Arizona Daily Wildcat - WildLife 9.9.09

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DWWILDLIFE

Arizona Daily Wildcat

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wednesday, september , 

Local artists strive to bring free music to Tucson crowds ALEX GENDREAU Is it possible to find accessible music around town without spending a dime? With college campus economics, it is easy to see why those who sacrifice their Monday lunch in order to afford a ticket to the next concert playing at the Rialto Theatre are suffering. “I feel like art should be free but it can’t be free,” says Hank Westermann, a frequenter of free music events around the downtown and university area. Like Westermann, many students on campus have little to no additional cash to spend on extracurricular activities. Luckily, with the shift towards a more doit-yourself musical attitude, many local bands and venues are grouping together to bring free music to their listeners.

Justyn Dillingham Arts Editor 520.621.3106 arts@wildcat.arizona.edu

Under the bridge

INSIDE In search of the best meatball sub b3

Performers Douglas Francisco and Oliver Baylock offer free music to the masses with their Gypsy-Folk-Improvisation

underneath the Fourth Avenue underpass. With Francisco on the steel guitar and Baylock on the violin, the duo jams out almost every night of the week while hoards of people walk from downtown to nearby Fourth Avenue. Despite the chance to listen to free art, it is difficult to maintain a consistent group of listeners when the audience is quickly rushing to the next local watering hole. Douglas says that “there are a couple people that come back and forth and they’re like, ‘good to see you again.’” The nod and wink is all this barefoot, cigarette-smoking band needs to keep playing for the night. Some patrons go as far as to drop a few dollars in the guitar case, but mostly it’s a come and go atmosphere. The pair has not always played around Fourth Avenue. Francisco says that they play“improvisational music, but (that he) used to play heavy metal and (that Oliver) is classically trained.”

Nevertheless, they surely liven up the space they occupy. Despite the cars honking and the drunken banter on the other side of the street, Francisco’s reason for continuing to“play down here (is) because of the great acoustics.” Other local bands are also trying to provide the same type of art in a more formal setting. “(We’re) trying to put art out there — it’s better if it is free,”Aharon Lund, drummer for the local Tucson band Flagrante Delicto, explains as he stands among the eclectic downtown crowd outside of Grill. Erik Ketchup, lead singer for Flagrante Delicto stresses that they are“a band for the people.”This means rarely charging for any of their shows. “We are pretty poor,” Lund says. But “people like free things,”Ketchup adds. The experimental sound combined with their free-art attitude brings many MUSIC, page B3

Sex takes center stage at gallery b8

The desert’s hottest treat In its 37th year, festival still draws chile lovers from around world to remote village in New Mexico to sample nutritious, mouthscorching fruits

Tim McDonnell/Arizona Daily Wildcat

A view from the top of the ferris wheel, above, at the Hatch Chile Festival’s adjacent carnival. At night, the festival’s mostly older crowd was largely replaced by local teens on their way to the carnival. These 40-lbs. sacks of Big Jim green chiles, right, each contain close to 500 chiles and sell for about $20.

TIM MCDONNELL Wade Worrell is a farming man and he knows his crop. “Eat chiles in the morning,” he says, “and in the evening you’ll be deeply moved.” Former chile farmer Worrell, 70, repeated his mantra last weekend as master of ceremonies at the 37th annual Hatch Chile Festival in Hatch, N.M. In this Mecca for lovers of the great green fruit, tens of thousands of farmers, “chile addicts” and curious foodies from as far away as Germany are brought together for two days of taste bud-searing fun. Worrell may have a wary attitude, but don’t get him wrong. This man, who looks like an off-duty New Mexican Santa Claus complete with beard and belly, loves these chiles. “The quality of chile grown here is higher than anywhere else,” he says. He should know. Worrell, who has lived most of his life in nearby Deming, N.M.,

has been the announcer for the annual festival for the last 36 years. For further proof of his claim, one need only look at the long line of cars backed up on the tiny road into the festival. Hatch, a village of only 1,700, explodes to more than 30,000 over the chile festival weekend each year. Exact attendance numbers for the festival are hard to come by since admission — a nominal $5 — is charged by the carload rather than per person. Inside the fairgrounds, vendors hawk everything from Mexican food to cookbooks to chile wreaths known as ristras, a teenage chile queen is crowned while country music bands play, and chileeating contests separate the strong from the weak. But the festival was not always so massive. There are some people here, like Worrell, who remember when it was a simple locals-only event with just a few booths. Vendor June Rutherford, 85, is among them.

Like many here, Rutherford looks weathered from a lifetime of chile farming. Her booth looks no different from those of other vendors, and she isn’t wearing the official festival tee-shirt, a name badge, or any anything else to indicate that, as a young woman, she was among a handful of local farmers who put the first chile festival together. Rutherford’s father came to the U.S. from Austria in 1905 as a manual laborer; working his way to the mines of Arizona and then out to the chile fields of western New Mexico. In 1971 he and

a few friends started the chile festival as a way to kick back after the hard work of the harvest season. He and his family continued to run the annual event for the next 15 years. Back when it began, CHILE, page B2

COMICS CORNER

T

Mickey, Spidey join forces

wo big stories in the comics world dropped last week on the same day. What does this mean for comics readers and creators? Let’s take a look:

Disney buys Marvel for $4 billion

Barring any moves from the Department of Justice about antitrust concerns, this will be a major win for Disney and a probable win for Marvel. Why probable? The deal would like- Steven ly structure the two companies in a way that’s similar to DC Comics and its parent company, Time Warner.

