Arizoan Daily Wildcat — April 28, 2010 WildLife by Arizona Daily Wildcat

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B section

wednesday, april 28, 2010

Wildlife

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

Getting down with the S.I.C.K.-ness

Photo courtesy of Comedy Corner

From left: Colton Stickney, Ryan Lawson, Sarah Haber, Grady Owen and Andrew Hatch, members of Comedy Corner.

‘Office’ star Craig Robinson to join UA comedians for annual humor festival WANNA GET S.I.C.K.? By Jason Krell Arizona Daily Wildcat

When there’s a jailbreak in the real world, it’s usually serious business. But in the realm of comedy, it’s hilarious. That’s why this year’s S.I.C.K Festival, the Southwest Intergalactic Comedy Kermis, looks to be ridiculous in the best kind of way. The event, presented by the UA’s Comedy Corner for the 18th year, is being held from Friday to Saturday, is a showcase for all things comedy and will be featuring a number of improv and sketch performances by various comedy troupes from all over Arizona. The S.I.C.K. Festival has always been put on by Comedy Corner, the UA’s oldest student-run comedy troupe and one of the longestrunning groups in the nation. Comedy Corner is also one of the first documented college sketch groups to include improvisation in its weekly routine. Its former members have created other sketch groups in Arizona, including the UA’s Charles Darwin Experience and ASU’s Farce Side Comedy Hour. “The concept this year for S.I.C.K. is a jailbreak, so there are many unique characters in the story that should be a lot of fun to

BEFORE YOU GRADUATE By Kellie Mejdrich Arizona Daily Wildcat

INSIDE

Before you graduate from the UA, you have to take advantage of the epicurean delight that is Tucson. Tucson’s proximity to the border and its wide range of unique, family owned restaurants make exploring the city’s dining kaleidoscope a must. Who says Tucson is boring? This place is a food paradise.

watch. We are also implementing video production and musical aspects into the sketch, which is far different from our weekly shows of five to eight short sketches and 30 minutes of improv,” said Ryan Lawson, one of festival’s producers. Since 1992, the festival has been a popular event, bringing together some of the funniest acts in all of Arizona. People come from all over the state to participate because of its longstanding reputation of stellar acts. Beside hosting comedy groups from all over the state, the festival also has a history of arranging celebrity appearances. In the past, the show has featured such celebrity acts as David Cross, Lewis Black and Demetri Martin. They’ve also had the likes of Chicago’s famous improv groups The Second City and Upright Citizens Brigade perform as headliners. The biggest name involved in this year’s festival is headliner Craig Robinson. The comedian has recently been appearing in an increasing amount of movies and should put on quite the entertaining act. Robinson is famous for portraying Darryl on “The Office,” Matheson in “Pineapple Express”

and Nick in the recently released “Hot Tub Time Machine.” When trying to decide on the headliner, the members of Comedy Corner compiled a list of their favorite comedians and Robinson was among the names. They figured with the release of “Hot Tub” he would be an act people would really enjoy seeing. Why Robinson of all people? Lawson said the staff felt he was a big enough name to bring in a large turnout. “S.I.C.K. Festival has been relatively small-scale the past couple years, so this year we really wanted to make it an incredible event that people would want to attend,” he said. Even if Robinson weren’t attending, the festival’s lineup would still be strong. Student groups that are participating include Tucson’s own Dick! Dick! Dick! and ASU’s Barren Mind Improv and Farce Side. This year’s S.I.C.K. is one of the few collaborations between ASU and the UA as opposed to a competition, and everyone seems to be excited for it. “Honestly, (Barren Mind has) been awaiting S.I.C.K. since one of our first shows together down at the UA at the beginning of last semester. We’re all super excited

to perform. And blow minds,” said Samuel Lowy, director of ASU’s improv troupe. The typical animosity that often exists between ASU and the UA doesn’t seem to exist within the comedy circle, probably since most of the groups came from the same source. “I speak for the whole troupe when I say we’re very excited to be collaborating with UA’s comedy troupe. ASU’s group was actually spawned from the Comedy Corner so we respect them a lot. We love either competing with them in comedy battles or collaborating with them to put on downright … awesome shows,” said Michael Margetis, director of the Farce Side. You might be thinking that — aside from Robinson’s performance — this is just a longer sketch show, but S.I.C.K. is special because of the extravagant and elaborate efforts by everyone involved. Comedy Corner will be performing a 40-minute, one-act sketch as opposed to performing a series of sketches. With its longstanding history of providing quality entertainment and scheduled talent, this year’s S.I.C.K. Festival looks to be an event worth laughing at.

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Nothing screams Tucson specialty cuisine like a Sonoran hot dog: a hot dog wrapped in bacon, topped with grilled onions, pinto beans, lettuce, jalapeño sauce, nacho cheese, onions and perhaps some hot sauce to suit your liking — all for around $3. This family hot-dog-stand-turned-restaurant in Jett’s Wildcat convenience store is arguably the best Sonoran stand in the Tucson metro area, with freshly baked hot dog buns cooked every day.

If you’ve never eaten dim sum — a large quantity of small appetizers ordered from carts wheeled from table to table — going to Gee’s Garden, one of Tucson’s most authentic Chinese restaurants, is a must. Try their char siu bao or pork buns — absolutely delicious. At $1.50 - $5 a plate, you’re sure to enjoy plenty of different dishes for a small price.

With a completely vegan menu, Lovin’ Spoonfuls is a rare find. And even rarer, the food is absolutely delicious, completely on par with a “regular” menu — you won’t even miss the cheese and eggs, not to mention the meat. With sandwiches starting at $7 - $8 and dinner around $9 - $12, it’s a little pricier, but you’ll be happy when you sit down to delicious vegan spaghetti and meatballs in animal-friendly bliss.

Be prepared to wait if you go to Mi Nidito — this restaurant is famous. With pictures of presidents and other famous people tiling the walls of this colorful and inviting establishment, Mi Nidito prides itself on being the best Mexican restaurant in town. The wait is well worth it. From delicious burritos and taco plates, starting around $5.50, right down to the salsa, this restaurant means business. With delicious food, charming décor and excellent service, Mi Nidito is the champion of Mexican restaurants in Tucson, and a must-eat.

Eye of the ‘Dragon’ “The Girl with the Dragon Tattoo” hypnotizes Loft audiences

S.I.C.K. Festival Improv shows at Gallagher Theater and sketch shows in Social Sciences building, Room 100 Friday at 7 p.m., Saturday at 4 p.m. with Craig Robinson at 8 p.m. $10 for students, $20 general admission to see Craig Robinson. Everything else is free. Visit union.arizona.edu/ SICKFEST for information and tickets.

