INsite Atlanta February 2007 Issue by INsite Magazine

7 Februaroy. 52F0R0EE Vol. 15, N

ntertainment Monthly E s â&#x20AC;&#x2122; a t n a l t A tlanta.com www.insitea

BeyoncĂŠ Knowles

is ready for her OSCAR

moment

Our Spring Break Guide

Also Jennifer Hudson, Jeremy Piven, Jennifer Garner, Justin Timberlake

IT’S HAPPENING HERE E V E R Y D AY. GET STARTED AND FEEL GREAT.

LOCAL S TAT E - O F - T H E - A R T AFFORDABLE

AKERS MILL | 770.956.9093 2995 Cobb Pkwy.

HOLCOMB BRIDGE | 770.640.8137 1475 Holcomb Bridge Rd.

SOUTHLAKE | 770.960.0393 7057 Mount Zion Circle

ALPHARETTA/WINDWARD | 678.393.2733 5530 Windward Pkwy.

JOHNS CREEK | 770.623.9433 11720 Medlock Bridge Rd.

ANSLEY MALL | 404.249.6463 1544 Piedmont Ave. NE

KENNESAW/TOWN CENTER 770.427.9668 2801 George Busbee Pkwy.

SUGARLOAF | 770.822.2533 1860 Duluth Highway

ATLANTIC STATION | 800.730.9957 Upcoming Sports Club - Join Now! 264 19th St., Suite 2250 AUSTELL | 770.432.4262 1025 E. West Connector #2 BUFORD | 800.730.9786 Upcoming Sports Club - Join Now! 1600 Mall of Georgia Blvd. NE, Suite 858

TOCO HILLS | 404.248.2998 2880 N. Druid Hills Rd.

LENOX/BUCKHEAD | 404.233.8311 3232 Peachtree St. MIDTOWN | 404.249.6404 75 Fifth St., NW, Suite E NORTHLAKE | 770.414.0651 1990 W. Exchange Place

CAMP CREEK | 404.344.1248 3755 Carmia Dr. SW, Suite 700

PEACHTREE CORNERS 770.797.2661 7050 Jimmy Carter Blvd. #118

DUNWOODY/PERIMETER PT. 770.350.4951 1155 Mount Vernon Hwy.,#600

ROSWELL WEST 678.494.6464 4801 Alabama Rd.

EAST COBB | 770.973.3370 4400 Roswell Rd.

SNELLVILLE | NOW OPEN! 2279 Pinehurst Rd. 770.979.1288

ONE WEEK

REDEEM BY

02/28/07

SPORTS CLUB PASS Come into LA Fitness® Sports Clubs and redeem this Seven Consecutive Days Pass. Must be 18 years of age or older, a local resident and show valid I.D. One pass per person, per year. Pass activation hours 8am to 8pm. *Extra charge for some amenities. Sales presentation tour required. Other memberships may be presented. Redeemable by non-members only. Facilities and classes vary from club to club. Leagues extra. Not available for resale or redeemable for cash. 01/07

*Extra charge for some amenities and leagues. Photos herein depict a typical facility, some locations will vary.

CONTENTS

FEBRUARY 2007 VOL. 11.5

INTERVIEWS 12 BEYONCÉ KNOWLES

14 JUSTIN TIMBERLAKE 15 JEREMY PIVEN 23 JENNIFER HUDSON 25 TAKE ACTION TOUR 26 BRIDGE TO TERABITHIA 28 JENNIFER GARNER 29 RENO 911

34 DEERHOOF 35 WESTBOUND TRAIN

FEATURES 10 VALENTINE’S DAY GUIDE Do you know who Valentine’s Day is named after? Or the best places in the ATL to celebrate with your sweetie? Find out in our annual feature.

22 WE GOT NEXT

This month featuring Until June, a piano-driven alt-pop trio led by brothers Josh and Dan Ballard.

30 SPRING BREAK GUIDE From Panama City and Daytona Beach to more exotic locales such as Cancun and Jamaica, our annual guide will tell you where the party’s at, and help find affordable ways to get there.

36 RACISM IN THE NFL? Yes, Baltimore’s Tony Dungy and

Chicago’s Lovie Smith happen to be black, but should a coach’s race really be as important as their skill? Our sports columnist offers her 2¢.

COLUMNS 6 ON TAP 7 UNDER THE LIGHTS 8 AROUND TOWN 13 WANTON DISTRACTION

16 MOVIE REVIEWS 20 CONCERT CALENDAR 22 ROAD WARRIORS 24 ALBUM REVIEWS 26 VIDIOTS 27 BOOKS 37 FANATIC 38 HOROSCOPES PG 4 • insiteatlanta.com • February 2007

www.insiteatlanta.com

The Arts

The Local Scene

Spamalot

Monty Python takes the stage BY RAV MANSFIELD

onty Python lives! The british comedy troupe has always been a odd mix of wit and low comedy. That description would also apply to "Monty Python's Spamalot.", the slightly off kilter Broadway musical that was -- as its creator happily acknowledges -- ``lovingly ripped off from the motion picture Monty Python and the Holy Grail.'' Telling the legendary tale of King Arthur and the Knights of the Round Table, and their quest for the Holy Grail, Monty Python's Spamalot features a chorus line of dancing divas and knights, flatulent Frenchmen, killer rabbits and one legless knight. The production the winner of three 2005 Tony Awards including Best Musical and Best Director (Mike Nichols), as well as the Drama Desk and Outer Critics Circle awards for Best Musical. Directed by Mike Nichols, "Monty Python's Spamalot." features a book by Eric Idle, based on the screenplay of Monty Python and the Holy Grail by Monty Python creators Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones and Michael Palin, with music and lyrics by the Grammy Award-winning team of Mr. Idle and John Du Prez. Casey Nicholaw is the choreographer. Robert Petkoff, who plays brave (in his own mind) Sir Robin, and Brother Maynard in the

travelling production, considers Monty Python the the original sketch comedy troupe. "The group was Saturday Night Live before there was a Saturday Night Live," said Petkoff by phone last week as the tour was heading to Florida for a week of shows. Before being cast in “Spamalot”, the actor worked on Broadway in "Fiddler on the Roof" and "London’s West End: The Royal Family” with Judi Dench. Despite his weighty credentials, Robert relished the chance to take on Python’s wacky characters. "Everyone reacts so readily to the material. From the minute we appear on stage until the final bow; the crowd is into it. A lot of people are seeing this material for the 1st time. Most audiences start out strong and level off. That doesn’t happen with Monty Python. The energy never wavers. So it’s immediately rewarding for the cast,” explains Petkoff. “Monty Python's Spamalot” is truly a rare beast. A stage show that is better than the original source material. So whether you are a life-long Python fan or unfamiliar with their work, this production is not to be missed. The Tony Award-winning Best Musical of 2005, “Monty Python's Spamalot”, will debut in Atlanta at The Fox Theatre for a special two-week engagement on February 20 – March 4, 2007. For ticket info, head to: www.ticketmaster.com.

On Tap for February Email events to ontap@insiteatlanta.com

February 9: Kansas Wild Bills welcomes one time MEGE band, Kansas, to their stage. Fusing the complexity of British prog rock with an American heartland sound representative of their name, Kansas were among the most popular bands of the late '70s; though typically dismissed by critics, many of the group's hits remain staples of AOR radio play lists to this day. Formed in Topeka in 1970, the founding members of the group -- guitarist Kerry Livgren, bassist Dave Hope, and drummer Phil Ehart -- first played together while in high school. For more info, head to: http://www.wildbillsatlanta.com

February 9: Big Head Todd and the Monsters Big Head Todd & the Monsters is a rock band formed in 1986 in Colorado. They make their 2007 Atlanta debut at the Coca-Cola Roxy Theatre. The band has released a number of albums since 1989 with their 1993 album Sister Sweetly going platinum in the United States. The band has developed a sizeable live following especially in the Mountain States of the United States. In 2005, the group joined the throng of internet based music sales by releasing the single "Blue Sky" exclusively on iTunes. For ticket info, head to: www.ticketmaster.com

February 17: Guster Guster comes to the Tabernacle in February. The group is an alternative rock band (sometimes classified as jangle pop), originally formed in the Boston, Massachusetts area by members Ryan Miller (vocals, guitar, bass, keyboards), Adam Gardner (guitar, vocals, bass, keyboards), and Brian Rosenworcel (drums/percussion). Joe Pisapia (bass, guitar, keyboards, banjo, vocals) has since joined. Guster released their fifth full length studio album, Ganging Up on the Sun, on June 20, 2006. The single "Manifest Destiny/Sorority Tears" was released in November 2005 on the Internet. For ticket info, head to: www.ticketmaster.com.

February 14 - February 19: Ringling Bros. and Barnum & Bailey Circus The best circus in the world is coming to Philips Arena. In a bold move designed to create an entirely contemporary and interactive circus experience, Ringling Bros. and Barnum & Bailey has assembled a team of television, film and stage veterans to redefine The Greatest Show On Earth. The creative team - completely new to producing any type of circus production - is putting audiences closer to the action than ever before. Come out and see the new version of an American classic. For more info, head to: http://www.ringling.com

February 23 - 24: 2007 Cycle World International Motorcycle Show Hundreds of 2007-model street bikes, dirt bikes, cruisers, concept bikes and vintage bikes from more than 17 manufacturers will roll into the Georgia World Congress Center for the 2007 Cycle World International Motorcycle Show® presented by Toyota. From cool custom choppers and tricked out sport bikes to everything off-road, this show offers something for everyone. For more info, head to: www.motorcycleshows.com.

February 24 - 25: Oysterfest Each year in February Buckhead Village is transformed into a fisherman’s cove. Oysterfest (brought to you by the Steamhouse Lounge) draws thousands of partygoers looking for live music, good eats, cold beer and good old-fashioned fun. In-the-know veterans flock to their doors for fresh roasted oysters, "Atlanta's Best" Lobster Bisque and their signature Goombay Smash! Every year, they bring in over 40,000 pounds of oysters ready for roasting! Buckets of oysters (approx. 3 dozen) are served with cocktail sauce and crackers. For more info, head to: www.steamhouselounge.com PG 6 • insiteatlanta.com • February 2007 PG • insiteatlanta.com • April 2005

February 2007 Volume 15.5

INsite Magazine of Atlanta 2250 North Druid Hills Rd. #100 Atlanta, GA 30329-3118 404-315-8485 Fax 404-315-1755 email feedback@insiteatlanta website insiteatlanta.com

The Arts

Under The Lights What’s Happening on Stage in Atlanta

Advertising Information

Call 404-315-8485 advertising@insiteatlanta.com President Stephen Miller National Managing Editor Bret Love Graphic Designer Michael T. Local Events Editor Rav Mansfield Local News Editor Glenn LaFollette Sports Editor DeMarco Williams Web Design Kalico Productions Contributing Writers / Interns John Davidson, John Moore, Russell Fisher, Zena Scott, Margo Aaron, Andrew Gilstrap, Mathew Goldberg & Kim Guelcher

INsite is published on the first Friday of the month and is distributed free on 23 college campuses and at over 1,000 locations throughout metro Atlanta. Editorial content of INsite is the opinion of each writer and is not necessarily the opinion of INsite, its staff, or its advertisers. INsite does not knowingly accept false or misleading advertising or editorial content, nor do the publisher or editors of INsite assume responsibility should such advertising or editorial appear. No content, i.e., articles, graphics, designs and information (any and all) in this publication may be reproduced in any manner without written permission from publisher.

LITTLE HANDS...BIG DIFFERENCE MY LEFT BREAST

T h r u Fe b r u a r y 2 5 Imagine It! Children's Museum

Making its Atlanta premiere, this Obie Award-winning play is a true tale of survival. It charts activist/playwright Susan Miller's battle with breast cancer, restaged as a 3-person production in order to portray the individuals who most impacted her life. With a mixture of wit, spirit and gratitude for life's many blessings, the show recounts Miller's journey as a divorced single parent, conflicted lesbian and famous playwright fighting for life at the height of her career. Offstage, 7 Stages Theatre will be offering the following supplementary activities to raise awareness of breast cancer: 7 Stages Theatre, 1105 Euclid Ave, Little 5 Points 404-523-7647 www.7Stages.org

Currently occupying the Children's Museum of Atlanta's ever-changing Morph Gallery, "Little Hands... Big Difference" is an interactive exhibit extolling the virtues of family volunteerism. Presented in partnership with Hands On Atlanta, the exhibit gives youngsters a chance to participate in service projects ranging from feeding the hungry and housing the homeless to working to improve the environment, laying a strong foundation for the city's future civic-minded citizens. At 11AM and 1PM daily the museum will also feature a mini-musical, "Helping Hands, Happy Heart," in which an animated storyteller and members from the Hands On Atlanta community take kids on an imaginary journey through the city, teaching the age-appropriate lesson that helping out and having fun are not mutually exclusive concepts. 275 Centennial Olympic Park Dr.,Atlanta. 404-659-KIDS. www.imagineit-cma.org.

Fe b r u a r y 1 - 2 6 7 Stages Theatre

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EL HAJJ MALIK: THE LIFE AND TIMES OF MALCOM X Fe b r u a r y 2 1 - 2 5 Oglethorpe, Lupton Auditorium The Civil Rights movement's firebrand night to Martin Luther King Jr.'s more peace-loving day, Malcolm X was a potent sociopolitical leader who believed that racial equality should be achieved by any means necessary. This production, written by N.R. Davidson and opening on the 42nd anniversary of his assassination, does for the stage what Spike Lee's biopic did for film, taking audiences on a journey through Malcolm X's dramatic childhood, wild young adult life, enlightened last days and untimely death. The show takes an unusual approach, featuring 10 actors (male and female) who act, sing and dance to bring the story to life, with every actor portraying Malcolm X at some point during the production. The result should give audiences a broader, more informed perspective on this controversial icon. Oglethorpe, Lupton Auditorium, 4484 Peachtree Road, Atlanta 404-508-4612 www.ikamproductions.com

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�� PG 7 • insiteatlanta.com • February 2007

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SPAM is a registered trademark of Hormel Foods, LLC, used with permission here.

Give someone you love a knight to remember!

Grammy®-winning cast album on

www.MontyPythonsSpamalot.com

FEBRUARY 20 – MARCH 4, 2007 • THE FOX THEATRE all Ticketmaster outlets • ticketmaster.com • 404.817.8700 Groups of 20 or more call now! 404.881.2000

PG 8 • insiteatlanta.com • February 2007

Local Events

Valentine’s Day in Atlanta GREAT WAYS TO MAKE THE MOST FROM THE HOLIDAY BY MARGO AARON

alentines has long been accused of being the world's greatest "Hallmark Holiday" causing much angst and heartache to those who feel forced to partake in celebrations. Contrary to popular belief, the tradition of expressing admiration for your loved one(s) is a custom that dates back centuries to a certain Saint Valentine. Who this man actually was is slightly controversial seeing as there is documented evidence that more than one Saint V existed. The consensus, however, agrees that our beloved Valentine was a priest during the Roman Empire living under the regime of an evil and oppressive emperor. In his brilliance, the emperor decided that single men made better soldiers than those with wives and/or a family and thus made the executive decision to outlaw marriage for young men. Valentine was staunchly against the big scary Emperor and rebelliously continued to perform marriage ceremonies until he was discovered, sentenced to death, and proclaimed a Saint. Valentines Day was born in commemoration of his memory and to celebrate love and marriage. Regretfully, the "Hallmark Holiday" rep exists today, stripping the holiday of its intended goal of honoring love and replacing that often with disgust and cheesiness. Instead of holding love to its highest reverence, thousands find themselves strapped for ideas and pressured to partake in potentially awkward situations. So, how to go about expressing the love, devotion, and appreciation you have for that special someone (or that not-so-special someone)? In case you are one of the many who come up empty handed at the idea of putting together plans for a night, break into hives when it

comes to being creative, or simply do not have the time, here is a list of ideas as to how to commemorate this joyous festivity and resurrect its original purpose, without the stress.

Valentine’s Day dining

This choice is fool-proof. Perfect for both a new couple looking to have a nice, but not intrusive time, and the adorable couple that has been dating for years and still has not exhausted conversation topics.

The Sun Dial Restaurant & Bar Westin Peachtree Plaza

VALENTINE’S DAY DINNER Call for Details

If you are looking for a more intimate setting then look no further then Café Intermezzo. This quaint bistro is the perfect date place. The lighting is dim and the room feels like it was stolen straight from a European street corner. The pages long drink menu is full of creative and fun options, but only falls second to dessert. Several shelves of cakes are displayed openly in a giant case for your viewing and tasting pleasure. Ask a dessert "tour guide" for help in decision making as there are far too many options to choose from, and none of them are wrong. Open till the wee hours of the morning, Café Intermezzo is a wonderful way to continue your night and bring it to a perfect close.

NOW OPEN

Hookah & Belly Dancing on Weekends

Zagat Rated 5 years in a Row • Atlanta Magazine Top 100

2751 cavista Rd. • Decatur, GA 30033 404.633.8833 • www.mezzabistro.com

PG 10 • insiteatlanta.com • February 2007

In the heart of Buckhead, The Tavern at Phipps is a great place to go this year after a day of shopping with your special someone. Dark stained wood walls, imaginative cuisine and an inviting atmosphere set the tone for a romantic dining experience. The Tavern has recently been voted “Best Looking Waitstaff” and “Best Bartender” in local publications.

Café Intermezzo-

Expanded Dining Room

Mezza, a traditional way of dinning in which all menu items are served in small portions allowing couples to share from a large variety of dishes. This Zagat rated restaurant is one of Atlanta Magazine’s “Top 100 Restaurants in Atlanta” and has made the AJC’s list for top 50 restaurants. Mezza serves a wide variety of wines and offers traditional Labanese coffee or better know in the west as Turkish coffee along with a variety of unique desserts. 3500 Peachtree Rd. Phipps Plaza, 404-814-9640

Atlanta’s revolving restaurant in the sky offering unparalleled views of the city, has always been a Valentine’s Day favorite. This year they are offering a special Valentines Day menu priced at $65+ per person.

“One of the most characteristic elements of lebanese cuisine is the offering of an unlimited array of small hot and cold appetizers... we call them mezza”

2751 Lavista Rd., Decatur 404-633-8833

The Tavern at Phipps

210 Peachtree St. 404-589-7506

1845 Peachtree Rd NE 404-355-0411

Mezza A Lebanese Bistro & Wine Bar

Agave

242 Boulevard SE 404-588-0006

One of Atlanta’s favorite restaurants, Agave offers two romantically lit dining rooms as well as an enclosed patio with private fireplace. With over 85 different tequilas on the menu, it is sure to get you in the mood.

Sweet Devil Moon

980 Piedmont Ave. Midtown, 404-347-3600

With it’s proximity to the Fox Theatre and midtown nightlife, Sweet Devil Moon is a great place to start out a romantic evening. They offer great Puruvian tapas that is perfect for sharing in a cozy romantic setting.

VOTED BEST CAJUN - 2006 Insite Magazine VOTED BEST NEW RESTAURANT & BEST NEW CAJUN - 2006 Creative Loaﬁng

Valentine’s Day Events in Atlanta Atlanta Botanical Garden

Valentine’s in the Garden February 14th 6 - 10pm 1345 Piedmont Ave. 404-876-5859

Romance blooms big at the Atlanta Botanical Garden. To kick off the event, sweethearts will be welcomed with a complimentary glass of champagne at the beautiful Cox Courtyard fountain and then find their way to live music and dancing in Day Hall. Plentiful hors d’oeuvres from one of Atlanta’s top caterers and decadent cocktails from the cash bars will also be available in Day Hall and Exhibit Hall. Guests next stroll candlelit paths to the Gardens Under Glass to experience the beauty of exquisite orchids and glittering Fräbel glass sculptures (part of the current exhibit Orchid Daze with Fräbel: Glass Impressions.) Guests round out the evening with fabulous gourmet desserts. Tickets are available for purchase at Ticketmaster.com and in person at the Garden Gift Shop. $45 per member/$55 non-member.

Whole World Theatre

Valentine’s Day Party - Feb. 14 9PM 1216 Spring St., 404-817-PLAY

Atlanta’s favorite theatre company is putting on a special evening of Improv Comedy this Valentine’s Day. The evening includes a live Improv show by Whole World Theatre’s Main Stage Performers, bottle of wine, audience prizes, and delicious desserts. Go to www.wholeworldtheatre.com for more details.

Valentine’s Day Web sites The most incredible Valentine’s Day site there is RedEnvelope.com. They have every kind of thoughtful, funny or sexy gift imaginable. Shop from a array of chocolates, jewelry, perfums, and lingerie. Check out theholidayspot.com/valentine for everything from cheesy romantic gifts your mother-inlaw would appreciate, like a "time for love heart clock" that would make a perfect desk paperweight, to teddy bears perfect for your boy or girlfriend and fink leather flasks for your friends. There are links to tons more ideas and gifts, but be sure to order with time for the gifts to arrive by the 14th! So you want to get him or her chocolate, but think that's too conventional? Worry no more. Visit mymms.com for a thousand ways to make personalized m&ms. From color to bag to message actually written on the candy, you are in charge of it all. And if you are a male, while these chocolate candy covered morsels will make any gal swoon, add a bouquet of flowers and you are set. Personalize your Valentine’s Day message on anything from picture frames, jewelry, pajamas, champagne glasses, T-shirts, and more at ThingsToRemember.com If all else fails, however, there is nothing better or more romantic then the handwritten card, otherwise known as a love letter. Everyone loves being told how amazing and wonderful and beautiful and handsome and smart and talented they are and how they affected the life of that other person to such a great degree and how happy they are you are in their life. So, what reason is there not to let that person

know through a card or letter? Oh, you aren't a good writer? www.love-letterromance.com/romantic.html has prewritten letter samples, templates, and tips for writing your own love letter. It helps you based on your relationship time-line status from "In the very beginning" to "That first I love you" to "I want you back" and more. Even if you are not planning on writing anything, the site is fun to check out.

Valentine’s Day Specialty Stores Starship

20 Locations ShopStarship.com

The official home of “MOREgasm”, Starship has put out all the stops for the sexiest day of the year. Find everything from adult movies, body oils & lubes, bondage/ fetish gear, erotic lingerie, candles & incense, lover’s gift cards and much more. Check out their Completely Cupid SALE offering 50% off select merchandise.

Inserection

404-888-0878 www.inserection.com

The home of the Sexual Revolution. Inserection has multiple stores in Atlanta chocked full of merchandise to enhance your holiday. Chose from a wide assortment of XXX movies, party & gag gifts, lubricants/ massage oils, fetish accessories as well as many items specifically for couples and other adult novelties.

Love Shack

770-556-LOVE www.LoveShackOnline.com

There are currently five Love Shack’s in metro Atlanta but if you don’t have one near you, visit them online. They offer a great website allowing you to do your shopping from home.

