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B section
wednesday, april ,
Wildlife
Steven Kwan Arts Editor 520•621•3106 arts@wildcat.arizona.edu
The (possible) redemption of Joss Whedon
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espite a tremendous resume, Joss cancellations. His script for“Alien: Whedon has remained largely a Resurrection”helped kill the franchise cult figure for the past 15 years. and“Titan A.E.”did anyhing for anyone. Known primarily within the fanboy He has never touched material this realms and those who grew up watching big before or directed such a group of “Buffy the Vampire Slayer,”Whedon has superstars. Furthermore, his detractors almost no crossover appeal. I said his claim he is esoteric, dialogue-dependent name around my mother and too quirky. once and she asked,“Who You know what? Good. is she?” He’s writing and directing Not exactly the best a comic book movie, not name recognition. “Casablanca.”I don’t want Creator of four television my comic book movie to series, guest director on COMMENTARY BY be mainstream. That’s what “The Office”and“Glee,” killed the“Spider-Man” Zachary Smith co-writer of“Toy Story”and franchise and sucked all Arts writer nominated for an Emmy, the fun out of the“Fantastic as well as an Academy Award for his Four”movies. Marvel needs someone writing, Whedon has never been a power who can tackle the absurdity of its product player for anyone who doesn’t know what head-on and form a union between the “Runaways”is or that can’t name Willow’s Avengers and the real world. girlfriend.Yeah, I’m a nerd, so what? Whedon will be helming a film that Whedon’s writing has been important combines a playboy billionaire, the Norse in the comic book world as well. He thunder god, a one-eyed superspy writes spinoffs of his television material and the embodiment of America. for Dark Horse Comics and wrote for Marvel, garnering several Eisner Award nominations for his work on “Astonishing X-Men.” He also made the phenomenal superhero spoof “Dr. Horrible’s Sing-Along Blog” in response to the 2007-2008 Writers Guild strike. Whedon’s work helped identify him as a feminist and he has been honored for glorifying women in popular culture. Harvard even honored him last year with a lifetime achievement award in cultural humanism. Yet most have only heard his name in passing. That’s about to change. As reported by several media outlets, Whedon appears to be the writer and director for“The Avengers”movie, Marvel Studios’colossal superhero medley. With Iron Man, Captain America, Thor and Nick Fury presumed to be players, “The Avengers”will be Whedon’s largest title to date. And that is a gross understatement. “Iron Man”grossed $585 million worldwide, with the vastly inferior“The Incredible Hulk”still pulling in $263 million. Also,“Iron Man 2”drops next month and has more oncampus attention than Proposition 100. Marvel’s films are experiencing a huge pop culture draw thanks to Robert Downey Jr. putting down the crack pipe.“The Avengers”will be the culmination of Marvel’s films and could easily open to $70-plus million domestically. Comparatively, Whedon’s sole directorial credit“Serenity”grossed $38 million worldwide — total. This is like getting called up from Little League to play for the NewYorkYankees. So why Whedon? His career has not been all cult success and unfair
Somehow he has to make them fit within the context of modern America. I’ll hedge my bets on the guy who successfully put vampires in high school and made it completely logical. Besides, Whedon has nothing to lose and everything to gain. With “Dollhouse” cancelled, Whedon can focus completely on using his strong comic book background to prepare for “The Avengers.” If he strikes out, he loses nothing. He remains an important comic book writer and a potential force if the television market ever overcomes its penchant for reality programming. If he knocks“The Avengers”out of the park, he becomes a viable Hollywood writer-director with a strong underground following. In the age of the Internet, that can swing
momentum more than a carnival ride. Furthermore, Marvel stands to gain a lot from Whedon. Not only do they undo the idiotic move of signing Zak Penn on as chief writer — he wrote such gems as “Elektra”and“X-Men: The Last Stand”— but they nearly guarantee the importance of character over action. While Whedon has shown potential as an action director, his control of character kept“Buffy”afloat for seven seasons and led Empire magazine rate it the No. 2 television series of all time. Comic books are never about slick action scenes. For God’s sake, they were glossy squares initially. Character drives narrative, and Whedon has shown himself to be more than capable of building complex and fascinating characters from archetypes. Sure, this is all speculative. A lot can happen before“The Avengers”is released May 4, 2012. But for Joss Whedon, a man who has mostly garnered quiet accolades and hushed applause, this opportunity confirms that Hollywood is still in the business of making dreams come true.
INSIDE
A lot can happen in four minutes. A chicken can whisper violent murder in a child’s ear. The Grim Reaper can tempt a hardboiled pie-addict with one last juicy slice. Santa can convert his workshop into a war machine and loose his devastating “Blitzenkrieg”upon the free world.You can also watch an animated short. “Spike and Mike’s New Generation Animation” showcase brings such bizarre fantasies to The Loft Cinema, and without all the gore, obscenities and oblong genitalia of their iconic “Sick and Twisted”anthology. For some, that may be a turnoff. For others, the promise of philosophical crabs, murderous poultry and a Nazi-fied Saint Nick more than make up for the scarcity of sickness. It’s unclear what the theme of the show is, given the offbeat array of shorts — the longest of which being an 8-minute dialogue between two male castaways enacting a domestic drama on a desert island. The official Spike and Mike website offers the word“brain-spinning” to describe the collection, and the shoe certainly fits. Though each of the 19 obscure shorts offers something worth enjoying — be
it an oddball plot, eye for parody or the quirky quality of the animation — there are obvious highlights. “Crab Revolution,”a French blackand-white short narrated by a particularly philosophical crab, is the most memorable. Due to a genetic abnormality, the species is forced to make only back-and-forth, lateral movements, doomed to forever walk the same path from birth to death. In addition to an existential narrative a la Camus, “Revolution”creates surprisingly powerful images with a barebones palette. Black crabs gaze upward through stark white oceans at schools of circling fish, birds-eye angles capture parents jettisoning eggs out in neat rows as they follow their linear path, and the hefty shadows of ocean liners loom over helpless crab communities. Expertly conceived and crafted, “Revolution”is the gem of the festival. “Key Lime Pie,”which has appeared in the“Sick and Twisted”collection, is a pleasure to see again. A nameless hardboiled hero narrates the story of his twisted passion, but his femme fatale is not a woman: it is sweet, savory key lime pie. When the Grim Reaper shows up to present one last fatal offer to the addled addict, in traditional noir fashion, the hero must choose between temptation and survival. Gloomy noir conventions and a
sweat it B10 Don’t 5 tips to make exercise easier
Tucson has a reputation for being a bit of a shady town, but in reality, it’s an incredibly shady town. Rather than devote your time in Tucson to a death-grip on dignity, a good student of the UA should embrace Tuscon’s seedier adult beverage establishments. Not to knock Gentle Ben’s, but is it any different than the average American college bar? You aren’t going to make any stories there worth telling your children. The following four bars are locally grown and all the better for it. Get branded at The Meet Rack. Anytime you can get branded with the profile of a bar owner’s face, you have to, right? Right. Voyage to The Meet Rack and get God’s face burned into your flesh. The brand gets you drink discounts for life, but that isn’t the point. Victory is defined as making a bar smell like your own smoking flesh and enjoying a drink in the outdoor throne. The Meet Rack 210 W. Drachman St. Drink during The Buffet’s happy minute. Twice a day, Tucson’s oldest bar celebrates happy minute, a tradition worth attending. At 6 p.m. you get a second helping of whatever you are drinking for free. At 11 p.m. you are charged $1. If you’re feeling like a champ, celebrate both in one day. The Buffet 538 E. Ninth St.