• wednesday, april 28, 2010 • arizona daily wildcat

local scene

To-Do List

WEDNESDAY, April 28

Take a walking tour of public art on the UA campus, starting at the UA Museum of Art, 1031 N. Olive Rd., 10 - 11:30 a.m. Reservations required. Free. Call 621-5130 or e-mail visitor@email.arizona.edu for more information.

Our Pick

THURSDAY, April 29

Gallagher Theater features a special sneak preview of “MacGruber.” Pick up your free passes at the Center for Student Involvement and Leadership on the fourth floor of the Student Union Memorial Center or in the Student Union Games Room. 8 p.m. Call 621-8046 or visit union.arizona.edu/gallagher for more information. The UA School of Art is currently featuring “Insert Photo Here,” an exhibition of work from UA photography seniors. Today’s reception is at the School of Art’s Lionel Rombach Gallery, 3 - 4 p.m. Runs until May 5. Free and open to the public.

FRIDAY, April 30

The Associated Students for the University of Arizona presents “Diamonds in the Sky,” a fashion show to raise money for the Diamond Children’s Medical Center. The event will take place on the rooftop of the UA’s Highland Garage. Cocktail attire. 7 - 10 p.m. $20 for general admission or $40 for VIP. Call 814-460-5291 or e-mail wallace@email.arizona.edu for more information.

SATURDAY, May 1

S.I.C.K. comedy festival features two free hours of original sketches by UA’s Comedy Corner and ASU’s Farce Side Comedy Hour starting at 4 p.m. Craig Robinson (“The Office,”“Hot Tub Time Machine”) will do stand-up at 8 p.m. Tickets for Craig Robinson are $10 for students, $20 general admission. Events take place in the Gallagher Theater and Social Sciences building, room 100. For more information, e-mail lawson@email.arizona.edu or visit union.arizona.edu/sickfest. Tucson Street Rod Association presents Rodders Day 2010, which showcases more than 250 hot rod cars on Fourth Avenue and Sixth Street. 8 a.m. - 3 p.m. Free. Call 444-5603 or visit tucsonstreetrodassociation. com for more information.

Southern Arizona Roadrunners presents the Cinco de Mayo 10K, a scenic, 10-kilometer run, which winds its way through Starr Pass in the foothills of the Tucson Mountains. 2001 W. Starr Pass Blvd. 7 a.m. Visit azroadrunners.org for more information.

MONDAY, May 3

Internationally renowned author Norman G. Finkelstein presents an assessment of the political climate in the Middle East that led to the publication of his newest book, “This Time We Went Too Far: Truth and Consequences of the Gaza Invasion.” British rapper Lowkey will also perform. The event will take place at the Gallagher Theater in the Student Union Memorial Center. 7 - 9 p.m. Free. Call 760-521-7250 or e-mail jac@email.arizona.edu for more information.

TUESDAY, May 4

Seniors in the UA College of Engineering compete for thousands of dollars in prize money during Engineering Design Day 2010 at the Student Recreation Center. 10 a.m. - 4:30 p.m. Free. Call 621-9921 or visit engr498.web.arizona.edu for more information. — Katie Gault

Humor on an ‘Empty Plate’ By Jason Krell Arizona Daily Wildcat Ever thought what it would be like to own the best restaurant in the world? Did you ever think you would use it as a place to starve yourself to death? Well, that is exactly what you can expect to see in “An Empty Plate in the Café du Grand Boeuf,” which opens tonight at the Invisible Theatre, 1400 N. First Ave. Though the plot may sound morbid, it’s actually quite the comedy. Written by Michael Hollinger, the show is about a millionaire returning from Madrid, heartbroken and willing to starve to death in his own private restaurant. In hopes of cheering the boss up, the staff of the renowned café describe various culinary creations to convince him to eat. Between each course, the characters’ stories and relationships are explored with much humor and a hint of darker tones. The show runs until May 16 and is directed by Samantha K. Wyer, who also directed a hilarious rendition of “The Best Little Whorehouse in Texas” to the Arizona Repertory Theatre last November.“An Empty Plate” looks to be another success for Wyer, who, despite the fact that it is her first time directing at the Invisible Theatre, is no stranger to many in the cast. “I had worked with half of them before, and a couple of them were new to me, but they’re a bunch of creative, zany, ‘let’s do this, let’s work as hard to share the story as possible,’ (people),”

Wyer said. Roberto Guajardo has worked with Wyer before and is a familiar face at the Invisible Theatre, having acted in more than a dozen productions there. The veteran actor plays Victor, the distraught millionaire and owner of the Café du Grand Boeuf. Guajardo had never read the script before auditioning but offered some insight to the heart of its writing.

if you go An Empty Plate in the Café du Grand Boeuf Invisible Theatre 1400 N. First Ave. Runs through May 16 Tickets: $22-$25 Contact 882-9721 for ticket information and sales “It’s really, in a lot of ways, a language play. It’s highly descriptive. The character Claude, at one point, describes the evening when he is trying to convince Victor to stay there as they serve him empty plates, describes it as a feast of adjectives and adverbs. I think the author was talking about his own play,” Guajardo said. Claude is played by Sean Dupont, a UA alumnus and decorated actor, director, dramaturg

and artistic assistant. A real surprise in the cast is theatre production junior Brad Kula. The Invisible Theatre does not see many actors from the UA who are currently students. “Most (students) stay within the university theatrical community, which is strange because there’s a lot to be offered from the outside community,” Kula said. The transition from the UA to the Invisible Theatre didn’t seem to be too much trouble for Kula, who described the atmosphere as relaxed, thanks to how closely the actors work with the director and the fact that it is a small cast. “It’s always nice to act with people you like, and everybody in this show are excellent wonderful people, so it’s great to act with them,” Kula said. Kula plays Antoine, a new member of the restaurant who is smart and earnest but doesn’t quite fit in yet. Oddly enough, this is not the type of character Kula is used to portraying. With a powerful personality, he often plays strong and boisterous characters. “I’ve never played anything like this before, but (Wyer) is an excellent director and she can really get a lot out of people,” Kula said. In the world of theater, the combination of a close-knit, talented cast and an experienced director is a recipe for success. Don’t starve yourself of a fun night — see “An Empty Plate in the Café du Grand Boeuf.”

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SUNDAY, May 2

The Arizona Symphony Orchestra presents its last concert of the academic year at Centennial Hall on the UA campus. With this concert, the Arizona Symphony Orchestra is participating in “Orchestras Feeding America.” 3 p.m. $5. Call 626-6320 or visit www.music.arizona.edu for more information.