One of the biggest non-secrets in comics is that DC Comics publishes its stable of old and new characters as a licensing path for Time Warner. That new villain facing Batman in the latest issue of“Detective Comics?”Potential action figure. He, she or it can also be used in any of the cartoons starring Batman and any Batman-related cartoons such as“Justice League Unlimited”or“The Brave and the Bold.”When Christopher Nolan Kwan begins his follow-up to“The Dark Knight,”he’ll have a stable of villains and storylines from which he can create a new Batman movie.

Marvel caters to teen and adult males through its publishing branch and, more recently, its successful movie properties like Iron Man and Spider-Man. Disney will bring considerable resources to Marvel — marketing, movie and animation studios, publishing and, most importantly, money. Disney will also bring to Marvel certain demographics that seem to elude most if not all comic book companies: adolescent girls (think Hannah Montana and High School Musical and their sizable mobs.) However, there have been instances in which licensing and merchandising concerns have worked against comic writers and artists. The most notable

example is Jack Kirby’s treatment in the 1970s. Disillusioned with Marvel after receiving no profits or having his original art returned for such creations of his as the Fantastic Four, Thor, Iron Man, Hulk and The Avengers, Jack Kirby went to DC under the promise of breathing new life into its lineup, starting with “Superman’s Pal Jimmy

Illustration by Ken Wright

Olsen.” Kirby’s dynamic artwork and bold designs gave the comic a fresh look — except there was a problem with Superman’s head. It wasn’t realistic enough to satisfy the licensing and merchandising requirements at the time, so artists were called in to redraw Kirby’s Superman heads. The same problems COMICS, page B3

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• wednesday, september 9, 2009 • arizona daily wildcat

Around town

WEDNESDAY, SEPT. 9

tually end during the lecture. 8 p.m. UA Poetry Center. Free.

‘Earth and Sky’ closing reception. This collaboration between the UA and Wales’s Aberystwyth University includes examples of lithography, etching, screenprinting and relief printing. Paul Croft, a visiting artist, will speak and answer questions. Refreshments will be served. Doors open at 5 p.m., and the talk begins at 6 p.m. For more information, email brownhb@email.arizona.edu. Student Union Memorial Center, Union Gallery. Free. ‘Enlighten Up!’ Don’t worry, that’s not a demand — it’s only a movie. This new documentary, showing at the Loft for one night only, explores one determined yoga fan’s attempt to change a random person’s life through the practice. Not rated. 7:30 p.m. The Loft Cinema, 3233 E. Speedway Blvd. $8.75 regular admission, $6.50 with student or military discount.

FRIDAY, SEPT. 11

Robot Exchange. No, it’s not a speed-dating service for androids — it’s an art show combined with a dance party. Call 622-8848 for more information. 7 p.m. Hotel Congress, 311 E. Congress St. Free. 21 and over only with ID.

THURSDAY, SEPT. 10

SATURDAY, SEPT. 12

Sylvan Street. This “progressive Nu-jazz ensemble”will perform original compositions. The group has just issued its debut album, The Perfect Leaf. What makes a leaf perfect, anyway? Have you ever seen one without a spot on it, or a hole in it? 7:30-9:30 p.m. Centennial Hall. $5-9.

Bat-Night ’09. If you’ve never seen 40,000 bats hit the sky, this is your chance. We can’t guarantee, however, that Batman will show up. Also featuring performances by Flam Chen and Logan Phillips. Bring a blanket and water. Several local eateries will feature post-event specials. Call 955-3429 for more information. 5:30 p.m. Rillito River, east of Campbell Avenue bridge. Free.

CHILE

SAHAB Preliminary Blues Challenge. Do you have the blues in your soul? If so, this is where you go; if not, this is where you go to learn. Finalists from this annual competition will move on to the Final Blues Challenge, to be held Sept. 27. Both events begin at 1 p.m. at Club Congress, 311 E. Congress St. $5 for genreal admission, free for kids 12 and younger.

Phil Villarreal. The local author will read from his new book, “Secrets of a Stingy Scoundrel: 100 Dirty Little Money-Grubbing Secrets,” and sign copies. 7 p.m. Barnes and Noble, 5130 E. Broadway Blvd. Free.

¡Salud! This fundraiser for Dequenesh, a community health clinic, will feature performances by Batucaxé and Om Shanti, as well as dancing, food and a silent auction. (Who doesn’t get tired of those regular auctions where people keep yelling all the time?) 7-10 p.m. 330 E. Seventh St. $10.

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SUNDAY, SEPT. 13

Kate Mathis. This local author will sign copies of her debut novel “Living Lies.” 5-6 p.m. Bookmans, 6230 E. Speedway Blvd. Free.

‘Debt as Money 2: The Looting of America. Sure, you could go see “Halloween 2,” which just opened. But this one, from the sound of it, is probably a lot scarier whether you buy its argument or not. 7 p.m. Ward 6 City Council Office, 3202 E. First St. Call 777-7190 for more information.

‘Baba Yaga, Demeter, and the Drunken Mother: Myth, Metaphor, and Science at the End of the World.’ That’s certainly a mouthful. Alison Hawthorne Deming — a renowned poet, essayist and UA creative writing instructor — will presumably explain what it means when she gives this talk. We suspect that the world will not ac-

and they should be pretty happy singing along to “Greased Lighting” and the like. 7 p.m. The Loft Cinema, 3233 E. Speedway Blvd. $8 general admission and $6 Loft Cinema members.

Erin Jean. This singer will perform to celebrate the release of her new album, Always. Call 6222823 or visit www.arizonarosetheatre.com for more information. 2 p.m. Temple of Music and Art in the Cabaret Theatre, 330 S. Scott Ave. $15 general admission, $13 with military or senior ID, and $10 for children 12 and under.

