16 min) Little Accidents (USA, 18 min)

5:30 p.m. - The Screening Room Comrade Couture (Germany, 82 min) preceded by The Poodle Trainer (USA, 9 min)

7:30 p.m. - The Screening Room

Psycho Guru (USA, 93 min) Peter Scott, a local Tucson motivational speaker, is an absolute wreck. The only thing more shocking than his success as a speaker is his failure as a normal guy. This documentary follows Scott as he attempts to balance his career with his inability to function day to day. —Zachary Smith

9:30 p.m. - The Screening Room Arizona Shorts Desconocidos (USA, 12 min) Estaban’s Ride (USA, 8 min) Hannah (USA, 4 min) Lines (USA, 14 min)

4 p.m. - The Screening Room 6 p.m. - The Screening Room Free Land (USA, 62 min) preceded by We Lived There (USA, 3 min)

8 p.m. - The Screening Room

Animation Shorts Birth (Italy/USA, 12 min) Horn Dog (USA, 5 min) Like Crude Oil (Spain, 4 min) Meatwaffle (USA, 9 min) Metamora (USA, 4 min) old fangs (Ireland, 11 min) Over The River and Through the Higher Dimension (USA, 8 min) Are you a fan of“Reading Rainbow,” but wish they’d tackle the big issues, like quantum physics? If so, you’re in luck with this short, a public access-style primer to string theory steeped in experimental animation. On a trip to grandma’s house, Dillon (the film’s director and animator, Dillon Markey) discovers that granny’s been building a teleporter in her spare time. The short film utilizes (pretty phenomenally) stop-motion wireanimation to illustrate the complex theory

10 p.m. - The Screening Room Best of Fest Shorts

10 p.m. - Kappy’s Bar

SATURDAY, APRIL 24

Closing Night Party

11 a.m. - The Screening Room

SUNDAY, APRIL 25

Filmmaker Panel 3

2 p.m. - The Screening Room

IndieYouth: Films BY Kids Beat The Leak (Arizona, 1 min) The Boom Box Kid (Arizona, 5 min) Check Mate (Massachusetts, 11 min) Community (Arizona, 4 min) Fashion Zombies (Arizona, 3 min) The King’s Receipt (Massachusetts, 8 min) Land of Opportunity (Massachusetts, 11 min) A Look Around (Arizona, 3 min) Major Tom (Arizona, 3 min) Music is Life (Arizona, 3 min) My Story (Massachusetts, 5 min) The Night (Arizona, 4 min)

Best of the Fest - Documentary

4 p.m. - The Screening Room Best of the Fest - Narrative

IF YOU GO

2010 Arizona International Film Festival filmfestivalarizona.com 882-0204 Facebook: Arizona International Film Festival Twitter: @AZ Film Fest Visit DailyWildcat.com/wildlife for more coverage of the Arizona International Film Festival.

Music by Apocalypso

FRIDAY, APRIL 23

2 p.m. - The Screening Room No Tomorrow (USA, 80 min)

4 p.m. - The Screening Room

IndieYouth: Films FOR Kids Charlie and the Rabbit (USA, 10 min) Ella and the Astronaut (USA, 8 min) Horn Dog (USA, 5 min) Nino Balcon (Spain, 9 min) Omega 3000 (USA, 8 min) Over The River and Through the Higher Dimension (USA, 8 min) Roos Djaj (Palestinian Territories, 15 min)

6 p.m. - The Screening Room Mamachas del Ring (USA/ Bolivia, 75 min) preceded by The Time Machine (USA, 12 min)

Cold April

All photos courtesy of the Arizona International Film Festival

8 p.m. - The Screening Room

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â&#x20AC;˘ wednesday, april 14, 2010 â&#x20AC;˘ arizona daily wildcat