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Arizona Daily Wildcat

arizona daily wildcat • wednesday, april 28, 2010 •

movies

‘Greek’ a hilarious, crass journey By Zachary Smith Arizona Daily Wildcat After producing seven films in two years, Judd Apatow waited almost a year to produce his sole release of 2010,“Get Him to the Greek.”After back-to-back struggles — “Year One” and “Funny People,” which failed to elicit mainstream success — Apatow returns with his freshest film since “Forgetting Sarah Marshall.” Fittingly, “Greek” reteams Apatow with much of the film’s talent. After the sleeper success of “Marshall,” it was announced that British rocker Aldous Snow (Russell Brand in the part he was born to play) would return for a spin-off. “Greek” takes place several years after “Marshall,” with Snow completely burned out and on every conceivable drug. Young record intern Aaron Green (Jonah Hill) is sent to London to bring Snow to a show in L.A in an attempt to resurrect his career and record sales. The return of Brand is bliss, his Snow balancing his capricious emotions with a ludicrous regimen of substance abuse. Hill also returns from “Marshall,” but as a new character. With “Marshall” writer Jason Segal passing on the film, director Nicholas Stoller took over as sole writer. While Stoller’s writing

B+

Photo courtesy of divxplanet.com

falls short of Segal’s warmth and authenticity, it excels at the ridiculous. Eschewing the typical Apatowian ad-libbed dialogue, Stoller drives the film forward with active scenes. Very much a road trip film,“Greek” soars from London to New York to Las Vegas to L.A. without missing a beat. The

Jonah Hill Get Him to the Greek Universal Pictures To be released June 4, 2010

pacing is snappy, as Snow puts Green through the Pete Doherty boot camp of debauchery, with incredible set pieces

that elicit as many laughs as cringes. The film is at its best when Stoller lets bad situations progress into utter insanity. In a lot of ways,“Greek” is a product of the ’80s school of drug binge comedy taken to Rube Goldberg extremes. It doesn’t take a genius to know that absinthe-based

hallucinations of P. Diddy eating his own head will be hilarious. The biggest laughs come from Green’s inability to maintain control of Snow — and therefore, himself. Green’s repeated spirals into various narcotic and sexual oblivions, his instruments of choice ranging from a gigantic dildo to an entire armada of drugs that must be ingested before a talk show performance, result in a film with more belly laughs than any other comedy so far this year. If there is any blight on the film, it is its unnecessary diversions into warmth. Snow is too unreliable of a character for his romantic narrative arc to strike any realistic chords. His scenes with his ex-wife and son lack context, as his substance problems make him incapable of actual emotion. Similarly, Green’s career-driven girlfriend is atrociously written, without a single genuine or desirable quality. Her inconsistencies stifle the film’s pacing and glee. Thankfully, neither subplot has much bearing on the film. Ultimately a success for Camp Apatow,“Greek” capitalizes on the disposable nature of its leads. Hill and Brand have nothing to lose, so Stoller rakes them across hot coals of lunacy. It’s a go-for-broke approach that maximizes its comedic return.“Greek” won’t hit theaters for a month, but it’s well worth your wait. Any film that can generate repeated humor from multiple forced anal insertions is a keeper, right?

‘Tattoo’ leaves its mark on the viewer By Zachary Smith Arizona Daily Wildcat

Photo courtesy of smartcine.com

The first time I heard about“The Girl with the Dragon Tattoo”was from a girl I was dating. She recommended the book as an exciting thriller. With such a title, I immediately dismissed it as presumably trite. At the time, I failed to understand that its proper Swedish translation is“Men Who Hate Women”— quite the superior title — and that its subject matter is anything but trite. Today, years later, I sat down to watch the film adaptation knowing just as little as when I first was told to check out the source. If I ever build a time machine, I will return to my youth and berate Past Zach for his blind elitism, for if we are to follow the golden rule that the book is always better than the movie, “Tattoo” must be a deeply riveting read. As for the film, it is hypnotic. The film’s tendency to explore vengeance and vigilante investigation propels it through its tedious origin story. Mikael Blomkvist (Michael Nyqvist) is a wrongly accused journalist who, before serving time for a trumped-up libel suit, is hired to investigate a 40-year-old missing person case. Along the way he meets troubled hacker Lisbeth Salander (Noomi Rapace), and the two form a bizarre detective team. Seriously, that is a boring summary, but that is the bare bones plot of the film. What ultimately separates“Tattoo”is its utter disregard for mainstream acceptance. While the narrative arc is that of standard detective fare — half of the film is spent looking at photo negatives and newspaper clippings — the themes addressed are decidedly edgy. Tackling such heavy matters as incest, anti-Semitism and sexual bartering with unflinching brutality,“Tattoo”mines palpable suspense from a tired genre. This is not to say that“Tattoo”is exploitive; quite the opposite, it handles grave subjects with great reverence. But just like its eponymous protagonist, “Tattoo”has a serious mean streak. Much of this comes from Lisbeth’s tortured existence. Balancing a world-weathered cynicism with an endless sequence of violent abuse, Lisbeth’s life is the polar opposite of ideal. Anti—social and mercurial, Lisbeth’s demeanor fluctuates from despondent aggression to focused problem-solving. Her interactions with various strata of society are some of the most impressive parts of the film, as she doesn’t fit in anywhere, but as a viewer, you wish she did. Running two-and-a-half hours,“Tattoo”struggles to find its initial