Valentine’s Day Intangibles The classic clichés, despite what anyone says, never get old. Most people who scoff at them never had the opportunity to experience a cliché in its element before. Strawberries and whipped cream dessert, candle-lit room, Boys II Men Romantic Love Mix CD playing in the background, bouquets of red roses, a bubble bath running, Ghirardelli chocolate boxes or truffles, jewelry, a room floor covered in rose petals, cheesy? Maybe. But the efficacy rate for the cliché evening is 100% and your boy or girlfriend is guaranteed to blush and fall right back in love. Here are some local places in town to get what you need.

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Steam Bowls

Beef • Chicken • Shrimp • Tofu ��

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�� PG 11 • insiteatlanta.com • February 2007

his is Beyoncé's moment. It's as if everything in her 14-year career has been leading to this. “Listen,” she sings, pleadingly at first, then gradually growing more insistent, and finally downright fierce. “Listen to the song here in my heart, a melody I start but can't complete. Listen to the sound from deep within. It's only beginning to find release. Oh, the time has come for my dreams to be heard. They will not be pushed aside and turned into your own. All 'cause you won't listen.” Though hers is a career that has already been filled with many highlights, this is the moment in her third major film, Dreamgirls, in which Beyoncé Knowles evolves from mere bootylicious pop star into something bigger, something infinitely more significant. It is a moment that will give you chills. It is a moment that will make you root for her character, and the young woman playing her. And it is a moment that will definitely make you reconsider the way you perceive the former Destiny's Child frontwoman. “No,” she says of her character in the film, “Deena Jones is not me. But I have a lot of similarities.” And indeed she does. Deena is 16 when she and her two friends sneak out to perform at a talent show that lands them a manager, Curtis Taylor Jr. (Jamie Foxx), and a tour as backup singers for soul man James “Thunder” Early (Eddie Murphy); Beyoncé was a mere 11 years old when Destiny's Child appeared on Star Search, and 16 when they were offered a contract with Columbia Records. Shy Deena gradually emerges as the leader of worldrenowned R&B trio The Dreams (originally modeled after The Supremes, with Deena their Diana Ross); Beyoncé, who freely admits that she's quiet and likes to blend in when she's not onstage, became the star of Destiny's Child early on, and by their third album had assumed co-writing and co-producing duties. Deena's best friend Effie (former American Idol finalist Jennifer Hudson, in a breakout turn virtually guaranteed to win her the Oscar) leaves the group after Curtis focuses the spotlight squarely on Deena, who eventually becomes his wife; original Destiny's Child member LaTavia Roberson and longtime member LeToya Luckett filed a joint lawsuit against Beyoncé's father Matthew in 1999, charging that he kept a disproportionate share of the band's profits, attempted to exert too much control, and unfairly favored his daughter. Perhaps most importantly, Deena eventually breaks off from her controlling svengali husband and becomes her own woman, asserting her independence and resolve with the showstopping “Listen” (a new song Knowles cowrote specifically for the film); Beyoncé, inspired by the four-month shoot on Dreamgirls, cut her short her planned Miami vacation in April of 2006 in order to record a critically-acclaimed album (B'Day, which was released on her 25th birthday) that nobody– not her father, not her mother, not even her record label– knew about. In short, after 14 years of allowing others to call the shots, Beyoncé took control. The funny thing is, although Deena Jones seems in retrospect like the part Beyoncé Knowles was born to play, she almost never got the opportunity to play it. “I'm so excited I can't even talk about it because my voice will start shaking,” she says during an interview at the Beverly Hills Four Seasons, her chestnut brown eyes clearly full of emotion. “I've been hearing about Dreamgirls since I was 15. I've never seen it because I was born the year it was on Broadway (1981), but I've seen a bootleg tape of it and I've been hearing everything about Deena because my choreographer is obsessed with her. They told me they were doing this movie and I PG 12 • insiteatlanta.com • February 2007

Just Listen Beyoncé Knowles is Having a Moment

said, 'Oh my God, I have to have this!' At first they weren't sure if I could play the part because I hadn't done anything like it on film, but I knew I could do it.” It was precisely that sort of determination and work ethic that ultimately won over writer-director Bill Condon, who won the Best Adapted Screenplay Oscar for 1998's Gods and Monsters and was nominated again in 2003 for his adaptation of Chicago. Though Knowles had made a fine impression in supporting roles in crowdpleasing comedies such as Austin Powers in Goldmember and The Pink Panther, Dreamgirls demanded an actress with broad range, who was capable of capturing the difficult 20-year evolution of a character who begins her journey as a naïve

ingénue and winds up a powerful sista fully capable of doing it for herself. During their initial meeting, Condon expressed concern that the pop star appeared larger than life, and was too famous for audiences to accept her as a normal young lady like Deena. So, despite her multi-platinum albums and Grammy Awards and international celebrity, Knowles did what every other hungry young actress in the world has to do as they begin their slow climb up the Hollywood ladder to fame: She agreed to a screen test, smack dab in the middle of Destiny's Child's farewell world tour. And she ultimately won the initially skeptical Condon over, bringing a fresh, Marilyn Monroe-style sex kitten quality to the character and nailing the original Broadway

choreography for the “Dreamgirls” theme song. “I've never wanted a part so much,” Knowles admits. “I felt so much better that I had to prove myself. I get to play a character with brains. I have dramatic scenes and emotional scenes and very funny scenes. I had to be subtle and graceful, but still ambitious and manipulative without being obvious. I'm so excited because people are going to get to see me act.” Of course, getting the part was merely the beginning. Condon put his All-Star cast (which also includes Tony winner Anika Noni Rose as the third Dream, Lorrell, and Danny Glover as Early's manager) through a grueling preproduction boot camp that included hours of singing, dancing and learning four new songs written for the film by Henry Kreiger, who also composed the original musical. According to Condon, the R&B diva rose to the challenge and proved a dedicated workhouse, putting in one 15-hour day after another. And Knowles has nothing but praise for the director. “Bill Condon knows so much and is so detail-oriented,” she gushes. “We had two months to rehearse, which I've never experienced anything like that. It allowed me and the other ladies to really bond. We had such a great chemistry together, onand offscreen. We did crazy things together that friends do. We were all so excited to be there that we were all like, 'Is this real? Are we really in this film?!'” Now that she's nailed her first dramatic role, Knowles seems to have emerged with an even greater sense of confidence than ever before. By most accounts, B'Day is the finest album of her career, recorded in less than a month on a relatively economical budget with A-list producers such as Rich Harrison (who cowrote her hit “Crazy In Love”), Swizz Beats and Rodney Jerkins, all of whom she hand picked herself. But, according to Knowles, the decision to leave her fellow Destiny's Child divas behind was the most difficult decision she's ever made. “It's easy to stay in a group,” she reasons, “and hard to leave a group when you love each other and there's nothing [negative] going on. It's easy when you hate each other and you can't stand to be in the same room, but not when you still share dressing rooms and a tour bus, still love each other and still selling millions of records. We were still successful, but I took that risk and it was very scary." From embarking on a solo journey and defying her father to tackling the most challenging role of her burgeoning acting career, Beyoncé has been all about taking risks lately. But this beautiful butterfly is also smart enough to test her wings before attempting to take flight. Hundreds of singers and rappers have attempted to make the transition to a successful career in Hollywood, but few possess the sage wisdom to take it slow, start small and gradually learn the craft before tackling a major dramatic role. “I just want to challenge myself and learn,” Knowles says. “Every movie I do, I learn a little bit more. After going on auditions, getting some movies, not getting other movies, taking a couple of acting classes and having more life experiences, I realized that I am an actor and I can really do this right. I admire people like Barbra Streisand and Diana Ross, who took that risk and are really good at it." Diana Ross. The woman on whose life the character of Deena was based. The pop star whose breakthrough role in the 1972 Billie Holliday biopic Lady Sings The Blues (made when she 28) found her blazing the very same trail on which Beyoncé Knowles now finds herself. No matter how you add up all the facts, it leads to one conclusion: This is Beyoncé's moment. –Alex S. Morrison

The Arts

Wanton Distraction

Kee

Skewed Views On Entertainment News • Video of Saddam Hussein’s execution was taken with a camera phone and quickly uploaded onto popular video-sharing websites like YouTube and Google Video. The footage produced shock and outrage, but both were quickly soothed by the more popular video of the monkey that tries to drink its own urine.

• The Dead Zone star Anthony Michael Hall proved that it still isn't okay to use the nword, even when the epithet is not directed at an African-American and is used in a friendly manner. As he took a picture with a Hispanic fan, he joked, "I am scared of this nigger right here," adding, "What up, nigger?" to another fan seconds later.” A spectator claims, “There was no malice involved. The guy was just trying to be cool.” Making him seem just as cool as the parts he played in The Breakfast Club and Sixteen Candles over twenty years ago.

Kevin G Pheoni

• Britney Spears and Paris Hilton were recently named Worst Celebrity Role Models of 2006 by a joint AP-AOL poll. Others making the list were Mel Gibson, Tom Cruise, K e v i n • Paula Abdul Federline, brought her L i n d s a y incredible gravLohan, Nicole itas and crediR i t c h i e , bility to a variAngelina Jolie ety of morning (for bringing talk shows earattention to lier this month, third-world poverty and as she looked Babs + Rosie = BFF! completely adopting kids… drugged out of her mind. Publicists quickly that bitch) and Michael Richards. Wait, Michael Richards?! I know what he did was scrambled to explain that the American Idol wrong, but who was treating him like a role judge was tired, though they left out the part model in the first place? Were kids everyabout her being tired from drinking too much where opening doors in a kooky manner, but and promoting a show on which absolutely now when they do it, they spew racial slurs? no one likes her. • The highly publicized feud between The View co-host Rosie O'Donnell and Donald Trump continues after Barbara Walters firmly came down on the side of O'Donnell and called Trump a “poor, pathetic man.” Many agree that this feud is far more exciting than Alien vs. Predator, Freddy vs. Jason or Kramer vs. Kramer. • In a related story, O'Donnell took aim at American Idol judge Simon Cowell for making negative remarks about the appearance of various contestants during the season premiere show in Seattle. Cowell said that since her feud with Trump is dying down, she needs a new target. I'm going to have to agree with Cowell here seeing as calling him out for being a dick is a lot like calling the Sun out for being bright.

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• Angelina Jolie and Brad Pitt have moved to New Orleans to escape the constant media attention of Hollywood. It also helps that New Orleans provides all the horrors of a third-world country without ever having to actually leave the United States. • Paris Hilton and porn star Jenna Jameson are in talks to join a reality show called Virgin Territory. The premise will have “a group of the uninitiated [finding] their way to the promised land." Who ever would have guessed that, in the Promised Land, your dick burns when you pee, then falls off?

• Although it received the most nominations of any picture (a total of 8), the Motown musical Dreamgirls did not receive a nomination for Best We just ran this Jenna Jameson pic to make up for Picture or Best Director, proving that the hideous pic above. the Academy of • Basic Instinct 2 and Motion Picture Arts Little Man led the annual Razzie Awards, and Sciences (like Bush) does not care about which select the worst films of the year. As black people. Receiving six nominations was avid filmgoers, we all owe a great debt of director Guillermo del Toro’s dark fairy tale, gratitude to the Razzies, because these films Pan's Labyrinth, but it too did not receive any needed to be taken down a peg after flopping attention in the two major categories, proving at the box office and receiving absolutely no that the Academy of Motion Picture Arts and critical acclaim. I think the guys that run the Sciences does not care about fauns either. Razzies must spend the rest of their year However, Babel received seven nominations (including Best Picture), so the Academy pointing out that Paris Hilton has no talent, Lindsay Lohan is a fire-crotch, and the war must enjoy seeing that the entire world is in Iraq isn't going so well. You know... real linked together by tragedy, misery and the cutting-edge remarks. world's dumbest nanny.

A blood the left

PG 28 • insiteatlanta.com • January 2007

PG 13 • insiteatlanta.com • February 2007

ustin Timberlake has been a busy fella of late. Between stealing tabloid headlines away from his ex (Britney Spears, for those who've been hiding out in a cave) by dumping Cameron Diaz in favor of Scarlett Johansson, starting high-profile beefs with Prince and doing his damnedest to bring sexy back, it's a wonder the former N*Sync pretty boy found time to make a crossover move into Hollywood. Funny thing is, the kid's thespian chops ain't bad, and he's earned glowing reviews on the festival circuit as part of the ensemble cast in Alpha Dog. Inspired by real-life events, the film follows three fateful days in the lives of a group of Southern California teens. Johnny Truelove (Emile Hirsch) controls the drugs on the wellmanicured streets of his suburban 'hood, and wherever he goes, the party follows. When he's double-crossed over missing money by raging hothead Jake (Ben Foster), Johnny and his gang kidnap Jake's little brother, holding him as a marker and heading to Palm Springs. The guys grow used to having the kid around, and he enjoys an illicit summer filled with drinking, girls and new experiences. But as the days tick by, they start to run out of options for getting themselves out of their situation cleanly and the good times turn bad, leading them toward a shocking, unexpected conclusion. We recently sat down with the singerturned-actor to talk about the project: These characters are morally repulsive. What was the attraction to do this film? First of all, thank you for pointing that out. We didn't really plan out the characters, so we didn't intend them to be repulsive. The point was to reveal the truth of what was happening in the story. We had all laid so much groundwork as actors. There was so much information on the characters, and I think all of us felt morally responsible for portraying that. This is a tough movie to watch. This is as close to what happened as we could make it. As far as the repulsiveness goes, you'll have to talk to the director about that. He definitely wanted to push that. Did you think it was a risk? Most people want to play sympathetic characters. My only stipulation for the movie was that I wanted to crack a couple of jokes here and there. To prepare for the role, did you have to talk to people that experienced this? Did you know people who were actually like this? I don't know that I knew anyone growing up who was specifically like this. But I think as an actor, it's your job to find the relative to play a character. I think you can latch onto some things that might have happened. I think all of us can. Kids are cruel. I actually went with [director] Nick Cassavetes and we traveled to upstate Cali to go to prison to visit the guy that my character was based off of. When we signed up for the project, we literally all got a stack of files, like, this thick. I mean, literally like a novel of files of all the police reports and all the newspaper reports about what had happened. I know that Nick was really able to get a lot of information, and we really just trusted him with all the information. We all signed up, you know, to portray the truth of what happened. And we followed Nick's lead on that. There are so many people that witnessed this. One of the brilliant parts of the movie is the on-screen labels of "witness" and "suspect". What was it like to meet the actual characters and their actual families who let this happen before their eyes? You know, interestingly enough, when we screened at Sundance we all saw the film. When you see it without an audience, you don't see things like that coming, but literally for the first half of the film, whenever the witness credit would come up, people at Sundance would giggle. You watch it happen as those kids, as those characters watched it happen. That's what I think is special about the film is that you literally watch it through their eyes. No one saw that happening, and I think that's sort of the point. Did you meet any of the witnesses? This movie created... In California, [the story] became like almost like a legend. It was really PG 14 • insiteatlanta.com • February 2007

ALPHA MALE

JUSTIN TIMBERLAKE GOES TO THE DOGS

“What I like about Alpha Dog is that it doesn't treat you like a dumbass. It lets you feel what really happened. What I took away from it is that this shows how just a little perspective on things can change a humongous outcome in someone's life.”

interesting because I found- just around Los Angeles and outside of it- people would literally come up to me and say, “Hey you're doing that movie on the Jesse James and Nick Markowitz thing, right?” They would always label it like that. I would always say, “Yeah, sure.” And [they would say], “Yeah, I knew Jesse James Hollywood.” It seemed like everybody knew somebody that knew him, so it became this interesting thing. It actually helped when we were making the film to hear those kinds of things, because you realize how young people converse with each other. You could tell immediately that half of the people that would came up to you and tell you about it knew nothing about it. All they knew was that he was kidnapped and murdered, but they would always be like, “Yeah, I knew him.” And I found it interesting that, through his infamy, he became this weird sort of tall tale to these young people who are in some way wanting to be involved with it. Have you considered that you have a role in this mythmaking by virtue of the fact that you are an entertainer? Yeah, I find that every conversation I have with anyone after they've seen this film is sort of like this group therapy discussion, and rightfully so. I think it's all in there, but I think what this film does is that it doesn't [preach]. You know? It's fun, it's fun, it's fun, and then all of a sudden it's not fun anymore. That's the way it ends, and that's how this story ended. That was the responsibility of us. Yes, we are entertainers, but this is sort of a different theme. What I like about the film is that it doesn't treat you like a dumbass, so to speak. It lets you feel what really happened. I find that 100 percent of the people that I know- like friends that I've brought to screenings- they have to speak about the film. They have to talk about it. They have to talk it through. You're right, it's not all just rap. What I took away from the film is that this shows how just a little perspective on things can change a humongous outcome in someone's life. I think it's short-changing the film to say that rap music created this situation. That's not what happened. This is an emotionally charged film. Can you talk about which scenes or parts were the most emotionally challenging for you? I found that for me personally the hilltop scene wasn't the most challenging, because I could relate it to so many times when you might have been intoxicated or whatever and something happens and all of a sudden you're not in control of the situation. The reaction to that I didn't find difficult. The most difficult scene for me was with Shawn [Hatosy] and I, when we were sitting at the hotel on the steps and he's talking me through why this should happen. I think that for me to get through that scene I just had to accept that his decision was based solely on fear. When you are afraid at the moment, you either don't take control of the situation and therefore don't do the right thing, or you let the wrong thing happen and by doing that you don't do the right thing. That was probably the toughest scene for me to wrap my mind around. What's the main difference in process from acting to making music? There are lots of differences. In creating music you're the writer, the director, the producer... you create it all from scratch. Obviously in playing a role in a film, you take guidance and put your trust into the director and the writer. I find it even more collaborative with an ensemble project like this. You come into it and you really trust the people you're in front of the camera with, which was very easy. I can't say enough about how amazing the other four lead actors were here. I was like a sponge the whole film, just watching all of them. Well, except for Emile! (Laughs) I was just kidding. It's sort of like you're playing a position on the team. You're like, okay, today we need you to play small forward- we don't need you to play point guard. That's probably the closest analogy I can think of. It's probably a really crappy analogy, but that's the closet one I can think of off the top of my head. You play a role and you're part of a collaborative movement. Obviously, with music you're solely responsible for the creation of it. So to wrap your mind around those things, you definitely approach it differently. –B. Love

GOOD AS GOLD JEREMY PIVEN HITS THE BIG SCREEN IN SMOKIN’ ACES

am waiting for Ari Gold. It may not be fair to refer to Jeremy Piven by that character’s name, since he's been in the film business for over 20 years and his scenestealer on HBO's Entourage has only been around for three. Yet Ari has made a major impression, earning Piven three Golden Globe nominations, one Emmy nomination and one Emmy win for a character that effortlessly spews lines like, “If you see a used condom, an executioner's mask, and a spiked-paddle, don't think. Just pack that shit!” and “If all of this is not taken care of, I will choke you out with a strap-on!” I know it's acting, but how much of a stretch is it? Where does Piven end and Ari begin? I am waiting for Ari Gold, and frankly I am terrified. However, once Piven enters the room with a big smile on his face and a two-and-ahalf-day beard surrounding that smile, I breathe a sigh of relief as I realize that Ari Gold won't be joining us today. Still, the super-agent hasn't left my mind completely, especially after Piven played the role in Keeping Up With the Steins and as a cameo in Cars. Though he's here to discuss his role as a magician-turned-mob-snitch with a million-dollar bounty on his head in Smokin' Aces, I have to ask if he's worried about being typecast as the fast-talking sleezeball that's earned him so much recognition. He calmly responds, “I'm not worried about that, because we all have free will. Cars came about because The Incredibles was an amazing movie and I just thought, I want to be involved with [Pixar]. I wouldn't have done it for anyone else, but I wanted to mix it up with these guys. And Keeping Up With the Steins was actually shot before Entourage, so that's a different strain of the agent. I feel like I've really explored The Agent and, as you can see, I can go to other places. Joe [Carnahan, writer/director of Smokin' Aces] and I were walking out of a screening and I heard, ‘Wow, I thought Ari Gold was my favorite character, but now it's Buddy Israel.’ Which is music to my ears.