MONDAY, SEPT. 14

courtesy of loftcinema.com

Open studio sessions for actors. Planning to be the next Brad Pitt? This promises a “safe, creative and empowering environment”for aspiring actors, directed by Steve Anderson. Call 520-981-0145 or visit www.steveandersonacting.com for more information. Every Monday through Sept. 30. 6-8:30 p.m. ArtFare, 55 N. Sixth Ave. $10 per night.

TUESDAY, SEPT. 15 These United States. Yes, this is a band, but wouldn’t it be cool if the entire country was performing at the same time? Walt Whitman would be proud. 9:30-11:30 p.m. Plush, 340 E. Sixth St. Free. — compiled by Justyn Dillingham

‘Grease’ Sing-along. This 1978 musical might be a travesty of the decade it pretends to celebrate, changing a revolutionary culture into kitsch by robbing it of its context and making it seem safe, corny and boring. But it seems to have its fan base,

courtesy of elasticpop.com

Festival has grown from community gathering to major event

Rutherford says, things were different. The festival then was a community affair, she says, held by neighbors for neighbors, without the corporate sponsors and crowded parking lots of today. Husbands roasted chiles while wives used the school cafeteria to cook up to 2,000 pounds of chile stew to serve family members and guests. Guys and gals linked arms for a “cowboy dance,” which Rutherford says has been phased out because the young people of today “like this jazz stuff.” Although the festival still includes many homespun touches (like the giant handmade construction paper chiles that adorn several walls), Rutherford says some of the original spirit of the festival has been lost amidst the crowds. Thom Paca, who has worked for Rutherford as a chile processor since 1974, says that after all these years he’s even started to hate the festival. “Every year I try to get out,” he says, casting a glance at Rutherford’s slight

frame, “but if I don’t come she’ll kick the shit out me.” The sentiment, though hard to believe, is understandable: Rutherford needs all the help she can get. People eager to get their hands on seasoning made from the ubiquitous local chile variety known as Big Jim, swarm the barn where Rutherford’s booth sits. Outside, a string of chile roasters does equally brisk business. If the growth of the festival has taken a toll on its community spirit, it has been a boon for local farmers like Erica Soto, who offers bulk chiles in burlap sacks. $20 will get you a forty-pound bag with nearly 500 chiles; an extra $5, and they’ll come roasted. During the one weekend, Soto says, her business, Chile Fanatic, will sell more chiles than during the rest of the year combined. During the festival, she says, she brings in “a couple thousand” dollars of revenue each day. Several other vendors say the same. Indeed,

Hatch Mayor Judd Nordyke, 68, says, the festival embodies the economic lifeblood of the village. Outside Hatch, fields of alfalfa and corn sprout up to feed cows on nearby dairy farms. These crops, along with onions and, of course, chiles, manage to keep the Hatch economy afloat. Agriculture-based economies tend to be insulated from economic downturn, Nordyke says, so his village has fared relatively well in recent years. If anything, he adds, the festival has made Hatch almost too popular. “We’re looking forward to 30 hours from now,” Nordyke says of himself and his wife, festival head coordinator Marica Nordyke, 61, “when we can go home and relax.” After lunch, crowds gather for the day’s biggest event, the chile-eating contest. Contestants, separated by gender, must eat six roasted green chiles — each of which is up to six inches long —

leaving behind only stems. The crowd around the tables is so dense and loud that Worrell has to strain to be heard over the loudspeaker. A woman shoves her way through the crowd, shouting that she has come all the way from North Carolina, damn it, just to see her husband in the contest. Forty seconds later contestants stand with weak smiles and tearful eyes, grasping empty plates and burning stomachs. For Worrell, the excitement of the eating contest is evidence that the original spirit of the festival has not been lost.“I love these people,” he says. “We’ve still got the camaraderie and the love. You can feel it.” Nearby, chile farmer and longtime festival veteran Nick Carson, 55, nods in agreement. “(The festival) put us on the map,” he says. In response to the thousands of tourists, he adds, “that’s what’s kept this thing alive.” The crowd thins as night falls. The mostly older population is replaced by

local teenagers headed for the carnival next door, nursing treats like green chile ice cream and chile-spiced mango-ona-stick. Many are probably ignorant of the festival’s complex past, but who can blame them? The Hatch Chile Festival is, after all, a celebration of the present. Right now, the chile festival is in an identity crisis. On the one hand, it has gone from a quiet family party to a highly publicized and profitable event. More than one festival official has mentioned that locals are now the exception rather than the rule. On the other hand, the festival’s tremendous popularity has brought acclaim for the region and put dollars in the pockets of hard-working farmers. Even Rutherford has to admit that it is a wonderful thing to see so many to turn out in support of a simple fruit and the people who grow it. “We got the best chile,” she says, “so we decided to start a festival, and look what it’s become.”

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Submarine chase: The hunt for Tucson’s best meatball sub

meatballs, marinara, gooey provolone cheese, mushrooms, onions and green peppers; the only drawback is that the mushrooms and peppers are added after the meatballs and cheese have melted on the sub, causing them to be a tad cold. It’s offered on white or wheat bread and is the perfect sandwich to have at 2 a.m. It can get a little messy, but the price is right and if you order a medium sub or larger and show your CatCard, you get a free drink. Silver Mine’s staff is extremely friendly and very speedy. If you are in a hurry I suggest this simple treat. Roma Imports (627 S. Vine Ave.) Milano Meatball Magic: $5.99 Rating:  Best Homemade Cookin’ Sub This Italian grocery and deli offers a wide array of Italian sandwiches and salads, and the Milano Meatball Magic emulates the sandwiches from the shop’s Italian credo. The homemade marinara sauce is sweet and tastes extremely fresh. The sub is simple yet effective; other than meatballs and sauce, its only topping is parmesan cheese. I am sure if I had an Italian grandmother, this would be exactly how she would make a meatball sub.

