Inside Beat 2011-10-13

OCTOBER 13, 2011 • VOL. 29, NO. 16

INSIDEBEAT THE WEEKLY ENTERTAINMENT MAGAZINE OF THE DAILY TARGUM

New Songs, New Begininings Music Worth Living For DA SYKES N A W • H C ES OF MAR ID E H T • UTEMATH M • N W PAPER CRO • E G A R • FEIST

Page 2 • Inside Beat

October 13, 2011

EDITOR’S RANT

A Trip Down Memory Lane FREDDIE MORGAN TV EDITOR

I have been struggling with this column particularly because I do not listen to Jack’s Mannequin.

Quite frankly, there’s not really much to say.

They’re pretty popular and perform sold-out shows regularly.

Each member of the band has an impressive musical background. The lead singer, An-

drew McMahon, has fought (and won) a grueling battle against leukemia. That’s pretty much the extent of my knowledge of the band.

I did, however, listen to Something Corporate, McMahon’s project prior to Jack’s Mannequin.

I love listening to them when I’m feeling rather nostalgic about my adolescence. They remind me of feeling angsty and misunderstood, popsicle-stained mouths under a hot summer’s sun, booth

hopping at Warped Tour and sneaking out after my parents went to sleep. Sometimes I’ll listen to The Get Up Kids, Dashboard Confessional, and Alkaline Trio on repeat and think back to my rough prepubescent years.

They say the music you listen to in college is the music you’ll gravitate towards for the rest of your life. On the one hand, it’s comforting to know that I’ve developed a cer tain kind of taste, especially be-

cause I subjectively believe that my taste is “good.” However, it saddens me to think that I’ll never be interested in discovering new music. My downloads have dwindled and I’m no longer keeping tabs on all the newest Indie bands. My parents still listen to Jimi Hendrix, Miles Davis, and Motown, and the only albums from the 80s they own are Sting’s. Is this going to be me?

Will my children think

EDITORIAL BOARD Z OË S ZATHMARY .................................................... EDITOR RYAN SURUJNATH.....................................................ASSOCIATE ASHLEY PARK...................................................ASSISTANT

EDITOR EDITOR

FREDDIE MORGAN............................................................................TV EDITOR EMILY GABRIELE.......................................................................MUSIC EDITOR HEATHER TEDESCO................................................................THEATER EDITOR ZOË SZATHMARY....................................................................FASHION EDITOR JILLIAN PASON..........................................................................COPY EDITOR KEITH FREEMAN.........................................................................PHOTO EDITOR ALEX NATANZON............................................................................FILM EDITOR DIANA CHOLANKERIL...............................................................ONLINE EDITOR RYAN SURUJNATH...........................................................VIDEO GAMES EDITOR

THIS WEEK’S CONTRIBUTORS TO INSIDE BEAT : Maggie Blaha, Spence Blazak, Christine Chunn, Josh Kelly, Saskia Kusnecov, Alex Holland, Gianna Moscatello, Jason Pearl, Divya Patibandla

Cover Photo Courtesy of livedesignonline.com

OFWGKTA and The Black Keys are “old?”

What’s most upsetting to me, though, is that I won’t turn on Washed Out or Mayer Hawthorne and think fondly of my college years. I won’t turn on “Like a G6” and remember pregaming with cheap flavored liquor. Because according to what “they” say, I’ll still be listening to it all in twenty, forty, or even eighty years from now.

And that’s the longest relationship I’ll ever be in – with my music.

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Inside Beat • Page 3

October 13, 2011

FASHION

TOUR

DE

CHIC

COURTESY OF SHEFINDS.COM

Lauren Conrad’s “Paper Crown” Fall 2011 Collection | B+

BY DIVYA PATIBANDLA STAFF WRITER

PHOTOS COURTESY OF ADELINEADELINE.COM

BY MAGGIE BLAHA

Lauren Conrad takes the crown … the “paper crown,” that is. The style icon and former star of The Hills is branding her romantic and effortless Californian style with the release of her new clothing line, Paper Crown. Inspired by the paper crowns Conrad played dress up with as a child, the collection is a rich mixture of soft pinks, black leather, cinched waists and flouncy florals. The garments themselves are pricey and quite simple, but it’s still worth it to pick up a key piece or two of “LC” flair to incorporate into your wardrobe.