I've spent my life on stage, and one hopefully develops a range.” Fans of Entourage will certainly see traces of Gold in Buddy's first big scene, in which he chastises one of his bodyguards for sullying one of his outfits. But that quickly disappears as Buddy becomes more strungout and worried, and begins to completely self-destruct as his chances for immunity from both the government and the reaper diminish with each passing minute. How did he let it show on his body? “El coca!” He jokes. “I dropped 20 pounds because my frame was the wrong frame for the character. Someone without nutrients and with that much Columbian marching powder in their system is going to be the consistency of veal. So I just lost weight and ate raw foods. Then I just shoved a bunch of pure Vitamin C up my nose because I wanted to get that feel of snorting things in my nose. Otherwise, why do it? Like my parents told me, ‘If you're gonna climb up on stage, you gotta respect the space you occupy.’” Piven has had to occupy a wide range of character-actor roles over the course of a lengthy career as a guy you could always recognize, but never name. He openly admits to this with pride, stating, “There are certain moments when you can finally launch into something instead of just keeping it simple. Before that, you have to make something out of nothing, and that's what I've been doing for my career.” In addition to scrapping and making the most out of his roles, Piven's been able to deal with the whole Hollywood celebrity nonsense with a bit of an outsider’s take. At last year's Emmys, Access Hollywood host Billy Bush proved that he came from the shallow end of the already-drained gene pool of our President (he's Dubya's first cousin) by asking Piven on the red carpet what he thought of Suri Cruise. Piven calmly responded, “You need another job. You have potential as a human being.” As for how he deals with fame in gen-

eral, Piven says, “I grew up in Chicago and had friends who were famous, so I got to see first-hand how to walk through that. Not a lot of people get that opportunity, so I was lucky in that way. The thing is, I can go out and connect with a guy like [Entourage co-star] Kevin Conway and have a real conversation with him. I'm not a pretty girl, so I don't need the publicity. I'm just trying to have that real moment if I can. It's not my first rodeo, in a way, so I've been around for a while. I'm not going to let my fame make me bitter, jaded, and bloated… except why the fuck didn't I get Red Dragon?!” Everyone at the table laughs, although it's clear that not everyone knows that Piven was in contention for the juicy role of serial killer Dolarhyde, which eventually went to Ralph Fiennes. Still, perhaps we should all be a little glad he didn't get that role, because Piven certainly knows how to commit to a part. When asked about Buddy's marvelous dexterity and slight-of-hand, it turns out that Piven wasn't letting the FX guys do the heavy lifting. “That's all real.” He says with a smile. “I worked with this guy, and I'm pretty nimble and coordinated, so I took pretty fast to the tricks. If it wasn't real, people would figure it out pretty fast.” But did he want more time to show off his new tricks? “You're asking the wrong guy, because all actors want more. But at the same time I do understand the totality of a

piece, and Joe [Carnahan] has so many balls in the air on this one. Everyone needs their time, but there's something about Buddy's story that I think is worth telling. I would’ve liked to see more, but that's what prequels and sequels are for!” Speaking of everyone who needs their time, a lot of the characters in Smokin’ Aces use their time plotting to kill his character. While he may have wanted more time, Piven didn't mind betting on certain players to smoke Aces. “I was rooting for Alicia [Keys], Common, Ryan [Reynolds] and Ray [Liotta]. That's the interesting thing about this movie: I think if you pin too much violence or tack it on, you're not seeing it for what it is. It's a dark comedy and it's a beautiful romp, and it is what it is. It's an homage to the Coen Brothers– an essay about bad information.” As the interview winds down, it's clear that where Jeremy Piven and Ari Gold truly meet is at the point of honesty. But where Gold wields his honestly like a cudgel, Piven uses it to illustrate his understanding of his work and his career. He's earned the truth by working hard for two decades, learning from his parents, his friends, his co-stars, and his films. Walking out of the room, I feel a tremendous respect for Piven... as well as a tremendous sense of relief that he didn't respond to any of my questions with a barrage of hateful epithets. –Matt Goldberg

PG 15 • insiteatlanta.com • February 2007

Entertainment

Movie Reviews ALPHA DOG- How can over 30 people witness a crime, yet its alleged organizer manages to flee the country? Research the case of Jesse James Hollywood and you'll learn... or simply go see Alpha Dog. Thinly veiling an active FBI case, director Nick Cassavetes’ latest follows Johnny Truelove (Emile Hirsch), a 90210 drug dealer. When frequent customer Jake Mazursky (Ben Foster) stiffs him for $1200, Truelove and his equally overprivileged crew of wannabe gangstas (including Justin Timberlake and Shawn Hatosy) kidnap Zack Mazursky (Anton Yelchin), hoping to scare his brother into paying up. Distracted with partying non-stop, the kidnappers basically let Zack hang with them, and the victim turns into just another hedonist along for the ride. Three days pass, and the once-funny prank turns into an all-out police search. Sensing the seriousness of the charges, Johnny decides Zack “must be dealt with.” One murder and four arrests later, Truelove dodges police by fleeing the country, becoming one of the youngest people ever on the FBI's Most Wanted list. Many believe that Johnny's father, Sonny (Bruce Willis), helped him escape, but inquiring minds still want to know the truth. Despite loads of talent both new (Yelchin) and veteran (Willis and Sharon Stone), it's hard to believe this film is based on true events. At no point do any of the witnesses get concerned when they find out Zack was kidnapped, nor do you see any real parent/child interaction. The film’s most chilling message concerns the disassociation of parents, as it shows what can happen when teens are left unsupervised and unaware of the consequences of their actions. (B-) –Zena Scott

BLOOD DIAMOND- The latest in this year's string

of politically-themed dramas set in Africa (which also included Catch A Fire and The Last King of Scotland), Blood Diamond has divided critics with its dogged determination to not just tell a story, but to actually make a difference. Your enjoyment of it will therefore likely be based in part on whether you believe great art should aspire to effect change in the world, or prefer popcorn entertainment that doesn't weigh down your conscience as you exit the theater. In his second award-worthy performance of the year, Leonardo DiCaprio chews up the scenery as Danny Archer, a Rhodesia-born smuggler of “blood diamonds,” whose profits fund brutal battles in war-torn countries such as Sierra Leone. Djimon Hounsou capably matches DiCaprio's dynamic intensity as Solomon Vandy, a proud fisherman whose family is torn apart when he's captured by warlords and sent to work in the diamond mines, where he stumbles upon a massive rock he manages to hide as military forces invade the slave encampment. When the scheming Archer learns of Vandy's hidden diamond, he promises to help the man reunite with his family in exchange for half the profits from the sale of the multi-million dollar stone, and the two hook up with a feisty, idealistic journalist (Jennifer Connelly) looking to blow the cover of companies who deal in blood diamonds. It's not hard to imagine this story as a direct-tovideo B-movie starring, say, Steven Seagal. But what in lesser hands might come off as thinly drawn caricatures are rendered full 3D characters by the talented cast and director Edward Zwick, who established a similar balance of explosive action and sociopolitical relevance in Glory and Courage Under Fire. Few mainstream Hollywood directors are better at making a point, and few actors could wrench every last drop of honest human emotion from the occasionally melodramatic script. This is a political story disguised as an action-adventure, and it makes one hell of an impact despite its flaws. (B) -B. Love BECAUSE I SAID SO- On the brink of her 60th birthday, Daphne Wilder (Diane Keaton) decides it's time for her daughter to find a responsible man. Armed with two deadly weapons– a computer and a credit card– she takes out a personal ad looking for a suitable mate for her love-cursed daughter, Milly (Mandy Moore). Showing clear signs of Empty Nest Syndrome, she invites herself into Milly's personal life, never realizing that she could very well be kicking herself out of it. Like most well-intentioned mothers, Daphne dreads the PG 16 • insiteatlanta.com • February 2007

idea of her precious baby making the mistakes she made, and is determined not to let that happen even if her boundless love crosses all bondaries. After an evening of 15 or more hopeful suitors, finally arrives Jason, a dapper architect who earns her mom’s stamp of approval. Meanwhile, Johnny (Gabriel Macht)– a tattooed musician and single father– swipes one of Milly's business cards from Daphne before being dismissed. Just when things seem to be working out with Jason, Johnny starts sweeping Milly off her feet, pushing her into a corner of decision-making. Who will she choose? Mom's perfect choice, or the bohemian single dad? The film has a few gut-busting laughs, but you’ll predict the ending about 25 minutes into it. Diane Keaton needs to switch up her maternal roles, while Mandy Moore is average... a major compliment considering her performances in American Dreamz and A Walk to Remember. All in all, not enough content, not enough character and very predictable. (C-) -Zena Scott BRIDGE TO TERABITHIA- Brought to us by Walden Media, the family-friendly Disney subsidiary behind Charlotte’s Web and The Chronicles of Narnia: The Lion, The Witch and The Wardrobe, Bridge to Terabithia is the latest classic children's novel to jump from the page to the silver screen. Novelist Katherine Paterson wrote the book 30 years ago for her son David, who in turn produced the film version. With the help of Emmy Awardwinning director Gabor Csupo (The Simpsons, The Wild Thornberries), Paterson invites us into an enchanted kingdom where anything is possible if you use your imagination. Both Leslie (Annasophia Robb) and Jesse (Josh Hutcherson) appear to be average middle school children, until you take a look into their lives outside of school. Leslie is a rich city girl who's just moved to the area, while Jesse is poor farm boy who doesn't fit in anywhere, including his home. Leslie's an only child, while Jesse is the middle of 5 and happens to be the only boy. While it seems that the two are total opposites, their love of foot racing both unites and divides them as Leslie embarrasses him (and all the other boys) by winning at school one day. What first starts off as a bitter relationship buds into a lasting friendship as Leslie and Jesse discover a magical place where bullies are replaced by ogres, chores are replaced by treasure hunts and reality is fused with imagination. Audiences of all ages should enjoy this movie. Although the film evolves around the lives of tweens, there are very real events and situations that the two encounter both together and separately that provide an emotional attachment to the film. The visual effects are impressive and the originality of the creatures encountered in Terabithia is impeccable. Kudos Disney. If nothing should be learned from this film, everyone should take away knowing that people, animals and even plants will die but friendships and your imagination doesn't. (B) -Zena Scott CATCH AND RELEASE- This film is an imitation of life. It's like going to a wax museum: Despite the stunning likeness, up close and over time you realize that this figure is dull, lifeless and will melt if some joker messes with the thermostat. Gray (Jennifer Garner) has just lost her fiancée, Grady. His death prompts a re-evaluation of her life and the lives of her friends as secrets about Grady's life come to the surface, and everyone is richer for the experience. At least, that seems to be the idea. Unfortunately, Catch and Release works on general emotions. It’s a concept that might work as an Everwood-like drama on a netlet, but the constraints of a feature film shine a bright, hot, melty light that leaves only warm, messy goop. Gray strikes up a romantic relationship with Grady's sleazy-charming friend Francis (Timothy Olyphant). We know it's a romantic relationship because they sleep together and smile coyly at one another. Things like chemistry, establishing scenes and working at building an actual romance didn't seem to make the final cut (or the script). By failing to sell the relationship between Gray and Francis, their affair seems like nothing more than a short-lived rebound that will end soon after the credits roll. There are also kooky friends Sam (Kevin Smith) and Dennis

Xbox, drugs and rap ‘n’ roll: It’s all in the name of summertime fun for the wayward teens in Alpha Dog. (Sam Jaeger). If you've seen An Evening with Kevin Smith, you know that Smith is playing himself. If you only know him as Silent Bob, then you'll probably recognize him as the heart of the picture and appreciate his comic cadence. Dennis has a crush on Gray, but only shows it a couple times. The rest of the time, he's either quarreling with Sam (unfortunately, Smith doesn't realize he's devouring each scene, leaving Jaeger to twist in the wind) or trying to act cutesy with Grady's secret mistress (Juliette Lewis, playing ditzy... shock, shock) and her four-year-old spawn. On a longer timeline, characters like these could get the development they sorely need. But constrained by a two-hour run time and a script that doesn't have the economy to say a lot with just a little, all these characters feel broad and obvious in a film that desperately needs them to be real and relatable. (C-) –Matt Goldberg CURSE OF THE GOLDEN FLOWER- Director Zhang Yimou's (Hero, House of Flying Daggers) latest is like a Fabergé egg. Its exterior is beautifully adorned and meticulously detailed. But Fabergé eggs don't contain Fabergé chicks, or even smaller Fabergé eggs. The eggs are hollow, and so is this film. The story reads like it came from someone who skimmed Hamlet. The Empress (Gong Li) is planning to usurp the throne from her husband (Chow-Yun Fat), who is poisioning her daily medicine with a substance that will make her go insane. But she might have been nutty to begin with since she continues to pine for the affections of her stepson (ewww!) while he romances the daughter of a mysterious woman who looks remarkable similar to a giant painting the Emperor keeps in his throne room. This all leads to a Helm's Deep-sized battle featuring CGI characters dressed in gold armor fighting CGI characters

dressed in silver armor. For all of its historical accuracy, the film might as well be set in MiddleEarth. If it sounds like Curse gets laughably bad, then it sounds correct. Unlike Hero or Daggers, Curse lacks a compelling story and interesting characters. While the film does possess intrigue and it's interesting to see as a power struggle, the way these characters behave and the progession of their story just seems like a tale of trailer trash with too much money and power set in late 10th century China. While the film is Yimou's most visually compelling to date, it's also one of his worst stories. I'd much rather just see an episode of Jerry Springer in which the guests did wire-fu. (D+) –Matt Goldberg

DREAMGIRLS- Turning Broadway hits into blockbuster movie musicals is a notoriously risky business, but few filmmakers are as qualified to give it a go as Bill Condon, whose adaptation of Chicago earned him a Best Screenplay Oscar nomination back in 2003. To start with, he enlisted a knockout cast that includes Oscar-winner Jamie Foxx, Grammy-winner Beyoncé and Eddie Murphy, in what is arguably the most remarkable performance of his career as waning soul legend James “Thunder” Early. He's also got a sizzling, gospel-influenced R&B score that includes several new songs by composer Henry Kreiger (who co-wrote the original with the late Tom Eyen), not to mention a sensational story about the pitfalls of selling one's soul in the name of greed. That story, for those weak on music history, is loosely based on the rise and fall of The Supremes, whose original lead singer Florence Ballard was replaced by Diana Ross, whom Motown founder Berry Gordy found prettier, skinnier and more likely to cross over to white audiences. In Dreamgirls, ambitious car salesman-turned-talent manager Curtis Taylor Jr. (Foxx) replaces sassy, brassy belter Effie White (Jennifer Hudson) as lead singer of the Dreams with her childhood pal and backup singer Deena Jones (Beyoncé), for essentially the same reasons. Set in Detroit against the backdrop of the Civil Rights movement, the story follows the group's struggle for equality in a music industry that allows white artists to co-opt black music and water it down until it's deemed fit for mainstream consumption. But the only color Curtis sees is green, and with Deena as his malleable wife he begins to drain the color from the Dreams so they can play white clubs, top pop charts and live Hollywood's champagne wishes and caviar dreams. From the flashy costumes and lively music to the performances themselves, the group's razzle-dazzle rise is truly a wonder to behold, with audiences literally cheering the musical numbers as if it were still the '80s, and Jennifer Holliday was still tearing the roof off the sucker on Broadway. Which brings us to Hudson, making her big screen debut in the role that earned Holliday a Tony Award. As Effie, the former American Idol contestant grabs you by the balls and rips your heart in two, delivering a gutsy performance that will likely win her an Oscar and an emotionally devastating take on “And I Am Telling You I'm Not Going” that dares you not to feel every last word in your bones. She's arguably the brightest light in a mesmerizing film in which every single member of the cast and crew gets their moment to shine.. (A) -B. Love THE HITCHER- Just when you thought the horror film remake era had passed, along comes The Hitcher. Directed by music video vet Dave Meyers, this is the latest in a long string of reheated versions of horror films that ultimately prove pointless. When Grace Andrews (Sophia Bush) and Jim Halsey (Zachary Knighton) hit the road for spring break, they never thought their trip to remember would quickly turn into one they’d wish they could forget. So it's a dark and stormy night, and the all-too-cute couple is driving on what seems to be the darkest, longest and emptiest highway in America (go figure) when they

almost hit a pedestrian. Of course, this isn't just any ordinary pedestrian crossing the street at a green light; it's a man standing in a monsoon-like storm in the middle of the night, in the middle of the highway with no umbrella. The decision not to assist the hitchhiker the first time turns out to be a bad move as the couple meets up with the nowvengeful John Ryder (Sean Bean) at a gas station. Trying to right his previous wrong of leaving the man stranded, Jim obliges on giving Ryder a lift to the nearest motel... bad decision #2. Within five minutes of his “lift,” Ryder reveals himself and his fascination with hearing one phrase: “I want to die.” After narrowly escaping his vengeance, Jim and Grace think the worse is over and continue on their road trip, blissfully unaware that the road ahead will be filled with blood and twisted metal. The Hitcher is a non-stop, action-packed whale of a ride, but there are definitely more than a few loose ends. To make any of this story even slightly believable, you have to suspend all rational thought. Like, how can Ryder know the intended destination of two people who are traveling ahead of him? Where does he get his unlimited supply of firepower? Where do his uncanny abilities of both marksmanship and navigation come from? Not even Sophia Bush's damsel in distress beauty, as she sashays in an up-to-there mini, can distract us

from wondering. The 1986 Rutger Hauer original will remain a classic long after the 2007 remake runs out of gas... which will be VERY soon. (C+) -Zena Scott THE HOST- Monster movies can be a lot of fun. Sadly, there just aren't enough of them in modern cinema. Now, the nation of South Korea offers a film that initially seems as classic and fun as the king of monsters, Godzilla. Unfortunately, what begins as an old-fashioned creature feature soon becomes undone by an honorable but misguided attempt to inject realism into the proceedings. Rather than tell the story of saving the world or trying to kill the big bad monster, The Host focuses on one family's attempt to rescue their youngest member, Hyun-Seo, from the lair of the beast. Despite an opening in which we learn that the creature was created by man's carelessness (in this case, it's pouring old formaldehyde into the Han River) and a great set piece of mayhem in which the creature runs amok, from the moment HyunSeo is abducted, the film decides to go for realism and show her family struggling to come together in grief and their efforts to rescue her. I appreciate what the film is trying to do. However, there is a reason that most of the great monster movies stop at subtext rather than try and introduce gravitas into the proceedings. A serious bent in a monster movie is virtually impossible... because it's a monster movie. As grotesque as the creature's rampage may be, it’s still fanciful, and the realm of the real just cannot exist without being colored by the ridiculous proceedings. So when the family grieves over Hyun-Seo's supposed death or when the film tries to subvert your expectations, the result is an odd mix of hilarity and confusion. I respect co-writer/director Bong Joon-ho for trying a unique approach, and there is potential for a film like this to succeed. Unfortunately, his skills just aren't up to the task, and the fun monster movie competing with the realism of family drama leads to a muddled tonality and a film that's constantly undercutting itself. (C+) –Matt Goldberg LETTERS FROM IWO JIMA- After making what some critics deemed his directorial misstep earlier this year with the WWII epic Flags of Our Fathers, Warner Bros. wisely bumped up the release date of this companion film, which tells the same story from the Japanese perspective. Led by Ken Watanabe as the understaffed general charged with the impossible mission of fortifying the island against the impending American invasion,

the noble but fearful Japanese troops bond over memories of home, grinding grunt work and the dawning realization that no reinforcements are coming to their rescue. Eastwood’s classic, starkly beautiful images look like something that might have been filmed in Howard Hawks’ heyday, capturing the grim realities of war ranging from the most mundane (see: leaving the cave in which troops are holed up to empty out the pot they piss in) to the most horrific (see: an entire unit committing suicide rather than be killed by Americans or taken captive). In the end, the film serves as a striking reminder us that our enemies are often very much like ourselves, and that war is one game in which everyone loses, no matter which side emerges victorious. (A-) –B. Love NOTES ON A SCANDAL- With Closer and now Notes on a Scandal, I'm convinced that no one writes about the desperate struggles of human relationships better than Patrick Marber. His characters always act realistically and, in the hands of even a half-decent actor, their actions are always compelling. Thankfully, Marber and director Richard Eyre have two of the best actresses working today leading this film. Dame Judi Dench plays Barbara Covett, an uptight schoolmarm who’s too busy judging everyone else's life to reconcile her own desires for love and companionship. But when the naïve Sheba Hart (Cate Blanchett) enters her life as a fellow teacher, Covett begins an infatuation which only deepens as she stumbles upon Hart's salacious affair with a 15-year-old student. Lesser storytellers might be drawn more to the rippedfrom-the-headlines story of a female teacher's affair with one of her students, but Marber sticks to the more universal and harsher themes of what people will do out of what they think is love. Hart doesn't love the boy, but she loves the feeling and feels entitled to her affair. An even deeper character study is required of Dench's Oscar-worthy performance as a woman wrestling with concepts of love, obsession, and control… if only she wasn't so busy trying to control others. While Marber has definitely staked out his own territory and style with this follow-up, Notes on a Scandal is certainly not Closer 2. It possesses the same essential understanding of human relationships, but in place of Closer's charming mean streak, Notes on a Scandal features the sadness and desperation of solitude with a dash of resentment, anger and humor thrown in for good measure. Half-decent actors might fumble this confusing concoction of human pathos, but Dench and Blanchett manage to weave it into some of the finest performances of their respective careers. (B+) -Matt Goldberg PAN'S LABYRINTH- “Beautiful” and “Grotesque.” “Heartfelt” and “Heartbreaking.” “Magical” and “Genuine.” Lesser directors would find their film torn asunder trying to work with these opposing themes. At best, they could only frame these concepts as dualities and recenter the story to avoid a thematically jarring experience. Only the confident hand of one of today's best directors could not only embrace all these concepts, but mix them all together in a fairy tale that is both ancient and modern. Guillermo Del Toro does not hide from complicated worlds of moral or even existential ambiguity. He masters them and, in doing so, he's created one of the year's best films in Pan's Labyrinth. The story presents us with a brief prologue about a princess who will one day return to her kingdom in the Underworld. The story then seamlessly shifts to the tale of Ofelia (Ivana Baquero) and her pregnant mother (Ariadna Gil) who must live with her new stepfather Vidal (Sergi López), a captain in the Spanish Civil War who is as dogmatic as he is cruel. While her mother strugles with an increasingly difficult pregnancy and Captain Vidal attempts to wipe out the guilleras surrounding the camp, Ofelia wanders into an old stone labyrinth outside the camp where she meets a faun (Doug Jones). The faun tells her that she may be the Lost Princess of the Underworld, but she must prove herself by accomplishing three tasks. From there, Del Toro weaves his plotlines effortlessly. Despite the surface distance for stories about coming-of-age, the suffering presented in the Spanish Civil War and a lost princess seeking to return to her kingdom, nothing seems out of place. The confidence and precision of Guillemo Navarro's cinematography makes everything from the alternate dimension of the Pale Man (a creature truly made from nightmares) to the storehouse of the camp all seem drawn from the same world, while Javier Navarrete's melodic and haunting score blends perfeclty with Del Toro's world. Those expecting a work similar to Del Toro's previous film, the comic book romp

SCREEN GEMS AND GHOST HOUSE PICTURES AND COLUMBIA PICTURES PRESENT A BLUELINE STAR PICTURES PRODUCTIONCO- A PANG BROTHERS FILM “THE MESSENGERS” AND JOHN CORBETT PRODUCER ANDREW PFEFFER PRODUCERS J.R. YOUNG KELLI KONOP JIM MILLER LOU ARKOFF KRISTEN STEWART DYLAN McDERMOTT PENELOPE ANN MILLER SCREENPLAY PRODUCED STORY JOSEPH LODUCA PEXECUTIVE RODUCERS NATHAN KAHANE JOE DRAKE BY TODD FARMER BY MARK WHEATON BY SAM RAIMI ROB TAPERT WILLIAM SHERAK JASON SHUMAN DIRECTED BY DANNY PANG & OXIDE PANG