â&#x20AC;&#x2DC;Clashâ&#x20AC;&#x2122; a bloody, titanic distraction

By Brandon Specktor ARIZONA DAILY WILDCAT I saw the first 20 minutes ofâ&#x20AC;&#x153;Clash of the Titansâ&#x20AC;?last week in 3-D. Apparently the gods were angered by the proceedings. At just about the point where princess Andromeda makes sex-eyes at a bulging three-dimensional Sam Worthington, the theater sound gave out, replaced by a grotesque hissing that sounded like a Kraken getting his cavities filled. The showing was cancelled, and not a moment too soon â&#x20AC;&#x201D; the 3-D was mind-numbingly distracting. Trained theatergoers should sense trouble when a 1981 Greek mythology remake is packaged solely on the pretense of cuttingedge 3-D graphics. In the case of â&#x20AC;&#x153;Clash,â&#x20AC;? an unremarkable, ultra-violent action romp is made

practically unwatchable by this supposed technological innovation. Someone would have lost his job if the film hadnâ&#x20AC;&#x2122;t already grossed more than $60 million. The remake ofâ&#x20AC;&#x153;Clashâ&#x20AC;?is not nearly as intolerable when viewed in archaic two-dimensional projection, as it was originally intended to be seen. Sometimes, itâ&#x20AC;&#x2122;s even engaging. The story loosely follows the myth of Perseus, a product of one of Zeusâ&#x20AC;&#x2122; many â&#x20AC;&#x153;sleepoversâ&#x20AC;? away from Olympus. The young god is raised by a humble fisherman who curses the gods for consistent rotten luck, including his eventual deep-sea death after a pissedoff Hades (played by a ghoulish Ralph Fiennes) obliterates his boat. Perseus is rescued by a patrol of warriors from the irreverent colony of Argos and blah blah blah â&#x20AC;&#x201D; get to the killing already. The bulk ofâ&#x20AC;&#x153;Clashâ&#x20AC;?resembles the quirky, action-heavy progression of

Louis Leterrier Clash of the Titans Warner Bros. Pictures Released April 2, 2010

other fantasy epics likeâ&#x20AC;&#x153;The Mummyâ&#x20AC;? series orâ&#x20AC;&#x153;Troy.â&#x20AC;?Minor characters are brushed off like lepers as one violent set piece leads to another, bridged by obligatoryâ&#x20AC;&#x153;weâ&#x20AC;&#x2122;re walking really farâ&#x20AC;? montages set to grandiose orchestral arrangements. Perseus learns to use a blade and loses some comrades. He slays a giant scorpion and loses a few more. He goes on a blind date with Medusa and ends up the last man standing. When the time comes, he must weigh his pride as a man against his faith in the gods in the ultimate showdown with Hadesâ&#x20AC;&#x2122;Kraken, and the results are predictable. But plot is the last thing that fills seats for a 3-D remake. Itâ&#x20AC;&#x2122;s the action we want: Itâ&#x20AC;&#x2122;s Sam Worthington yelling bloody

vengeance as he plunges his sword into some guyâ&#x20AC;&#x2122;s neck or Liam Neesonâ&#x20AC;&#x2122;s Zeus throat-punching an insolent underling before releasing the Kraken. Here, the film delivers exactly what it promises. In 2-D, the action scenes are adrenaline-fueled and hyper-violent. In 3-D, the action scenes are nauseating. Ultimately, it is the inconsequential action vignettes alone that will hold your attention until the final throwdown with the Kraken â&#x20AC;&#x201D; an anticlimax that too closely echoes â&#x20AC;&#x153;Avatarâ&#x20AC;?as Worthington swoops across the battlefield atop a menacing Pegasus. The infighting between Zeus and Hades is a bore, and every character save Perseus is expendable and unsympathetic. If action is all you want, then enjoy. Just bring some headphones and rock out to Mastodon during those extraneous bits of plot. And, by the gods, make sure you go in 2-D. Courtesy of Warner Bros. Pictures

Recapturing the nightmare: Film director exposes an unsolved tragedy By Marisa D. Fisher ARIZONA DAILY WILDCAT

Sam Shumaker/Arizona Daily Wildcat

Charlie Minn is the director and producer of â&#x20AC;&#x153;A Nightmare in Las Cruces,â&#x20AC;? a nonfiction drama about a massacre in a bowling alley of Las Cruces, N.M., that led to no arrests.