Remake a ‘Death’ sentence By Jason Krell Arizona Daily Wildcat

When you go to a funeral, a subdued, grieving family usually gathers to mourn the loss of the loved one. Now imagine a completely dysfunctional family and the most ridiculous set of circumstances possible, and you’re about halfway to understanding what happens in“Death at a Funeral.”If you’re also starting to think all of that sounds a bit overwhelming, then you understand what makes this movie hard to swallow. The movie itself is a remake of a British film by the same name, made in 2007, and is centered on a man’s death and all of the family it brings together. As everyone starts to arrive at the funeral, everything starts to unravel. Family secrets are revealed and a drug-induced suicide attempt is thwarted before Aaron, played by Chris Rock, pulls everything together and gives a touching eulogy about his father. “Death” was loaded with promise. The starstudded cast seems too good to flop. Seeing names like Chris Rock, Martin Lawrence, Tracy Morgan and Zoe Saldana gave me confidence in this movie’s success. After all, three are veteran comedians, and Saldana has proven over the past few years just how versatile an actress she is. Unfortunately, none of these actors managed to make this movie outstandingly funny. There were some cheap laughs, mostly induced by Morgan’s moronic antics, but another actor surprisingly stole the spotlight. As Oscar, James Marsden was the only truly hilarious character throughout the movie and made a bad trip look good. He delivered the part of an accidental drug user flawlessly, line after line, and the movie is funny almost any time he is on screen. Marsden’s character did inadvertently have a heavy dose of acid to loosen him up, which was the only reason Oscar was funny, but it’s Hollywood after all. That’s just how they roll. One of the most disappointing parts of the movie was Rock’s mellow character, Aaron. For a comedian with so much skill, you’d think that Dean Craig, who wrote the script, would have given Rock more to work with. At best, his part might make you chuckle with a couple of one-liners. Then there is Saldana’s Elaine, who was much too bland and unimportant for someone of her caliber. Lawrence’s Ryan was a mix between a near pedophile and a selfish bastard who proved to be more annoying than entertaining. Similarly, many of the supporting characters shared that trait. Loretta Devine, who played Rock and Lawrence’s mother Cynthia, sapped all possible sympathy that a recent widower would get by being unnecessarily catty toward Rock’s wife Michelle, played by Regina Hall. Michelle also suffered from having terrible material to work with and was reduced to repeatedly asking her husband for sex in hopes of conceiving a baby and appeasing her mother-in-law, making her character obnoxious. Luke Wilson, who played Derek, is usually a funny guy, but

managed to be the tool who doesn’t listen to what anyone is actually saying, otherwise known as “that guy,” and relentlessly bothered Saldana’s character to the point where she had to punch him in the face. You can’t really blame her. I would have punched him, too. While it wasn’t entirely Wilson’s fault for having such an unlikeable character, he could have done more to make the part funnier instead of just coming off like a jerk. The only supporting character who didn’t make me want to hurl something at the screen was Frank, the former gay lover of Rock’s father played by Peter Dinklage, who showed up only to blackmail the family. His prowess came as no surprise though, as Dinklage had plenty of time to fine-tune his character after he played Peter, who was essentially the same character, in the original “Death at a Funeral.” Speaking of the original movie, the new“Death” does it no justice; its fatal flaw is the lack of subtlety. Whereas the original“Death”was believable in its humor because of its dry, understated British humor, the new one isn’t. Instead, the new movie has a loud and“in your face”style that seems out of place a funeral. An off-kilter family could be a bit excitable at a funeral, but it is unimaginable that a family could be so over the top on such a somber occasion, even considering the unusual circumstances. At the very least the director could have made sure the cast was toned it down until the end where their reactions were actually appropriate. “Death at a Funeral”is entertaining but nothing like its predecessor. The two were made for different audiences, but Americans could just as easily appreciate highbrow humor over the newarly-slapstick comedy in this remake. If the script wasn’t so weak then I’m sure the talented actors involved could have done better, but one can only do so much with bad material. If you’re looking for some laughs or a light movie to take a date on,“Death at a Funeral”is probably worth your time. But, if you go expecting more sophisticated humor, the real thing dying at this funeral will be your interest.

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Chris Rock Death at a Funeral Screen Gems Released April 16, 2010

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Photo courtesy of allmoviephoto.com

footing, as Lisbeth’s near-satirical level of abuse from men lacks context — something I pray is explored more in the two sequels set to be released later this year — and Mikael’s investigation putters around without a lead. Once the two meet up, the film is sheer bliss, as their relationship relishes its complexity. Rather than go down the comfortable path of opposites attracting, the relationship between Lisbeth and Mikael explores the chaotic trajectory of two opposing elements existing in symbiosis. Both are drawn into the other’s world — Lisbeth approaches stability, while Mikael flirts with vigilantism — through authentic gestures and legitimate characterizations. Even their intimate moments avoid simple characterizations, as Lisbeth’s anti-social attitude provides the largest European wall since Berlin. With an American remake on the way in 2012, it behooves you to check out this riveting Swedish import before Hollywood whitewashes the bracing plot elements. Don’t make the same mistake as me and sit on this intriguing product. This“Tattoo” is well worth the pain.

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• wednesday, april 28, 2010 • arizona daily wildcat

arizona daily wildcat • wednesday, april 28, 2010 •

solo recitals

UA musicians showcase talent, passion By Kellie Mejdrich Arizona Daily Wildcat This has been a long journey for Shu Ching Cheng, who will be performing her final recital before her doctoral defense as a doctor of musical arts student at the UA. Titled “The Interdependence of Movement and Sound in all Aspects of Piano Shu Ching Cheng, Piano Technique in Falko Music building, Room 162 Steinbach’s ‘Figures’ — 17 Today, 6:30 p.m. Choreographic Etudes for Piano,” the recital will consist of a short lecture about piano technique followed by a performance of Stenbach’s etudes. The fifth-year music student came as an undergraduate in music performance from Shih-Chien University in Taipei, Taiwan, went on to get her master’s degree at the University of New Mexico and is finishing out her doctorate in Tucson. This recital is the culmination of more than two years of work, Cheng said. Starting piano as a young child, Cheng attended music schools in Taiwan. Cheng attributes her love for piano and pursuit of performance as a professional career largely to Taiwan’s excellent schools. “I got to attend a music school instead of a regular elementary school,”Cheng said.“It made a big difference. It’s a big reason why I’m still doing music.” Cheng commented that music is something that

IF YOU GO

Shu Ching Cheng

has always come naturally to her. Her recital, which focuses more on the physical aspects of piano, is a direct reflection of her rigorous academic work over the past five years. Theodore Buchholz, a fourth-year doctoral candidate in cello performance at the UA School of Music, is performing his recital toward fulfilling his degree. The program includes “Suite No. 3” by Johann Sebastian Bach,“Suite from West Side Story” by Leonard Bernstein,“Sonata No. 5” by Ludwig van Beethoven and “Solo Sonata” by György Ligeti. The program is wide-ranging, with baroque pieces intersecting with highly modern arrangements. Buchholz chose these pieces for their balance of character, moods and atmospheres. Having played cello for 15 years, Buchholz certainly loves playing. But it’s also the experience of playing with others that brings him back every day. “I found that having a career as a musician is incredibly diverse,” Buchholz said.“I get to play a variety of music, encounter a variety of people and play such a variety of music.”

IF YOU GO Theodore Buchholz, Cello St. Phillip’s in the Hills Episcopal Church 4440 N. Campbell Ave. Today, 7 p.m.