Spike and Mike’s newest: All of the punch, none of the raunch By Brandon Specktor Arizona Daily Wildcat
BEFORE YOU GRADUATE
Photo courtesy of spikeandmike.com
lighthearted love of pastries conflate in this darkly comic take on desire. One more short worth a shout-out is“Santa: The Fascist Years.”Veteran animator Bill Plympton, whose hard-luck “Guide Dog”series is not unfamiliar to Loft crowds, presents an unpublicized facet of WWII. In an effort to“turn the calendar into one long Christmas season,” Santa masses an army of assassin elves and dive-bombing reindeer to spread his holly-jolly holocaust. Holiday icons clash in Plympton’s energetic chicken-scratch style to make for a hilarious history lesson that America’s youth has long been
deprived of. All the punchy with none of the raunchy, “Spike and Mike’s New Generation Animation”is a buffet of talented artists that you can actually bring the kids to. Just don’t be surprised if the kids start asking a lot of prying questions about elven genocide.
IF YOU GO
Spike and Mike’s New Generation Animation Playing at The Loft Cinema 3233 E. Speedway Blvd. Visit loftcinema.com for showtimes
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Sit in the giant chair at The Bay Horse Tavern and sip Schnapps. The chair inside the destitute tavern is a colossal relic straight out of a Washington Irving story. Bask in its glory, while enjoying the large array of Schnapps. You’ll immediately feel like starting a revolution or holding a trial for witchcraft. That chair is America at its finest. The Bay Horse Tavern 2802 E. Grant Rd. Embrace your inner, drunken child at Home Plate Sports Pub’s batting cages. Ah, Tucson, the only city in America where a bar would also have batting cages. You can try to show off, swinging at the 60 mph fastballs, but it’s way more fun to get absolutely tanked and beat the hell out of the slow pitch setting. Practice your one-handed follow-through and the proper method of crotch adjusting. Home Plate Sports Pub 4880 E. 22nd St. —Zachary Smith
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• wednesday, april 21, 2010 • arizona daily wildcat
local scene The University of Arizona’s School of Music is bringing back an old favorite. The Rosewood Marimba Band returns after a 10-year absence, and will be holding a free performance Friday at 7:30 p.m. in Crowder Hall. Kyle Maxwell-Doherty, a music graduate student, worked to reinstate the band. “Before the ensemble took a leave of absence, our ragtime band was well recognized nationally,” MaxwellDoherty said. “I petitioned to bring it back to existence, so we held auditions, and here we are again.” The concert will feature ragtime music from the 1920s and 1930s. Ragtime offered a polar opposite to the blues and jazz of the time, giving audiences fun, toe-tapping music. “It’s a lot of fun, lighthearted music. It isn’t what you normally hear on the radio, even on the AM stations. We all contribute to the music, so needless to say, we enjoy it quite a bit,” Maxwell-Doherty said. The band’s concert will be pure percussion, and spotlight a Deagan Artist Special Xylophone, an instrument which is nearing its 100th birthday. The group recently had the chance to work with champion percussionist Bob Becker. The concert will feature much of his and xylophonist George Hamilton Green’s contributions. During the concert, band members rotate instruments, and each student will perform at least one solo while the rest of the band provide backup. “We also encourage our performers to improvise,” Maxwell-Doherty said. “It’s difficult for a lot of first-timers to do, but it’s the highlight of the night when it’s done well.” Whether you’re a veteral ragtime fan or a new convert, the Rosewood marimba Band guarantes a good time. “It may not be your typical concert,” said Maxwell-Doherty, “but everybody always has so much fun that it’s impossible not to enjoy yourself.” — Jordan Laliotis
OUR PICK
Courtesy of UA School of Music
FRIDAY, APRIL 23
Head to the Tucson Convention Center to catch the Tucson International Mariachi Conference Espectacular Concert. Tucson’s award-winning conference features performances by renowned mariachi musicians and baile folklorico dancers. All ages. Espectacular Concert tickets start at $48. 7:30 p.m. To buy tickets, call 838-3908 or visit the TCC ticket office at 260 S. Church Ave. Ticket office hours are 10:30 a.m. - 5:30 p.m., Monday - Friday.
SATURDAY, APRIL 24
This is the last weekend to visit the 99th Annual Pima County Fair this season. Enjoy an old-fashioned city fair with food, carnival games, shows and rides. All ages. Admission costs and times vary by day; check swfair.com or call Pima County Fairgrounds at 762-9100 for more information. 11300 S. Houghton Rd. Parking is $5.
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Franz Wright
Courtesy of UA Poetry Center
language can do.” He calls these new pieces “the lyrical absolute.” Because his poems are always works in progress, expect Wright to interrupt his reading to make changes to the pieces as he thinks of them. “I’m living out these pieces right now as I read them,” Wright You must avoid said. “I’m very excited.” telling anyone Wright is also thrilled to be reading in Arizona. “I’m so you’re a poet in excited, I cannot tell you,” he said. America because “I can’t wait to see that desert. I’ll they’ll look at you probably never want to leave.” It was the discovery of a new like you’re insane. place’s beauty that led Wright to write his first poem. When Wright — Franz Wright was in his mid-teens visiting the Napa Valley area, he said he woke up one morning, went outside and found the poem. “I experienced this state of ecstasy that I had never experienced, that I knew I had to find again,” Wright said. “From that moment, I vowed I was going to become a writer or die.” He described writing poetry as “like being in love, like the world changes.” Wright says this hunger to write is the only thing that can lead young poets to any kind of success. “You cannot learn how to write poetry except by doing it,” he said. “You must generate inspiration out of love and enthusiasm for the art.” He also cautions that the life of a poet can be lonely. “It requires a tremendous capacity for solitude,” he said. “Writing poetry is done in solitude, like committing crimes.” At age 57, Wright feels he has finally discovered how to write a poem. “Everything comes daily, like going down in a mine and going to work,” he said. And while he lives for his work, Wright cautions budding poets, “If you love (poetry) and must have it more than life itself, go for it. If not, tread carefully.”
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Enjoy Southern Arizona’s best cover bands every Thursday at the Paradiso Bar and Lounge, at Casino del Sol, 5655 W. Valencia Rd. Lineup includes tributes to rock legends like The Rolling Stones and Van Halen put on by local artists. This week: Bella Donna, a Fleetwood Mac tribute band. 8 p.m. Call 1-800-344-9435 for directions or more information. Free. 21+. Tucson Music Hall presents Czech It Out! at 8 p.m Thursday and Friday. The orchestra, led by conductor George Hanson, will feature classical Czech and Eastern European pieces. Tickets are $20 to $72. Children under 6 will not be admitted. 260 S. Church Ave. Call 882-8585 or visit tucsonsymphony.org for more information.