STAFF WRITER

Bicycles are becoming popular accessories. Many women seem to have fantasies about riding an oldfashioned bicycle with a wicker basket to carry books, flowers and groceries through the city of Paris.

And in most European cities, the bicycle is the chosen mode of transportation, even though public transportation systems are excellent. Men and women can be seen riding through the streets on solidcolored bicycles with wide tires and wicker baskets, ringing little bells to warn pedestrians to bear left.

Riding a bike isn’t just a leisure activity or rigorous workout, but for many people, especially women, it

has become a way to commute from place to place. In certain neighborhoods of New York City (particularly hipster ones like Williamsburg, Brooklyn), retro bicycles have become really popular.

Women can be seen riding them in billowy skirts, sandals, boots and skinny jeans — a bike is akin to a cute handbag. It can add a romantic element to an outfit and allows a woman to pedal to work with the wind in her hair and her skirt blowing lightly.

These large, old-fashioned bicycles are designed for commuting, so bike commuters don’t have to worry about looking like they just took a three-hour long cycling class by the time they get to work. The handlebars are up higher than on a regular

sports bike, so a person doesn’t have to hunch over, the seats are cushioned and there are even fenders and chain guards to protect clothing from splashing puddles. Bike shops even sell accessories for riders to decorate their bikes. Riders can buy stylish helmets that look like equestrian hats, and wicker baskets that can accommodate books, pets and picnic lunches.

U.S. bicycle companies have modeled their bikes on European models from France, Holland and Denmark. They are heavy and many are only single-speed, which makes for a slow trip. But maybe that’s the point: taking your time getting from point A to point B so you can really see a city. It sounds so European.

\\\ Plumage Play ///

PHOTOS COURTESY OF LUCKYMAG.COM

Must-Have Pieces 1) Camilla Sweater: For those days when all you want to do is cozy up with a good read and sip tea, there’s no better way than with this warm keepsake. A soft-blend that emulates a sweater right out of Conrad’s closet, the look is comfy but still put together. Pair with leggings and your favorite pair of riding boots for a study session at the library.

2) Serena Legging (in black): Leather leggings may seem like a no-no to some, but when done the right way, such as with the Serena legging, edginess can be easily attained.

Rock them out with your favorite pair of heels for a look straight off the runway.

3) Ascher Silk Shorts: Every outfit needs a focal point.

In this case, the Ascher silk shorts are the main attraction.

With a high-waist and ribbon tie, these shorts scream sophistication. Dress for work with a loose fitting top, or dress for a night out with black opaque tights.

4) Ryder Blazer (in camel): Ever y girl needs a great fitted blazer. Look no further with this Ryder blazer in camel. It’s a perfect way to add working-girl charm to your overall ensemble.

COURTESY OF ETSY.COM

BY CHRISTINE CHUNN STAFF WRITER

While feather extensions are currently in, there’s no reason why only your hair should get all the attention. Why not your wrists too? To spice up your fall outfits, adorn your wrists with a feather bracelet or two. Autumn’s all about warm colors and gold is perfect for complementing a red cardigan, a mustard tunic, or a beige trench coat. If gold isn’t your thing, bronze works just as well. Feather bracelets or cuffs will not only perk up your outfit, but also give you that earthy element as leaves

strip off their green screens for a red and orange look before they flutter to the ground. Feather accessories are simple yet elegant and perfect for casual wear or going out. So remember, don’t just let your hair hog all the feathery goodness, your wrists need some love too.

2pcs bronze plated nickle free feather bracelet/cuff $6 (esty.com/shop/SupplyMall) Get two bracelets for under $10 — that’s a real deal. They’re chic and will flatter any outfit. Feeling casual? Couple this bracelet with an off-shoulder shirt and your fa-

vorite pair of jeans. Feeling girly?

Slip into a flower-print dress or a ruffled top.

Alto-feather Fun Cuff $19.99 (modcloth.com) This golden feather cuff is more expensive than the others, but suitable to those looking for something bold but not gaudy.

Great for vintage tees or a classy black dress.

Bangle Bracelet Feather & Orange Bead Charms $7 (etsy.com/shop/miguez) Perfect for those who just want a little bit of adornment.

Page 4 • Inside Beat

October 13, 2011

TV & THEATER

HOUSE M.D.