Lisa Beth Earle/Arizona Daily Wildcat

Alex Gendreau, a journalism and theater senior, sinks her teeth into a Milano Meatball Magic sub at Roma imports. Alex is on a quest to find the best meatball subs in town including those served at other Tucson hotspots like No Anchovies and Cheba Hut.

ALEX GENDREAU Truth be told, I only recently jumped on the meatball submarine bandwagon. Thanks to some local eateries, the meatball sub has risen to a new level as far as the number of ways it can be prepared. Although not every sub place near campus is represented here (eating six of them in four days can be quite a challenge!), each one I tried packed its own unique punch. A word to the wise: Do not attempt to consume this many subs in such a short period of time; each one was extremely large and extremely filling. Only the most experienced of sub consumers can take on this task. Eating this many subs can cause dizziness and loss of appetite. East Coast Super Subs (187 N. Park Ave.) The Hammer: 8” $6.50 16” $12.50 Rating:  Best Overall Sub East Coast Super Subs, tucked away in the South of Sixth neighborhood, cooks up submarines from New Jersey, Pennsylvania and New York for the residents of the Old Pueblo. Their menu boasts that they strive“to be the best and NOTHING LESS.”They aren’t kidding when it comes to The Hammer, a meatball sub jam-packed with meatballs and parmesan cheese toasted on buttery garlic bread. This savory sub practically falls apart in your mouth, which makes for a great taste but is not so good for personal hygiene. It’s so juicy that it seems like it should come on a plate, with utensils. Although it is a “lick your fingers, I want to have more” kind of good, I highly suggest you pace yourself. A little goes a long way on this 8” submarine. Like many heavy foods, The Hammer stays with you long after you take the last bite. Silver Mine Subs (760 N. Tyndall Ave.) Steam Engine: Large: $7.39 Medium: $5.79 Small: $4.39 Rating:  Best Fast Food Sub Silver Mine Subs lives vicariously through the Old West, and the name of their meatball sub is no exception. The Steam Engine is packed with

MUSIC

continued from page B1

Sausage Deli (2334 N. First Ave.) Meatball Sandwich: Sandwich: $6 Sub: $7.75 Rating:  Best Unique-Tasting Sub Don’t be deceived by the deserted look of this tiny hole-inthe-wall next to a Shell gas station — inside, it’s packed full of people enjoying their sandwiches. Sausage Deli’s meatball sandwich has the most unique flavor of any sub I tried on my journey. The first bite was a rush of sweet marinara and mushrooms with a hint of spicy peppers. The sauce is much sweeter than any other I tried, and the pepperoncini mixes well with the rest of the sub. This creation also includes sautéed mushrooms and onions that combine perfectly with the meatballs and soft bread. This sub is quite large, and if you’re crazy enough to order the combo — which includes chips, a side and a fountain drink — you might be in for a one-meal day. Cheba Hut (1820 E. 6th St.) The Bomb Nug (4”) $4 Pinner (8”) $6 Blunt (12”) $8 Rating:  Best Quirkily-Named Sub. Cheba Hut’s “toasted” subs, like the company’s name, are all plays on various euphemisms for and relating to marijuana. The Bomb is one of these aliases. Although The Bomb, the sub, doesn’t contain the same elements that its leafy friend of the same name does, it still packs quite a punch. This practically open-faced sub takes two hands to eat and is worth every messy bite. You can choose your own bread (white, wheat or garlic “herb”) and after they send it on through the toaster you have a variety of toppings to choose from. You might not be a fan of tomatoes, or even like onions, but the one topping I suggest you sprinkle on is oregano. And hey, if you only want the meatballs, Cheba Hut will work with you to make your sandwich right.

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No Anchovies (870 E. University Blvd.) Meatball: $6.19 Rating:  Best “I don’t want pizza but I am at a pizza place” Sub Instead of being served on the traditional submarine bread, No Anchovies’ Meatball comes on a French baguette. It also has the most meatballs I have seen on any sub I have ever consumed — a whopping 12 meatballs! Like most meatball subs, No Anchovies’ comes with marinara, mozzarella and parmesan cheese. The double cheese makes for quite a delicious sandwich and the French baguette gives a soft-yet-crunchy crust around the sub. However, subs from No Anchovies take quite a bit longer to prepare than do their pizza slices. I had to wait 20 minutes for my sandwich to come out of the kitchen. While that’s not too long a wait for a good sub, No Anchovies was slow at the time, so one can only imagine how long it would take during peak hours .

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‘Any-band-goes’ philosophy prevails for local radical venue Dry River

loyal listeners to Flagrante Delicto’s shows. Not only doesn’t Flagrante Delicto just draw the usual downtown crowd, but a multitude of other people as well. The band has even opened for such national acts like hip-hop group De La Soul. Since the July performance at the Rialto Theatre, their local status has been taken to a completely different level. “It’s different,”Ketchup says,“‘cause we started playing with Sean Harris who is an emcee, so we do a hip-hop set and we learn all his songs so we basically play samples.”He also jokes that at one show the whole “crowd was either over 40 or under 10.” The venue, Dry River Collective, 740 N. Main St., is a local collaboration whose mission is to create a radical difference in the community based on sustainability, cooperation and self-sufficiency. Dry River continually brings in local and national bands for concerts which operate on a “no one turned away if they can’t pay” basis. Venue organizer Ryan stresses that bands

are “pretty much underground” and “whoever wants to play will fit the bill.”This doesn’t mean that bands are offensive. In fact, Ryan adds that “people don’t get up and talk political”and that they will never let a band play that is sexist, racist or homophobic. The any-band-goes attitude is mostly supported by the wide array of audience members who frequent the venue. If a band is well liked then they will continually come back to Dry River. Although Dry River is typically for the “younger crowd,” Ryan says, college students can be seen there every night of the week. The venue tries to book a variety of bands in order to draw in people who normally wouldn’t visit the radical venue. Flagrante Delicto embodies a similar progressive attitude through their promotional style. Lund believes that music should be “free media, punk rock, there are so many free ways to advertise.” Instead of paper fliers, the band takes a