IF YOU GO Corbin Henderson, Tuba Music building, Room 162 Thursday, 8 p.m. Corbin Henderson has a passion for tuba. Having played the tuba for eight years, Henderson decided to hold this Thursday night recital just for fun. His program includes “Just A Thought” by James Grant,“Concerto for Tuba” by Arild Plau,“Danny Boy” arranged by Patrick Sheridan,“Ulricht” by Gustav Mahler,“Six Studies in English Folksong” by Ralph Vaughn-Williams and “Three Miniatures for Tuba” by Anthony Plog. A music performance junior, Henderson has a special interest in Mahler’s “Ulricht” since he arranged the piece himself. “It was my own personal project,” Henderson said. Originally for alto solo voice, Henderson transcribed and arranged the piece for tuba and piano. He also had to translate the piece from German to English. Clearly, Henderson has a passion for tuba. “I can’t see myself being happy doing anything else,” he said. The musician spends around six to eight hours practicing each day for his major. Henderson hopes people who attend his recital can see the versatility of tuba. “It’s not everyday that a tuba player does a full solo recital,” Henderson said.“I think people will be surprised at its virtuosity and what it can do.”

Joseph Turner’s performance this Friday will be his final recital before receiving his master’s degree in trombone performance. This recital is the culmination of a great deal of work since he first discovered the instrument at age 12. The program is quite diverse, containing pieces that provide good contrast, Turner said. The program includes “Concerto for Trombone” by Launy Grøndahl,“Daybreak” by Nicola Ferro, “Ballade for Trombine, Op. 62” by Eugene Joseph Bozza,“Improvisation Nr. 1 für Posaune Solo” and “Bruckner Etüde für das tiefe Blech” by Enrique Crespo,“La Flor de la Canela” by Isabel Granda and “Imágenes” by Vinicio Meza. There will be other accompanying trombone players, including Turner’s teacher Moises Paiewonsky, playing in the performance. Turner noted that his recital is a

different experience with trombone than most people are used to. He hopes this recital can show people new things about trombone. “Hopefully the idea that I can play beautifully too,” Turner said. “Instead of the typical stereotype that trombone is just loud. It’s a very versatile instrument.”

IF YOU GO Joseph Turner, Trombone Crowder Hall Friday, 7:30 p.m. All recitals are free and open to the public.

Nayeli Lopez is performing a free piano recital Friday unlike one you’ve heard before. In fact, it’s extremely rare. Playing three sonatas by Antonio Soler,“Toccata in E minor” by Johann Sebastian Bach,“Fantasie in F Minor Op. 49” by Frederic Chopin,“Prelude Op. 23 No. 1” and “Etude Tableaux Op. 39 No. 8” by Sergei Rachmaninoff,“Mountain Spirit Rising” by Dominic Dousa and “Hungarian Rhapsody No. 11 in A minor” by Franz Liszt, Lopez’s concert will be a wide-ranging musical performance. Ranging from contemporary — Dousa’s“Mountain Spirit Rising”being composed this year at the University of Texas at El Paso — to the well-aged baroque texture of Bach’s“Tocatta,”Nayeli is attempting to demonstrate a diverse set of music to earn her degree. Lopez taught at the Autonomous University of Ciudad Juarez in Mexico, where she received a scholarship from the Mexican government to study piano at the UA. Life at the UA is one of surprising opportunity, Lopez said. She commented on how available and helpful all her professors are. Having played piano since she was a young child, Lopez has always fostered a love for piano, even during her high school years when she stopped playing regularly to become a two-time National Chess Champion in Mexico. After high school, however, she decided piano was her greatest passion and majored in music performance. Lopez finds great satisfaction in playing piano everyday.“It’s just a beautiful art, everyday is like a lifetime journey, you never stop learning,” Lopez said. She also loves how music can bring about different effects on her audience.“That’s what’s so beautiful about music,” Lopez said.“It’s not only for yourself, but it’s for others.”

Photo courtesy of UA School of Music

IF YOU GO Nayeli Lopez, Piano Theodore Buchholz

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Photo courtesy of UA School of Music

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• wednesday, april 28, 2010 • arizona daily wildcat

music ‘OMNI’ a total success

By Zachary Smith ARIZONA DAILY WILDCAT Known for an expansive repertoire of samples and sound manipulations, Minus The Bear has grown from a relatively unknown math rock band to a Billboard-charting independent player. Their newest release, OMNI, finds Minus The Bear blending their signature electro-rock with a digital funk. In many ways, OMNI is the spiritual sequel to 2005’s Menos el Oso rather than 2007’s Planet of Ice. Compared to Planet, OMNI feels much more focused and in-line with Minus The Bear’s trajectory up until that aberrant recording. Not to rag on Planet, but it gave in far too many times to its aspirations of being the second coming of Yes. With OMNI, Minus The Bear ditches that album’s abstract nature and prog rock theatrics, in favor of intense and welcoming tunes that aren’t afraid of getting fresh. Immediately, the album feels more comfortable than Planet. The chorus of the opener“My Time” features jubilant key fills and open-ended bass walks. Trading in elaborate production for effervescence pays off. The band’s newfound emphasis on call-response vocalization gives the song a friendly atmosphere that could propel the band’s sound from collegiate headphones to club speakers.

Similarly,“The Thief” dances between switchback synth strokes and noodling guitar, before cascading into their single,“Into The Mirror.” One of the album’s strongest tracks,“Into The Mirror” showcases incredible synth manipulations and sounds just like the coke and hookerfueled party its lyrics portray. It’s like the band caught the sound of the ’80s as told by Bret Easton Ellis in a bottle and held it up to a microphone. The strong sense of excitement on OMNI does not detract from the band’s musical propensity. On“Secret Country,” intricate guitar work bleeds out from the chorus into glimpses of guitarist Dave Knudson’s previous post-hardcore days with Botch. Sonically dense, the song builds to a crushing churn of guitar wails and key strokes. Discrete production by Joe Chicarelli (of U2 and Radiohead fame) fuses such sounds together, allowing complex melodies to enhance each other like a good stew. Such symbiosis is evident on“Excuses,”a track boasting dual-layered vocals, synthesizer, piano and clean guitar strokes over ecstatic drumming. This nearorgiastic approach to musicianship lends a commanding — but not overwhelming —

sense of proportion to OMNI. The tastefully seductive lyrics of the closer“Fooled by the Night”further the band’s ability to write sensual, complex love stories.“He put the right music on. That music led her astray. / Touching her just like he should. She was headed that way.”While their music doesn’t drop the panties like Nat King Cole, Minus The Bear has always had an intimate sound and a classy voice for sexual encounters. On OMNI, the band gleefully returns to its laidback lyrical vibe regrettably absent from Planet. As far as poolside records go, OMNI enters the early months of summer as a contender for best backyard jam. With hooks galore and a strong sense of identity, Minus The Bear affirms that money can’t buy you happiness, but it can buy you OMNI.