COURTESY OF FOX.COM

FOX, Mondays at 9 p.m. | C

BY RYAN SURUJNATH ASSOCIATE EDITOR

For the eighth time, Hugh Laurie reprises his role as the misanthropic medical genius, Dr. Gregory House. With Lisa Edelstein having been written off the show and Olivia Wilde expected to follow suit, many expect this season of House to be the last. Despite a new setting, the season premiere of House fails to wholly impress.

After driving a car through his ex-girlfriend’s home and subsequently fleeing the country, House now finds himself in prison. The episode, entitled “Twenty Vicodin,” begins with House having already served several months of his sentence. The prison’s parole board offers him the chance to be released in five days with one minor stipulation: he must remain out of trouble for the rest of the week. This is a tall order for House under normal circumstances, but now the disabled doctor must contend with lockdowns, homemade shanks and violent offenders. House’s problems stem from a faction of Neo-Nazis, who demand that he pay an exit tax in the form of the titular 20 Vicodin pills.

While House tries to stay alive over the next few days, a medical mystery presents itself in the form of an inmate (Sebastian Sozzi, Law and Order) who displays signs of lupus.

Over the years, House has fallen into a predictable cycle, with every episode seemingly adopting the same formulaic approach. For in

many ways, this episode begs comparison to the season six premiere, in which House endured a stint in drug rehab. Whereas the rehab episode created a unique portrait of a House who was trying to pick up the pieces in his life, “Twenty Vicodin” uses the same tired plot devices as any regular episode, albeit with a new coat of paint. There even appears to a new doctor (Odette Annable, Brothers and Sisters) who adopts the role of the kind, humanitarian female who inexplicably cares for House. As usual, the episode’s medical mystery follows the same procedure: the initial diagnosis followed by strange symptoms that disprove that diagnosis, a psychological profiling of House’s patient and colleagues, a life-threatening, morally questionable procedure, a sudden inspiration, and finally, a definitive diagnosis that no one else can reach.

Laurie maintains his standard of high-quality acting, but it’s House’s character that is beginning to grow stale. Perhaps he will undergo greater development when he inevitably returns to a now Cuddy-less Princeton-Plainsboro, but as of now it seems that House has not changed at all. Though one would think that time in prison would instill House with some sense of humility, he insists on being a jerk to the prison’s medical staff, his fellow inmates and even the parole board.

With “20 Vicodin,” the writers took what could have been a new theme and dropped the proverbial soap.

COMEDY ISN’T PRETTY: WANDA SYKES SPEAKS

BY HEATHER TEDESCO THEATRE EDITOR

Some of you may remember a cover article that we did two weeks ago entitled “Who Says Women Aren’t Funny?” In that article we talked to Vinnie Brand about his take on women in comedy. This week we had the honor of getting to talk with one of Brand’s favorite comedians, Wanda Sykes.

Inside Beat: What is your background and how did you fall into comedy?

Wanda Sykes: My background is far from comedy. My dad was a retired colonel and my mom worked for credit union.

We loved comedy and we laughed a lot. I went to college and worked for the government, we grew up in the DC area and that’s pretty much what you do in DC worked for the government.

I was so bored and I felt like a square peg in a circle hole. One day I was cleaning up my room and saw in my yearbook and people had wrote to me saying that I was funny and that I should be on stage.

IB: How did you get started?

WS: I started in the clubs in the DC-Baltimore area and just stayed in the area until I had enough of an act to make a little money and travel on the weekends and then I was ready to make the move and I moved to Woodbridge, New Jersey, to be

closer to New York. I tried to break into the club scene and then from there you know you have an agent and he would book me in colleges and that’s kind of where everything started. The big break for me was when I was working for Chris Rock to write for his show and then to write and then actually perform and edit and produce and all of that stuff. That‘s where it took up for me and I did 5 seasons on his show and that was a big moment for me IB: What is your take on women in comedy?

WS: There are not a lot of women in comedy and it is most typically and still considered a man’s game, but you know it’s hard. Female comics kind of have to downplay their girly side because comedy isn’t pretty. It bugs me when people say that women aren’t funny, because I know a lot of guys who aren’t funny and I think if you look at how many comics are actually funny you’ll see that there’s an even proportion between men and women and I think it’s people being lazy if they approach it with that attitude, and it’s usually people who haven‘t seen female comedians... so I think it’s bulls*** basically. Men seem to think and it’s easier for them because you get on stage and if a guy gets up on stage the audience doesn’t have a lot of preconceived notions, but when female gets on stage she’s al-

ready five steps behind but funny is funny!