different route and hands out free CD’s of their music.“When you hand someone a flier, it’s like an invitation to say, ‘Here, throw this away,’”Ketchup says. Although Lund says they play too much, the band says they will continue to be loyal to their fans by bringing them free music.“We have really blossomed this year,” Ketchup says, mostly through dedicated listeners and their willingness to support the band. Because of performers like Francisco and Baylock, bands like Flagrante Delicto, and venues like the Dry River, more and more people are being exposed to these efforts to make art more accessible. The free live music scene has become so demanding that Flagrante Delicto and similar bands are having a hard time keeping up. Lund says, “We play out so much that we don’t even need to have practice.” “We don’t need to practice?”, Ketchup quickly shoots back. Laughing, Lund says, “No, mostly we love playing out. But we practice.”

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COMICS

Future of manga publishing in question

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may happen once Disney and Marvel complete their merger, with Disney exercising editorial control over what Marvel publishes. Then again, it may not be all bad news. We’ll soon see Iron Man and the Hulk, along with WALL-E and the Beast, greeting Disneyland visitors. Consider these comic book crossover possibilities: Spider-Man gets a better Spidermobile with Lightning McQueen as his new partner in fighting crime. Howard the Duck meets Donald Duck in a grudge match to resolve the two companies’copyright infringement issues once and for all.

Kodansha ends publishing licenses with Tokyopop

This was the other big news of the week. Kodansha is the largest publisher of manga (Japanese comics) in Japan. Tokyopop is one of the largest manga publishers outside of Japan. This announcement means that Tokyopop cannot continue publishing many of its licensed Kodansha titles. While the company announced Thursday some new titles in its fall and winter publishing schedule, it still leaves numerous series at various

states of completion in limbo or in transition to other publishers. It’s not entirely surprising that Kodansha decided to pursue licensing agreements with several other companies. While Tokyopop is a juggernaut in the U.S. manga publishing business, it grew too quickly, trying to expand its manga and anime properties simultaneously. Tokyopop also oversaturated the market at times with its titles in an attempt to take up precious shelf space at chain bookstores that have created sections in the past decade specifically for manga. Kodansha’s decision may ensure that its series are published at financially stable companies. Are there any Disney/Marvel crossovers you want to see? Any you don’t want to see? Worried about the loss of your favorite manga? Leave your thoughts and comments at the newly redesigned DailyWildcat.com. — Steven Kwan has been reading comics since he could pick up a book and has taught classes on comics for more than two years. He is a nutritional sciences senior. He can be reached at arts@wildcat.arizona.edu.

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• wednesday, september 9, 2009 • arizona daily wildcat

Lisa Beth Earle/Arizona Daily Wildcat

Adrian Chacon, a Pima Community College student and employee at Mario’s Pizza, brings a pizza hot out of the oven to a togo box. Mario’s is a local Tucson restaurant that has been serving up pizza and other Italian favorites, including spaghetti and lasagna, for over 28 years.

Quiet but dependable pizzeria celebrates 30th returns to his pizza slice. And the food? Well, it’s dependable and tastes a Perhaps the best way to understand the lon- little better than many pizza chains. Mario’s Pizza’s gevity of Mario’s Pizza is through the two quotes strongest draw is its daily lunch special. You get a highlighted on its menu: “Pizza how it ‘oughta’ slice of pizza with your choice of topping and a small be … had a piece lately?” and “We must be ‘doin’ soda for $2.75. Hungrier diners can order a second slice that will cost you $2.20 extra, which makes this something right!” Visitors might be just as puzzled as to how this one of the better lunch deals around Tucson. The pizza is neighborhood joint at the southmade New York west corner of First Avenue and style, that is, it Fort Lowell Road has stayed Mario’s Pizza has a really thin around long enough to enjoy its 3157 N. First Ave. crust that pro30th anniversary. The dining area 520-622-3668 vides a hearty is smaller than your average high Monday - Thursday 11 a.m. - 10 p.m. crunch when bitschool classroom. You can build Friday & Saturday 11 a.m. - 11 p.m. ten — sometimes another pizzeria on the parking Sunday 4 - 10 p.m. a little too hearty. lot and still have plenty of room www.mariospizzaonline.net The cheese and left over for parking. The sign sauce aren’t too underneath the order window salty and there’s boldly proclaims that there’s no change, no public telephone and, the kicker, no an equal ratio of cheese to crust. You can even count on something like Mario’s public restrooms. The lunch crowd comes and goes at a steady 8-inch meatball sub to provide some familiar rate and seems to be comprised of people from comfort. The meatballs are juicy and lightly spiced. the neighborhood. A group of coworkers from The marinara sauce isn’t overwhelming, but it isn’t the bank at the next block are sitting together, underwhelming in flavor either. And the toasted sub roll falls apart as easily as the meatballs under slight pressure. Even though no single component WORTH ORDERING stood out, the combined reliability of flavors reDaily Lunch Special: Slice of pizza and sults in a solid sandwich. small drink $2.75 Service is surprisingly fast. Just as you settle into your chair and turn your head for a moment, the Meatball sub $6.25 food arrives at your table, which is great if you Hot wings $6.50 for 12 need to rush to your next class. After 30 years of service, Mario’s Pizza has sharing the latest office gossip and a pizza pie. settled into a nice niche for itself. You won’t An elderly couple sits next to a high school find anything fancy or extraordinary there, just couple. The older gentleman interrupts the two solid service and a quiet place to enjoy a good to say how lovely they look together before he slice of pizza.