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Hellboy, should go further back in his filmography to his previous foreign language film, The Devil's Backbone, a story about a ghost who haunts an orphanege in 1939 Spain. Pan's Labyrinth is an amalgam of the two films, taking Hellboy's Lovecraftian creatures and bringing them into the magic and tragedy of mid-20th Century Spain as seen from a child's perspective. And yet such a description sells the film short because Del Toro goes far beyond a simple reworking of his previous accomplishments. He takes various elements and transmogrifies them into something familiar, yet entierly new. Some may find Pan's Labyrinth to be a frustrating film because it lacks a clear thematic organization where they can feed at any particular idea trough and ignore the others. But Del Toro demands more of his audience, and we should thank him for delivering a film that cannot be understood morally or psychologically or aesthtically without understanding it holistically. Del Toro has embraced the fantastic and the real, the universal and the unique, and a whole host of other ideas to create a cinematic classic. He challenges us to join him in this embrace, and film-lovers everywhere should find this monster of a masterpiece a worthy challenge. (A) -Matt Goldberg THE PURSUIT OF HAPPYNESS- It's just adorable that people still believe in the American Dream, and want to make you believe it as well. That beautiful Horatio Alger rags to riches story suggests that, if you just work hard enough, then goshdarn it, you're gonna make it in this beautiful country of ours! And if you don't? Well, then you're probably just lazy. After books like Barbara Ehrenreich's Nickel & Dimed and other framings of The American Dream as The American Delusion, how does Chris Gardner's story of triumph work? If you've seen a commercial for this film, I doubt anything in the plot will surprise you. Gardner (Will Smith) becomes a single dad after his wife (Thandie Newton) leaves him because she's the worst person in the world. Okay, that's stretching it, but she is a dreamcrusher. Granted, she offers to take their son (played by Smith’s son, Jaden) when she leaves, which is more than that bitch Meryl Streep ever did in Kramer vs. Kramer, but other than that? Crusher of dreams. Gardner has a crap job selling a useless piece of medical equipment, but he takes a chance on an internship at a brokerage firm. See, Chris is tenacious and smart, and though it's going to take a lot of hard work and sacrifice for him and his son, you know he’s gonna make it in the end. While the film may be trying to tell me the origin story of the one black guy at every Republican National Convention, it still allows for Will Smith to give his best performance since Ali. I applaud screenwriter Steve Conrad for making the relationship between Chris and his son authentic, rather than a hagiography. It would be too easy if Chris were mostly upbeat, and just had a good cry now and then. Instead, he shows that even the best parents lose their tempers. Chris Jr. is adorable, but he could’ve been the perfect kid, never giving his father a reason to snap. But sometimes Chris Jr. gets obnoxious, and you can see his dad instantly regretting the decision to let his child have sugar. If there's a reason to see this film, it's the moving relationship between a father and son. It's wellwritten and well-performed, and that's where credit is due. The father-son story is where the film shines, but because it brings nothing unique to that narrative, the more divisive economic story subverts the personal into propaganda. (B-) -Matt Goldberg THE QUEEN- Unless you’ve been living under a rock for the past couple of months, chances are you’ve already heard the hype surrounding Helen Mirren’s stunning portrayal of Queen Elizabeth II, which pundits predict will earn her a Best Actress Oscar. Fortunately, this is one instance in which the hullabaloo is warranted, as Mirren is the brightest light in this brilliant behind-the-scenes look at Britain’s Royal Family in the days following Princess Diana’s death. Her performance captures the subtle blend of stoic regality and a repressed resentment that bubbles beneath the surface as she is urged first by new PM Tony Blair (Michael Sheen), then her son Prince Charles, and finally the entire British commonwealth to address her nation and publicly grieve the death of “The People’s Princess.” Director Stephen Frears’ latest film is not a pretty portrait of monarchy, but it is a provocative look at an empire teetering on the threshold of crisis, and the dysfunctional royal

family at the center of it all. (A) –B. Love RENO 911!: MIAMI- Despite higher ticket prices in theatres and the majority of film studio revenues coming from DVD sales, Fox and Paramount decided to make a feature-length film about a cult-favorite comedy from basic cable. Why? My theory is that Fox predicted the popularity of the largely improvised Borat, and hoped that Reno 911!: Miami would do the same. I wouldn't expect the same explosive box office or critical acclaim, but the film debut of the world's worst cops will certainly satisfy fans of the Comedy Central show. The story follows the highly inept Reno Sheriff's Department when they’re invited to a Law Enforcement convention in Miami. After arriving via a cross-country bus ride and discovering they're not registered, they decide to stay at a nearby ratty motel. Luckily for them, a bio-terror quarantines off the entire convention hotel, leaving the city in desperate need of anyone with a gun and a badge. From there, the film is basically the show writ-large, set in Miami and allowing for the raunchy humor basic cable won’t allow. Fans of the show are already sold on the film; the best recommendation I can make for non-fans is to catch a couple episodes and see if the humor works for you. Personally, I thought the film was hilarious. There's a bit of a missed opportunity to parody action films instead of merely making a big-screen parody of COPS, but I was laughing my ass off most of the time, so it's hard to complainuch. Reno 911!: Miami may not be as satirical, biting and ultimately popular as Borat, but fans of the show will be more than pleased with the Reno Sheriff's Dept’s motion picture adventure. (B) -Matt Goldberg

SMOKIN' ACES- This isn't the film you expect. The ads provide a hint of the insanity, but the film is full of actors shattering their previous best work and scenes that make this movie more than a stylish bloodbath. Joe Carnahan's (Narc) uneven script and direction constantly has the film on the brink of failure. But just before he falls off into oblivion, you realize that, while's he's certainly crazy, he's also in control. The film revels in its ludicrous plot: Buddy “Aces” Israel (Jeremy Piven), a Vegas entertainer/wannabe mobster, is about to self-destruct, leading him to rat out the Cosa Nostra mob boss to the FBI. A million dollar hit is contracted against him, and the world’s most dangerous hitmen (and women) descend on his hideout in Lake Tahoe to see who can cut out his heart and claim the Bin Ladensized bounty. Along with the colorful menagerie of murderers, two FBI agents are racing to take Israel into custody, while three bondsmen want $50,000 for returning the bail-skipping Buddy. Not only does every member of the massive cast pull their weight, expect to join the fan club of some previously underestimated actors. Chris Pine (whose last role was opposite Lindsay Lohan in Just My Luck) and Martin Henderson (of Torque) are just a couple of the surprises. But even actors like Ryan Reynolds and Jeremy Piven, who have become predictably great playing fast-talking, scene-stealing smart-asses, subvert expectations by playing the meaty dramatic roles of this ridiculous rampage. I don't agree with all of Carnahan's choices: I think the film's opening exposition and character introductions are a little too dry, and even if you can figure out who's who, you still have to process the backstory explaining the relationship between Buddy and the FBI. And while I rarely advocate more violence and gore, the film's insane tone and crazy visuals make the kills seem relatively tame when compared to the surrounding action. Aces will certainly divide audiences. If the film's constant rollercoaster of motives and tonality throw you for a loop, you'll find yourself wanting to get off this ride as soon as possible. However, if you can keep up with Carnahan's bizarre pacing and storytelling, you'll find an ultimately enjoyable piece of action insanity. (B+) -Matt Goldberg

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2-8: 7 Sharp Nine 2-9: Cosmic Gypsies 2-10: Hipnotic 2-14: Zac Brownless Band 2-15: Justin

PG 20 • insiteatlanta.com • February 2007

2-17: Alternatives 2-22: Justin 2-23: Madd Margrett 2-24: Hipnotic 2-28: Zac Brownless Band

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WRONG WAY (SUBLIME TRIBUTE)

New Grassroots (311 Tribute)

Saturday, Feb. 3

SAM THACKER

Zero Chance

Friday, Feb. 9

REMEDIAL BLEND

Turtle Folk

Saturday, Feb. 10

COY BOWLES & THE FELLOWSHIP Blair Lott Band • Adam James Band

Friday, Feb. 16

CRANE

Wes Charlton • David McCoy

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Saturday, Feb. 17

POOLSTICK

Sam Thacker

Friday, Feb. 23

ROULETTA

Walcott • Moses Jones

Saturday, Feb. 24

ILLBREAK

Sam Thacker

949 Peachtree Street 404.888.0200

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GARETH ASHER Friday, Feb. 2

ROBBIE LEVIN & ERIC

Saturday, Feb. 3

THE BRIAN WILTSEY BAND

Thursday, Feb. 8

PETE WHITFIELD BAND

Friday, Feb. 9

SCOTT LITTLE & SHAWN ARNOLD

Saturday, Feb. 10

THE BRIAN WILTSEY BAND

Thurs. & Fri., Feb. 15 & 16 & 22

GARETH ASHER & NAKED Saturday, Feb. 17

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NO COVER Tuesday –Thursday

THE BRIAN WILTSEY BAND Friday, Feb. 23

MATT MAUTZ & JOHN THRASHER Saturday, Feb. 24

THE BRIAN WILTSEY BAND

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�� PG 21 • insiteatlanta.com • February 2007

Road Warriors

Nicks. She's never become a star, having settled for a slow climb to popularity in hopes of an actual career. Her recent tour document, North American Ghost Music, is a good indicator of her live prowess.

This Month’s Hottest Shows

YO LA TENGO (Variety Playhouse, 2/3) Other than maybe Sonic Youth, no other band enjoys more long-term critical bulletproofing than Yo La Tengo. Comprised of a former critic on guitar/ vocals, his wife on drums and a bass-playing friend, the band recently passed the two-decade mark. Thing is, they're still pretty good live, and last year's I Am Not Afraid of You & I Will Beat Your Ass was an invigorated return to fuzzy pop. SHANNON MCNALLY (Smith's Olde Bar, 2/8) McNally started her career a decade ago with quite a bit of buzz– her distinctive, charming voice gives a pleasant nod to country and roots rock– and ended up touring with acts such as Son Volt, Ryan Adams, John Mellencamp and Stevie

SOWETO GOSPEL CHOIR (Ferst Center, 2/9) If you've ever heard Paul Simon's classic album, Graceland, on which he was accompanied by Ladysmith Black Mambazo, you already have some grasp of the immense power of South African vocal ensembles. Even if you haven't, you owe it to yourself to check out the soulful spirit of the Soweto Gospel Choir, which features the best voices from churches and communities in and around the famed South African city. Clad in the vivid colors of their native land, these awe-inspiring voices make a joyful noise, performing songs ranging from traditional African gospel to more contemporary Westerninfluenced sounds and reminding us of the immense richness of African culture. DONNA THE BUFFALO (Variety Playhouse, 2/9) Like so many bands that play the jam circuit, Donna the Buffalo doesn't stray far from Americana or rootsy blues. Their calling card is their female/male vocals, which alternate from Tara Nevins’ girly come-hither to Jeb Puryear's graceful country bend. They make for some really swell harmonies, which the genre could stand a lot more of. –Michael Faber

THE DEVIL STOLE THE BEAT (The Loft and Smith's Olde Bar, 2-14-16) Now in its sixth year, The Devil Stole the Beat has gradually grown from a little-known underground music gathering into a respectable 3-day festival sponsored by prominent songwriting organizations BMI and ASCAP. Beginning with an Opening Night Launch Party at the Loft on February 14, this year's festival will feature more than 15 bands and singer-songwriters playing multiple venues, with an expanded web presence focused on indepth online resource forums. Bands from throughout the Southeast will be performing, as well as Atlanta-based acts Nathan Angelo, Sonia Leigh, Warren Ullom, The Less, Rouletta, Dead Confederate and Right Away, Great Captain! For a full schedule of events, check their website at www.thedevilstolethebeat.com. JONATHAN RICHMAN (The EARL, 2/17) This guy has been around the block for a quarter century, having endured just about every musical fad the industry could come up with. Yet he still defies categorization. In fact, most of today's kids didn't even know who he was until he showed up as that singer with a guitar in There's Something About Mary. A musical treasure for sure, his variety of pop-rock is in line with Elvis Costello, only not so embittered. DEERHOOF (40 Watt Club, 2/21) The weird rock coming out of Deerhoof never ceases to compel or repel. The drummer is totally kickass (check various YouTube clips for evidence of that), and if you hate the Bjork-ish accent of lead singer Satomi Matsuzaki, please don't blame her Japanese accent or lyrics. But as arty as the band is, they cling to the fringe of a melody like a vine in a jungle. It's worth the ride to Athens. THE BLACK LIPS (Whirlyball Atlanta, 2/23) Atlanta's hottest rock act is kicking off the release of their new live disc at one of this city's more unique venues. Roswell’s Whirlyball is a

mixture of basketball, lacrosse and whiffle ball played on bumper cars, and it's hard to describe the surreal stage setup that allows the band to watch Whirlyball competitions through the glass during the show. The hottest concert ticket of the month, no doubt.

MASTODON(Center Stage, 2/24) The heaviest metal band in Atlanta has always threatened to be one of the heaviest in the world, and last year's Blood Mountain set out to prove it. Roaring with passion, doom and speed, Mastodon isn't afraid to indulge in some proglike moments, either. Be prepared to take the heat if you step into their kitchen. WHAT MADE MILWAUKEE FAMOUS (The EARL, 2/24) The little band with the long name finds itself getting more and more recognition, showing up in magazines and quite a few year-end lists in 2006. Their eclectic blend of rock and pop recalls the stronger moments of the Flaming Lips with a dose of Ben Folds sarcasm, and this tour aims to capitalize on all the good press. –by John Davidson, except where otherwise noted

WE GOT NEXT ARTISTS ON THE VERGE OF MAKING IT BIG

ou've heard about those bands that get signed to record labels having never played before an audience, or the group that builds a following of millions on MySpace after playing together for less than a year? Until June is not one of those bands. The trio, founded by brothers Josh and Dan Ballard, have been on the verge of making it big for nearly five years now. Initial interest from a record label lured them from Arizona to Los Angeles in 2001, and they've been chasing the dream ever since. On the eve of their national debut, the brothers Ballard and drummer Daniel Dempsey are about to realize if their stubborn dedication will pay off. Josh, who plays piano and sings, took some time recently to discuss the band's early beginnings and share insight into what keeps a band motivated through the frustrating years. How did the band first get started? My brother and I had been playing in bands together forever. We were both going to Arizona State University at the time, playing out in clubs in Tempe, and we had gotten a phone call from Java Records. They were interest ed in us, but nothing actually came out of it. Dan and I said, “This is not happening for us in Arizona, so let's pack out bags and move to L.A.” How did the name Until June come about? My brother and I had a couple of other guys who were playing with us, and they decided to can it. They said, “We've been at this for a few years and we're going back to school.” Dan and I were like, “Let's give it until June, and if nothing happens we'll go back.” We ended up finding a drummer, signing a producer agreement, then we signed a deal, right before our deadline. So how excited where your folks when you and Dan decided to ditch school to move to LA to play rock? You know, they wouldn't have been cool about it five years prior, but I think we had developed into getting some interest from some labels at the time. So when we PG 22 • insiteatlanta.com • February 2007

UNTIL JUNE CURRENT PROJECT: Until June (Flicker/Sony) FOR FANS OF: Keane, Ben Folds, Sunny Day Real Estate & Snow Patrol WHY SHOULD YOU CARE: Their much-delayed debut sounds refreshing original, yet oddly familiar. RANDOM QUOTE: “When you’re out there for a certain period of time and you don't see the kind of progress that you'd like, it's easy to lose sight of your goals and start thinking that your part-time job is really what you're supposed to be doing.”

told them we were going to can it and move out to LA there was concern, but they were really supportive. We're pretty lucky. What is it like to be an unsigned band touring? I'm assuming it's a lot of booking your own shows. It seems like you have to be a really good sales guy. You kind of think like Tommy Boy, where you are going from one place to the next and you have to get shut down so many times. Before MySpace, it was hard to get your name out there, so we were hustling colleges and handing out flyers, jumping the fence at Capitol Records and trying to put our stuff on record executives' cars. We were trying to do everything we could. But it's extremely difficult, and it gets discouraging. I think one of the hardest things for us, when you’re out there for a certain period of time and you don't see the kind of progress that you'd like, it's easy to lose sight of your goals and start thinking that your part-time job is really what you're supposed to be doing. As a band, was there something in particular you were looking for in a label? I don't think we really knew what to expect. You really don't know what you're going to get until you see it. Somebody told me a long time ago that I'm competing with a million other bands that want a record deal, but you're really only competing with the one percent that actually wants it bad enough to be smart about it and work for it. So how did you first get together with your producer, Brian Garcia? I actually met him at Starbucks, where I was working. He’d come in all the time and we got to talking, and after a few months I ended up giving him a CD. I don't think he was too impressed at first. He actually even came out to see us play, and we stayed in contact because I made his latte every day. Over the course of about a year and a half I think is when we got his attention, because we finally got good enough. –John B. Moore

FROM COUNTRY TO DIVA JENNIFER HUDSON BECOMES THE ULTIMATE “DREAM” GIRL

his is a rags-to-riches story more dramatic than anything Hollywood could ever concoct: Humble country girl rises to minor acclaim after being humiliated by one of the nation's harshest reality TV show critics (i.e. Simon Cowell), subsequently gets reduced to singing on cruise ships while her peers go on to Broadway roles and platinum-selling albums, only to be cast in a major holiday blockbuster that earns her an Oscar nomination right outta the gate. Make no mistake, Hollywood is talking about Jennifer Hudson, and the rest of America will be, too, once they get a gander at her emotionally wrenching turn as Effie White in the star-studded Dreamgirls, the film adaptation of the Tony award-winning musical that follows the rise and fall of a Supremes-style girl group in the '60s. In a cast filled with heavy hitters such as Beyoncé Knowles, Jamie Foxx, Eddie Murphy and Danny Glover, Hudson more than holds her own as overweight Dreamgirl Effie White, dominating nearly every scene with a fiery tempestuousness that couldn't be further from her offscreen personality. Here, the novice actress talks about her work on the film and the exhaustive audition process she underwent to get the role, which critics predict will win her a Best Supporting Actress Oscar. Were any of the American Idol girls jealous? Why? [Laughs] I don't run into too many of them. I did see Latoya London, and she's doing a great job and has her own great career. I don't know what Frenchie is doing, but she's great as well. And Fantasia... well, that's Fantasia, baby. She's on her road as well. Everybody's extremely supportive. I recently got a call from Jasmine from my season, and she left me a beautiful message on my phone. Everybody is so supportive. Was this the first time Simon Cowell has apologized to anyone in his whole life? Probably. [Laughs] I don't know, but that was a moment in time for me, to see that. Jamie Foxx has said that whole experience, where Simon criticized you so harshly in front of America, prepared you for this. Definitely. I give that experience credit, and I feel everything prepares you for the next. It helped make Effie and my stories parallel. I definitely see similarities in it. You knew you could sing. But did you know you could be the emotional anchor of a film? I did not know that! I was learning it as I went along. I didn't even realize that was what I was doing. I just felt like I needed to be that voice for Florence Ballard, who Effie is based on. That was part of my motivation. You said that when you watched old clips of The Supremes, you would see how Florence would be aloof from the others... Yeah. I mean, just her disposition, and the way she would separate herself from the rest of The Supremes. The look on her face of not being happy with being there... but knowing from the research and the background... you can only imagine what she was feeling. I felt like that's what "And I Am Telling You" is about, and what Effie storming out is about.

It's how her fans felt she should have reacted, because if you go look at a picture or even a clip of one of their performances, you would say, 'What's wrong with her?' without knowing the story. And that, I think, is Effie screaming out. "And I Am Telling You" is an incredibly powerful moment. When you're doing a show, you'll sing a song like that once a night. When you're making a movie, you're probably singing that song again and again all day. What kind of emotional place do you get to? You get to a desperate emotional place! I actually ended up doing "And I Am Telling You," "I'm Changing" and "One Night Only" all in one week. Like I say, it was a bit of everything. And, of course, "And I Am Telling You" is all led by emotion, and that's what I sing by. It's what I'm trained to sing by. I need to understand it and know what I'm saying and know what I'm trying to get across, and I just found the emotion for that. Who called you with the good news that you got the role? Bill Condon. I knew that if he was calling it was good news. I got so many different calls throughout the process of auditioning, from “You're by far the best” to “You're not being considered anymore, we're going in a different direction.” By the time it was time for the call, I didn't know what to expect. But I knew that if it was Bill calling it would be good news. How did you react? I jumped up and down and shouted, “Thank you, Jesus!” I fell to the ground and had Bill repeat it again and again. “Just say it again, Bill!” The first person I called was my mother. Jamie said that you're country. He said you're “nice country,” and that you had to get to a place where you could be a little bit of a diva. Bill said I was just a little too sweet and softspoken, and wanted me to be more aggressive. They wanted me to be more demanding, like Effie- to take charge and be that diva that she is. I had to go through Diva 101, rehearse having that attitude, walking in when I felt like it, walking out when I felt like it, saying what I wanted to say. Stuff like that. You went from a size 10/12 to a 14/16? Jennifer's a very healthy eater. I only eat chicken, fish and turkey. No fried foods. I don't even drink soda. But for Effie I had to change it a little bit and eat cookies and cakes and pies at all wee hours of the night, and I got away with it, because I had to gain and maintain the weight. I found the biggest challenge, more than gaining or losing weight, was to maintain the weight. Anytime I lost an inch, [wardrobe] was like, “Nope, you gotta go back up.” It was hard because of all the choreography and the busy schedule. Whose decision was it for how big she should be? You just needed to be able to perceive the difference between Effie's image and the other girl's image. I don't think it was so much about, “Effie needs to be a size 16/18 and 200 pounds.” It was just so you could show the

difference.. What was your favorite time period and look for Effie? I liked Effie when she went through her trying times, because it was really real. Of course, we love the glamour and the glitz, but I loved the realness, getting stripped down to the lowest of the low. That was one of my favorites. You’re up for an Oscar now. Are you ready for that? You were just performing on cruise ships a couple of years ago. I'll never get used to it. Every time I'm like, “Really? Are you serious?!” All I wanted was the role... although it would be the biggest honor. And I would get up there and accept! But I haven't got used to hearing it yet. I have to cross that bridge when I get to it. There's controversy about how Paramount is pushing you for Best Supporting Actress, but Effie is the center of the story. Do you feel you should’ve been pushed as Best Actress? I don't know... I don't really count the minutes and seconds we're on the screen to determine who should be lead. Again, I'm just grateful to be part of the project. Was this role a tribute to any of the bigvoiced women who came before you? In researching Effie, the first thing that came to mind was Aretha Franklin. I feel like the idea for this voice came from Aretha, and when Jennifer Holliday got a hold of it she took it to a whole other place. But I patterned and dedicated each of the songs to my favorite female artists. “Move,” if you listen to it, is Aretha style and has an Aretha feel. I used some of the licks she would throw into a song. “I'm Changing,” it's Jennifer H o l l i d a y. And “One Night Only” is my dedication to Whitney. Have more film offers been coming in yet? Yes, the scripts have been coming in. But I'm taking my time to make the next move. I want to make the right decision. Is it movies for you next, or is it the stage? Next for me is recording my album, and then after that I want to do more movies. Later down the line I would love to do theater. What kind of music is the album going to be? I don't know. I want to go mainstream. I don't believe in limiting myself. We haven't had that creative meeting yet to determine what direction I'm going to go in, but I definitely want it to be something that everyone can like.