IB: One of the things that you are known for is the way that you incorporated “coming out” and dealing with breast cancer into your set.

Can you tell us about that?

WS: When you’re on stage you just kind of grow as a comedian. At first I had all of these things that I wouldn’t talk about because I just wasn’t comfortable. Once I got to the point where I was like “I don’t care” it was easier to talk about what’s real...because when I didn’t it would put up a wall between me and the audience and then I couldn’t be as funny as I would have been. So it is just so liberating to talk about me and what’s real so I have a hard time hiding things. Being straightforward is just easier for me. I think it’s harder really to not talk about something personal, especially if you have something funny about it or if it’s on your mind, it’s kind of hard to keep it to yourself. I don’t do things to be self absorbed, but like the breast cancer; I was debating should I talk about it? And I did because I can make light about it because that’s how I look at life. I hope that I can help somebody to get checked or to show someone that I got the double mastectomy and a month later I was on stage.

And then with coming out and so many people have come up to me about themselves or a family member. It’s meant a lot to me.

IB: So then do you agree with the people who call you a role model?

WS: “Role model” kind of makes me uncomfortable, but I get it, it comes with the territory.

I don’t know, I guess that overall it’s easier being nice. I know I‘m loud and I have a big mouth and I say what’s on my mind and usually when I say something it’s calling people out on hypocrisy.

Overall, my philosophy is to treat people with respect and try not to be mean to people.

IB: What is your favorite medium to work in?

WS: My favorite thing is standup, to write material and to go on stage and perform it. My favorite moment is to come up with a great joke right on stage, when you stumble into something that’s really funny, that’s my favorite moment. Stand up is the hardest thing out of everything movies, TV, everything, but it’s the thing I enjoy the most; it’s the most powerful. It’s just you on stage with a mic in front of thousands of people and you’re making them laugh. That’ll make your nipples hard, it’s a rush, you have the power, you control the mood in the room it’s great.

IB: Tell us about this show and this tour.

WS: It’s funny, because my stand up has always kind of been a snapshot of what is going on in my world; and it’s funny because they kind of evolve. At first the big hour I did was pretty political

and then I did Sick and Tired and that was very political and then Im’a Be Me and that was more personal because that was about coming out and getting married and having kids; and now my kids are two and a half and it’s just funny how it’s changed — my view and how it’s taken over my life. I used to be on top of news and know what was going on and now every morning for me checking the news is looking up to see “Is Obama still president?

Okay, good” and then I go on in my day. My friends will say “Did you see so-and-so?” and I say no and it’s so funny how out of the loop I am, so that’s pretty much what my show is now, family and getting over breast cancer.

IB: What is your advice for aspiring comics?

WS: Write and just get on stage as much as possible at the coffee house or something and always take advantage of opportunities. The more comfortable you are on stage the audience feels it and also it will help with your performance and your writing because you’ll feel more comfortable with trying new things.

It’s always changing, there’s no comics who have started on stage and kept the style...it depends on the material.

Sykes is currently touring and will be coming to the State Theatre in New Brunswick Friday, October 14, 2011 at 8pm. Tickets range from $35 to $85.

Inside Beat • Page 5

October 13, 2011

VIDEO GAMES COURTESY OF GAMESPOT.COM

RAGE id Software | B

BY RYAN SURUJNATH ASSOCIATE EDITOR

With its newest title, Rage, developer id Software decided to publish the game exclusively through Bethesda. This is worth mentioning because in some ways, Rage bears similarities to Bethesda’s Fallout series. Both feature gritty, post-apocalyptic settings and both adopt a distinctive black humor that pokes fun at the end of civilization. However, Rage is not a carbon copy of Fallout; it is a unique title that features solid FPS action.

Rage does very little in the way of narrative. The player is among a band of survivors of a 2029 as-

teroid impact who have been cryogenically preserved underground so they may repopulate the Earth. The player’s character awakens from this sleep to find that the rest of the people who were part of this project have died. With no other option, the player ventures to the surface, where he is met by a bleak landscape. As he ventures about the wasteland, the player is confronted by a faction known as The Authority, which seeks to find him for his knowledge of the cryogenics program. Unfortunately, Rage’s main narrative is too weak and characters are too forgettable to make the player care what happens as the game progresses.