STEVEN KWAN

Arizona Daily Wildcat

Available at more than 100 locations around campus and in Tucson. Pick up your copy today!

arizona daily wildcat • wednesday, september 9, 2009 •

B5

Rod y Gab offer 11 reasons why guitar will never die Brandon Specktor After the astronomical success of their self-titled 2006 album, Rodrigo y Gabriela really have nothing left to prove. By now anyone with even an immature ear for flamenco knows that the classical guitar-wielding duo could walk on stage, douse their instruments in Tabasco sauce, eat them piece by piece and still produce a symphonic flatulence that would give Esteban a run for his QVC trust fund. With such a stunning reputation and fanatical fan base following the duo so early in their career, there’s a lot of pressure for their new album, 11:11, to be phenomenal. Fortunately for Rod y Gab, it is.

Moving away from the familiar, jaw-dropping covers of Metallica and Led Zeppelin standards that punctuated their high-octane ‘06 album, 11:11 contains eleven totally original tracks of self-described tribute to the veritable gods of guitar that gave Rod y Gab their will to play. On the surface, this album is exactly what a fan would expect from the rising King and Queen of classical guitar: an irresistible collection of rockand metal-inspired flamenco compositions that, even when heard and not seen, raises the question “how the hell did they do that!?” Beneath the obvious, though, exists a depth and range of play that was only eluded to during their pre-

vious efforts. Putting an emphasis on effects pedals to metal-up that acoustic virtuosity, and even inviting the aid of Testament’s top shredder Alex Skolnick to provide tribute for fallen Pantera guitarist Dimebag Darrell (track 10: “Atman”), 11:11 is a guitar odyssey that soars between flowery flamenco ballads, forceful, power-chord-heavy homages to metal, and jivin’, head-bobbin’ grooves that border on jazz. Album highlights include the opening track, “Hanuman,” which is an aggressive mix of descending chords and traditional Latin picking dedicated to Carlos Santana. Rodrigo hits the notes with machine-

gun speed and sniper-rifle precision while Gabriela’s magic hands flutter between rocking, rhythmic strumming patterns and pounding out drum beats on the base of her guitar without missing a beat. Another notable mention is the track“Buster Voodoo”, a wahwah-laced tribute to Jimi Hendrix that’ll remain stuck in your head in the best possible way. With another knockout album under their belts, the only question now is; where will Rodrigo y Gabriela go from here? God forbid they should put the nylon strings aside and pick up matching Stratocasters — rock as we know it might never be the same.

RATING: 

LeToya tackles love on latest Ada Dieke You hurt me. Badly. You treated me badly. And this song, my dear, is for you. Similar sentiments are shared in Capitol Records’ recording artist LeToya Luckett’s newest CD release, Lady Love. This is the second release for the once-ousted member of the multi-platinum selling female singing group, Destiny’s Child, demonstrating that you can’t hold this lady down. Much like Kanye West’s last album, 808s and Heartbreak, in which he purges his postbreakup pain one song after the next, Luckett adheres to that recurrent theme for a striking majority of her songs. Is it not true that pain Photo courtesy of letoyaonline.com breeds creativity?

The Houston-born songstress sings with a surprisingly substantial soprano, displaying a vocal range on this CD likely to be smothered if she were still in a group. And while relationship emotions are worth discussing, the CD borders on overdoing the topic at hand. There are several standout tracks.“She Ain’t Got… ,”the leading single off the album, is pure infectious up-tempo pop fun, with a driving drum beat and guitar lick. On“Lazy,”the chorus-line has a similar arrangement as 90s R&B group Dru Hill’s“How Deep IsYour Love,”and speaks of a broken heart being lazy to welcoming new love.“Over”is haunting with its ethereal harmonizing and echoes of 80s R&B mixed with staccato drum patterns of the late 90s found in Aaliyah’s music and that of Luckett’s former group. “Regret,”featuring Ludacris,“Take Away Love,”featuring Estelle, and“Afterparty”are also notably enjoyable. Luckett is motivational within her songs, showing listeners that she can move beyond the hurt, take away her “lady love” if needed, and give it to “the one” who deserves it. Badly.

RATING: 

‘Catching Fire’ still burning strong with spark, bite of ‘Hunger Games’ Anna Swenson Set in the fictitious, post-America country of Panem, Suzanne Collins’ dystopian adventure novel“The Hunger Games”has garnered readers in droves with its refreshing combination of convincing characterization, pointed political commentary, and ability to be everything young adult bestsellers often aren’t: smart, probing and important. The follow-up in the series, “Catching Fire,” is the sophomore novel in a proposed trilogy, and was released Sept. 1. Though the shock of Collins’ interesting concept and the newness of her rich world are inevitably diminished, this sequel is still alive and cracking with all the aspects that made readers love “The Hunger Games.” When we last saw plucky protagonist Katniss Everdeen, she had just saved her own life and changed history as the contestant in the televised Hunger Games, in which one male and one female youth from each of the twelve districts of Panem must fight until only one is left alive. These events are chronicled in the delightful and dizzingly fast-paced “The Hunger Games” (which comes highly, highly recommended). When “Catching Fire” opens, Katniss is hardly without trouble: she may have managed to save her own life and, for the first time ever, also the life of another tribute. But instead of seeing this as an act of heroism, the highly oppressive government in the Capitol sees it as a threat. The disgruntled citizens who have been toiling for years in the Orwellian Districts seize Katniss’ act of self-preservation and use it as a symbol and a call for an uprising. Katniss and her loved ones spend the duration of the action-packed plot trying to keep themselves alive. One wouldn’t expect such grim odds to be entertaining, but they really are. The stakes of Collins’novel are ludicrously high and Sophoclean in nature, but that’s exactly what makes her world so compelling. Katniss has to conduct herself with such planning and restraint just to keep her family safe from the guns of the government; it’s mesmerizing for the reader to be inside her head. She is also a refreshingly smart, brave and realistically heroic: Katniss is not one to await rescue or cower in fear. She is strong and resourceful, yet she shows weakness. Collins has not in any way written a feminist piece, just an adventure novel that gives men and women equal ability and equal chance. It is Katniss’ weaknesses that make readers want to root for this perpetual underdog. She is made vulnerable by how much she loves her little sister, Prim, when the corrupt government uses the sound of Prim’s screams to make Katniss lose focus in battle. Katniss’ desperation at her beyond-unfortunate situation is so gripping and her desire for a better world is so poignant and honest that the reader can’t help but hope that she survives — and keeps reading to find out if she does.