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Tickets are now on sale for Comedy Corner’s 18th Annual S.I.C.K. Festival featuring Craig Robinson of “Hot Tub Time Machine” and “The Office.”The festival, which begins April 30, will also feature performances by Comedy Corner, The Farce Side, Barren Mind Improv, Dick Dick Dick and more. Tickets can be purchased at union.arizona. edu/sickfest or at Gallagher Theater.
THURSDAY, APRIL 22
By Heather Price-Wright Arizona Daily Wildcat
Welcome Back Wildcats!
WEDNESDAY, APRIL 21
The Doubletree Hotel, 445 S. Alvernon Way, is hosting the Victorian-themed magic festival Carnival of Illusion until the end of May. Roland Sarlot and Susan Eyed, the featured magicians, are winners of the Jack Gwynne Excellence in Magic Award. Tickets include dinner for two; only 35 guests per show. Two shows nightly: 6 and 8:30 p.m. $26. Visit carnivalofillusion.com for more information or call 615-5299.
Wright brings ‘miraculous’ new poems to Poetry Center Franz Wright is something of an anomaly in 21st century America. The author of several books and winner of, among other awards, the PEN/Voelcker Award for Poetry and the Pulitzer Prize , Wright has managed to make a living and a name for himself as a poet. Wright acknowledges how lucky he is to be doing what he loves in what he calls the “savagely competitive world” of poetry, which often lacks both money and prestige. “You must avoid telling anyone you’re a poet in America because they’ll look at you like you’re insane,” he said. Wright will read at the UA Poetry Center on Thursday at 8 p.m., and give an open-topic colloquium Friday at 4 p.m., at which people are invited to ask questions. Wright’s poems, which novelist Denis Johnson has Writing poetry called “tiny jewels shaped by blunt, ruined fingers — is done in miraculous gifts,” are not to solitude, like be missed. Though he just committing released a book, “Wheeling Motel,” in 2009, Wright said crimes. he will read mostly newer — Franz Wright material. He just completed a book of 60 prose pieces, which he says “covers the whole spectrum of what
To-Do List
IF YOU GO Franz Wright reading UA Poetry Center 1508 E. Helen St. Thursday, April 22, 8 p.m.
Tucson Botanical Gardens, Bookmans and the Girl Scouts of the USA present GreenFest, a free community workshopping event designed to teach green living advice. The Gardens promise to be alive and kicking with festive atmosphere and green celebration. Tucson Botanical Gardens, 2150 N. Alvernon Way. 8:30 a.m. - 2 p.m. 326-9686. Free.
SUNDAY, APRIL 25
This is the last night to catch Beowulf Alley Theatre’s performance of “Last of the Boys,” a 2006 play about two men who served in the Vietnam War and their struggles 30 years later, which was nominated for a Pulitzer Prize. 11 S. Sixth Ave. General admission $20, $18 online. $15 military admission. $12 military/ student rush tickets may be available 15 minutes before curtain opening. This may be inappropriate for children under 13. 1:30 p.m. Call 882-0555 or visit beowulfalley.org to purchase tickets. David Sedaris, the infamous Grammynominated writer, comedian and satirist, will visit Tucson Music Hall, 260 S. Church Ave., for what promises to be a night filled with laughter. This live performance of his snarky wit and divisive social criticism runs one night only, so tickets will be at a premium. 7 p.m. Call 791-4101 for tickets. $34.50 - $52.
MONDAY, APRIL 26
The UA School of Art’s Art and Visual Culture Education Division presents its 16th annual Wildcat Arts Exhibit. Featuring work from K-12 children in the community, the AVCE division is putting on the show as a culmination of all its 2010 efforts. All ages. Noon - 6 p.m. April 26 - May 1 at the Union Gallery in the Student Union Memorial Center. Call 621-7755 or visit union.arizona.edu/csil/gallery/ for more information. Free.
TUESDAY, APRIL 27
“Andy Warhol Portfolios: Life & Legends” continues at the Tucson Museum of Art, 140 N. Main Ave. This all-ages exhibit presents the American pop artist’s collection of work, featuring portraits, illustrations and portrayals. Call 624-2333 or visit tucsonmuseumofart.org for more information. Tuesday - Saturday, 10 a.m. - 5 p.m., Sunday, Noon - 5 p.m. General admission $8, students $3. First Sunday of the month is free. — Compiled by Joe Dusbabek
Someone eat your bike? Get a new one in Wildcat Classifieds!
arizona daily wildcat • wednesday, april 21, 2010 •
Game On!
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Courtesy of playwares.com
First look at ‘Splinter Cell: Conviction’ By Jordan Laliotis ARIZONA DAILY WILDCAT I got a firsthand taste of Ubisoft’s newest blockbuster,“Tom Clancy’s Splinter Cell: Conviction,” at Friday’s launch party in CODE, Park Student Union’s gaming center. And let me say, this game exceeded my expectations. “Conviction” is the newest addition to the Splinter Cell series — one of the most successful video game franchises of all time. The story follows Sam Fisher, who can best be described as a modern-day ninja. Sam’s use of his surroundings, shadows and fancy gadgets — a silenced pistol that also boasts a mini EMP transmitter, a portable camera that can stick to walls and detonate — has made him an icon throughout the gaming world. But “Conviction” attempts to push the series in a new direction. As a fan of the series since its inaugural game, I had high expectations for this installment. I knew what to expect — or so I thought. Sam Fisher is still the spy-assassin from the other games, sneaking around in the shadows and taking out guards with his trademark pistol skills. But there is another side to Sam this time around. Developer Ubisoft has given players two very different ways of playing “Conviction.”There is the familiar super stealthy route, and there is the newer, shotgun-toting Rambo-style. As a “Splinter Cell” purist, I chose stealth. But during the game, I was forced to grab a machine gun
and fight fire with fire. And the system works. Both ways of playing are executed brilliantly, bringing balance and multiple options to any situation Sam may face. There are certain scenarios that may boast one way of playing over the other, but this transition is easily deciphered. At the launch party, I spent a majority of my time in the game’s stellar co-op mode, which serves as a prequel to Sam’s adventures. Co-op mode consists of two agents who must find four EMP transmitters before they are sold on the black market. The agents have the same abilities that Sam does, which makes this mode even more enjoyable. I got to play through the first two levels, which ranged from guarding an EMP transmitter from waves of enemies to infiltrating a building without being detected. Both levels played out extremely well and offered a challenge around every corner. Co-op mode takes a severe amount of teamwork, but the rewards of reaching the end are gratifying. And I cannot begin to describe the joy of seeing your partner in crime drop down from the rafters to take out an unsuspecting guard. Even though I had a limited time playing the game, I can safely say that “Splinter Cell: Conviction” is one of the best titles to come out so far, in a year that has already been riddled with amazing games. If you’re a fan of the series, it is worth picking up. If this is the first you’ve heard of Sam Fisher, you can download the demo through Xbox Live and see that, while Sam may be getting old, he is still the best around.