You're making your big screen debut against some very talented actors. What does someone like Danny Glover or Jamie Foxx tell you? What sort of hints or advice do they give? With Eddie and Danny, I just pretty much sat back and watched them, and watched how they worked. I took from Danny how to build a character. When we would read through the script, the first time I read was with Jamie, and he was very calm. Then I read with Beyonce, and she was just as calm. Then I read with Danny and he was very intense and dramatic and beating the table and hopping around the room, and I was like, “Please tell me I don't have to do that!” And then watching Eddie go in and out of character- to sit here and see him just leave the room and have James “Thunder” Early come across stage. The advice I got came more from Beyoncé and Jamie. Beyoncé told me to make sure you be smart and make the right decisions and take your time with things. Jamie told me to always make sure you give 100%. One time the camera was over there [gestures far away] and I was like, “Do I really have to put it out?” He said, “You always give 100%. Whether the camera is across the room, across the street or in your face, you always give it your all.” –B. Love

PG 23 • insiteatlanta.com • February 2007

Music

Album Reviews

by B. Love, DeMarco Williams, John Davidson, John Moore, Tom DeFreytas & Andrea Hatter

The Dean’s List

WILLIAM FITZSIMMONS- GOODNIGHT (SelfReleased) Spreading creative wings. BL On his second self-produced CD, this Pennsylvaniabased singer-songwriter continues to trod an Iron & Wineinfluenced musical path, with the familiar formula of deeply personal lyrics and hushed vocals layered over largely acoustic backdrops. But this time around he seems intent on experimenting with more lush sonic textures, augmenting his guitar-based compositions with everything from banjo and bouzouki to strings, woodwinds and brass. The result is a more complex sound that comes across like a mellower Damien Rice or a folksier Sufjan Stevens, and simply begs for inclusion on the soundtrack to some future Zack Braff project. “It's Not True” opens the album with a finger-picked acoustic guitar groove, gradually building up layers of reverberating background vocals and static-laden programmed beats to create a dream-like sound that evokes images of ever-shifting clouds framing a sun-lit sky. “Everything Has Changed” uses echoing piano accents to lend a haunting quality to Fitzsimmons' evocative style of storytelling. The minimalist “Leave Me By Myself,” a chilling tale of loneliness and regret, initially eschews guitar altogether for a stripped-down piano groove that slowly builds into a thing of melancholy beauty that sounds like something Jon Brion might have produced. Perhaps the most welcome development on Goodnight is the way Fitzsimmons appears to be progressing as a songwriter and producer, capably moving away from his stripped-down folk roots to craft a song like “Please Don't Go,” whose danceable beats wouldn't sound out of place on a Depeche Mode or Bjork album. Occasionally there's a bit of an everything-and-thekitchen-sink aesthetic at work here (the layered guitars, banjos, melodica, clarinet and keyboards on “Hold On With My Open Hands” veer dangerously close to drowning in reverberating cacophony), but for a self-produced release it's pretty damn remarkable. And with his recent inclusion on the Grey's Anatomy soundtrack, hopefully some indie label will snatch this prize prospect from the jaws of obscurity and give him a budget so he can use a name producer (Brion, perhaps?) next time. THE EARLY YEARS- SELF-TITLED (Beggars Banquet) Epic space rock with a dose of thunder. JD There was a time when U2 reached beyond their means, beyond their simple guitar arpeggios and majestic lyrics towards something decidedly modern. The late ‘90s (Zooropa and Pop, to be precise) showed a band floundering in order to stay relevant, proving that even the biggest band in the world has limitations. And sometimes searching for your limits creates the best art. The Early Years travel long and wide on their debut, and in the process discover great songwriting prowess without turning inside-out. The band cleverly creates layered, atmospheric, moody rock songs that ooze with the Velvet Underground's curiosity and pair it with the simple, space-aware grandeur of U2. If egos hadn't destroyed the Verve and drugs distracted Spiritualized, maybe they'd have the succinct currency of The Early Years. But probably not. PG 24 • insiteatlanta.com • February 2007

The band doesn't have a cultural touchstone or obvious hit such as “Bittersweet Symphony” lying in wait, which will doom this album to the fringes of the pop market instead of making a play for something like a TV show soundtrack. What it does have is a suite of ten gems with no spot to fast-forward– an album in the truest sense, and one that will end up on a lot of year-end lists. SEAN PRICE- JESUS PRICE SUPASTAR (Duck Down) Boot Camp sick! DM Remember Sean Price? As one-half of the uproarious Heltah Skeltah, Price helped put New York's Timberland footprint on hip-hop in the ‘90s. Yeah, we know, it's 2007. But listening to the ambitiously-titled Jesus Price Supastar, the rap vet clearly hasn't lost a boot step. From the door, Price's words are aggressive and his beats are agitated, like they've been bottled up, impatiently waiting for their release. The producers who bless SP with the most heat are 9th Wonder and Khryss. The two combine for eight smoldering tracks (Heltah Skeltah fans will love the 9th-concocted reunion track, “P-Body”), and every one of them is some splendid mesh of soul and that braggadocious temperament that made Price's crew, the Boot Camp Click, so popular. On the Khryss masterpiece, “One,” Sean is at his self-assured best. With the help of many BCC members, Sadat X and Little Brother's Phonte, Jesus Price Supastar easily proves the best hip-hop offering of the year thus far.

MATT & KIM- SELF-TITLED (Iheartcomix) Cute indie couple rocks out. TD You know that cutesy couple you're friends with? The ones who always seem to be up to productive, relationshipenhancing activities drenched with loving adoration that makes random passers-by throw up just a little in their mouth? Now imagine that couple decided to form a band, just to have some fun and play around with drums and synths. Throw all these hypothetical elements together in the world of reality and you have Matt & Kim. Another product of NYC’s ever-growing indie scene, Matt & Kim's self-titled debut has a fun, effervescent style which bubbles over on each track. The album opens with infectious electro-pop that conjures images of a robot gypsy circus with electronic sounds which feel full of innocent entertainment. They may only be a duo, but their heavy use of synth noises easily masks the band's minimalist style. In the same way hanging out with the aforementioned cutesy couple is fun and entertaining so long as you maintain short bursts of exposure, Matt & Kim's album is comprised of quick-paced, upbeat songs which stay sprightly after multiple listens. The songs are fairly simple, but entertaining. The repetitive choruses are catchy, while always stopping short of annoying monotony. This probably explains why the longest song only clocks in at 3 minutes, 42 seconds. While Matt & Kim relies solely on drums and electronic sounds, the band surprisingly avoids an artificial feeling. The rhythms are created and maintained by the drum beat and Matt's singing voice, which subtly fluctuates up and down like an ocean wave. The songs are fast and fun, which imbues them with a feeling of authentic enjoyment from the duo.

CALLA- STRENGTH IN NUMBERS (Beggars Banquet) Worn out... and down. JD Calla has never been a happy band. Brooding and foreboding, the band's affinity for minor keys and washout bass borrows heavily from goth and even emo. While recent years have seen this New York act move the tempo out of Low territory, their best efforts tend to smolder and add layers of dysfunctional guitar until epiphany erupts. Making such deflated music has always limited Calla's appeal. Strength In Numbers finds Calla working the same corner of the yard, to predictable effect: Aurelio Valle is still singing with his hushed, onthe-verge-of-breaking-down voice and ushering in tales of embittered revenge. The guitars ring and chime and build and die like they did on 2005's Collisions. Drums continue to be an afterthought, used only on a few songs. The Interpol comparisons are probably gone forever, but not the ones to Joy Division. Because the music is ultimately sparse, the vocals and guitar lines carry most of the songwriting weight. The result is an evenly emotional album that clamors for either variety or inspiration. By the time “Dancers In the Dust” closes out Strength In Numbers with a winsome melody and gauzy white noise, the train of interesting ideas has already left the station. (C+)

DUSTIN KENSRUE- PLEASE COME HOME (Equal Vision) & JESSE MALIN- GLITTER IN THE GUTTER (Adeline) Former frontmen try solo careers. JM I'll be the first to admit that I never really understood the hype around post-hardcore rockers Thrice. They had a decent track or two over the years, but I'm at a loss as to why rock critics stumbled over each other to praise the group. It's surprising, then, to be so impressed with the first solo release by Thrice frontman Dustin Kensrue. Stepped heavily in the folk and alt-country of bands like Wilco and the Old 97's, Please Come Home is eight solid tracks of acoustic rock with the occasional backing harmonica. Without having to compete with the distortion-heavy guitars of his day job, Kensrue's voice is remarkable. The slow flow of songs like “Pistol” and his heartfelt delivery on a track like “Please Come Home” are enough to give Ryan Adams notice that his role of the indie nation’s favorite troubled troubadour might soon be in jeopardy. Like Kensrue, Jesse Malin– former frontman for glam-rockers D Generation– is using a solo record to distance himself from his musical past. Malin's results are a bit mixed, however. He's managed to excise just about all traces of glam from Glitter in the Gutter, in favor of a rustic altrock sound. The album was produced by Ryan Adams, and the two pooled together their contacts to get help from Bruce Springsteen, Jakob Dylan, the Foo Fighters’ Chris Shiflett and Queens of the Stone Age frontman Josh Homme. Despite the crowded studio, the record still feels underwhelming. There are only a handful of standout tracks (including a brave take on The Replacements’ “Bastards of Young” that oddly sounds like Malin's channeling Neil Young), but these songs are few and far between. Kensrue (A-); Malin (C+) THE SHINS- WINCING THE NIGHT AWAY (SubPop) This band could be your indie life. JD Natalie Portman's character in the movie Garden State famously declared that a Shins song could “change your life” a few years ago, but we’ve been preaching that gospel since the band's debut album, 2001's Oh, Inverted World. The Shins are a great pop act whose songs easily resonate, both in melody and in lyric, to even the most jaded music geek. But as they move from

the underground to the overground (remember, this is a band who sold a song to McDonald's to be used in a commercial), can they live up to the hype... or our expectations? By now, we're accustomed to the accessible melodies, ace harmonies and ping-pong vocals of singer James Mercer. We're delighted by his weary lyrics and cynical details of unclaimed love. We're drawn to the nooks and crannies where the Shins have hidden details like treasures for the patient to discover. We even ignore the rhythms that occasionally try too hard. We see the Shins on the edge of national consciousness, not in Garden State but somehow in a blockbuster that will make even our parents know their songs. But we know the truth after a few listens: We wish Wincing the Night Away was better. We like the songs okay– they're more accomplished than before, just as we knew they would be– and we won't get sick of them like we would if they were on the radio all the time. And yet we can't think of any songs that will change your life, either. (A-) BAYSIDE- THE WALKING WOUNDED (Victory) Triumphant returns. JM The guys in Bayside would’ve been forgiven if they’d decided to clock out after a tragic 2005 van accident that killed their drummer and put their bassist in the hospital for months. Amazingly, guitarist Jack O'Shea and singer Anthony Raneri came back a week later to join their aborted tour, playing as an acoustic duo. Less than 18 months later, the band is back with a new release, the aptly-titled Walking Wounded. Produced by Shep Goodman and Kenny Gioia– a duo known more for guiding pop stars like Mandy Moore than tattooed punks like Bayside– the dozen tracks here are among the group’s best to date. From the opening title track, complete with brass section, to the subtle strings on “Dear Your Holiness,” the band still has a steady hard-rock foundation. But it's willing to experiment a bit with its sound, which is a refreshing distinction from many in the genre. Sounding like the second coming of the Smoking Popes (another tragically underrated band that markets in dark, literate pop songs), Walking Wounded represents the resurrection of a decent band that has moved their sound from good to great. (A-) MIHO HATORI- ECDYSIS (Speedstar International) Musically diverse. AH Miho Hitori is the ex-frontwoman for Cibo Matto, the voice of Noodle from Gorillaz, and also collaborated with the Beastie Boys. The word ecdysis is the moulting of the cuticula in arthropods and related groups. Thus, Hatori's album title is her way of saying that she's growing as a performer and as a person... shedding her skin, if you will. This album, her first solo effort, was released in Japan in 2005, but didn't make it to America until 2006. It's a nice transition from the food songs of her former group, allowing us to see a romantic side that wasn't obvious before. In “In Your Arms,” she sings to her lover about being so enamored with them that she loses sight of who and where she is whenever they hold her. In “Walking City,” she tells a poetic story about insects and how they relate to human beings. You might think she's what Bjork would sound like, if Bjork was Japanese. The most resonant piece, “A Song for Kids,” is a whimsical aria sung completely in Japanese. While I have no earthly idea what she's talking

Music about, the music is strong and percussion-heavy, and the melody is filled in with electronic bass. Honestly, you don't need to understand her to enjoy it. “Barracuda,” on thte other hand, is an attempt at the Bossa Nova style that falls a little short of its mark. All in all, if you were a fan of her efforts with Cibo Matto and Handsome Boy Modeling School, you shouldn't be disappointed. It's a solid piece for Hatori fans. (B) ULTRAMAGNETIC MC'S- THE BEST KEPT SECRET (Dmaft Records) Disappointing returns. BL It's been 14 long years since Ultramagnetic MC's last studio album, so the title of their latest effort isn't a complete misnomer. In the here-today-gonetomorrow world of hip-hop, where trends come and go quicker than a premature ejaculator visiting a $20 crack whore, Kool Keith and Co. seem like the genre's Rip Van Winkles. But for hardcore hip-hop heads, Ultramag's influential legacy is no secret at all. Emerging from the Boogie Down Bronx in the mid-'80s, the group never quite achieved the international acclaim of their peers. But they are widely recognized for several hip-hop firsts: They were the first group to employ a sampler as an instrument, the first to feature extensive use of live instrumentation and the first to prominently feature a former psychiatric patient (Keith). The group released one classic, 1988's Critical Beatdown, and a couple of poorly received follow-ups before disbanding to pursue solo projects. In truth, they'd probably remain largely forgotten were it not for the fact that Kool Keith is one seriously fucked-up dude, rapping about everything from twisted gynecologists and pornobsessed perverts to alien invasion conspiracy theories on projects like Dr. Octagon and Mr. Nogatco. An eccentric icon on the underground scene, it's quite likely Keith's clout that scored the group a new record deal, as it's difficult to imagine thousands of Ultramag fans clamoring to hear The Best Kept Secret. As for those that are? Suffice it to say that the group's 2007 version is more likely to receive a critical beatdown than they are to match the singular vision of their groundbreaking debut. In truth, the album almost sounds more like Keith's uneven solo work, with production that could easily be mistaken for that of Kutmaster Kurt. “The Plaques” opens the album on a promising note, with a simple boom-bap beat backing Keith and Ced Gee's sharp lyrical attacks on the current state of the game. But too many tracks here sound more like the kind of underdeveloped, oversexed shit Keith could do in his sleep. Which only makes tracks like “Mechanism Nice (Born Twice),” “Nottz,” “War” and “Vibrato”which recall the bizarre brilliance of the band's glory days- all the more frustrating. These tracks prove that Ultramagnetic MC's still have greatness in them, but the reality is that The Best Kept Secret is not a great album. (C-) AND YOU WILL KNOW US BY THE TRAIL OF DEADSO DIVIDED (Interscope) The second coming. JD …Trail of Dead has never given much of a shit what you think. They started out, after all, with an unbearably long band name either built on irony or brass balls. Their legend ascended with innumerable tales of equipment destruction, onstage fighting and a perfect 10 rating on Pitchfork for 2002's Source Tag and Codes. Their songs are pompus, loud and bellicose, with a penchant for overwrought drama. If a band can be measured by its detractors, then you will surely know this one by its trail of them. Maybe the haters had a point, given that 2005's iffy, prog-fueled Worlds Apart put the band on life support. But So Divided presents itself as a comeback of sorts, or at least a retreat to snappier songwriting. “Stand In Silence” huffs

and puffs with the best of the catalogue, complete with a minute-long respite of regal pageantry between hellfire choruses. The title track rushes forward and then staggers to the finish line with a burst of adrenaline and epic vocals, just like the Trail of Dead you've always loved. Even the cover of Guided By Voices' “Gold Heart Mountain Top Queen Directory” kind of works. An otherwise solid album is broken up by several indulgences. For example, the inane intro track consists of nearly two minutes of background chatter– a rock cliché that was already weak several albums ago. The same can be said for the superfluous “Segue.” The spoken word stuff that comes near the end of So Divided doesn't empower “Sunken Dreams” all that much, either. But if you've made it that far, you're probably a fan and are just happy they didn't make Worlds Apart, Volume II. (B+) BROTHER ALI- THE UNDISPUTED TRUTH (Rhymesayers) The Midwest shows off its rapping chops. DW The Rhymesayers camp is filled with MCs (Eyedea, Atmosphere’s Slug and MF Doom, to name three) who'll likely never meet a platinum plaque, but at the same time will never be referred to as sounding wack, either. College kids love ‘em. Backpackers appreciate ‘em. Most of the label's releases are solid, well-written projects that occasionally land on the experimental side. Brother Ali's second release, The Undisputed Truth, is more on the lines of straight-up hiphop, yet it still has its own individual sound. Some of Ali’s draw lies in his voice. (Think: Eminem when he isn't being silly.) The other gravitating thing about the Minnesotan is his lyrical content. As a young man who's dealt with physical differences (albinism) and emotional struggles (divorce, single fatherhood), Ali's diary-opening Truth would be worth a turn in the CD player even if the polished beats weren't as prevalent as they are. The island-swaying “Freedom Ain't Free” and unflinching “Letter From The Government” shine brightest. But there are several spots here in which Brother Ali shows exactly why the underground loves him, and why the Rhymesayers family wouldn't be the same without him. (B+) JESSE SYKES & THE SWEET HEREAFTER- LIKE, LOVE, LUST & THE OPEN HALLS OF THE SOUL (Barsuk) No longer just a country gal. JD Jesse Sykes got a leg up on the competition– it's not a rarity anymore for a sultry female voice to be singing alternative country– when she added former Whiskeytown mate Phil Wandscher to her band nearly a decade ago. But her past couple of albums seemed focused on making her the next Neko Case. It was only a matter of time before Wandscher's guitar got to push the tempo and the genre forward, and like, love, lust & the open halls of the soul appears to be it. Naturally, Sykes isn't going to abandon her voice entirely. A mix of Lucinda Williams and Cat Power, she starts off the album with some smoldering torches before picking up the pace with “You Might Walk Away.” Her eccentric musings continue through “Hard Not To Believe” and “Aftermath” before Wandscher's amiable lines once again pick up on “I Like the Sound” and the waltz on “Morning It Comes.” Sykes’ unique vocals command attention and purpose, and it's up to the band to make the most of them. Still, her ghostly phrasing and quavering lilt remain her signature. Sykes doesn't have the homespun charm of a chart star, or even a critical favorite. Her ace in the whole is her eccentricity, a sort of Victoria Williams-like distinction that both pegs her and limits her in the same move. Like, love, lust & the open halls of the soul makes the case that Sykes is more well-rounded than previously thought. (B)

THE TAKE ACTION TOUR

PUNK BANDS UNITE FOR A CHARITABLE CAUSE.

or years, Hopeless Records spin-off Subcity has donated a portion of proceeds from every CD sold to charities. Seven years ago, founder Louis Posen decided to road test the concept with the Take Action Tour. The multi-band bill has grown in popularity over the years, drawing in some of punk and emo's biggest names, including Matchbook Romance, The Plain White T's, Hawthorn Heights and Sugarcult. In less than a decade, the tour has gone from a club curiosity to a must-see show. The accompanying compilation Subcity puts out around this time every year has grown as well, now boasting over 50 bands, spread out over two CDs and a DVD. Launching its sixth jaunt this month (there was a one-year break in 2000), the latest version of the Take Action Tour is headlined by the Red Jumpsuit Apparatus, Emery, Kaddisfly, Scary Kids Scaring Kids and A Static Lullaby. Posen recentlty took a few minutes to talk to us about the tour's evolution. How did the Take Action Tour get started? Hopeless and Subcity Records, our record labels, started the tour in 1999 as a way to take the Subcity concept of raising funds and awareness of non-profit organizations to the road. Our idea behind Take Action was to create a better world, one voice and one action at a time by bringing it to the fans directly. And our main mission is to empower people to know that their activism and their work in their community makes a difference. A lot of people associate the Take Action Tour with the National Hopeline Network (a suicide hotline). Is that the main focus of the tour, or just one of the non-profits that benefits from the tour? It’s part of the different charitable aspects that Take Action and Subcity are involved with, but it is the primary benefiting charity of the Take Action Tour. You've got a lot of bands on the tour, so how exactly is the money raised? Is it through ticket sales or the tour CD that's sold... the merchandising? There are several different ways that we are raising money for the charities First is 10 percent of the gross door receipts go to the Kristen Brooks Hope Center that runs the (Hopeline Network) hotline. The second is the Take Action Vol. 6 compilation (album). Five percent of the suggested retail list price will be donated to Kristen Brooks Hope Center, regardless of its profitability. And we then have other fundraising efforts, like we are

doing a charity t-shirt with Red Jumpsuit Apparatus that will be sold at Hot Topic and on the road, and $2 of the sale of each shirt will go to the Kristen Brooks Hope Center. Was it difficult the first year to get the bands on board? It actually was, and that's why two-thirds of the bands that year were from our label. Different shows had different bands, but The Weakerthans, Dillinger Four, Fifteen and Scared of Chaka were all bands from our label that did the tour. Then there were a few other bands that joined in on different parts of the tour. Now that the tour is much better known, I assume it's easier to get bands involved? It is. We're fortunate that now people know its coming around each year and we get a lot of requests, starting now, for next year's tour and for next year's compilation. It's always challenging to get the headliner, but there's definitely a lot of bands in the supporting slot area that are looking forward to participating in it. A lot of bands feel connected to what the tour is about and that's great. We're always looking for that along with bands that can fill up the room and raise as much awareness for us as possible. With the Federal government making substantial cuts to funding of suicide hotlines, do you think there's a need, now more than ever, for tours like Take Action that raise money for these non-profits? I think there's always a need for this tour, as long as there are 13 12-to-24 year olds committing suicide every day in this country. That's a ridiculous number of people losing their life that shouldn't have to. Whether it's needed more now because of what the federal government is or is not doing, I'm not sure. But I'm feeling very optimistic with the new Congress that things are going to get passed that were bottlenecked in the past, and more funds will hopefully get allocated to suicide prevention. How have you seen the tour evolve? It's gone in a lot of different directions. The nice part is it keeps growing. We keep getting more and more interest from the bands and more interest from the other partners in the industry, the sponsors and things, and the fans seem to love it. It's so weird to hear things like The Red Jumpsuit Apparatus, when they signed up this year they said, “Oh we've been going to Take Action since we were kids.” That just amazed me. Now it's becoming a staple part of a young person's upbringing to go every year and to be a part of it. That's a great feeling. –John B. Moore PG 25 • insiteatlanta.com • February 2007