Photo courtesy of amazon.com

“Chasing Fire” does not escape all the pitfalls of the young adult genre, but it comes so close that the infrequent light moments are an endearing reprieve to all the plotting, death and destruction. A love triangle between Katniss, the fellow surviving Hunger Games contestant and a childhood friend is especially well done. Instead of the usual cloyingly sweet or overly sexualized relationships in which authors cast teen characters, Collins portrays love with both youthful lightness and convincing emotional depth. There is an undercurrent of real-life political commentary, like maybe Collins’ grim world is an allegory of, or theoretical future for, what might happen due to problems in our world today. Though her questioning of large government, beauty, culture and modern attitudes of capitalism are well taken, one can’t help but wonder which parts of the American government Collins is trying to criticize. She certainly skewers American society and media through the heart with her deliberately comparative world, but Collins is a bit too guarded for her reader to really be awakened or inspired about a specific issue in the real, current-day United States. Collins’ societal commentary aside, this book is a delight and thrill to read. Readers may not feel quite the same degrees of hardship, manipulation, ecstasy and agony as the brave and believable Katniss, but they will undoubtedly close this book with new questions to ponder. “Catching Fire” has been on shelves for just over one week and readers are already clamoring for the fiery conclusion of Collins’ twisted, touching trilogy.

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B6

• wednesday, september 9, 2009 • arizona daily wildcat

Spend the spring semester gaining valuable job skills in the Arizona State Legislature. Earn course credit and a small stipend.

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Humorous dystopias not too far off ‘In The Loop’ Brandon Specktor For the determined spinster, going to war is easier than one might think. Some redacted information here, a little fabrication of vital reports there, a controlled leak to the media and presto! You’ve just declared war faster than you can spell it! Such, at least, is the case in the not-too-tangential universe of “In The Loop,� a new and scathing political satire from across the pond that is as bitterly comedic as it is disturbingly believable. To the British eye, “In The Loop� may be recognized as a feature-length corollary to the BBC comedy series “The Thick of It�, a cynical, satirized reflection of modern British government from director Armando Iannucci. American audiences will more likely view “Loop� as a modern-day mesh of “Dr. Strangelove� and “The Office�, combining single-camera intimacy and British subtlety with a jabbing look at the hypocrisy-laden rhetoric of war. Like both aforementioned narratives, “In The Loop� follows an ensemble cast of white-collar warriors judiciously dispersed throughout the chain of command—both British and American. Extending the “Office� metaphor, the role of Michael Scott is assuredly filled by the bumbling, socially-inept British Secretary of State for International Development, Simon Foster (played by Tom Hollander, the foppish Lord Cutler Beckett from the second and third installments of “Pirates of the Caribbean�). While the U.S. and U.K. are contemplating an invasion of an unnamed Middle Eastern nation, Foster just wants to salvage his good name after a string of media mishaps. After Foster botches an impromptu press gathering by uttering a decidedly pro-war soundbite, despite his personal anti-war leanings, a cadre of Brit bigwigs and US war hawks leap at the opportunity to exploit Foster’s rhetoric as a transnational battle cry— and thus begins the spin! In the same parodic vein as “Thank You For Smoking,� the bulk of “Loop’s� humor comes from the catty interactions of oppositely

aligned pundits and politicos. First to latch on and give Foster’s “meat puppet� strings a pull is the vehemently vulgar British director of communications Malcolm Tucker (Peter Capaldi, reprising his acerbic role from “The Thick of It�). First berating the graceless secretary for not sticking to “the lines�, then commissioning him and his self-involved aide Toby (Chris Addison) to go on a fact-finding mission in America, Tucker is a spitfire spin-doctor who leaves a trail of obscenities and shattered egos across both continents. In the States, the comedy of errors is spiced up by an ongoing feud between two Assistant Secretaries of State, the pro-war Linton Barwick (David Rasche) and his anti-war foil Karen Clarke (Mimi Kennedy). The petty, often juvenile banter between the Secretaries and their respective aides is at once amusing and troublesome, once the idea that “maybe our government officials actually act this way� comes to mind. Also joining Clarke’s corner is the robust, combat-weary Major General Miller, portrayed perfectly by James Gandolfini (perhaps better known as Tony Soprano). While watching high-ranking government officials fling insults at one another can be amusing, even hilarious at times, it can only get a film such as this so far. The real affecting part of “In The Loop�, and also its major folly, is the sheer plausibility of everything that transpires in the dysfunctional on-screen U.S./UK doppelgangers. As the film draws towards its climax — the UN’s official vote on whether or not to mobilize for war — the level of deception and downright despicable deeds elevates to a point that is almost too reminiscent of reality for comfort. While this realism is affecting, it is also unfulfilling in a way; film should serve as an escape from reality, not a depressing reminder of it. By the end of the film, Decretary Foster has become more sympathetic than laughable, and the viewer really just wants his ill-conceived altruism to pay off. It doesn’t, of course — which may be the most realistic aspect of the film after all.