The weak plot is especially disappointing considering how much effort went into making the game look and sound as artistic and believable as possible. The voice acting is rather strong and dialogue is well written. Graphically, Rage is one of the finestlooking titles to date, both artistically and technically. Rage manages to make the apocalypse look breathtakingly beautiful with its dusty landscapes, rocky plateaus and ravaged scenery. Facial animations are suburb, as even the most subtle of movements are registered by the game’s engine, yet in spite of all this, the game runs smoothly on the PlayStation 3. PC gamers

COURTESY OF BMDTRAVEL.COM

should be aware, however, that there have been a myriad of problems associated with out-of-date graphics drivers; pop-in and drops in frame rate can reach cataclysmic proportions if these are not properly updated.

Rage’s gameplay is primarily centered on FPS sequences broken up by driving portions. The game features a very average selection of guns, ranging from pistols and assault rifles to rocket launchers. There is, however, a distinct emphasis on weapon customization, as players gain access to an arsenal of specialized ammunition types, such as mind controlling crossbow bolts. Shooting sequences are always fun, due in

part to the realistic physics; enemies react to every bullet and blunt weapon impact. NPCs players encounter in Rage are rather intelligent. Enemies take cover and move around to actively keep themselves alive and seem to strike an interesting balance between aggressiveness and selfpreservation. Driving sequences play out similarly to those in MotorStorm or Twisted Metal, and serves as nice distraction from shooting sections.

Its horrid plot aside, Rage is a well-crafted FPS. Stellar graphics and solid mechanics make it worth picking up for console owners, though PC gamers may want to wait for a few patches.

GAME OVER

BY JASON PEARL STAFF WRITER

There are few places in the world where it’s culturally acceptable to brandish a plastic handgun and pretend to kill everything that moves. In fact, arcades are probably the only place you could do so without becoming an expert on different varieties of straitjackets.

Unfortunately, the numbers of arcades and arcade games have been in steep decline with the advent of more powerful home consoles, leaving fans of genres like light gun shooters with fewer and fewer options.

For the past two console generations, video game store shelves have been inundated with sports games and first-person shooters.

The monotony may be broken up with the occasional RPG or action

adventure game, but arcade staples like light gun games, beat ’em ups, and shoot ’em ups have been left by the wayside. While few arcade games manage to get ported over to home systems, they’re often bare-bones packages with no new functionality. Outside of major franchises like Metal Slug or Time Crisis, most classic series haven’t seen a new entry in years.

While it’s not likely that there will be any sort of resurgence of arcade popularity, Xbox Live Arcade and Playstation Network have provided a venue for new games made in the arcade vein. Modern releases like The Behemoth’s side-scrolling Castle Crashers and the indie multidirectional shooter I Made a Game with Zombies in It! proved to be critical and commercial successes, showing that it may not be game over for arcade games just yet.

WE SAID, HE SAID So tell me about People and Things, what is different about this album from your previous two?

Like anything, the approach was a lot different than what I was used to. For all the Jack’s records I’ve built the songs around the piano and the vocals. With this one we kind of went back to band practice. With Something Corporate, we worked the songs up in a similar fashion, but I was at such a different point in my life back then.

I felt the need to get back to some of the things that maybe I have neglected a little bit in my past, especially what I didn’t talk about during The Glass Passenger. A lot of our [Jack’s Mannequin’s] late night conversations are about things with more depth and longevity. You know, we’re all in our late 20s moving in and settling down, so yeah, that definitely has brought on some differences in our music.

How has working with Sire/Warner Brother Records been for you? Why the switch from the Maverick record group to Sire – what’s different between the two?

To be honest, it’s pretty different due to the effect of the evolving record business. It’s hard to make records in a major label world, there’s no question about it. I’m lucky that I work at a record company where they respect an artist’s creativity. But it can be frustrating from time to time. At the core of the system, they support rock bands.

What are your expectations for this album, Jack’s first album peaked at 37 on the charts, The Glass Passenger peaked at eight on the charts, what about People and Things? What does this album possess that’s going to make it hit No. 1 or at least break through into the top 5 on the charts?