Vidiots

This month’s DVD & VHS releases HALF NELSON- By day, Dan Dunne (Ryan Gosling) is a passionate history teacher at an inner-city junior high school. By night, he's a clubhopping crack addict. His life is irrevocably altered when his secret is discovered by one of his students (Shareeka Epps), with whom he forms an unlikely friendship. As downbeat as writer/director Ryan Flick's film is, its message is ultimately a hopeful one. Gosling and Epps deliver award-worthy performances, making this gritty, compelling indie one of the most riveting films of 2006. (A-) -B. Love HOLLYWOODLAND- You can understand attention-starved Toni Mannix (Diane Lane), wife of MGM VP Eddie Mannix, (Bob Hoskins), approaching George Reeves (Ben Affleck) at a party. In return for the actor’s affections, Mannix finds him work as TV's Superman. But he ultimately falls into a depression some say led to his 1959 suicide. Others feel his death was foul play. But who’d want the Man of Steel dead? More folks than you'd think. Director Allen Coultersets up the potentials in this noir-ish whodunit, with Louis Simo (Adrien Brody) the detective hired to dig up the truth. It's insinuated who Simo feels pulled the trigger, but the film suggests Hollywood is the most heinous offender. (B-) -DeMarco Williams MAN OF THE YEAR- With writer/director Barry Levinson's latest film, you get Robin Williams in manic mode as Tom Dobbs, a Jon Stewartlike talk show host who becomes President. Though off to an entertaining start with the promise of sharp satire, the movie takes an abrupt turn toward a thriller early on, and never gets back on track. The movie makes good use of Lewis Black and Christopher Walken, but you can't help wonder how good it could’ve been if they’d followed through on the promise of smart political satire and if Williams wasn't distracting with his ad libs. (C+) -John Moore SCHOOL FOR SCOUNDRELS- Todd Phillips’ latest film could very easily have turned into a dud, but with smart writing and great casting, he made School for Scoundrels one of the best comedies released last year. Billie Bob Thornton is fantastic as Dr. P, a teacher who uses tough love to turn weak doormats into dangerous chick magnets. Jon Heder plays one of his top pupils, a meter maid with a crush on his neighbor, showing promise that he can leave Napolean Dynamite behind. Though the jokes are sophomoric at times, the movie has

* * * PICKS OF THE MONTH * * * BABEL- Like last year’s surprise Best Picture Oscar-winner, Crash, director Alejandro Gonzalez Iñárritu’s latest film follows numerous disparate storylines that ultimately intersect (much like his previous films, 21 Grams and Amores Perros). But where Paul Haggis’ film was a fairly pedestrian meditation on race relations, Babel’s multicultural tales tackle tough topics ranging from cultural differences and the pain of personal loss to the interconnectedness of humanity and the often cruel randomness of fate. Brad Pitt and Cate Blanchett headline as a distant American couple brought together by tragedy, but the stories about a family of Moroccan shepherds, a nanny heading to her son’s wedding in her native Mexico and a troubled deaf Tokyo teen (excellent Oscar nominee Rinko Kikuchi) are equally potent. As many critics have noted, the film is far from perfect– Iñárritu’s penchant for nonlinear storytelling at times proves frustratingly confusing, while the upbeat ending feels somewhat forced– but it’s still remarkably compelling filmmaking from a master of the craft. –B. Love THE DEPARTED- This Bill Monahanpenned, Martin Scorsese-directed take on the 2002 Hong Kong thriller Infernal Affairs reimagines the cop drama set among the Irish mob-run streets of South Boston. Matt Damon's Colin Sullivan becomes a part of this criminal underworld at an early age, but never breaks from it... not even after joining the police academy. Leonardo DiCaprio's Billy Costigan is part of the same graduating class, only his transcripts are less exemplary. So when the two interview with their new superiors (Martin Sheen and Mark Wahlberg), they're sent on different routes: Sullivan's fast-tracked up the force's ladder; Costigan is offered a deep undercover assignment infiltrating gangster Frank Costello's (Jack Nicholson) criminal outfit. But the two don't know each other's identities, meaning the whole time the guys are wearing their façades, they're also trying to figure out who's tipping the other side off. This movie plays out a lil' like Heat, with some Face-Off and Hard Boiled tossed in for good measure, andshould finally earn Scorsese the Best Director honors he’s deserved for decades. -DeMarco Williams

enough sharp, dark humor filling out the scenes to convert even the highbrow comedy crowd. (B+) -John Moore THE PRESTIGE- Director Christopher Nolan’s latest follows the relationship between magicians Rupert Angier and Alfred Borden, whose friendship dissolves when Borden accidentally kills Angier's wife during a show. Unfortunately, this break-up between friends occurs too early in the film and all the tragedy and fighting that follows loses some edge. Even playing characters as despicable as these, Hugh Jackman and Christian Bale manage to color their performances and imbue these men with sympathy. “Are you watching closely?” is the first line of the film. To truly enjoy it, you'll have to remember that opening bit of rhetoric and not fall into the artful distraction of the strong performances and skillful direction. (B+) -Matt Goldberg RUNNING WITH SCISSORS- With an ailing marriage and delusions of being a literary great, Deirdre Burroughs (Annette Bening) seeks the help of unconventional shrink, Dr. Finch (Brian Cox). Norman Burroughs (Alec Baldwin) is a pessimistic drunk. After Norman leaves, Deirdre follows Dr. Finch's advice to leave their son Augusten (Jospeh Cross) with him while she goes through extensive treatment. Left in the care of dog kibble-eating Mrs. Finch (Jill Clayburgh), Augusten finds that dysfunction has many levels at the Finch residence, from Bible-toting Hope (Gwyneth Paltrow) to touchy-feely adopted son Neil (Joseph Fiennes). There are too many characters and not enough time to explore each one, which makes it seems like a bunch of scenes glued together, but the mostly true story will leave you grateful for your childhood. (C+) –Zena Scott STRANGER THAN FICTION- Harold Crick (Will Ferrell) brushes his teeth and a counter appears on the screen to go along with the dry, matterof-fact tone of the narrator, Karen Eiffel (Emma Thompson). They both follow Harold as he catches the bus, does calculations in his head and fills out forms at his dreary job as an IRS auditor. Director Marc Forster (Finding Neverland) grabs us from the very beginning and sets the film as offbeat and witty, with just a pinch of melancholy. Once Harold begins to hear the narration, it terrifies him by letting him know that he will die soon, pushing him to seek guidance from a literary professor (Dustin Hoffman) and to better his life, most notably by starting a romantic relationship with Ana, a free-spirit baker he's auditing (Maggie Gyllenhaal). What's strange about Stranger Than Fiction is that, as the film progresses, it takes its most unique feature– the interaction between narrator and main character– and puts it aside to focus on the plot and character interactions. And without that special element, the film becomes more of the sort of “Live Your Life Like You Were Dying” motivational movie we've seen hundreds of times before. In the end, this a witty and charming rental, but not quite the quotable classic hinted at by the whimsical introduction. (B) -Matt Goldberg

atherine Paterson's Bridge to Terabithia has been one of the most popular young adult novels for over 20 years now, so it's only natural that it should be adapted to film, right? Not exactly. “It actually took 17 years to make!” says David Paterson, son of the author. Published in 1977, Bridge to Terabithia won the Newberry Medal in 1978. Taking on issues ranging from bullies at school to tragic death, the book tells a timeless tale of undying friendship and imagination. Loosely based on real events, the story has a universal appeal to children and adults. After an advance screening of the film, I got a chance to sit down with director Gabor Csupo, producer David Paterson and actors AnnaSophia Robb and Josh Hutcherson to discuss the film's evolution from page to film. Mr. Paterson, tell us about what bringing Bridge to Terabithia to film means to you? DP: As you already may know, my mother, Katherine Paterson, wrote the book. But what you may not know is that she wrote it for me. When I was about 8, my best friend Lisa was tragically killed by lighting, and my mother's way of aiding me through the process was by writing Bridge to Terabithia. She didn't want to publish it without my approval, go figure. She wanted an 8-year olds opinion! Eight-year-olds can be brutally honest though. What did you say about the book? DP: My mother said that as soon as I finished the book, I had one word for it– “tough.” I also had one request, and that was for the dedication page to pay respect to Lisa. Why did it take 17 years to get this film made, and are you satisfied with the result? DP: Well, I'm Scottish Presbyterian, so I can find something wrong with almost anything, but with this I absolutely love it. It took 17 years because it was and is such a precious story to me and my family, and we wanted it done right. My mother is happy with the adapPG 26 • insiteatlanta.com • February 2007

BRIDGE TO TERABITHIA BRINGING A KID-LIT CLASSIC TO LIFE tation, and that's all that really matters. Since so many readers of the book had imagined how this world looked, how did the film’s Terabithia take form? DP: The funniest thing is that, in the book, Terabithia only takes up about 11 pages! I get people from all over who specifically remember those pages, and they come up with the most vivid memories when, in fact, there is no physical description of it. This area was actually my mother's biggest concern because to date there hadn't been a detailed description. She had left that up to the individual reader. We didn't want a bunch of people saying, “Hey, I don't remember that from the book,” so we made Terabithia look like the enchanted kingdom that Leslie and Jesse imagined. The detailed look was from there imagination. Mr. Csupo, this is your live-action animation debut. How was it different from working on

The Simpsons? Was there anything challenging in the process? GC: Yes, this is my live-action debut! Well, first off I 'm working with real people. Doing strictly animation, there are no directions to give or real emotions, versus this project, where there was loads of human emotion and improvisation. I encouraged the actors to improvise and focus on conveying natural emotion, and they did it beautifully. I honestly thought the entire project would be challenging, but it turned out to be relatively easy. DP: The child actors were so great that I was hoping the adult actors could keep up! As far as the process of the movie, we shot in New Zealand and it took about 60 days to shoot, about 10 weeks for director's cuts and a few months in post-production. So it went very smoothly. AnnaSophia and Josh, tell me a little about

your process on getting involved with the film and playing your characters? AR: Well, I initially wrote Mr. Csupo a long letter telling him that this was the role for me. As soon as I heard the movie was gonna be made, I jumped at the chance. I was familiar with the book, and it is still one of my favorites. I felt that the story was worth telling because bad things do happen in life and children are equally affected. Playing Leslie was a pleasure for me. I learned so many things from her. Although she's picked on and very different from the others at her school, she accepts everyone for who they are. The only thing that was challenging was that Leslie is always so happy and upbeat. I mean, who is really that happy all the time? JH: For me, since I hadn't read the book previously, when I heard about the part I went and got it. From page one, I was hooked. AnnaSophia had a little bit of an easier process than me! (Chuckling) I went through a long, grueling audition process with numerous reads, but it all worked out because here we are today! As far as the character, Jesse, I learned a lot for him, mainly to appreciate my family. His family is very hardworking and has little time for him, and he's the only boy with 4 sisters! I really enjoyed being Jesse because we have both similarities. Although we're both artists, we come from different backgrounds, and that challenged me to get into character. Was there one thing you wanted your audience to take away from this movie? JH: I would be happy if the adults could walk away and reflect on their past relationships and the importance of friendships throughout their lives. In life it really doesn't matter if you're rich or poor, because if you don't have friends then you don't have anything. AR: I agree with Josh, but I would just add that I would encourage everyone to use their imagination more, basically to keep their minds wide open. –Zena Scott

Book Reviews

Technology

Podcasts

A closer look at the popular technology BY RAV MANSFIELD odcasts are everywhere. From NPR to ESPN, your favorite personalities are now reaching out to the public using this great internet technology. What began as a grass roots way for internet voices to reach a large audience has now morphed into a new type of media outlet. A podcast is a media file that is distributed by subscription (paid or unpaid) over the Internet using syndication feeds, for playback on mobile devices and personal computers. Like 'radio', it can mean both the content and the method of syndication. The latter may also be termed podcasting. The host or author of a podcast is often called a podcaster. The term "podcast" is derived from Apple's portable music player, the iPod. However, known synonyms for the word pod are capsule, case, container, hull, husk, shell, and vessel. A pod refers to a container of some sort and the idea of broadcasting to a container or pod correctly describes the process of podcasting. Though podcasters' web sites may also offer direct download or streaming of their content, a podcast is distinguished from other digital audio formats by its ability to be downloaded automatically, using software capable of reading feed formats such as RSS or Atom. The concept of podcasting was suggested as early as 2000 and its technical components were available by 2001, then implemented in the program Radio Userland. In 2003 regular podcasts started showing up on well-known Web sites and software support spread. The publish/subscribe model of netcasting is a version of push technology, in that the information provider chooses which files to offer in a feed and the subscriber chooses among available feed channels. While the user is not "pulling" individual files from the Web, there is a strong "pull" aspect in that the receiver is free to subscribe to (or unsubscribe from) a vast array of channels. Earlier Internet "push" services (e.g., PointCast) allowed a much more limited selection of content. Netcasting is an automatic mechanism whereby multimedia computer files are transferred from a server to a client, which pulls down XML files containing the Internet addresses of the media files. In general, these files contain audio or video, but also could be images, text, PDF, or any file type. The content provider begins by making a file (for example, an MP3 audio file) available on the Internet. This is usually done by posting the file on a publicly available web-

server; however, BitTorrent trackers also have been used, and it is not technically necessary that the file be publicly accessible. The only requirement is that the file be accessible through some known URI (a general-purpose Internet address). This file is often referred to as one episode of a netcast. The content provider then acknowledges the existence of that file by referencing it in another file known as the feed. The feed is a list of the URLs by which episodes of the show may be accessed. This list is usually published in RSS format (although Atom can also be used), which provides other information, such as publish date, titles, and accompanying text descriptions of the series and each of its episodes. The feed may contain entries for all episodes in the series, but is typically limited to a short list of the most recent episodes, as is the case with many news feeds. Standard netcasts consist of a feed from one author. More recently multiple authors have been able to contribute episodes to a single netcast feed using concepts such as public netcasting and social netcasting. The content provider posts the feed on a webserver. The location at which the feed is posted is expected to be permanent. This location is known as the feed URI (or, perhaps more often, feed URL). The content provider makes this feed URI known to the intended audience. A netcast specific aggregator is usually an always-on program which starts when the computer is started and runs in the background. They work exactly like any newsreader someone would use to manage other web subscriptions. If the feed data has substantively changed from when it was previously checked (or if the feed was just added to the application's list), the program determines the location of the most recent item and automatically downloads it to the user's computer. Interestingly, it is estimated that perhaps only 20% of netcasts are actually consumed on portable media players; 80% are consumed on the PC onto which they are downloaded, or deleted from the PC without being listened to. Some applications, such as iTunes, also automatically make the newly downloaded episodes available to a user's portable media player. The downloaded episodes can then be played, replayed, or archived as with any other computer file. Podcasts have truly become the “radio” of a new connected generation.

WORLD WAR Z: AN ORAL HISTORY OF THE ZOMBIE WAR by Max Brooks

Given the glut of zombie movies that have come out over the past couple of years, it was almost a given that zombie fiction was right around the corner. A follow-up of sorts to author Max Brooks’ satirical 2003 book, The Zombie Survival Guide, World War Z takes a look back at how individuals, governments and armies across the globe discovered, waged and ultimately won a war against the undead that takes place in the not-too-distant future. Told primarily through fairly straightfaced interviews and dusted with a few subtle satirical jabs, Brooks’ latest tome takes an almost scholarly look at how the good guys ultimately won. The writing here is so dryly matter-offact that it's almost believable to conceive of a worldwide war against the ghastly braineaters. Brooks’ early entries about government officials in China and Russia refusing to share information about the zombies with their citizens and lower-level soldiers are just as believable. Stretched out over more than 300 pages, the clever premise does grow a bit thin after a few dozen or so journal interviews about man's battle against the undead. For true horror fans though, this book is a nice treat to tide you over as you wait for Danny Boyles’ 28 Days Later sequel to come out. (B) –John B. Moore

ANATOMY OF A BOYFRIEND by Daria Snadowsky

In the interest of full disclosure, it should be noted that Daria Snadowsky began her career in the halls of INsite, where she once served as an editor and freelance writer. So it’s fair to say that what follows is not a completely unbiased view of her debut novel, which follows a teenage girl’s sexual awakening. Dominique is a parent’s dream– a straight-A private school student and aspiring doctor who seems more interested in her geeky academic team than she is in boys. Or at least she is until she falls for Wes, a handsome track star senior from the public school across town. Suddenly, Dominique seems less interested in playing Operation with her parents than she is in playing doctor with Wes, and she begins exploring parts of his (and her) body she’d previously only read about in Grey’s Anatomy. Fleshed out via journal entries, emails and IM sessions, Snadowsky’s debut is a remarkably honest portrayal of a teenage girls’ sexual discovery that has earned favorable comparisons to the Judy Blume classic, Forever. But what’s different about Boyfriend is the way it explores the subject with a disarming frankness that never comes off as sensational. From the couple’s first meeting and awkward initial fumblings to their painful breakup, every word rings true, presenting a candid view of love and sex teens will respond to. (A) –B. Love

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ennifer Garner enters the room and radiates the persona of The Girl Next Door. It's almost hard to believe that she broke out as an ass-kicking secret agent in J.J. Abrams’ Alias and has taken that action to the big screen with Daredevil, Elektra and Peter Berg's (Friday Night Lights) forthcoming film, The Kingdom. While it would seem as if her career destiny should be more along the lines of quirky romantic comedies like 13 Going On 30, her new film, Catch and Release, has her playing a woman struggling with not only the death of her fiancée, but also the secrets he left behind. What about this film appealed to you? There are always hooks, but Susanna Grant's writing is so beautiful. The first time I read it, I knew I had to do it. She asked me to do it, I was beyond excited and something happened where I had to wait a year. I said, “I can't let anyone else play this role. It's my role. Please wait for me.” And she said okay! The writing is just so beautiful and speakable and playable and real. It's something you just don't get to do. You either are doing a comedy where you're really pushing for the comedy, or you're doing a drama where everything is really maudlin. This [story] is the balance that follows our own life patterns; it felt like something that was true. The things that attracted me were the ideas of black and white, and that she only saw good in [her husband] and she didn't want to see the bad. And in this film she grows up and becomes able to see the gray. Is there a female sensibility to this film, as it has a female director, as opposed to the classic Hollywood woman-centric PG 28 • insiteatlanta.com • February 2007

Jennifer Garner The (Gorgeous) Girl Next Door films that were directed by gay men like George Cukor? Well, J.J. Abrams isn't gay, but he can write women like nobody's business! There are just people who get the female vibe. Susanna would be able to take scenes that were difficult and, in the time it takes to go to the bathroom, she would have come back and reworded it so it was more clear. It's kind of magical to have someone with that ability. With her warmth and calmness and stillness– usually on sets there's a blow up at some point, but that never happened with her– it was just very zen and chill. How hard was it to leave Alias’ Sydney Bristow behind, and how hard has it been to find other characters as tough and diverse as she? Well, I was ready [to leave her behind] because, after five years of doing something, I think we all felt the way we were supposed to at the end of Alias. We were all heartbroken. You've never seen a closer cast or crew, and it really was the best place to work. We all still say that when we see each other. But at the same time, we really felt like we told the story and had done it justice. I still get emotional about it. J.J. gave all of us for Christmas this huge leatherbound book of pictures, starting with the pilot. I can't look at it without crying. But the lucky thing is that

there are great writers out there, and you just have to find the character that fits you. This was definitely a character I felt as strongly about as I felt about Sydney. Have you been contacted to work with J.J. in the near future, like maybe for Star Trek? (Laughs) J.J. is contacted by me every day, saying, “What you wanna do next? What you wanna do? It's me!” I'm outside his house with coffee every morning: “Hi J.J.!” No, I haven't been contacted by him, but he's one of those great guys that will have a core group of actors. Look at Keri Russell in Mission: Impossible 3. Anyone that works with him, he's just a favorite. Do you miss the action stuff? I do like it. It satisfies this part of me that I didn't even know was there, and I like the physicality of it as well. I like roles that are physical. I like physical comedy. But action, per se? Not necessarily. Roles that tend to have action in them, if they're well done, I like my stunt double so much that I'm always seduced by it. Does motherhood weigh-in on your project choices now? It will determine what I do, timing-wise. I don't think I could do two huge back-toback things or a lead on an hour-long drama, so just on a practical level I really have to love something a lot to not be with my little girl every day. I will have had six

months straight with her before I go back to work, and that is heaven on earth. I have it so good right now, and I'm afraid if I tell you [about it] it will get screwed up. I get filled up with her and I'm definitely the primary caregiver, but I have enough meetings with my production company that I find really fun and fascinating. They make me use my mind in a different way. You and Ben [Affleck] have worked together before. Now that you're married, is there a tendency to create a work-life separation? A big part of it is that someone has to raise the kid, so if we're both at work, that's a big bummer. But there's no rush, and we're not looking for anything to do together. How do you manage to keep Hollywood out of your daily home life? We have a rule. “No! Don't tell me about your day! Stop!” It's easy when there's a baby. You basically talk about the baby. Was there a defining moment when you first realized you were famous? This was a while ago. It was the first year Alias had come out, and I hadn't really been out in the world since July. I went Christmas shopping in December, and it was freaky. In July I could have gone shopping and it wouldn't have been a big deal. But in December, I couldn't even take a step without someone stopping me. That had never happened to me before. How have you coped with fame? I've kept my knickers on! I have a strange relationship with it. It's not a comfortable way to live. There are some great things about it and some difficult things, but my life is really great so I find it hard to complain. -Matt Goldberg

t. Jim Dangle is wearing his trademark booty-shorts and Deputy Travis Junior is wearing his bulletproof vest even though we're sitting in the Wine Bar of the Ritz-Carelton Hotel in Buckhead. They’re dressed for business and ready to stop crime at a moment's notice. But for the current moment, they're ready to start talking about how it's hard out there for a cop, especially high-profile cops appearing in a feature length film, Reno 911!: Miami. Somehow we barely talked about the film and instead discussed getting slathered in olive oil, Halliburton's finely-made turkeys, the lack of Orientals in the Reno Sheriff's Department, and other topics no other law enforcement office in the world would discuss... One member of the screening audience asked who was patrolling Reno while you all were in Miami. I believe, Deputy Junior, your response was, “Oh, fuck!” What was the state of affairs when you got home? Junior: You'd be surprised. Reno with a heavy police force and without any police force at all is remarkably similar. Dangle: We're more like window dressing. We are a door-stop that keeps Pure Evil from slamming shut on someone's face. We are underfunded, undertrained. We're working mostly on two hours of sleep and a little bit of trucker speed. But look at me: To anyone within a 300-yard radius, they see me and they feel safer. I can tell because I see people smile when I'm in their premise. Young children, in particular. They point, and I can't always hear what they're saying, but I can see joy coming across their faces. Lt. Dangle, your shorts have become your trademark. While they may give you “cheetahlike speed,” do you think they might also diminish your authority? Junior: It does, when he calls for backup and we don't want to go. I don't mind when he backs me up, but I don't like to be behind him in situations, just because of the view. Dangle: Here's the thing: I do not wear these for fashion. I don't wear them to overtly express the unbridled sexuality coursing through me. They give me the speed of Mercury. You familiar with Mercury? Mercury: God of Speed. Hermes. Junior: Herpes? Hermes is the God of Speed in the Greek mythology. Junior: Ooh, Junior College boy! Dangle: So they give me the speed of Mercury,