My gaming machine isn’t better than yours
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ewer things evoke more irrational arguments than technology. Surely you’ve had the “Mac vs. PC”argument, where one person stubbornly insists that Apple has no idea how to do computers “right.”No amount of arguing will convince them that Macs are truly easier to use, and that’s that. The same goes for the Blu-ray elitist COMMENTARY BY in your physics Joe Dusbabek class who won’t Arts writer shut up about his 1080p high-definition display of“Transformers.”His technology always trumps yours, no matter what. Ditto for the guy who thinks playing the recently released “Dante’s Inferno” on his Xbox 360 counts as a history lesson due to its “accuracy.” It doesn’t matter whether you’ve read the original text in Italian. He knows more than you, because a paper copy of the story can’t possibly match up to his interactive battle with Satan in the final stage. A very specific type of this idiocy exists in the video game console realm in the form of the “fanboy.”These types have been around for more than a decade, as most date back to the Dreamcast-Nintendo 64-Playstation days. Most gamers define a fanboy as one who defends the console they own with petty ignorance, usually in public conversation or online forums. If you’ve escaped them thus far, consider yourself lucky. They are everywhere, just waiting to be slighted. You’ve probably seen them before, trolling online forums and proudly spouting quips like “‘Mass Effect 2’ is so much better than ‘Uncharted 2: Among Thieves,’”or“PS3 SUCKSSSSSS!!!”without justifying how or why. The nature of those who lurk online for these opportunities can’t be understood; they’re a special breed the likes of which you can’t find in zoos or exhibits. It’s difficult to argue with the fact that anyone can be an idiot online. It’s easy to be ignorant and speak without thinking. Six-year-old children do it. There comes a time when everyone needs to grow up, though. Some people understandably say ignorant things just to get a rise out of others for the sake of humor, but there comes a time when it stops being funny and starts being grating. I’m a former Xbox 360 owner who made the switch to the PS3 after my 360 died on me for the third time. I understand what it’s like to think you are missing out on some sort of party;
Look no further than your campus newspaper and website to get engaged in all aspects of publishing, in print and online. The Arizona Summer Wildcat is published weekly during the summer (10 times). Positions are available for all UA students, grad or undergrad, any major. If you feel you don’t have enough experience, the Summer Wildcat is an ideal training ground to get your feet wet and pick up some skills. The Arizona Daily Wildcat will resume 5-day-a week publication in August. This is a rigorous and demanding schedule, which is why we need smart, dedicated staff.
it’s easy to be jealous of the newest critically acclaimed release you can’t play on your system. It sometimes causes you to defend titles that don’t need defending and often makes you say things you don’t mean or feel, especially online. I am definitely a fan of the Playstation 3. When I make judgments on Xbox 360 games, I can be harsh at times, but I do so with hands-on experience with both consoles. I rate accordingly and fairly and in doing so, I avoid being ignorant. I feel it makes me a more informed reviewer and writer, and in turn, I feel better about what I choose to say. Knowing that much of the criticism thrown at you carries no validity makes it easier to speak out against it. Some democracies are formed from this idea. Ask the colonists who started our great country what they said when they were told they weren’t allowed to have representation in government. They’ll tell you how it feels to know you’re in the right. It befits everyone to do the same. Though most of us can’t afford two or more consoles, we can definitely afford to keep our common sense in discussing them. Remember: For every smart argument there are 10 ignorant ones. This is an exception in which you shouldn’t endeavor to be part of the crowd. Be fair with your criticisms and, especially in the public sphere, keep a cool head.
— Joe Dusbabek is a sophomore majoring in French. He can be reached at arts @ wildcat.arizona.edu
Right now both the summer and fall papers are recruiting for the following editor positions: News Editor Sports Editor Opinions Editor Arts Editor Design Chief Online Editor Copy Chief If interested in the Summer Wildcat, contact editor in chief Kevin Zimmerman, kevinz@email.arizona.edu For fall positions, contact editor in chief Colin Darland at cdarland@email.arizona.edu
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• wednesday, april 21, 2010 • arizona daily wildcat
Haute ‘Couture’ high fun By Zachary Smith Arizona Daily Wildcat
Comrade Couture
Photo courtesy of myspace.com
if you go Comrade Couture The Screening Room 127 E. Congress St. Tonight, 5:30 $6 general admission
The fashion industry comprises either the most esoteric or the most asinine group of people alive. Fashion designers — on a quarterly basis — unveil products that make absolutely no sense to 98 percent of the world. More people wind up scratching their heads than applauding a new outfit. Something that the fashionistas call brilliant is probably just a garbage bag with really expensive puffy paint on it. To be frank, everything going on inside the world of runways is almost always relentlessly unimportant. However, when freedom is rationed to a hungry populace, fashion can be more than important; it can be necessary. Marco Wilms’“Comrade Couture” explores a time when the subversive world of underground fashion hid in apartments and hollowed out shelters during the decade preceding the fall of the Berlin Wall. Wilms, an ex-model in the German Democratic Republic, set out to chronicle both the existence of counter-culture modeling under the oppressive regime in East Germany, as well as his own mission to restage a fashion show of that time with prominent members of the underground. In what could very easily become an inside joke of a film,“Couture” does a great job of catering to those not familiar with the fashion industry, much less East Germany. With anecdotes about pubic hair stylists, the brutality of the Stasi officers and filming fashion travelogues on a nude beach, the narrative addresses the far-reaching application of fashion within the lives of its subjects. Wilms’ labor of love is kept afloat by its tremendous heart. The reverence projected on the movement from Wilms and his compatriots is deeply affecting. Heavily nostalgic, the film
‘The Visitors’ brutal, honest By Kathleen Roosa Arizona Daily Wildcat
manages never to enter the territory of melodrama. Instead, there lies genuine desire for a time oft maligned. East Germany has never been glamorized for its freedom or its sympathy to innovation. When Wilms’ subjects muse about the ecstasy they felt during those secretive days, the paradox shatters many notions about the glory of freedom. Such thought-provoking instances are constant, as “Couture” suggests that, perhaps, without something to fight against, there remains little to fight for. Therein lies the greatest strength of “Couture” — its ability to lend inarguable importance to the movement. The underground fashion movement of East Germany was more “Fight Club” than GQ. It was a way to have a voice when such an idea was illegal. Credit Wilms for expressing this point early and often in “Couture,” while never making the movement or its members out to be accessories or gimmicks. He presents wildly eccentric individuals in starkly human situations, never allowing the physical perception of a subject overshadow his persona. As a storyteller, Wilms is superb. His direction seamlessly merges the past and the present so as to suggest not a rebirth but a continuation of ideals. His stock footage and old photographs do more than just add context, they enrich the film’s thematic endeavors through visual allusion. For a documentary, “Couture” is exceptionally engrossing, with dynamic characters and complex narrative structure. It rarely feels staged, eschewing a simple plot for several arcs that coalesce in the finale. “Comrade Couture”defies expectations consistently, providing a unique look into the role of fashion more than an accessory to one’s life. For some, it is all they have. After watching “Couture,” I can’t blame them.