Tragedy struck the small New Mexico town of Las Cruces on Feb. 10, 1990. Money was stolen, children were murdered, and the innocent pastime of trying for strikes and spares at Las Cruces Bowl would not be viewed in the same light again. Charlie Minn saw the story of the Las Cruces bowling massacre on â&#x20AC;&#x153;Unsolved Mysteriesâ&#x20AC;? when he was a college student.â&#x20AC;&#x153;I was just

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Not rated Harkins Tucson Spectrum 18 5455 S. Calle Santa Cruz Call 889-5588 or visit www.harkinstheatres.com for tickets and showtimes struck, watching that. Struck and angered,â&#x20AC;? Minn said. Twenty years later, Minn has directed a documentary that recreates and examines the story of that fateful day at the lanes. â&#x20AC;&#x153;A Nightmare in Las Crucesâ&#x20AC;? has been screened privately for victimsâ&#x20AC;&#x2122; families and shown locally in New Mexico. The film is now coming to Arizona and will open in Tucson on Friday at Harkins Tucson Spectrum 18, 5455 S. Calle Santa Cruz. Minn is passionate about the need to create awareness of this unsolved cold case, and knows that film is the way to do it. â&#x20AC;&#x153;While making this film, I was surprised at how many people didnâ&#x20AC;&#x2122;t even know about it, even people who went bowling at that bowling alley.â&#x20AC;? Now, he says, people in the town and in the state of New Mexico are more aware of the tragedy, which he attributes to the power of the movie business.â&#x20AC;&#x153;You can reach out to and affect a lot of people, you can provoke thought and emotion and feelings that werenâ&#x20AC;&#x2122;t there before,â&#x20AC;? Minn said. Because Las Cruces is only four hours away from Tucson, Minn hopes that the film will have a positive reception

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A Nightmare in Las Cruces

here. He also states that some evidence points to the theory that the culprits, if they are still alive, could potentially be somewhere in the vicinity. â&#x20AC;&#x153;I gotta believe that thereâ&#x20AC;&#x2122;s someone walking around Tucson who knows what happened, and theyâ&#x20AC;&#x2122;re not speaking up due to fear,â&#x20AC;? he said. The process of producing â&#x20AC;&#x153;A Nightmare in Las Crucesâ&#x20AC;? was also emotionally exhausting for everyone involved. â&#x20AC;&#x153;There was not a dry eye on the set,â&#x20AC;? Minn said. He was contacted frequently out of curiosity or compassion by friends and family members of the victims. The studio held a private screening for the victimsâ&#x20AC;&#x2122; families on Feb. 9 in honor of the 20th anniversary. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;d never been in a theater where there was continuous crying from the first minute to the two-hour mark,â&#x20AC;? Minn said. Itâ&#x20AC;&#x2122;s no surprise that Minn chose such a gut-wrenching, provocative story for his documentary. One of his biggest influences and inspirations in filmmaking is Oliver Stone, who is known for exceeding limits to get a reaction, though Stone trends toward fiction over documentary.â&#x20AC;&#x153;I donâ&#x20AC;&#x2122;t think any filmmaker pushes the types of buttons that Oliver (Stone) pushes,â&#x20AC;? Minn said. Whether that influence is visible in Minnâ&#x20AC;&#x2122;s treatment of the nightmare in Las Cruces remains to be seen. However, the film promises to be profoundly moving as a new addition to the relatively small genre of the truecrime documentary. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s an emotional wallop,â&#x20AC;? Minn said,â&#x20AC;&#x153;but the story was ripe to be told.â&#x20AC;?

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Arizona Daily Wildcat DO YOU LIKE TO SELL? “I love working at the Daily Wildcat for so many reasons. I make my own hours and get huge paychecks. I also get to work with local business owners and learn about sales in the real world. The experiences combined with the amazing work environment makes for the best college job I could ever imagine!” -Kyle Wade, Sales Manager We are looking for results-driven students to join our team as Account Executives for Summer and Fall 2010. If you are looking to gain real world sales experience, enhance your resume and the potential to make a lot of money, this is the perfect opportunity for you. We want people who can prospect clients and build new business! Perks Include: • An account list Need a ? • Work with local and national businesses great job • Discounted parking • Flexible hours. • Plus, the chance to make a lot ($250 per week or or even more based on sales) of money! DEADLINE: April 23, 2010 at 5 p.m. To apply, drop off a cover letter and resume to: Mike Spohn Advertising Manager Arizona Daily Wildcat 615 N. Park Ave. Suite 101 (Park Student Union)

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Gorgons, minotaurs and Zeus, oh my! By Jordan Laliotis Arizona Daily Wildcat