the pounce ability of a cheetah and also... do you Dangle: Police-Tek! The good people at Policenot find it slightly disarming? Tek have been very good to us. Are they creatA little bit, yes. ing the finest product out there? No. Dangle: I want you off-guard. If I could, I'd like Junior: Everything we use went to the low-bidto be completely nude and slathered down in der, pretty much. olive oil like the great olympians. One, I think it Dangle: That's government policy. If you work would be kind of fun to be like the great olypmiin the government, anything you want to buy, ans. And two, that's real combat. The only they open it up as a bid. And then whoever comes in lowest, it's always way to experience true combat is you Mexicans. and another man, covered in olive oil. Or Halliburton. “I want you The major industry in Dangle: Oh my God! I wish off-guard. If I Nevada is marriage. we had Halliburton! could, I'd like to be Dangle: Actually, the Junior: You see them major indusry in turkeys they sent over completely nude and there? You can't tear Nevada is handjobs. slathered down in olive oil up them turkeys. Depends which part like the great olympians. Dangle: You can't eat you're in. Junior: Followed them, either. One, I think it would be kind closely by crystal Junior: No, but that's of fun to be like the great a good-looking turkey. meth. olypmians. And two, the I'm just wondering But do they make as good a rape-shield as why Nevada hasn't only way to experience legalized same-sex marPolice-Tek? true combat is you and riage? Dangle: Those undergaranother man, covered Dangle: I have no idea ments, I stand behind them. why. If you haven't tried them, you in olive oil.” wouldn't know but… they will Junior: You’d think they would do that because they'd not lock up on you. If you're going to only get more money from the chaplins wear them out for a long night and you down in Vegas, they'd get more money from the don't want to get roofied, make sure you make divorces up in Reno. a 1 and a 2 before you slip into them. Also, if Dangle: We got deep pockets. Obviously I don't you do get roofied and can't find the controller, have deep pockets in this [gestures to his shorts]. you're going to be in them for a while. But once I don't have any pockets, and I don't have any you've been not-raped twice, they pay for themunderwear on because it would create weird selves. I don't say this just because we're their lines. But we have deep pockets as community. spokespeople. It's a guarantee. I believe if you Are you frustrated that the Sheriff's Dept does get raped three times… not receive as much money as it should? Junior: You get a free one. Dangle: It's incredibly frustrating. We're Dangle: I believe you do. embarassingly underfunded. We're trying to get Junior: A free undergarment, not a free rape. sponsorship deals to stay in the black. Dangle: That would be totally inappropriate. Junior: He sent photos to the people at Nair Does your department actively recruit gays and many, many years ago. lesbians? Dangle: We were trying to get them, Rockstar Dangle: I am trying my goddamnedest. There's Energy Drink, we went out to Crunk Juice, to some really strapping young fellas in the “comWal-Mart, to Boost Mobile. They said we munity.” Well, we have Kimble. Junior: She only half-counts. weren't “urban” enough for them. The only real sponsor I guess is Police-Tek. Dangle: I think she's a lesbian, and that's won-

derful. But I wouldn't mind someone who's a little easier on the eyes. Not that you should hire people based on looks, but it doesn't hurt because you do have to look at them. My type is more Pacific Islanders and Samoans. And I love black guys who speak French, like the daddy of the black baby that Madonna swiped. Does the rest of the department have to do these sort of interviews? Dangle: We're not the brightest people– we don't test that high, we may not be that good at our job and we’re clouded in our work by our sexual desires– but the two of us are the functional ones. The rest of these fuckers are real dumb. Junior: They're absolute retards. Who would you say is the biggest retard? Dangle: Do you know Deputy Trudy Weigel? Trudy was apparently raised badly, and I don’t just mean with manners. She was chained to a stove by her “uncle,” who turned out to be just a neighbor, and I guess she would chip away at the linoleum flooring. A lot of things used to be made out of toxic stuff, and she ate a lot of linoleum as a girl. Junior: It settled in all the wrong places. So she had late-onset retardation? Dangle: I believe that's what they call it. Deputy Weigel seems clueless in regards to her relationship with you, Lt. Dangle. Dangle: I don't know what signal she thinks I'm sending her. I think it's my animal magnatism. When your sexual advances are answered with jujitsu, get the fuckin' point! Junior: I don't know what's wrong with her. She keeps trying to put her vagina on me. You have a pretty diverse staff... Dangle: We had to– there was quotas. Is there any underlying racism? Junior: It's not really under anything. It's overlying. Dangle: Our racial tension is at least cut with genuine rage and sexual tension. So in a weird way, it creates a perfect storm where the racial tension is just one of the aspects you deal with. Junior: It's like the morning coffee. You just expect it. Dangle: We are low on Asians. We should get some sort of Oriental. This is going to sound weird, but they're very organized... Junior: Good at math, and smart as a whip. Dangle: And they can fight. Junior: It's good that there's quotas because the honkies are the dumbest ones on this team. Dangle: I don't know how many of us they would allow. –Matt Goldberg PG 29 • insiteatlanta.com • February 2007

T ravel

Spring Break 2007 PCB’s hottest Spring Break Destination this year is the Sandpiper Beacon Resort. This resort features 1000 feet of beach, outdoor pools, heated indoor pool, a Lazy River Ride and much more. March is the time when the Sandpiper Beacon Beach Resort goes into over-drive! Bringing in sponsors such as Stuff Magazine, Corona Extra, Red Bull, Classmate USA,

One Room Unit

King Size Beds Available Refrigerator / microwave only Up to 4 persons

One Room Unit Plus

King Size Beds Available Full Kitchen facilities incl micro Up to 6 Persons

Two Room Unit

Full Kitchen facilities incl micro 1 bathroom Two in room set-up Rooms up to 10 persons

Sandpiper Beacon Beach Resort

pring Break is the most momentous week of a student's year. An incredible time with great friends that will be remembered forever. But in order to have those lifetime memories, you have to be in the right place. INsite serves as your guide to some of the most popular Spring Break destinations from Atlanta in 2007.

Panama City Beach More than a quarter of a million college students likely will celebrate Spring Break in Panama City Beach, Florida this year. With 27 miles of pearly-white award-winning beaches, a gorgeous subtropical climate, and some of the largest and the hottest clubs, you can see why PCB is the Spring Break Capital of the World. Spring Break in Panama City Beach, Florida is what it' s supposed to be; good times on a beautiful beach, great entertainment from the hottest new bands in the nation, being surrounded by your peers from all over the USA looking to meet and greet, and of course there are the parties and making the memories that make the college years the best years of your life.

Sandpiper Beacon Beach Resort

www.sandpiperbeacon.com/springbreak 800.488.8828

Sandpiper Beacon Beach Resort

Australian Gold, One Model Place and many others, the Sandpiper Beacon Beach Resort makes sure that all of the party revelers go home with memories & a few keepsake reminders! Here is also where you will find top names in live entertainment such as The Wailers from Bob Marley Fame and DJ Scribble. Make sure you stay tuned to find out what's in store for Spring Break 2007! In the mood for a Keg Party? You give the bartender $65.00 (tax included) and you can have all the draft beer you want, all week long (see website for details). T-Shirts and souvenir cups are also available! Rooms - There are six different room packages offered at the Sandpiper Beacon Resort. Many provide options for multiple people to a room.

Quality Inn Gulf-front

Full Kitchen facilities incl micro 1 bathroom Rooms up to 12 persons Two in room set-up

Beachfront Villas 2 Bedrooms 2 1/2 Baths 2 Private Balconies Up to 10 Persons

Large Beach Front 60 Feet of Gulf View 2 Bedroom 2 Bath Private Balconies

springbreakfla.com The Quality Inn Gulffront is your perfect choice to party with friends this Spring Break! Sharing the acres of choice beach Quality Inn Gulf-front property is Sharky's Gulf-front Restaurant and Beach Club and America’s Best Value Inn. All rooms are Gulf-Front with private balconies. They have a large outdoor pool, with a sunning and picnic area. All rooms have cable with HBO and new 25" color TVs. Sharky's Gulf-front Restaurant and Beach Club features great entertainment starting every day at 5pm! You are also within walking distance to gift shops, Gulf World, the fishing pier, motor scooter rentals, Go Cart rentals and great shopping. Of course, they offer all the beach amenties, like parasail rides, Jet Skiis, beach chairs & umbrellas, and beach volleyball--all on their private beach.

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PG 30 • insiteatlanta.com • February 2007

Three Room Unit

America’s Best Value Inn

www.springbreakfla.com Guess what? They’re also right next door to Sharky's Beach Club...! On the other side of Sharky's is the Best Value Inn, same rooms as the Quality Inn just discounted a little. Either way you don't have to have a designated driver. Here again all you have to do is walk next door from Sharky's Beach Club. All Rooms are Gulf front with private balconies or patios. Large outdoor pool with a large sunning area and picnic area. All rooms have cable with HBO. You'll agree that Best Value Inn is a great value - and your perfect choice for you and your friends for Spring Break 2007.

Spinnaker

www.spinnakerbeachclub.com

The club that started it all! Panama City Beach’s largest party this Spring Break will be at Spinnaker. Here you will find twenty bars in one giant club complex! This is the home of huge daytime parties in the club and beachside. There are nightly drink specials, daily bikini pageants and best leg contests, great concerts, awesome food from the Paradise Grill... Spinnaker's is going to have something for every single Spring Breaker on the Beach. Spinnaker also hosts Panama City Beach’s best concerts at their Rock Arena. If you love funky music that will keep you movin', check out The Groove Room - pumping out over 100,000 watts of pure sonic vibes... from the 70's, 80's and 90's... retro, funk and disco to the hottest Top 40 Dance hits. Every night, Spinnaker's DJs slip back in time to the 70s, 80s and 90s and spin the tunes that kept the whole world shakin' their money-makers. Past Spring Breaks have seen the WB's hot young stars from Dawson's Creek and other hit shows goofing on Spinnaker's beach, while the girls of Playboy's Extreme Team tempted the guys, and our female Spring Breakers went wild over Travis, the new face of Calvin Klein.

Club La Vela

www.clublavela.com Club La Vela is billed as the largest nightclub in the USA. Who are we to argue. As such, Club La Vela has to continuously reinvent itself to stay on the cutting edge of entertainment and club life. By doing so Club La Vela adds new theme rooms on a yearly basis to its already huge arsenal of onsite clubs all of which are located under one roof! Each theme room has its own atmosphere, ambience, feel, and audience. You'll find Hip-Hop, Bootie, and High-Energy Dance fans in the Thunderdome, Club La Vela's largest multi-story theme room featuring a sound system you can feel in your chest, and a lightshow like no other in North America! If you're into techno-music, the Undergound, & Galaxy Room are for you. Live Music fans feast their appetite for some incredible live Rock in the Rock Arena where the country's hottest touring bands tear up the stage. Upstairs, check out their newest theme room, Posh Ultralounge. Posh was conceived as a concept club featuring a Super VIP environment with minimalist South Beach Decor. Intelligent LED lighting and premium sound enhance the atmosphere while plush, intimate seating areas create the perfect atmosphere for an elegant night out on the town or beach. Club La Vela hosts the biggest and hottest contests on the beach. Be there as the most beautiful people on the beach compete in The Panama Jack Miss La Vela Bikini Contests, The Wet N Wild Wet T-Shirt Contests, or The Muscle & Fitness Male Hardbody Contests. PG 32 • insiteatlanta.com • February 2007

Daytona Beach

Jamaica

Spring Break in Daytona Beach is a tradition that dates back to... well, a long time. With 23 miles of sandy beaches filled with Spring Break activity, pool deck parties and lots of hot Daytona Beach Clubs like the Ocean Deck, Razzles, and 600 North ready to rock, Daytona Beach is a great choice for your Spring Break. Daytona Beach is easy on the budget. With nearly a hundred affordable, "student-friendly" Spring Break hotels in the heart of the action, the’ve got the perfect choice for your Spring Break vacation.

Montego Bay and Negril are the two hottest areas for Spring Beak. Most flights into Jamaica fly into Montego Bay, so if you don’t want to drive, you should plan your vacation here. Aside from the breathtaking beaches, Mo’ Bay offers a jumping nightlife from bars with live reggae bands to Margaritaville, a three story party spot where inthe-water fun can be found with the giant water slide and floating trampoline. If you’re looking for fun in the sun, you’ll find it in Negril. The first thing you’ll want to do--indeed, you’ll feel compelled--is to hit the beach. The bow-shaped town hugs Seven Mile Beach, the longest continuous stretch of powdery shore in Jamaica--and one of the Caribbean’s most magnificent. After the sun sets in a spectacular splash of color, spend a relaxing evening at a restaurant or party down at a calypso beach barbecue. There’s even allnight dancing at local clubs. Reggae is beloved in Negril, as it is throughout the island. In fact, from time to time, Ziggy Marley comes to town, along with a host of other international entertainers. For vacation information contact Air Jamaica 800-568-3247

Inn on the Beach www.innonthebeach.com

This is a full-service resort offering Daytona Beach Spring Breakers to a first class vacation experience. It is conveniently located just south of the boardwalk and area nightclubs. The Inn on the Beach features 195 spacious guest rooms, efficiencies, suites & spa suites, situated on the “World’s Most Famous beach”. This outstanding resort has been designed to offer the utmost in luxury, comfort, value and an endless variety of recreational activities. Recipient of the Daytona Beach Beautification Award, this resort hotel is surrounded by the beauty of tropical landscaping, exotic flowers and majestic palms. They boast an olympic size outdoor pool overlooking the ocean, along with Jacuzzi, Fitness Center and Suana. This is the home of “On the Rocks” pool bar and lounge, one of Daytona Beach’s most happening sites. Rooms offer private balconies and free continental breakfast.

Razzle's Nightclub

Located on Seabreeze Boulevard near A1A, it's just a few steps from the heart of Daytona's beachside. It's in front of the Plaza Resort and next to The Oyster Pub. Razzle's has over 15,000 square feet with great nighttime entertainment. Razzle's has been catering to Spring Breakers for over ten years with wild contests every night and big cash prizes. Look for the nightly free drink specials and party into tomorrow with the best mix of music, a huge dance floor, great drinks and drink specials and the most outrageous party atmosphere on the beach.

600 North

Daytona's newest and most technologically advanced night club is the heartbeat of Spring Break– 600 North offers the best sound, light and video show in Central Florida. With a 50,000 watt soundsystem, matrix wall on the coast. 600 North and the Plaza Resort are the only live indoor/outdoor concert venue featuring world renown DJ's, bands and live entertainment. They have the largest pooldeck in Daytona and they party all day with the most outrageous cash contests for guys and gals including our famous bikini and wet t-shirt contests.

SPRING BREAK GUIDE 2007

The Oyster Pub

Located on Seabreeze Boulevard next to Razzle's, The Oyster Pub is the number one sports bar and is located in the heart of the Spring Break party district. Catch all the sports action you can handle on 30 TV screens including NCAA March Madness games. Cash in on 20-ounce superdraft specials. The Oyster Pub is just a block from the beach and offers a full menu with everything from lunch, dinner and everything in between. The seafood is the best in the area at Daytona's largest Oyster Bar. For great food and drink and all the sports action all the time, head to The Oyster Pub on Seabreeze.

Ocean Deck Beach Club

Just a half block from the Pier and directly on the beach at 127 Ocean Avenue. The Ocean Deck offers great food and great fun. Enjoy volleyball on the beach. Reggae music. When the sun sets, grab some dinner and get set for a wild reggae beach party...on the beach! The Ocean Deck has Florida's hottest island dance band and jams. Nightly drink specials and special promotions.

Negril Point Village

Situated on 14 acres along Jamaica's northwestern coast in the town of Negril, Point Village is an hour drive from Montego Bay's Sangster International Airport. On a rugged promontory bordered by wo white sand beachfronts are the 150 air-conditioned apartments (comprised of studios, junior suites, one-, two- and three-bedroom units).

Rose Hall Resort

Rose Hall Resort & Country Club stands above other Montego Bay Jamaica resorts. This deluxe oceanfront hotel was once a legendary 18th-century sugar plantation, and to this day evokes the island's historic charm and hospitality. Indulge in cool ocean breezes, a private beach, the Caribbean's largest water park, and a championship golf course . Their philosophy is "be yourself" - so come to our enchanting property , and leave the world behind. Just 15 miles from dazzling Montego Bay - and only 15 minutes from the airport - this all-inclusive Jamaica hotel and resort offers spacious, luxurious accommodations and a breathtaking setting.

Sandals Negril

Located on the best stretch of Negril's 7-mile beach, Sandals Negril epitomizes everything a Caribbean resort should be -every room is steps from the sea and no building rises higher than the highest palm tree. At Sandals Negril, kicking back and doing nothing is considered a native art form...and doing everything is "no problem."

Breezes Runaway Bay

Located on Jamaica’s famed north coast, Breeze’s Runaway Bay is coming off a $50 million expansion and renovation. Now with 264 rooms set on more than twenty-two lush oceanfront acres, Breezes Runaway Bay Resort feels worlds away from reality. Here everything is included. Come and enjoy deluxe accommodations, sumptuous food, premium drinks, land and water sports including Scuba diving, entertainment and much more. In Runaway Bay you're free to be yourself, in a hammock beneath a swaying palm or re-invent yourself with videoassisted golf & tennis schools.

Cancun Warm white sand beaches, crystal indigo seas, world- class hotels, restaurants and nightlife make Cancun a perennial Spring Break favorite. A resort where you could keep busy 24 hours a day just participating in the many activities and tours available, and yet it remains a tranquil retreat where you could relax to your hearts content. In Cancun you can literally choose a pace and lifestyle to suit any frame of mind. Cancun is a resort for everybody, from college students on a strict budget to the rich and famous from all over the world. Cancun caters to all who visit and everyone should experience Cancun at least once. This is one of the reasons that Cancun is Mexico's most popular resort. Foam parties, bikini contests and beer splash pools are as common as sunburns in Cancún in late-March and early-April. To be sure, this Yucatán hotspot seems ready-made for tropical treats and hedonistic fun fit for newly-minted adults still primed to have a rip-roarin’ adolescent good time. With more than 25,000 hotel rooms and annual revenue of $4 billion Cancún stands alone. It draws more visitors to Mexico than any other city, and ranks as one of the biggest resort towns in the world.

Cancun Night Clubs Coco Bongo LaBoom Dady Rock Dady 'O

The City Glass Pat O'Briens Margaritaville

Bull Dog Fat Tuesday Hard Rock

The Oasis Palm Beach

The Oasis Palm Beach is a relaxed all-inclusive beachfront hotel located on a tranquil beach with familyfriendly waves and direct access to the Oasis water sports marina. The hotel, close to Cancun's famous shopping, dining and nightlife, features an expansive pool with children's section, a spa and fitness facility and four restaurants and three bars. Enjoy Mexican and Caribbean shows two days per week, and a host of daily and nightly organized activities and entertainment options.

Gran Caribe

The all-inclusive Gran Caribe embraces a quarter mile of beachfront in the center of Cancun's famed

hotel zone. This beautiful Mediterranean-style resort is popular with couples looking for a fun, informal vacation atmosphere. Special features include spacious junior suite and villa accommodations, three pools, four restaurants, a variety of bars and lounges, a spa, and exclusive 24-hour all-inclusive club. Guests will delight in a host of day and nighttime activities including theme parties and live entertainment.

are offered to several put-in sites, and day tours and overnight tours with experienced guides are available as well. Don’t wait for the heat to enjoy the Golden Isles and Georgia’s mightiest river, the Altamaha.

South Padre Island

Crown Paradise

The beachfront Crown Paradise Club AllInclusive Resort in Cancun offers an exceptional array of amenities and activities. In addition to the glorious beachfront location, you'll find four distinctive pool areas, buffet and a la carte dining and a schedule of entertaining day and nighttime fun. All rooms offer an ocean view, and the Crown Club rooms are reserved for adults seeking a more private, exclusive escape.

Altamaha River Bioreserve Spring Break in Georgia!

A jewel in the crown of Georgia's wild lands, spring comes early to the Altamaha River. Leaving Atlanta’s freezing temperatures and arriving along the banks of the lower Altamaha near Darien Georgia, with 70 degree temperatures it is a pleasant contrast. Designated by the Nature Conservancy as one of only 75 last great places in the world, the Altamaha River provides year round conditions for kayaking and canoeing. Flowing for 137 miles through cypress swamps to the abandoned rice fields and salt marshes near Darien, bald eagles and wood storks can be seen foraging along the high bluffs, sandy beaches, and vast expanses of marsh. You 'll see as many alligators and local birds as well as the migratory ones using the 'Atlantic Flyway'. Manatee are rare this time of year, but then so are the mosquitoes. February and early March is the perfect time for camping with warm days and clear winter skies at night. Buffalo Swamp Natural Area, adjacent to the town of Darien, offers paddlers a rare tidal forest containing among other trees, large bald cypress, live oak and red cedar. While exploring its abandoned rice fields, over grown with fresh water vegetation, you’ll see abundant wildlife such as night herons and river otters along with mink and Swallow Tailed Kits. Plus the best fishing in the state with fresh, brackish and salt water species all within a few miles of each other. Thirteen miles from Darien the Altamaha flows into the Atlantic Ocean. Ride the tide through the marshes of McIntosh County to the remote beaches. Explore the maritime forest, fresh water wetlands and the bone-yard beaches of Blackbeard Island. Altamaha Coastal Tours (912-437-6010) or Altamaha.com is a complete outfitter with sea kayaks, recreational kayaks, canoes and bicycle rentals. Shuttles

South Padre is just 30 miles north of the Mexico border, making it the only destination to party at 2 nations with one vacation! Padre is famous for hosting some of the hottest spring break parties, concerts and acts including; MTV, 50 Cent, Ludacris, D-12, Fat Joe, Hawaiian Tropic and Girls Gone Wild! Padre is located on the Gulf of Mexico, at the southernmost tip of Texas. Padre is fun, inexpensive and offers something for everyone! South Padre Island Texas is the southernmost U.S. spring break destination, offering lots of sun, clear blue waters and white sand beaches on the Gulf of Mexico. All beaches are publicly owned and the consumption of alcohol is legally allowed on the beach (kegs included!). Students can BYOB. Wide variety of nightlife. Nearly everything is walking distance in South Padre. There are taxis everywhere for just a few bucks, and running free shuttles. Drinking age in Texas is 21, in Mexico it is 18. It is illegal to drink in public on areas of the main drag on Padre Blvd, but it is legal to drink on the beach. Most of the daily beach events are held in front of the Radisson, and this year Coca Cola is doing a huge beach concert area with many other beach activities. South Padre Island is the cleanest and safest beach in Texas, only 3 blocks wide and a few miles long but loaded with entertainment, night life, restaurants, and endless watersports and activities during spring break.