Mice are such a pain. They eat your favorite cereal, relieve themselves in your shoes and leave you with the fear of putting your foot down, waiting anxiously for that brush of fur to fly past your toes. Such is the case of Nisa and Daniel.“The Visitors”is a six-minute dramatic short that places you directly into the lives of this young couple who originally only seem to have a problem with their mice infestation and dirty apartment. Unfortunately, their seemingly simple relationship is thrown off-kilter when Nisa decides to hide her relationship with Daniel from an upcoming visit from her traditional Asian parents. Nisa, played by Visra Vichit-Vadakan, is clearly in love with Daniel, played by Sebastian Beacon, who looks like your average young indie man. In the few minutes of pleasant interaction to the pictures on the fridge, their life together seems like a happy one. Her prioritizing clearly jeopardizes that calm. There’s a particularly beautiful scene that effortlessly captures the tension of her choices. Pacing around the kitchen, Nisa stresses over what to do with a mouse she caught under the stove. The potency of the scenes stems from the silence and the projection of inner conflict onto the exterior environment. Will she be passive, or will she kill the creature that is as trapped as her? While Vadakan’s performance might seem a little too unenthusiastic when juxtaposed against Beacon’s rather over-the-top exit, it actually makes the conclusion all the more powerful. While dialogue might not be her strong suit, her emotions are instead expressed through her desperate attempts to pull a mouse from a sticky pad. The camera often zooms right into the actors’faces. Other times, there are creative angles, such as reflections through bathroom mirrors that create a voyeuristic feel. The closeness creates a sense of real intimacy with each character’s plight. It’s not a Hollywood widescreen. It’s a brutally honest short that forces you to focus exactly where director, writer and producer Samina Akbari wants you to: Directly at a snapshot of a young woman growing up and making her own decisions. “The Visitors” is Akbari’s second short and first submission into any festival. It is also an official selection for the 2010 Sundance Film Festival.
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arizona daily wildcat • wednesday, april 21, 2010 •
Responsibility runs through ‘Global Shorts’ By Jason Krell Arizona Daily Wildcat
Roos Djaj (Chicken Heads)
From the Palestinian Territories, this short is about a young boy,Yousef, learning to take responsibility for his mistakes. While he plays with his pet gazelle in the mountains, it runs astray and murders his father’s prized sheep. When his dad needs to sell the sheep to a customer,Yousef blames the death on his brother’s dog. Suspecting Yousef lied, his father threatens to put the dog down, forcing Yousef to admit the truth. Despite losing his friend the gazelle — whom the father sells instead of the sheep — Yousef learns the value of responsibility. The story is well acted and subtle, which adds to the overall effect. The character development is remarkable because, despite the fact that it was only 15 minutes long, it was easy to connect with Yousef and feel sympathy for him.
old fangs (Ireland):
“old fangs” is an animated short about a wolf traveling through the forest with two of his friends — a fox and a cat — to visit his father whom he presumably hasn’t seen in quite some time. When they reach Wolf’s father’s house, Fox and Cat wait outside while Wolf goes in. Their reunion is short, but in that time it is easy to see how Wolf’s massive father scared his son away through anger and possibly violence. Wolf leaves unsatisfied, saying his father didn’t seem happy to see him. They
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walk back through the forest, but this time, Wolf runs ahead, back to all of his old haunts. “old fangs” is a cool little short because it has a distinct and likeable style of animation that fits the mood perfectly. The voice-acting is neutral — aside from the father — but since the story calls for that, it works. All around, it is an interesting piece worth your time.
TV (Italy):
“TV” is probably the best short of the three. It is also the most simple, plot-wise.“TV” is about a man explaining why he is in so much debt and why he doesn’t care to the Italian equivalent of an IRS agent. He spins a tale about how he met his wife and was happy for the first time. They lived happily for a few years before she was diagnosed with terminal cancer. To make best of the time they had and make her last days enjoyable, they traveled around the world. She ended up dying somewhere in East Asia, where he buried her, before returning to Italy alone. By the end of the story, the agent is crying and she tells him he has a long extension to pay off the money he owes. He then leaves while she requests some paperwork. “TV” is by far the most thought provoking of the shorts, and will leave you with a soft smile. The fact that such a simple short could be so powerful is proof that this is likely one of the highlights of the film festival.
Babylon 2084
Photo courtesy of Arizona International Film Festival
‘Babylon’ falters in ending By Jason Krell Arizona Daily Wildcat “Babylon 2084” is certainly an interesting short film. The basic premise had plenty of promise. It is set in a time in which the entire world has been flooded and all of the survivors live in two opposing towers. Their main goal is to salvage building materials from the sea floor to build up their towers because the water level is constantly rising — all while making sure the other tower does not surpass them. It has a certain “Big Brother” feel, where the average citizen is forced to work — “or else” — and most people seem complacent to obey. It turns out that “or else” entails being sent to the lower levels of the tower, which
will soon flood. The main character ends up there by accident and becomes the only man who can save the societal rejects after finding out that both towers are at fault for the rising sea level. Up until this point, the story is believable enough, but afterward, it takes a turn toward confusing. Things just seem to happen at random without much explanation, and the main character conveniently ends up in the perfect position to save the rejects. Unfortunately, when he discovers a room full of plants — something he never gets to see in the completely
metal tower — he is completely distracted and falls asleep. Then the movie ends, and the audience is left wondering what the point was. It is a twist ending, which is usually good, but the twist isn’t satisfying and leaves an incomplete picture. It’s difficult to convey a complete story in 30 minutes, but the ending of “Babylon 2084” is just too confusing. On the bright side, the acting is perfectly fine and, considering the budget, the sets were rather well done. The only real flaw was the conclusion, which left much to be desired.
if you go Babylon 2084
The Screening Room Friday, 10:30 p.m.
‘Charlie and the Rabbit’ muses on childhood without words By Brandon Specktor Arizona Daily Wildcat Among Thursday’s introduction to the Arizona International Film Festival was the intriguing non-dialogue short “Charlie and the Rabbit.” In 10 minutes, the American short exhibited the merits of a strikingly simple narrative. One morning 4-yearold Charlie watches a cartoon of Elmer Fudd tracking down the fugitive Bugs Bunny. Later that day, the boy pedals
out to a derelict field with a BB rifle slung over his back and hunts down a wascally wabbit of his own. The film boils down to whether or not Charlie can pull the trigger while the muzzle of his gun is pressed against a wee woodland creature’s furry temple. Filmmakers Robert Machoian and Rodrigo Ojeda-Beck effectively manipulate the audience’s emotions like puppeteers, at first portraying Charlie as the epitome of adorable, then implicating him as a potential
heartless killer at the film’s climax. A subjective camera trails Charlie intimately as he trundles down the street on his bicycle, invoking shades of Kubrick’s claustrophobic tricycle antics in “The Shining.”The effortless amusement of childhood is made palpable when Charlie reaches his swamp-ish hunting ground, pausing to take potshots at a collection of discarded beer bottles and crumpled aluminum cans. A slight shift in tone occurs when it becomes obvious that,
for a kid, Charlie is a pretty damn good shot. Perhaps more impressive than the subtle shifts in character is the fact that a cohesive, character-based plot is delivered with only one actor and practically no dialogue. The film is not afraid to replace telling conversation or voiceover with immersive ambient noise, and essentially creates a believable, multidimensional character through simple actions and reactions alone.