Buffet good for late eats By Ali Freedman Arizona Daily Wildcat A new pizza place has taken up residence near campus. Pizza Plus #1 is offering up $5.99 all-youcan-eat pizza where Los Betos once sat at 914 E. Speedway Blvd. next door to Subway. While it isn’t the most outstanding pizza you’ll ever eat, its hours can’t be beat. Open 10 a.m. to 2:30 a.m., Monday to Saturday, this place is a college student’s paradise. Despite its basic décor, the pizza isn’t too shabby. It can definitely compete with CiCi’s pizza on the northwest side — one of its only competitors in the all-youcan-eat pizza business. Pizza Plus #1 is looking into a liquor license as well as delivery to the dorms. Pizza Plus #1 offers NewYork and Chicago style pizzas, as well as basic salads, pastas and Pizza Plus #1 such. There isn’t much to say about 914 E. Speedway Blvd, the pizza. The crust is decent and the sauce is a nice mix of sweet next to the Subway and savory. I’d call it a step above 867-6880 fast-food style delivery joints, but Monday - Saturday it’s not quite Brooklyn or Zachary’s. 10 a.m. - 2:30 a.m. Despite this, if you’re in the vicinity Sunday, Noon - 8 p.m. and need some cheap or late-night eats, this is your best option, especially if you’re sick of late-night burritos and cheeseburgers. If owner John Grother goes through with the liquor license and Pizza Plus #1 starts selling alcohol, this place will officially overtake other late-night eateries on campus as a post-partying hangout. Its location right at the southwest corner of North Park Avenue and East Speedway Boulevard makes it convenient and a nice change of pace. While it may not be the world’s greatest eats and its atmosphere is that of any other pizza joint, Pizza Plus #1 makes a great option for college students in need of cheap, late-night grub.

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one of the most critically acclaimed series of all time. The main trilogy has earned impressive accolades from numerous video game publications and Web sites. And, thankfully, there are more “God of War” games to come. Switching from the hyper-violent to the hypermusical, Disney’s animated film“Hercules”presents us with a complete 180 on the mythological Hercules. In the ancient stories, Hercules was a kill-first-ask-questions-later demigod. In the Disney adaptation, Hercules is a full god, but due to Hades’s meddling, receives only part of a potion that would have turned him into a mortal, keeping the demigod idea in a roundabout way. Hercules discovers his lineage, and is told by Zeus that he can return to Olympus if he becomes a hero. Hercules seeks out the satyr Phil, a trainer of heroes, who has given up his profession after he failed with Achilles, a jab at the Illiad. Hercules then saves a damsel in distress named Megara, who has made a deal with Hades. Hades learns that Hercules is still alive, and uses Meg to coax Hercules into giving up his power for a day in return for her safety. Hades then uses this time to overthrow Zeus, and sends a cyclops to Thebes. Meg is killed in the battle, and Hercules’s power is restored because Hades broke his promise. Hercules must jump into the River Styx to save Meg, and in doing so, is proclaimed a hero. Zeus then allows Hercules to live with Meg, down on earth, instead of on Olympus without her. The movie is a completely different take on the legend of Hercules, but sometimes these differences bring ancient stories to a wider audience. Sometimes they make a quick buck and are reamed by the critics. The remake of“Clash of the Titans”received one star out of four from Rolling Stone and The Chicago Tribune, along with countless below average reviews. But others, like“God of War”and Disney’s“Hercules,”both of which did very well financially and critically, can be instant successes and classics, expanding classical mythology to a contemporary audience. And they also make beating the crap out of Medusa loads of fun.

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groundbreaking in two ways. Though the game was released in March 2005, the graphics were far above any console game. These visual achievements allowed for some of the most violent encounters in video game history. Kratos can be very creative when it comes to beating gods over the head with their own limbs. But the most shocking thing about the game was that it didn’t seem over-the-top. Think back to what Kratos had to go through, and you’ll understand why this guy was so peeved. Second, the“God of War”series was the first franchise to introduce a new headlining character into the milieu of classic Greek mythology. The producers at Sony Santa Monica, the studio behind“God of War,”made their own story while borrowing characters and settings from mythology, who they then punched squarely in the face. But one of the best things about“God of War”is that the mythos that the game presents is one hundred percent accurate. From the Golden Fleece to the Great War, in which the gods overthrew the Titans for control, a player can actually learn a lot about the classic stories through this romp of myth. And as a person who knew a good amount of mythology before playing the games, seeing Kratos tear through this universe helped me to appreciate a lot of the hard work that went into the game, something that most people acknowledge, but few understand. These would be moot points if the game were subpar. But “God of War” is

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