If I’ve learned anything about this business, it’s that attaching any expectation to anything you do is a mistake. You do it because you love it and hope that other people love it too. I try and close my eyes to what the industry is doing and make songs. The most power that you have in this business is a good song. That being said, if it went top 10, I’d be totally happy.

What songs on this album are most personal to you?

To be truthful they all come from a pretty personal place. “Platforms” talks most holistically to my life and where I’m at right now — if you want to get inside my head that’s the song to listen to.

When you say, “I’m running short on inspiration” in your single “My Racing Thoughts,” do you ever look back in retrospect and wonder ‘What was I thinking?’

I live my life from inspiration to inspiration, and when I get a lull in that I get really down. It is a real regular part of my world to have those moments. Those moments scare me. It’s the insecurity of a lot of artists; when’s the next thing coming IF it’s going to come. I’m about as human as they come — what I put out there from day to day is often the best of me.

If you could give a sentence of advice to anyone who is struggling in his or her life what would it be?

It gets better. I don’t know what else to say, but it does. It’s always easy to think that your worst moment will linger on, but it won’t.

Sept. 30th, 2008 2006 Mahon founds the “Dear Jack Jack’s Mannequin , a NPO that raises funds for releases its sophomore, conceptual arch. Jack’s Mannequin’s sinalbum, The Glass d Tape”, hit number one on Passenger.

Spot Top 20 Countdown.

05 agnosed with acute lymleukemia. ses its first album, EveryMcMahon receives a stemsister, Kate McMahon.

2010

Nov. 3rd, 2009 Dear Jack, a documentary that chronicles McMahon’s Oct. 4th, 2011 – People and Things, Jack’s battle against Mannequin’s third album is released. leukemia, is released.

Page 8• Inside Beat

October 13, 2011

FILM

PHOTOS COURTESY ALLMOVIEPHOTO.COM

Dream House Jim Sheridan | C-

BY ALEX NATANZON FILM EDITOR

Dream House starts off as a captivating movie with enough intrigue and suspense to properly scare the pants off of viewers, but slowly and surely morphs into a predictable, head-smackingly clichéd picture.

With poor screenwriting and little emotional investment in central characters, Dream House ends up being the confused love child of The Shining and Shutter Island.

Daniel Craig (Casino Royale) plays Will Atenton, an editor working for a publishing company in

New York. Will quits his job and moves to the suburbs with his wife Libby (Rachel Weisz, The Constant Gardener) and his two young daughters in order to spend more time with his family and work on his novel. Things turn awkward as strange noises, hostile neighbors and shadowy figures outside the house plague the family. Will soon learns that the Wards — the family that lived in the house before — were murdered and the accused father was the only one who survived. After some snooping around for clues, Will comes to the psychiatric institute where the

husband, Peter, was being held, and learns the horrible truth — that he himself is Peter Ward. For the past week he has been living in the rundown house, interacting with apparitions of his dead wife and daughters. With the aid of his sympathetic neighbor Ann (Naomi Watts, Eastern Promises) Peter must discover the truth about his past and find his family’s murder, even if it is himself.

Dream House actually possesses the formula for a captivating thriller — but the movie crawls along so slowly that plot takes a turn for the worse when

the audience is forced to deal with the new sub-plot of Peter’s struggle for sanity and the truth.

While twists in films can be quite satisfying, this one is just pointless — any experienced filmgoer can see this change-up coming from a mile away.

There is not enough emotional investment in the characters, either, especially in Naomi Watt’s persona. The audience never really cares about what happens to them. The real disappointment is the fact that there is nothing really scar y about the movie; if the plot fails to capture

emotion, then at least throw the audience a bone and have the decency to scare them silly. The only commendable aspect of this confused and scattered picture is a fine performance by Daniel Craig, who excels at playing both the composed Will and the emotionally damaged Peter. It seems that Dream House had the potential to be a decent thriller because all the pieces were there. But perhaps during the screenwriting stage of production, a rogue writer came in midscript and decided to muck ever ything up.

THE IDES OF MARCH George Clooney| B

BY SPENCE BLAZAK STAFF WRITER

PHOTOS COURTESY ALLMOVIEPHOTO.COM

The Ides of March just might have the best cast of any movie in recent memory, and this is why it hurts a little more that it doesn’t live up to its talent factor. Its good, but it just isn’t as good as it could have been.