OMNI Dangerbird Records

To be released May 4, 2010

Anarbor’s latest easy to ‘Swallow’ “Let the games begin.”The maturing Phoenix quartet Anarbor is six years old and on the way to the mainstream with its third album. Friends since kindergarten, singerbassist Slade Echeverria and guitarist Mike Kitlas decided to form a band in middle school with the help of drummer Greg Garrity. Throughout high school they started generating buzz, and before graduation they were signed to Hopeless Records. The new album The Words You Don’t Swallow still plays with the band’s usual bluesy lilts and infectious choruses, yet shows that the guys are stepping things up a bit. Although their last EP, Free Your Mind, was a good collection of five solid tracks, all of them pretty much sounded the same. This album plays with versatility. Anarbor is experimenting with their

sound, slowing things down a bit when the occasion calls for it and even making things acoustic. Tracks like“Gypsy Woman,”exhibit Anarbor’s more typical, twangy style while others like“Mr. Big Shot”are slower, swingy and retro-sounding. The album also features an acoustic song,“Useless,” that ends the album on a completely different note from the band’s usual electric rock sound. The song is slow and raw until the finale, which reenters Anarbor’s comfort zone with electric guitars and drums. Even if you aren’t aware of Anarbor,

A-

Anarbor The Words You Don’t Swallow Hopeless Records

Released April 20, 2010

Rosewood Marimba stage a comeback By Jordan Laliotis ARIZONA DAILY WILDCAT

Minus The Bear

By Emily Moore ARIZONA DAILY WILDCAT

Valentina Martinelli/Arizona Daily Wildcat

After a decade-long absence, the UA’s Rosewood Marimba band gave their first concert in Crowder Hall on Friday night.

you may have heard them already. This album also features the band’s single “Let the Games Begin,” which has been featured on ESPN’s “Sports Center” as well as MTV’s “The Hills.” The songs from these early-20-yearolds are also extremely relatable and full of references from Sheriff Joe Arpaio to love and daydreaming. Anarbor is worth listening to if you’re into Blink-182, Green Day, Fall Out Boy or Southern rock, styles which Anarbor draws upon for inspiration. They’re not just another sound-alike band. They definitely have their own unique sound that harkens to the Blink-182 lover in us all. The more you listen to this album the more you will like it. The new album brings Anarbor’s budding talent to the table in a way that is pleasant on the eardrums. It will have you belting the lyrics along with Echeverria in no time.

After being absent for a decade, the UA’s Rosewood Marimba band is quite the experience. It isn’t every day a nationally recognized ragtime marimba ensemble plays at your school. These guys are rock stars in every sense of the word. Except instead of wailing on guitars, this quintet rocks out on xylophones and marimbas. The Friday concert in Crowder Hall was a one-of-a-kind experience. This kind of concert just isn’t seen by our generation, which is a shame. The blend of impromptu solos, with background harmonies and melodies, was one of the most soothing, upbeat and enjoyable sounds I’ve ever witnessed, which is the essence of ragtime. Ragtime is a style of music originating back to the 1920s and ‘30s during the Great Depression. It served as an alternative to the dismal times with its upbeat, toe-tapping numbers that could bring a smile to most everyone’s face. And during the concert, that’s exactly what this ensemble did. But just because it’s music from the ’20s and ’30s doesn’t mean the tunes are completely unknown to a younger audience.“Over the Rainbow,”written by Harold Arlen and arranged by David P. Eyler, was used to close out the first set. As the most soothing piece of music the band played all night, this song was also the best executed. The tight harmonies that rang in the background complemented the soulful melody to the utmost extent. Another recognizable tune was “Spanish Waltz,” written by G.H. Green and arranged by Bob Becker, which, at first glance, may not seem familiar, but once the group broke into the chorus, the audience began singing along. It’s the old “Frito

Bandito” jingle, and, more recently, comedian Jeff Dunham used it in one of his routines. Kyle Maxwell-Doherty, a second-year graduate student in percussion performance and the man responsible for bringing the Rosewood Marimba band back to the UA, was the featured soloist. Although the song was played with lightning-fast speed, he made it look simple as he blitzed up and down the xylophone, playing the melody while throwing in his own personal touches. “Galloping Comedians,” the final song played, offered something the rest of the concert didn’t. While Mark Cook, who is currently pursuing a Masters degree in percussion performance, played the melody, Maxwell-Doherty commandeered the bells, whistles and horns, adding the comedic touch. Anyone who watched Saturday morning Looney Tunes would recognize the song, especially from the Road Runner and Wile E. Coyote segments. These two, along with Stephen Tipping, a music performance gradute student, Amy Contevita, a percussion performance senior, and Chris Habeeb-Louks, a School of Music alumnus, teamed up to produce a wonderful concert. These, along with the other nine songs played, were performed beautifully. Other less recognizable songs included“The Hummingbird,” written by George Hamilton Green and arranged by Bob Becker, which featured Contevita as the soloist. Her entrancing performance was a treat to witness, and it showed her true skill as a musician. The UA community should feel very lucky to have the Rosewood Marimba band back on campus. They offer an enjoyable alternative to the common concert, and will hopefully stick around for many years.

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, A, B, B, Y, down-sweep-right. Cue fireball finisher. Game over. On paper these inputs don’t sound so interesting, but they are the basis for a genre that has survived and prospered longer than any other. Welcome to the world of the one-on-one fighter. This is not for the casual crowd. The fighter has yet to go the way of the side-scroller or the beat-’em-up. It is alive. Thriving, even. Something about the overall design of a premier fighter reeks of quality; the chance to throw a literal beatdown on your closest friend while sitting next to each other on the couch, draws gamers like no other. While split-screen play has all but died out in most games, it survives with fighters because it never ceases being fun. The concept has spread even further in this new era of online play as we can now take to the leader boards and see whose skills stack up. The opportunities supplied for the competitive spirit are more numerous than ever. It’s only enhanced by the technical skill required to master different characters and the true dedication needed to master them all. When done right, there are very few types of games that match up. Case in point: “Marvel vs. Capcom 2: New Age of Heroes.” If there is a game with a longer, more avid following, it hasn’t spawned a newly announced sequel. Fans of the game have played it for 10 years solid without ever growing tired of it. They’ve always clamored for a sequel and publisher Capcom has always turned the other cheek and refused. Until now, that is, when they recently released a 30-second cinematic trailer announcing a true sequel. One thing is certain: “Marvel vs. Capcom 3” will undoubtedly have the largest fighting game release ever, regardless of the actual quality of the finished product. Just like fans of first-person shooters changed the way shooters were made by flocking to the release of “Call of Duty 4: Modern Warfare,” fans of fighters have the