Whether you see it as a critique on America’s gun-crazy culture or an inconsequential rumination on childhood, “Charlie and the Rabbit” is undeniably an interesting experiment in minimalistic storytelling. See “Charlie and the Rabbit” at The Screening Room at 4 p.m. on Friday.
Check out arts editor Steven Kwan’s reviews of the other opening night shorts at dailywildcat.com/wildlife/film-festival.
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• wednesday, april 21, 2010 • arizona daily wildcat
movie reviews
Courtesy of filmdocket.com
‘Kick-Ass’ better than average By Zachary Smith ARIZONA DAILY WILDCAT When I was young, I saw a movie called “The Phantom.” It starred Billy Zane as a superhero who basically wore a purple leotard and had a ring of power — or something like that. I repressed the movie. I remember thinking,“Are they letting everyone be a superhero now?” With “Kick-Ass,” the answers are yes and thankfully. The motley crew in Matthew Vaughn’s breathless superhero deconstruction comes from diverse backgrounds and moves forward with different desires. Only the titular hero, Kick-Ass, stands for the basic tenets of superherodom: Do good to others and protect the innocent. Played with excellent restraint by Aaron Johnson, Kick-Ass is the perfect emissary between the world of superheroes and the world of average people — mainly because he is
completely average. As a narrator and hero, he is difficult to get behind because he is dull as a rock. This ultimately becomes an important part of his character arc but makes for a shaky start. The father-daughter team of Big Daddy and Hit-Girl (Nicolas Cage and Chloe Moretz) is pitch-perfect. One part loving American family, 500 parts sadistic weapons experts, the two provide many of the film’s most exhilarating moments. Their chemistry projects a necessary symbiosis coated with genuine adoration for one another. Both do a tremendous job of chewing up the scenery without stomping on the other’s spotlight.
Matthew Vaughn ‘Kick-Ass’ Lionsgate Films
Released April 16, 2010
Behind the camera, Vaughn deftly juggles the film’s erratic tone through the entire human spectrum of emotion. He interchanges youthful lust with despondent rage almost reflexively, providing a bracing experience. Beyond the film’s resonant atmosphere, Vaughn injects each action scene — of which there are several — with reckless glee and inventive presentation. Using motifs from Westerns, kung fu flicks, chamber shooters and more, the action of “Kick-Ass” comes off as unique as its superheroes but still warmly familiar. The film’s greatest innovation to the genre is its handling of violence. Much has been made of the film’s graphic violence — most of which is perpetrated by and toward a young girl — but I feel as though calling the violence irresponsible misses the point entirely.“Kick-Ass” does not glorify violence, since it suggests that violence
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destroys lives, families and innocence. Just because the violence in the film is hyper-stylized does not mean it is condoned. With other slick, action-heavy superhero films, vigilantism is accepted as a necessary byproduct of evil. But what makes Peter Parker an authority on justice? Putting on a cape does not make you a good guy, as “Kick-Ass” cleverly suggests. If anything, the cape or mask distances its wearer from the lines of justice. If superheroes are the epitome of good in our world, why do they feel a need to hide themselves? It’s a valid question, and as “Kick-Ass” would have it, they hide because they cannot be the epitome of good. Not in our world. Sometimes, they have to do terrible things; things that could never be classified as “good.”They have to do things superheroes would be ashamed of. Instead of being good, they must be the epitome of right. And just like “Kick-Ass,” that is never as easy or as fun as we would like it to be.
‘The Runaways’ perfectly captures the ’70s By Kathleen Roosa ARIZONA DAILY WILDCAT It was a time when girls didn’t play electric guitar, glam rock blasted in the nightclubs and Farrah Fawcett was everyone’s hair-speration. It was the 1970s. But 17-year-old Joan Jett wasn’t pleased with the way things were. Leather-bedecked with a shag haircut, she wasn’t a cookie-
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cutter aspiring musician. She wanted to make gritty, honest rock ‘n’ roll that perfectly expressed the frustrations of being a teenager in a turbulent era. Thus begins “The Runaways.” Jett (Kristen Stewart) wants nothing more than to become a rock sensation, eventually cornering flamboyant producing legend Kim Fowley (Michael Shannon) and convincing him to help her create an all-girl band in a men’s industry. The two scour the clubs looking for the final ingredient: a sexy lead singer. They pick up 15-year-old Cherie Currie (Dakota Fanning) based on her looks — “a little Bowie, a little Bardot” — without knowing if she could even sing. Hmm, picking talent off of someone’s looks. Well, we all do it at the bars. Thankfully, Currie can really knock out a tune. After paying their dues and becoming experts at dodging audience projectiles, the band goes on a worldwide tour that plunges the girls into the stardom they never expected. Tight camera shots and psychedelic sets accentuate the craziness and trials of growing up on the road. While the traveling montages are fascinating, the heart of the movie is the unlikely friendship between Jett and Currie. The costuming and art direction honor the band and the time period. If David Bowie and a disco ball had a baby who then vomited glitter onto a pair of platform shoes, you’d get the outfits the girls wear during the film. Google Joan Jett or Cherie Currie and you’ll see the exact same costumes, whether metallic
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jumpsuits or scandalous lingerie. The acting in“The Runaways”has its ups and downs. Instead of the supercharged and growling sex kitten that was Cherie, Fanning looks like a baby prostitute with heavy eye makeup and too much rouge. Trying too hard to be edgy and shake her child-actress status, she delivers a shaky performance. The movie should have focused upon the development of Jett, as Stewart positively nailed her performance. Stewart clearly studied Jett’s mannerisms, perfecting her intense stage presence. Rumor has it that when the real Joan Jett listened to Stewart’s singing, Jett mistakenly thought she was listening to herself. And gasp! Bella Swan drops the F-bomb. Who would’ve believed it? While the Runaways broke all the norms, the movie based on the band doesn’t. It’s not a biopic and it’s not an in-depth analysis of the dynamics between two rock ‘n’ roll goddesses. But it is an entertaining showbiz story with a few amazing performances. So rock on, Stewart. Rock on.