RATING: ďƒŞďƒŞďƒŞ ďƒŞďƒŞ

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Photo courtsey of mattfind.com

‘Extract’ leaves odd aftertaste Visit our booth at the Career Fair on Tuesday, September 22, 2009.

WHAT’S GOING ON?

WHAT’S GOING ON?

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WHAT’S GOINGWOHATN’?S GOING ON? WHAT’S GOING ON?

Steven Kwan Anyone expecting another “Office Space� from Mike Judge’s new movie, “Extract,� will most likely leave the theater disappointed. But if you’ve watched “King of the Hill� before, then you might not be as disappointed. We follow Joel (Jason Bateman), the owner of a flavor extract plant, who is about to sell his company to General Mills and retire. He certainly has good reasons to sell: his company is stocked with employees who are prejudiced, clueless and somewhat incompetent. But his home situation isn’t much better. He hasn’t had sex with his work-at-home wife, Suzie (Kristen Wiig), in more than a month. He must get home before 8 p.m. or she’ll put on the sweatpants and close up shop. Enter Cindy (Mila Kunis), a con artist whose plans to take advantage of a wincingly painful workplace accident experienced by Chip (Clifton Collins Jr.) kick off the main story. As in “Office Space,� Judge hits the right tone of the mundane and the weird at the workplace. But whereas bachelorhood was a major component

in that movie, marriage is the focus in “Extract.� Judge’s dialogue is often sharp and can be full of dizzying mix-ups — Joel’s explaining his plan of infidelity to Suzie is an excellent example, as are the conversations between Joel and Dean (Ben Affleck). Bateman brings a pitch-perfect performance as he runs from one problem to another. Like most relationships, not everything in “Extract� goes well. The main problem with the movie is that Judge populates it with side characters that are handled by talented comedy actors who only have one note to riff off of. As a result, their characters often serve as little more than prop pieces or as markers to the next plot point. It’s a shame, because there are some fun performances: Affleck as easygoing, drug-infused, New Age love guru Dean; Gene Simmons as the obnoxious and petty lawyer Joe Adler; and Matt Schulze as Willie, a Black Flag-era, Henry Rollins type who loves his man-sized bong. Judge offers more of his mundane absurdity in his new movie but without more complexity to his characters,“Extract� ends up tasting a little flat.

RATING: ďƒŞďƒŞďƒŞ ďƒŞďƒŞ

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B8

• wednesday, september 9, 2009 • arizona daily wildcat

ART FOR MATURE CONTENT

MA

Sex, sass at heart of L.G.B.T.- themed exhibit

Jacob Rader/Arizona Daily Wildcat

Clockwise from the top: Emmett Ramstad’s ‘Hot Dog’ featured hot dogs, lace and pearls submerged in mason jars; Oakland, Calif, artist Hilary Schwartz and her girlfriend Marcia Ong take in the artwork of Miles Conrad; and the interactive art piece ‘Radio Control Tumbleweeds’ by Torreya Cummings allowed the viewer to drive tumbleweeds mounted on remote-controlled trucks.

TAUNI MALMGREN The sign taped to the front door of the Conrad Wilde Gallery warned me right from the beginning: I was in for some sex. “The Polemics of Love,”the gallery’s latest exhibition, delivers a wide range of national lesbian, gay, bisexual and transgender related art, addressing the many issues behind what it means to be queer in contemporary society. While the art is diverse both in terms of medium and point of view, it fuses together to express the complex mental workings behind modern gay love. This show is not for the prudish. As I walked in, my eyes immediately were directed towards a group of four, ahem, dildo-molded sculptures presented in precarious situations I wouldn’t wish upon my worst exboyfriend. On the other side of the small gallery, an installation of 100 condoms with“I am worried about sex”printed on a packaging brought an epiphany-driven smile to my face. While a lot of the art does contain such campy, in-your-face sexual references,“The Polemics of Love”goes beyond such Fascinations-esque interest levels.

According to gallery co-owner, Giggles echoed throughout the curator and participating artist Miles Conrad Wilde Gallery as people Conrad, this show has been a year tried to control the artwork that in the making. Having this time seemed to develop a mind of its allowed him to fine-tune artists own. Whizzing around the gallery, who are highly educated, technically the tumbleweeds ran into people’s skilled, and cutting edge in terms of legs and even onto another floorartistic trends. The result of Conrad’s level installation piece of a recreated selection is a therapeutic release of bedroom scene of crumpled sheets serious identity concerns alongside strewn with sugar. playful wit that celebrates and asAs“The Polemics of Love”queerly serts the validity of queer love. exhibits sex and sass, at the colPerhaps the most whimsical piece lection’s heart is a sincere focus on in the show was Torreya Cummings’ morality, the struggle for equality “Tumbleweeds.”Addressing the issue and the reality of love; much more of rootlessness and the queer tendency universal themes than the show may to migrate have intended. towards urban Conrad says “The Polemics of Love” areas, this piece that he wanted presented two to create an Conrad Wilde Gallery remote control atmosphere www.conradwildegallery.com tumbleweeds commemorat210 N. 4th Avenue on top of R.C. ing the desire, Sept. 5 – 26, 2009 car wheels. tension, audacTuesday – Saturday 11a.m. – 5p.m. The punch line ity and humor was the shared in love and sex. remote control Whether you frequency making“Tumbleweeds”unare attracted to it or repulsed by it, predictable as the frequencies mixed. “The Polemics of Love”provokes “I love that piece!”Conrad thoughtful questions about imporexclaimed,“I thought that people en- tant concepts for anyone, regardless joyed it immensely. … It was a great of their gender identification or way to activate the space.” sexual orientation.

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