arizona daily wildcat • wednesday, april 28, 2010 •

Image courtesy of next-games.net

same potential to prompt change, here. Finally, we might see true resurgence in our favorite immortal battles. Of course, no true development can happen without the proper baby steps first. There are arguments as to how much you can truly update a fighter; the newly minted “Street Fighter 4” squashed those arguments immediately with its updated visuals and mechanics, while still managing to preserve the spirit of the originals. Having to follow in the footsteps of a very successful franchise is no easy task, but with the right development team “Street Fighter 4” became the true spiritual successor to the wildly popular “Street Fighter 2” and one of the most successful fighters in the last decade. Whether “Marvel vs. Capcom 3” lives

up to the hype remains to be seen. However, we can be sure the game will do its best to wow the faithful masses, offer up strong competitive play and update some of the dated mechanics from the franchise’s past. In the end, though, it may come down to how well it can preserve the spirit that keeps the fighting genre alive. The spirit that rewards perseverance, dedication and dignity keeps gamingfans mashing buttons many long nights, surrounded by friends and competing to be crowned the best of them all. If “Marvel vs. Capcom 3” can capture it, we may have another long and awesome 10 years of fighting madness to look forward to. Here’s hoping. Now pass the popcorn.

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The man behind Mega Man is very busy these days. Not because of his 1987 creation and the more than 50 games it spawned since. No, Keiji Inafune’s work is sadly free of the blue humanoid robot and his endless battles. Nowadays Inafune spends most of his time traveling the world, keeping an eye on Capcom’s other creations. As the game maker’s new head of global production, Inafune says he has only one goal: To make sure that all of Capcom’s games have that, to borrow a French phrase, je ne sais quoi. “It’s a common comment I hear, that games created in Europe aren’t really Capcom games, that games created in Japan are true Capcom games,”Inafune recently told a gathering of journalists at their annual Captivate event in Hawaii.“I want to put an end to that, basically saying that whether games are created in America or Japan or anywhere in the world, I will be the one overlooking it and so it will have that Capcom flavor that fans know and love.” The news comes after a mixed year for Capcom. The past 12 months or so saw the publisher help to reinvigorate the fighting genre with the release of“Street Fighter IV”to consoles and the continued success of their Resident Evil franchise, but it also saw a few flops including“Bionic Commando”and January 2010’s“Dark Void.” Capcom’s biggest disappointments of the past 12 months have to be“Bionic Commando,”which received middling reviews, and“Dark Void,”which was perceived, at best, as forgettable. Both were products of a new initiative by the Japanese developer to try and blend the aesthetics, artistry and mechanics of Western and Japanese game design. That initiative was announced at the 2009 Captivate event in Monte Carlo. At the time Inafune said that Capcom knew it needed to figure out how to climb out of what he called a pit that had Capcom at the bottom of the industry. The key, he realized, was to focus on globalization. The first result of that effort was the widely acclaimed“Dead Rising,”a game that other developers, he noted, said looked Western but felt Japanese. So last year they decided to push things further west — perhaps a bit too far west. Now, Inafune says the company is working to perfect this idea of collaboration not only between studios, but cultures. “Dead Rising 2,”for instance, is being created by Canadian studio Blue Castle Games, but Inafune is making sure that the game will still have that Capcom feel. “One of the biggest things we do is have more staff visits,”he said. “We have a deeper collaboration through the sheer amount of communication, a lot more meetings, a lot more e-mails. “Rather than have the development team do what they want to do by themselves, Capcom is trying to inject the Capcom flavor into it.” And, judging by what I saw earlier this month, it seems to be working.“Dead Rising 2”feels like a game that has found the sweet spot between Western and Japanese game development.

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• wednesday, april 28, 2010 • arizona daily wildcat

Downing the Double Down

‘Dudesons’ explodes into America

By Ali Freedman ARIZONA DAILY WILDCAT Is a sandwich a sandwich if it doesn’t use any bread? If you believe KFC, then yes, yes it is. Last week KFC released its Double Down sandwich. This beauty features not bread or buns, but your choice of fried or grilled chicken breasts as its outer layer. The “sandwich” is stuffed with two pieces of cheese and bacon. You can give the Double Down a try at a nearby KFC for a mere $5.65. Are you thinking this is gross or awesome? Gross is probably the more accurate description. The Double Down is something you’d find on thisiswhyyourefat.com among fatty, greasy, nasty recipes for pizzas wrapped in bacon and pulled pork and potato parfaits. The Double Down was one of those meals so unhealthy that I felt a tremendous amount of guilt about eating it. It was so fatty and slippery that it was hard to handle — physically and figuratively. I will not deny that I removed the bacon from this concoction of meat and cheese. I just

By Joe Dusbabek ARIZONA DAILY WILDCAT

The KFC Double Down sandwich.

It takes only one glance at Johnny Knoxville to realize he’s a bit of a crazy person. But behind the scars, concussions and gleeful cackle lies a man who stands at the top of the modern television pyramid. He has come up with a new idea, and boy, is it a doozy. Debuting his MTV show“The Dudesons in America”on May 6, Knoxville plans to bring a different experience to fans and new viewers alike. “Dudesons”are four Finnish stuntmen from the Arctic Circle who come to America to pursue the“American Dream.”Of course, their“American Dream”is different than most. Billed as“Jackass times 10,”the trailer shows the Dudesons standing on top of collapsing buildings, shooting themselves off exploding snowmobile ramps and plenty of ball-crunching. Knoxville, the executive producer, believes it’s truly higher entertainment. “This isn’t a show anyone should

Tim Glass/Arizona Daily Wildcat

couldn’t do it. The Double Down has enough fat without the bacon. The taste, well, it’s just what you’d expect. It tastes like KFC chicken with cheese thrown in the mix. It’s not terrible, but definitely messy and a bit too salty. This slick meat mass is hard to eat. The grilled chicken version is not much better. It’s just as oily as its fried counterpart.

The idea of skipping the bread and throwing a sandwich fixin’ or two in between two pieces of chicken is as nasty as it is novel. This is one food item I will not be giving a second try. But if you love KFC and have no quarrel with calorie-heavy, arteryclogging culinary creations, the Double Down may be right up your alley. Just don’t call it a sandwich.

be taking too seriously,” he said.“If they are, they shouldn’t be watching.” After well documented legal troubles with past TV series like the infamous “Jackass,”Knoxville isn’t worried about similar issues.“We run everything we do by a team of legal guys and lawyers,” Knoxville said.“This isn’t stuff most people could try, anyway.” As for the Dudesons? They’re just excited to be in America. “I’m pretty impressed by all this high-tech shit you have here,”said Jukka Hilden, the leader of the group, during a conference call.“It’s crazy to us that you guys can have 25 people on one telephone. We don’t have these in Finland.” The Dudesons say they’ve been warmly accepted by the American public.“Everyone supports us here. We haven’t had any trouble with the cops or anything and the people are very nice,” Hilden said. After 10 years of causing mayhem in Finland, viewers will soon find out how much trouble or joy these Finnish stuntmen can find in the Land of Opportunity.