Kristen Stewart ‘The Runaways’ River Road Entertainment Released April 9, 2010
Courtesy of twilightladies.com
Club Crawl
arizona daily wildcat • wednesday, april 21, 2010 •
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Dancing in the streets
Club Crawl overtook downtown Tucson on Saturday. Partygoers and performers flooded Fourth Avenue and Congress Street by the thousands, making for a carousing all-night party.
Timothy Galaz/Arizona Daily Wildcat
Break dancers were some of the many street performers featured on Fourth Avenue during Club Crawl on Saturday. As a result of the myriad attendees at the 2010 Club Crawl, the waste management collection bins were in need of constant attention, beginning early in the night. Gordon Bates/ Arizona Daily Wildcat
Gordon Bates/Arizona Daily Wildcat
A backup vocalist for the Bay Area rock band Triple Cobra took the mic at The Rialto Theatre in downtown Tucson for the 2010 Club Crawl.
Tucson band Race You There provided an entertaining set at the 2010 Club Crawl on Saturday. Following their recent album release, the band concluded their set with the debut of a new song as a treat to the fans that night. Gordon Bates/ Arizona Daily Wildcat
The Arizona Daily Wildcat Available at more than 100 locations around campus and in Tucson. Pick up your copy today!
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cd reviews
• wednesday, april 21, 2010 • arizona daily wildcat
Judy Sucks a Lemon not tart enough
Badu returns with Ankh
By Ada Dieke Arizona Daily Wildcat
The ankh. The Egyptian symbol representing eternal life. Erykah Badu. The Dallas-born singer symbolized by her trademark head wraps, hairstyles, free spiritedness and unique jazzy soulstyled singing. Music has been said to live on, even beyond the life of its creator. Badu returns with her Ankh of choice: more soulful music. The Grammy Award winner is back with a new album, New Amerykah Part Two: Return of the Ankh. But not without a little controversy. Recently, Badu was charged with disorderly conduct stemming from her music video for the song“Window Seat.”In the video, Badu walks along the streets of Dallas, Texas, removing pieces of her clothing one by one until she reaches the site where the late President John F. Kennedy was assassinated. By then, she is completely naked, hence the reported outrage. Badu reportedly refers to her video as art and juxtaposes her actions in the video with the symbolism of character assassination. Call it good timing if you want, but weeks after the video release, her new album was due. And luckily, the album is better than her last release, New Amerykah, Pt. 1: 4th World War, which was a hodgepodge of wandering tracks. Return of the Ankh, on the other hand,
Erykah Badu New Amerykah Part Two: Return of the Ankh Motown
Released March 30, 2010
By Kim Kotel Arizona Daily Wildcat
could be called“Return-of-the-Soundson-Erykah’s-third-album-Mama’s Gun.” Badu’s songs, lyrics and production are scaled down to an earthy, less processed level as she did in the past. For example, the staccato, start-and-stop funk in the song“Agitation”is quite similar to a blend of both “Booty”and“Kiss Me On My Neck”from Mama’s Gun. The album lacks innovation, but certain songs wholly make up for that in their content.“Window Seat”is true Badu style, as she sings the sensitive, poignant lyrics in an
introverted, shy style to a simple beat. The most enjoyable track on Ankh is the smooth“Gone Baby, Don’t Be Long.” The track is set to a revolving bass loop in which Badu understands her love (or lust) interest has to go“and get (his) hustle on.”But at the end of the day, she urges that he comes back home to her. Badu doesn’t disappoint as she succeeds in creating an album that stirs various emotions. Hopefully, she can continue that trend when she returns with another new piece of work.
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Judy Sucks a Lemon for Breakfast is nothing like Cornershop’s ’93 album Elvis Sex-Change. It might be something like Woman’s Gotta Have It from ’95. But it wasn’t really until When I Was Born for the 7th Time (’97) and Handcream for a Generation (’02) that Cornershop settled into what has become“their sound” — and the fact that they did settle into one comes as a mild disappointment. The fluctuation of tune and tempo so copiously offered before is barely evident this time around. Kind of like playing with a paint splatter machine using a set of 562 colors, each picture comes out more colorful than the next, but when you lay them all out, you can’t really tell one from the other. But that is not to say Judy Sucks a Lemon for Breakfast doesn’t deliver. The British band tosses their gospel-y backup singers up front and center, knocking down 2010’s ceiling to let the sunshine love of the ’70s beat down with its sweet sitar rays in tracks like “Who Fingered Rock’n’Roll.”The song “Judy Sucks a Lemon for Breakfast”calls longingly after the Beach Boys, who are having margaritas at a side table while “Operation Push”channels“Battlestar Galactica”with electro beeps and bops
and space gun zings. Cornershop invoke some of their old tricks on quirky interludes like“Half Brick,”which storms the middle of the skating rink, the disco ball beaming, as a man with a microphone pumps up the teeming crowd, and“Shut Southall Down,”a feminine voice chatting on the phone in Spanish over an early ’90s backdrop beat; quick little minute ditties that leave you wondering what the hell just happened. “Free Love”is the next pleasantly chilled-out“Jai Ho,”and“Chamchu” is their nugget of greatness — buried under 10 songs of enjoyably unremarkable melting pots of Brit/Hindi/indie pop.“Chamchu”is like listening to a tinker’s cart careen down Lombard Street with a boombox on top remixing the last 20 years of pop music. Judy Sucks a Lemon for Breakfast is an agreeable album designed to loosen minds and let it be — whatever“it”is.
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Cornershop Judy Sucks a Lemon for Breakfast Ample Play Records Released April 20, 2010
Fame falls in self-produced Cults’ lap By Kellie Mejdrich Arizona Daily Wildcat Getting sick of indie record labels deciding what sounds good? Then take a sip of Cults’ new EP, Cults 7”. Started without any business-laden momentum, Madeline Follin and Brian Oblivion, two New York City film students, created this album on a whim and put it up on the music website bandcamp.com. Suddenly they became comparatively huge, with indie bloggers on Gorilla vs. Bear and Pitchfork lauding their adept pop sensibilities.
Sound too good to be true? There’s more. It’s free. The first track,“Go Outside,”is a fluffy, airy number that opens with an irresistibly satisfying glockenspiel lick, which transitions into a full-fledged bass line as the drums kick in. It’s almost ‘60s-esque, and it’s beautifully dreamy. The accompanying music video is just as gorgeous and was recorded personally by the band with a Canon 5D in high definition. Cults 7”’s next track is even more Motown inspired than the previous, as Oblivion intended, according to his post on news aggregator reddit.com.