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Opportunity Knocks

I n d i e - r o c k e r s D e e r h o o f R e l e a s e T h e i r B e s t C D Ye t

eerhoof has always been a little bit too weird for most folks, what with the way they flit from pop to jazz to avante-garde to punk. Their semi-controlled chaos went largely unnoticed despite putting out seven albums on the Kill Rock Stars record label, home to luminaries such as Sleater-Kinney. But then along came The Runner's Four in 2005, which put the decade-old band in the pages of the New York Times and earned nearly universal We've always thought that praise. Deerhoof was more accessible than their fans have given them credit for. On the eve of the release of their latest and greatest album, Friend Opportunity, guitarist John Dieterich gave us the scoop on what makes this little indie band so keen. How did the dynamics of the band change after Chris Cohen left? The first time we practiced without Chris, we were all struck by how empty things sounded. We didn't necessarily mind having it empty, and [realized] that a fun thing to try with the trio lineup would be to keep emptying it out and finish the job that Chris started by leaving. Of course, Chris' musical language had a big impact on the band, but I feel like he's still here because I think we all have incorporated parts of him into our own ways of thinking about and playing music. Sometimes I’ll be playing a part and imagining in my mind the way he would’ve played it. How much does personality play into the varying lineup changes over the years? On some level or another, it probably all comes down to personality. Chris left because he had a burning desire to complete another dream that had been deferred too many times for him (The Curtains). Everyone in the band has had other bands happening at one time or another, and we’ve always thought that it’s possible to have those while still keeping Deerhoof going. But we became so busy at a certain point that it seemed ludicrous for all of us to even try to keep something else going, except in the most skeletal state. How would you describe the process of writing songs for this album in comparison to others? The actual process of writing the songs wasn't that different on its surface. We brought in what we each thought of as finished or semi-finished songs, then we all went through them together and decided how we wanted them to sound and came up with arrangements for them and kind of reconstructed them from the ground up. The main difference was PG 34 • insiteatlanta.com • February 2007

that we’d given ourselves a deadline of when we wanted the album to be done, so we ended up having to work really fast, to the point where we were mixing while we were on the road. The Runners Four was allegedly reworked quite a bit before the final version. How does the band decide when songs are ready for release? When everyone in the band is happy with them. With The Runners Four, we thought that we’d finished the album, then we went on tour and listened to it in the car and realized that we weren't happy with the way it sounded. We changed a lot of things, removing as much as we could stand– the first version was too full and too muddy sounding– and also just trying to come up with better mixes and a clearer sound. We ended up going through about a million different [song] orders, which is pretty common for us. Deerhoof has been performing for a lot longer than people think. Is this the career you imagined yourself having? I didn't imagine any career. That word even connotes a certain amount of seriousness that seems completely foreign to me. I just feel like somebody who gets to play guitar and write music all the time, and I feel really lucky. I never expected to be that person. As for my muse changing, it's hard for me to say, but I don't think that it has. The place that I go within myself to search for ideas or energy or whatever feels like it's probably the same place as it's always been. It's just slightly aged. What’s exciting for you about making music at this phase of your career? I feel more excited than ever about making music, but one thing that I have really been enjoying of late has been getting to tour with lots of other bands and getting to peek into other musicians' musical worlds in a really intimate way. Do you yearn for larger commercial success as a band?

“I'm happy where we are, and am glad that we've grown so slowly in terms of popularity. I think bands that get popular very quickly can combust very quickly, and that was never something I wanted to emulate.”

What would significantly larger popularity do to or for the band? I'm happy where we are, and am glad that we've grown so slowly in terms of popularity or whatever. I think bands that get popular very quickly can combust very quickly, and that was never something I wanted to emulate. Your music is often described at avant-garde. Do you consciously avoid more accessible or "popular" musical elements when writing? In other words, do you have an internal identification of what Deerhoof sounds like, and aspire towards that when making music? I’d say we’re just as often called "candy-coated pop" as we are "avant-garde," to be honest. And no, we don't avoid any kind of musical elements when we're writing. My hope is to get my original idea out as clearly as possible and then attempt to reconcile that idea with the aesthetics of the band, which are always shifting. We have no one focal point that we're shooting for, or from. There are no limits, and it would be painfully boring if there were. Prior to working on a new album, what preconceived ideas do you have about the artistic direction it will go in? It's different for every album, and it seems like it just follows from the process of communicating with the other people in the band in a very off-hand way, day in, day out, whenever we’re together. Things come up, people have changes in their lives, and all of that gets wrapped into our understanding of what we're trying to communicate together. Of course, in addition to that, we all have plenty going on in our own private worlds that we then have to try and communicate to each other if it's something we want to express. How is the arranging done on songs? Do you ever switch instruments? Oh, we switch instruments all the time! I usually write on guitar, but I really enjoy writing on other instruments as well, and it can help me develop ideas. When we were recording this album, we really were not concerned with who's playing what for most of it. We were just trying to get the ideas down, so it's kind of a jumble. How much writing do you do on tour? Not as much as I'd like! I'm a person that craves company, but needs to be able to remove myself and have privacy in order to be creative. Touring is not that great in the privacy department. I do get some writing done, though, and I think I'm just going to have to develop that skill! –John Davidson

FRIENDS IN HIGH PLACES WESTBOUND TRAIN GETS BY WITH A LITTLE HELP FROM RANCID’S TIM ARMSTRONG

estbound Train frontman Obi Fernandez bleeds twotone. For the better part of a decade, his Boston-based band has been consistently churning out their brilliant take on traditional ska, regardless of what happened to be selling big at the time. The band released two indie records before catching the attention of Tim Armstrong (Rancid, The Transplants), who quickly became a fan and signed them to his label. Promoting the release of their first record for Hellcat, the aptly titled Transitions, lead vocalist and trombone player Fernandez talked about his band, Mr. Rancid and rockin' the stage with Reel Big Fish. When most kids today think of ska, they tend to think more of the third wave sound. Why did you decide to go the more traditional route? That's just the style I happened to fall in love with. When I first learned about ska, the bands I was introduced to were bands like the Bosstones and Reel Big Fish. But one day King Django gave me this tape that had Prince Buster on one side and The Skatalites on the other. I was hooked! I dug deeper into the music and saw how close old R&B and early ska and reggae were tied into one another, and I wanted to start a band that emulated those styles. Did you always listen to bands like the Toasters and Skatalites growing up, or were you all over the place in terms of influences? I love the Toasters and the Skatalites, but I listened to everything growing up. My favorite bands are the Bouncing Souls, the Slackers, Alkaline Trio... But I’m also really into Marvin Gaye, Otis Redding, Sam Cooke. I love it all. If it has soul, I’m into it. How did you first get the attention Tim Armstrong? I met him at a Transplants show in Boston. He is a really sweet dude, and we just got to talking about music. He had heard of

the band already and wanted to use our horn section on some of his projects. We just kept in touch after that, and tried to coordinate schedules so that we could work together. He is super-talented and someone I always wanted to work with. It was definitely a dream come true. He's been a pretty vocal fan of the band, getting you to guest on a Transplants record and eventually bringing you to Hellcat. What is that relationship like? He’s great, and we’re completely grateful for him bringing us to the label. He is a super-busy dude, and a lot of the label relationships are with other people at the label. Everyone at Hellcat is awesome, and has been extremely helpful to us. Let's talk about Boston for a minute. The city has a great reputation for breeding punk and ska bands. Why is that? Boston just has tons of talented people. It makes sense that it has given us what it has. Also, it's a blue-collar city that's really into hard work. People in Boston live and die for what they believe in, you know? It's got a great underground scene, which

“Westbound Train has overcome many obstacles in its short existence, and I just wanted to write a song that gave people insight into some of my personal struggles, as well as the band’s. I wanted to send people the message that no matter what we face, we’re going to keep doing what we’re doing. We believe in it, love it and we'll fight for it.”

is why I think it tends to flourish more than other cities. We got a lot of help from the Bosstones when we were first starting out. Those guys will always rule. Cory Williams left the band shortly after Transitions was recorded. Did that come as a surprise, or was it somewhat expected? He was out before we made the record. He just did some tours and made the record so that our schedule wouldn't get messed up until we brought someone new up to speed. Ska has ebbed and flowed in popularity over the years. Ever thought about ditching the horns and going for an easy buck as a pop/punk band? Never! If I wanted to be in a pop band, I would’ve started a pop band. We enjoy the challenges that come along with playing reggae and ska. Everyone has their own taste, you know. We’re just happy doing what we love. Transitions is bookended by two great tracks. Can you talk a little bit about the closing song "Travel On"? Westbound Train has overcome many obstacles in its short existence, and I just wanted to write a song that gave people insight into some of my personal struggles, as well as the band’s. I wanted to send people the message that no matter what we face, we’re going to keep doing what we’re doing. We believe in it, love it and we'll fight for it. Can you tell me a little about the Fall of Ska Tour? How did that come about? Vince (Reel Big Fish's manager) and Aaron from Reel Big Fish offered us the tour. After we saw them in Vegas, we wanted to tour with them really bad. They’re wonderful people, and amazing to watch every night. We’ve toured with Suburban Legends before and they’re our bros. We’ve never toured with Streetlight before, and it's been really awesome getting to know them and seeing them every night. They get the crowd so pumped. This tour just rules in every way possible. –John B. Moore

LONG-FORM IMPROV COMEDY SATURDAYS 8:00 & 9:30PM $5 TICKETS! JACKPIE THEATRE 380 14th Street N.W. Atlanta, GA 30318 WWW.JACKPIE.COM / INFO@JACKPIE.COM PG 35 • insiteatlanta.com • February 2007

racism in the nfl? the truth in black and white

t a time like this, when any other NFL coach would get some soft-and-cuddly treatment about how he grew up speaking the language o’ pigskin, interviews with his mom, and hours of conjecture about what strategy he'll use against his opponent, the Colts’ Tony Dungy and the Bears’ Lovie Smith are merely “black coaches.” You have to specifically look up bios for the coaches to find out details about them, Google because nobody's writing about that. Belichick, though, and you'll get at least two stories with information about his hard-nosed demeanor and no-nonsense way of coaching. What is this? I suppose, as a brown woman, I should be proud to see 1) this obvious jump forward for people of color, and 2) the righting of a long history of wrongs in my nation's consciousness; but - I dunno - maybe I'm just impatient for people to see past silliness like skin color? But then Denzel wins an Oscar or “black coaches” make it to the Super Bowl, and it hits me like a brick: you're in the first generation to grow up with the benefits of your parents' struggles. American sports didn't integrate until 1947. Baseball had Jackie Robinson, the NBA had JapaneseAmerican Wataru Misaka on the NY Knicks, but didn't accept black players until three years later when Chuck Cooper joined the Boston Celtics, Nat "Sweetwater" Clifton got with the New York Knicks, and Earl Lloyd with the Washington Capitols. The same for major college basketball, when William Garrett broke the gentlemen's agreement that barred black players from the Big Ten Conference by playing for Indiana University. In context, that was merely one person ago. My father's birth year. Likewise, it wasn't until 1961 that Loyola University of Chicago broke the longstanding rule to not play more than three black players at any given time by instead putting as many as four black players on the court at every game. Loyola also became the first team in NCAA Division I history to play an allblack lineup. That was only '61. Kids nowadays still listen to music from that year. Ergo, there are still a lot of hurdles to jump and barriers to break. We just had the first woman installed as Speaker of the House, which shouldn't be a big deal here in 2007, except so many years have been spent keeping women and people of color out of the respective good ole boys' clubs in this country, that now every little first is somehow a “feat.” Would you believe that the NFL actually had a black head coach way back in the 1920s? His name was Frederick Douglass 'Fritz' Pollard, and as the first black football player and coach, he beat both MLB and the NBA for the “first black” position in American sports. He first garnered fame as an All-American running back in the 1915 Rose Bowl, then went on to join an NFL team called the Akron Pros. Back then the NFL was an “upstart” league in the Midwest. His team won the first 19 games Pollard played (15-0-4), outscoring the opposition, 236 to 7. His following years proved just as successful, leading the Pros to an PG 36 • insiteatlanta.com • February 2007

undefeated season. Subsequently, he was a first-team choice for an all-pro team by Bruce Copeland. The next year he was installed as the Pros' head coach - a player coach at that, because back then the NFL didn't allow bench coaches. In a 1942 letter to the Amsterdam News Herschel 'Rip' Day wrote, “I still say that Fritz Pollard did more to advance the idea of the best-against-the-best-regardless-of-color than any single man in the business.” Yet, try as he might, Pollard saw the numbers of “colored” (or was it “negro”?) players shrink to zero. In fact, there weren't any black players from 1934 to 1946, possibly longer. And there wasn't another black - err, African-American - head coach until 1990 when the Oakland Raiders hired Art Shell. As of 2004, when the NFL had to actually mandate minority interviewing, there were merely eight black head coaches in NFL history: Fritz Pollard, Art Shell, Dennis Green, Ray Rhodes, Tony Dungy, Herman Edwards, Marvin Lewis, and Terry Robiskie. Even worse, we still have to wait for the first Asian head coach, the first Samoan head coach, and otherwise. Now that's just a damn shame. In the year two thousand anything there should be no more firsts for people of color, yet, in the last six years, we've seen the first ever black woman to win an Oscar as Lead Actress, and the first black man to win for the lead since Sidney Poitier in the 60s. The first Chinese actress to win a Golden Globe, the first Latino

sports franchise owner, and now the first (two!) black coaches in the Super Bowl. Forgive my romanticism, but I wish this wasn't an issue. It shouldn't have to be. Tony Dungy has a long history with football. At the University of Minnesota, he was the starting QB his freshman year in college. He finished as Minnesota's career leader with 274 pass completions, 25 touchdown passes, and 3,577 passing yards. He was named Minnesota's MVP twice. After college, he went to the Pittsburgh Steelers as a free agent during their famous “Steel Curtain Dynasty.” In their Super Bowl season of '78, he was bumped up from backup safety to start, and nabbed six interceptions. In three years of NFL, Dungy had nine interceptions for 132 yards, recovered nine fumbles and returned eight punts for 52 yards. His coaching career started in 1980, coaching defensive backs for his alma mater. A year later, Hall of Famer Chuck Noll hired him as an assistant over the defensive backfield making him the youngest asst. coach in the NFL at 28, and subsequently promoted Dungy to defensive coordinator in 1982. Hmmm... so he must be a hard worker, and possibly knows what he's doing. Seven years later, he left Pittsburgh and spent some time with the Kansas City Chiefs, then the Minnesota Vikings in 1992, and finally took the headcoaching job at Tampa Bay, where most people came to know him. There, he assembled a team of now notables: Lovie Smith - his Super Bowl opponent - was his linebackers coach, Herman Edwards (now with the Kansas City Chiefs) coached the secondary, Rod Marinelli (now leading Detroit) was Dungy's defensive line coach, Mike Shula (son of legendary Don Shula and QB coach for the Dolphins) was the quarterbacks coach, and Monte Kiffin (who semi-recently had the chance to head at the 49ers) was his defensive coordinator. With them, he installed the defense that he's come to be known for: a Cover 2 zone, with specific tweeking that has now earned it the nickname “Tampa 2.” It got them a winning record, the Bucs' first since the 80s, and filled the stands, although not quite making “the big dance.” So they cut him in 2002 and Indianapolis picked him up soon after, where he left Jim Mora's offensive system in tact, but changed the defense to his standard strategy. So far, he has a .644 career winning percentage - not quite George Allen's third best at .681, but well over Curly Lambeau's .595 record. But hey, it's not like he's retired yet. Screw a winning percentage: He's going to the Super Bowl. Put in context, Tony Dungy deserves to be at the big dance based on merit, but so many stories about his ethnicity makes it seem as if the league is somehow giving him a pass. An argument can be made that people who think in racial terms will always bring it up as a reason that someone succeeded or didn't, so it's moot. My point is that we shouldn't add fuel to the fire. The truth is, Tony Dungy and Lovie Smith are both extremely capable coaches. Let's just leave it at that. –Andrea M. Hatter

Sports

FANATIC A Monthly Sports Wrap-Up by DeMarco Williams

• “I would love to see how Mora would do on the Wunderlick test.” –an Atlanta Journal Constitution reader, wondering how ex-Falcons head coach/current Seattle Seahawks assistant Jim Mora Jr. might do on the NFL's intelligence test • Even after David Beckham signed a landmark 5-year/$250 million deal with the MLS' L.A. Galaxy, 67% of 20,545 SportsIllustrated.com voters said they “couldn't care less” about the American soccer league. • "I was thinking if he came back, we might make a run at the national championship. I would like to have him back, but the big guy has got to go. It's time." –Georgia Tech running back Tashard Choice, on teammate (and arguably the NFL’s best football prospect) WR Calvin Johnson

• “The file has become too thick. Vick should be trying to impress a new coach, Bobby Petrino. Given the way the last two seasons unraveled, he should be more worried about how to evolve, not how to escape. Taken separately, incidents can be minimized. Collectively, they're like falling bricks.” –The AJC's Jeff Schultz, a couple of days after Michael Vick allegedly attempted to smuggle some weed through an airport • If you ever wonder onto the Versus network (only 672,000 of you did for last month's All-Star game) and the Pittsburgh Penguins are playing, we're begging you to watch Sidney Crosby in action. Just 19, the sensational center leads the NHL in scoring and, honestly, may already be the best player in the NHL. • "In some ways it's become like a sporting event," he said. "There's baseball season, basketball season, football season and American Idol season." –Preston Beckman, Fox's Executive VP for Strategic Planning, after some 74 million viewers watched the new season's first two episodes • “On the occasion of Barbaro's passing, let's think of all the animals that die with no human hand to soothe them; the dogs and cats whose final moments are preceded by days and months of hunger, exposure, disease, injury and abuse.” –Lexington Herald-Leader editorial, after the 2006 Kentucky Derby-winning horse was euthanized

Must-See TV

Top 5 Games this Month

SUPER BOWL

UNC AT DUKE

DUKE AT UNC

DALLAS AT HOUSTON/CLEVELAND AT L.A.

DENVER AT SAN ANTONIO/CLEVELAND AT CLIPPERS

February 4 (6PM, CBS) The Midwest is in heaven as two of its teams, the Bears and Colts, duke it out in Miami. Like the rest of the country, I don't really care who wins. I just don't wanna see Prince lose any clothes at halftime. February 7 (9PM, ESPN) Records and poll positions never matter much in this hardwood match-up, but seeing as how both ACC teams are in the Top 10, it's safe to say Cameron Indoor will be extra loud this night. February 8 (7PM, ESPN 2) Catching up quickly to the guys' heated rivalry is this fiery women's clash in Chapel Hill. If all goes well in games leading up to this, the Lady Devils and Heels will be No. 1 and No. 2 in the rankings. February 15 (8 and 10:30PM, TNT) Four of the league's most exciting players– Dirk Nowitzki, T-Mac, LeBron and Kobe– in your living room on one night!

February 20 (8 and 10:30PM, TNT) Carmelo and A.I. vs. Tim Duncan sounds appetizing enough, but throw in Steve Nash's Suns against Elton Brand's Clips and you'll think you're at a feast.

Grand Slammer Roger Federer, so dominant he should play in S&M gear

• Roger Federer, who recently won his 10th Grand Slam event at the Australian Open, is winning matches at an unreal 94.3% clip over the past three years. Unbelievable! Putting that ridiculous number into some perspective, that's like your favorite football team going 15-1 back-to-back-to-back seasons; or your hometown baseball squad going 148-14, 154-8 and 154-8 for three straight campaigns! • “To win seven in a row, I'd cut my arm off to win another one. I'm a huge Tiger Woods fan. But damn, I'd love to have beaten him." –Charles Howell III, who has nine second-place finishes since his lone PGA Tour victory in '02, after the Federer of the fairway, Tiger Woods, won the Buick Invitational

And finally… • According to CBS Tony Sportsline's Meija, these are the five NBA players that are the most invaluable to their respected teams: Dwyane Wade (Miami), Paul Pierce (Boston), Carmelo Anthony (Denver), Tracy McGrady (Houston) and Michael Redd (Milwaukee)… NASCAR fans, remember this name: Juan Pablo Montoya… With the Buick win, Woods is just the third golfer to win three tournaments (The Bridgestone Invitational and American Express Championship are the other two) at least five times… Steve Nash, who many say is on his way to a third straight NBA MVP, has had two games this season of 15+ assists and no turnovers… Fanatic's midseason MVP: Gilbert “Hibachi” Arenas… Kinda neat that all of the Colts franchises' three Super Bowls have been in Miami… Of the past seven Super Bowls prior to this year's, only one MVP (Baltimore's Ray Lewis) was a first-round draft pick… Of the Lakers' 106 overtime points through January, Kobe Bryant had 50 of them.

COMING IN MARCH

Our March Madness Issue

HELP WANTED!

Ad deadline Feb. 24 Street Date Mar. 3

To Advertise Contact Steve @ 404-315-8485 stevemiller@insiteatlanta.com

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PG 37 • insiteatlanta.com • February 2007

CAPRICORN

TAURUS

VIRGO

Finances (or other things of value) come to the fore this month. You may feel obliged to help a friend in need, but be careful not to endanger your own sense of security.

It’s all about your career this month. If you’ve been feeling uneasy about a boss (or other authority figure), expect a situation that encourages you to make a decision about your future.

There’s the lifestyle you want, and the lifestyle you have. This isn’t the time for radical moves to achieve your dreams, but it is a good time to accept that changes WILL have to be made.

AQUARIUS

GEMINI

May 22nd thru June 21s

Sept. 24th thru Oct. 23rd

This month may bring potent feelings of fear disillusionment or powerlessness. Don’t give up, but be careful how you take a stand. Humility and magnanimity will get you through it.

Your ruler, Mercury, is in retrograde mid-month, so try to schedule any important meetings or trips before then to avoid the feelings of frustration and confusion that often result.

Your ruler, Venus, joining forces with Uranus could make romantic sparks fly early this month. New love affairs can be great, but don’t be surprised if you become the subject of wagging tongues.

PISCES

CANCER

Dec. 22nd thru Jan. 20th

Jan. 21st thru Feb. 19th

Apr. 21st thru May 21th

Aug. 24th thru Sept. 23rd

LIBRA

SCORPIO

June 22nd thru July 23rd

Oct. 24th thru Nov. 22nd

Whether it’s finances or feelings, your values will likely be tested this month. You may ultimately have to choose between the safe route and the uncertainty of the road less traveled.

This month’s Saturn-Neptune opposition may heighten your dilemma of home vs. career. The planets aren’t against you; they’re showing that you can’t have your cake and eat it, too.

ARIES

LEO

SAGITTARIUS

Has pleasure seemed in short supply of late? This month the Sun urges you to stop moping, get out, mingle and embrace your inner social butterfly!

With the Moon in Leo, you may find relationships at a crossroads, with final straws close to being broken. If issues of reality vs. illusion arise, late Feb. is a good time to air grievances.

It’s a rough month for other signs, but Archers should be happy as clams with Jupiter in their sign. Even if there seem to be clouds on the horizon, look closely for their silver lining.

Feb. 20th thru Mar. 20th Pisces are famously generous, but this month you need to examine the real reason behind any failures or disappointments. It could be that a small shift in mindset is all you need. Mar. 21st thru Apr. 20

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