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Tucson puppeteer brings colorful vision to UA

By Zachary Smith Arizona Daily Wildcat To tell someone that you are a puppeteer is not generally considered an adept social maneuver. The word“puppeteer”conjures up frightening images of a wild-eyed man with a ratted beard and a legion of vaguely human wooden figures. He also probably has a basement full of bodies. Despite such social stigmas, Matt Cotten has propelled puppetry in Tucson to unbelievable heights. Working as a local painter, performer and teacher in Tucson since 1994, Cotten has helped helm a rise in puppetry. He taught in the College of Fine Art at the UA for 15 years, and is best known as an organizer of Tucson’s annual All Souls Procession and director of Tucson Puppet Works. Known primarily as a puppeteer, Cotten also works as a painter. Cotten’s paintings have recently been shown at the Tucson Museum of Art in the Arizona Biennial. This month, Cotten brings his unique painting style to the UA Poetry Center with“Run Cookie Run!” Cotten’s exhibition“Run Cookie Run!”is inspired by his nighttime readings with his daughter, as well as waking dreams from his youth. The

result is a raw and emotionally charged examination of childhood despondency. “Run Cookie Run!”is an unsettling exhibit. Cotten’s abstract, ethereal work conjures up feelings of abject displacement. The namesake of the exhibit,“Run Cookie! Through the Cypress!”features a sorrowful cookie standing alone in a dark, shrouded wood. The cookie’s hollow eyes convey terror and a longing for a glimmer of guiding light. Much like one of Cotten’s puppets, the cookie’s face is locked in a static gaze, seemingly without control over its fate. It’s a penetrating glance into the rearview mirror of early childhood when the future wore a veil. Using acrylic on canvas, Cotten’s style creates a fluid blend of distant color palettes smothered with abrupt, thick mattes of monochromatic paint. On “Lucy Fell Down,”Cotten’s backdrop is a gentle hue of yellows, oranges and reds, while the foreground features splotchy grays and blues. The chromatic juxtaposition mirrors the piece’s thematic anguish, as a line of anthropomorphized animals stand solemnly behind a crying girl. The piece suggests constant polarity. The critique is valid, as childhood often carries a card of falsified blamelessness. Just because children are innocent, this

House Baby Lucy by Matt Cotten

Courtesy of UA Poetry Center

does not mean their experiences are. Cotten’s“Remus and Romulus”captures the uncertainty of youth. Feeding from their mother, one of the Romans turns and captures the viewer with its thousand-yard stare. Its eyes suggest a confused sense of duty, the knowledge that it must grow up and be something, even though all it knows is to suckle. Unfortunately for Cotten’s probing work, the exhibit layout is poorly conceived. Arbitrarily placed around the walls

of the Poetry Center, Cotten’s art feels less like an exhibition than half-hearted décor. The intended singularity between written work and painted art is lost in translation. One painting —“The All-Original”— is even placed in a hallway to the audio/ visual room. This is an absolute shame, as Cotten’s work is an enthralling glimpse into childhood neuroses that deserves better exposure than as an artistic afterthought. It’s not like we don’t have an art museum on campus.

Though it lacks traditional comfort, there is a cathartic sensibility to Cotten’s work. Childhood was painful and confusing, but we made it through. Perhaps the future’s struggles carry the same silver lining in our blurry horizons.

IF YOU GO

The UA Poetry Center will hold a reception for Cotten’s works displayed in the Jeremy Ingalls Gallery Monday at 5:30 p.m. The work will be up through May 26.

Peculiar advice from ‘Horrible’ people By Kathleen Roosa Arizona Daily Wildcat Sometimes it’s your mother. Other times, it’s that teacher you sucked up to for an A last semester. Late Friday night, it might just be a drunk hobo on Fourth Avenue. Are you thinking of a mentor? Good. Now think about comedians. You watch them, you love them and you laugh at them. Funny? Yes. Normal? No. People you want advice from? Bring it on. “You’re a Horrible Person, But I Like You,” is a compendium of advice on assorted subjects given by writers, producers and actors from a variety of comedic television shows and movies. Like any good self-help guide, the book is written in a fairly simple question-and-answer format. Flipping through the pages you’ll stumble upon the best bad advice you’ll ever hear. Ladies! You think that the way to a man’s heart is through his stomach? Wrong. According to Amy Sedaris, all you need is to saw through the chest cavity — it’s basically a straight shot. And for you gentlemen wondering what the difference is between stalking and being romantically

attentive, Janeane Garofalo suggests that it all depends on how attractive you are. The book quotes many well-known celebrities. Rainn Wilson will coach you through capturing a ghoul, while Ed Helms suggests the best way to figure out with which fork to start your meal with. Solution: Stab yourself in the eye and you’ll be free from “the tyranny of forksize equivocation.” Throw in some Fred Armisen, Michael Cera and other writers from “The Office,”“Saturday Night Live” and “The Hangover” and you’ve got yourself a pretty pity party. It probably would be funnier to watch their facial expressions as the comedians answer the queries, but their distinct voices still seep through the pages. Some of the advice really is hilarious, from the obscenely grotesque (think anal fissures) to actually amusing guidance (tie-dyed T-shirts as a gateway fashion to Teva sandals and Guatemalan print shorts). However, there are some drawbacks. It’s not a book you just pick up and read straight through. At 209 pages, there’s no plot to propel you forward. In fact, it’s almost too long for a comedic book and

lacks the visual appeal of other books such as “Texts From Last Night” or “I Can Has Cheezburger?” But the worst is that some comedians’ answers aren’t even worth an internal LOL. For example, do you know who’s spectacularly unfunny? Judd Apatow. You can almost hear him stuttering to answer the question, constantly asking if the questions are prank jokes. Yes, Judd, I’m sure a lot of them are. The point is to come up with an answer that’s witty and hilarious. No gold star for you. So would you really want to ask honest advice from these folks? Definitely not. But it’s sure fun to laugh at these poor sods as they fly off or indulge in violent rants. Quirky and droll, “You’re a Horrible Person, But I Like You,” may be one of the best mentors you’ve ever had.

Believer Magazine You’re a Horrible Person, But I Like You Vintage Original Released April 6, 2010

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