“Most Wanted”mirrors the contractions in“Go Outside”with a highly positive-sounding beat accompanied by melancholy lyrics:“Up all night all alone, can’t you see I’m trying / Trying so hard to move on to the things I know / but what I most want is bad for me, I know.” Disarming instrumentation leaves the casual listener completely unaware of these contradictions, though. “The Curse”finally expresses angst with a blues-y guitar riff. The alternating blues strumming mingles with lyrics yelled by Follin and Oblivion to make for a grittier sound that nevertheless retains
some softness, even as Follin yells about heartache:“I knew that this was cursed / I never wanna see you again.” The whole album oozes nostalgia and a fuzzy, hazy aesthetic that is as comfortable as a cloudy summer day. It’s a fresh sound in an indie market that is overflowing with electronic synth. Cults seem to be bringing back a more natural-sounding aesthetic. Cults have found new ways to defy the mainstream in a genre that is becoming cannibalistically mainstream. It seems that, at least for now, their music is all about the art. They started the
band for their own gratification, not to get famous, and it shows in their music. It’s soft, detailed and intricate. Cults plan to release a full-length album soon, according to a March interview with Pitchfork. They remain unsigned, except with limited edition producers Forest Family Records, who produced 400 copies of their first EP.
Download the EP at cults. bandcamp.com
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B10 • wednesday, april 21, 2010 • arizona daily wildcat
5 steps to incorporating more excercise in your life By Kim Kotel Arizona Daily Wildcat Oh, the weight of summer is settling heavily upon us! Legs lug from trudging across the same old paths to class, shoulders are sagging under the burden of semester-old books and the only respite comes in weekend allowances of pool time, plopped on a lawn chair like a sack of potatoes. But alas — in creeps the worry that the more you act like a sack of potatoes, the more you will look like one; it is hard enough to keep your rear in gear, let alone to keep it looking great. That is where Lorey Pro, fitness coordinator for the UA’s Campus Recreation Department, comes in. She shares five groan-free pointers to help keep you in shape without taking much time or thought:
Go Eco
Skip the car and stick with the bike — or skip the bike and stick with your natural-born legs. Walking, jogging or biking to class or to run errands will keep cash in your pocket, fumes out of
the air and endorphins pumping through your body. It might tack on a few more minutes to your regular routine, but you’re getting a healthy heart in return.
Stretch it out
Feeling tense and inflexible? Try a yoga class. It provides mental and physical relaxation through meditation and stretching, an ideal combination to smooth over and balance out a tumultuous week, cramped-up muscles and weak posture that causes unnecessary discomfort and distraction.
Make it a date
If you haven’t had free time between paper writing, lab-doing and test-taking to catch up with friends, make plans to take evening jogs together. Conversation will distract you and your partner and help keep you active every week. The jog will also give you a muchneeded break from fact-crunching while simultaneously pumping up your energy levels to get through the rest of your to-do list. Not a fan of jogging? Try an exercise class at the Rec Center or a bike ride around town instead.
Stay home and pop in a video (game)
If the gym is too crowded or you don’t have time to waste trying to find a parking spot, just turn on your TV.You can stay at home and still work up a sweat — check out listings on the TV guide for an upcoming workout show or rent a few exercise videos from the library. Wii Fit can also increase your heart rate while sneaking in a space for everyday enjoyment.
Get out there and have some fun
You don’t need to be miserable to burn up calories — promise. All you have to do is keep your body moving. Go for a hike to see cacti blooming or try a sport you haven’t tried before. Take a pole-dancing class or join the UA’s Quidditch team (yes, there is one). Don’t just dip in the water, take a swim — do whatever tickles your fancy as long as it includes moving your limbs. This is a free pass to goof off and frolic with friends instead of spending hours memorizing formulas and who wrote what book. You will get to that later — right now you need to exercise.
Laura the explorer.
An anthropology major goes on an academic adventure.
On AZUN.net, I can access an awesome selection of anthropology courses at every level online. So I’m branching out big-time. And connecting with new professors. I feel like my options just keep multiplying.
Whatever your situation, AZUN.net can help. The Arizona Universities Network connects you to online classes at all three Arizona public universities. Whether you’re looking for a specific class or more credits, you’ll find what you need at AZUN.net.
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Don’t Gleek out too soon By Jason Krell Arizona Daily Wildcat Since last May,“Glee”has become one of the hottest shows on television. When it went on a break for“American Idol”in December, fans waited anxiously for its return. Now that April has come and the popular show has returned,“Gleeks”the world over are rejoicing. But considering the first new episode, do they have any reason to? Not yet. Last Tuesday’s episode“Hell-O,” lacked the show’s previous shine. The reason? The writers failed to follow a very simple rule of storytelling: rising action. I understand that“Glee”is still in its first season and has not reached its finale. Still, it did reach one climax and some resolution in the last minutes of“Sectionals,”the last episode before the break. You’d think the writers would have tried to ease audiences back in after a four-month lull to give Gleeks a chance to cool off after the dramatic roller coaster they just stepped off.You have to walk before you run right? Well,“Hell-O”hit the air sprinting and fell flat on its face. *SPOILER ALERT* What specifically was wrong with it? There were a multitude of things. Everything about the episode was predictable.“Glee”is too young of a show to have the Will Schuester and Emma Pillsbury, played by Matthew Morrison and Jayma Mays respectively, or Rachel Berry and Finn Hudson, played by Lea Michele and Cory Monteith, end up together already. Not only that, but who didn’t expect to see the devious“Cheerios”coach Sue Sylvester, played by the devilishly talented Jane Lynch, coming back through some deplorable act of coercion? Then there was Rachel’s new boyfriend in the form of pompous rival Jesse St. James, played by
Photo courtesy of Fox Broadcasting Co.
Jonathan Groff, Michele’s old costar from her“Spring Awakening” days. Nobody could have actually thought he cared for her because everyone knows by now that nothing just falls into Rachel’s lap. She is, and always will be, the kind of character who has to work hard and struggle for anything positive in her life. It was just too easy for her. Oh, and of course Finn would finally come around just when she found someone else. Another problem was that the episode didn’t feel fresh. Rachel getting kicked out of the club for the thousandth time was just obnoxious, and the way she sang a retaliatory song to Finn wasn’t original either. Also, I don’t know who decided that all of Sue’s hair jokes toward Schue were still funny, but they’re beating a dead horse. Considering that both the series premiere and the last episode before the break featured jawdropping performances, I was hoping to be blown away with a huge musical number. Instead, Rachel just managed to look lost and emotionally confused in most every number she was in. It was cute, but it wasn’t what I’d been hoping for. I also found myself craving something more epic in their song
selection. Sure, the“hello”theme was interesting and all of the songs well performed as usual, but none of them had the show-stopping capabilities of Journey’s“Don’t Stop Believin’”or“Don’t Rain On My Parade”made famous by Barbra Streisand. It would have been nice if the club had more than just the end of one episode to enjoy winning sectionals. It was a good choice to leave them as school losers, but even losers deserve some reprieve. It was out of the frying pan and into the oven for the Glee club. Drama drives a show but sometimes an audience wouldn’t mind seeing their favorite characters catch a break now and then. Fortunately, that doesn’t mean the rest of this season is going to be bad, by any means. Despite the fact that fans and latecomers were thrown back into the series head first,“Glee”has proved in the past that they could put together well written episodes with moving musical numbers. Still, the writers need to take a hint. If they keep giving loyal Gleeks episodes like “Hell-O,”they’re setting themselves up to lose fans, including this one.
You can catch the episode “Hell-O” on hulu.com.
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