The movie follows Governor Mike Morris’s (George Clooney, Burn after Reading) campaign for the Democratic Party’s presidential bid. It has all come down to the state of Ohio. The main character is Stephen Myers (Ryan Gosling, Drive), the charming, second in command on the Morris campaign who has the power to make every female intern within a 2-mile radius melt whenever he pouts his lips.

Stephen is a valuable piece in the game of the primary for both sides with the head manager of Morris’s campaign, Paul (Phillip Seymour Hoffman, Capote), tr ying as hard as he can to hold onto him, while the rival campaign manager (Paul Giamatti, The Illusionist), is trying to use mental head games to win Stephen over to his side.

Cover ups ensue, politics corrupt the incorruptible, and dark glances are shot at enemies and friends alike. The Ides of March’s greatest triumph lies in the performances of its cast. Presidential candidates pitch the same platforms every four years, but for some reason, people keep coming back and getting enchanted all over again. Clooney recognizes this and plays such a good candidate that the audience is practically handing him a blank check for a campaign contribution after the first debate.

Hoffman and Giamatti are two of the best actors in Hollywood today, and they lose themselves in their performances, making you wish they had even more screen time. Hoffman gives a one-two punch to the world of cinema that began with his tough-as-nails performance in Moneyball. Marissa Tomei also appears as a New York Times reporter who brilliantly captures the cut throat, self-helping nature that a hard news reporter needs to survive in the modern journalistic world.

As for Gosling, he has begun to shape a career that is looking very similar to Leonardo DiCaprio’s.

Ever since The Notebook, Gosling has slowly been building up more credibility for his actual acting chops rather than just his good looks. Along with Drive and Crazy Stupid Love, Gosling has had an excellent year with three captivating performances, and his work here makes this writer curious what else he has up his sleeve.

The movie is also the latest entr y into the “Clooney-noir” genre, where George Clooney puts his hand into ever y aspect of the movie. While it is respectable to love one’s work that much, the directing comes off as a little bit “blah” and the script’s wittiness just winds up falling flat a lot of the time.

All in all, The Ides of March is good, but it is just missing something. The underlying theme appears to be not much more than how politics can change a person seemingly made of unbendable metal, as well as the horrible price of getting ahead in the world. Think of it as a Thanksgiving turkey. It looks great, but the stuffing is little more than mixed nuts.

Inside Beat • Page 9

October 13, 2011

FILM

CLASSIC FILM: Cinema Paradiso

BY SASKIA KUSNECOV STAFF WRITER

“Life isn’t like in the movies,” Alfredo says to Salvatore as they sit by the scenic Italian waterfront, “Life … life is much harder.”

Giusppe Tornatore’s 1988 film Cinema Paradiso is a cinematic masterpiece about growing up, falling in love and the dif ference between being successful and being happy. The film at large is a flashback of Salvatore Di Vita’s life as pint-sized, teenaged “Toto” in post-WWII Giancaldo, Italy. The flashback is triggered by the news that old Salvatore’s childhood father figure Alfredo (Philippe Noiret) has died.

Toto (Salvatore Cascio) spends his childhood hanging around Alfredo’s projection booth at the “Cinema Paradiso” and buying movie tickets with his family’s milk money. He grows up in a small, ver y religious and politically-charged Italian town where movies are censored and Stalin jokes are never a sore subject. Toto is seen as a pest until he has to step up to the projector at the new Cinema Paradiso when the old theater burns down. The fire leaves Alfredo blind but still paradoxically able to guide young Toto as he grows up and is exposed to the harsh realities of love, life and loss.

In addition to crafting a beautiful stor y, Tornatore is sure to paint an accurate picture of this post-war Italian village and society at large. It is largely maledominated; the women rarely appear outside except as silent or nagging wives and mothers.

Large mobs of lower-class citizens, hungr y for entertainment, populate the streets outside the theater. In the early days of the Cinema Paradiso, the town’s Minister screens the movies before they are shown to cut out risqué lip locking. By the time Toto takes over the film projector, this practice is gone and we see the transition of the theater from a boy’s club to a beloved escape for women, men and children alike.

The film sets the stage for the poignant Hollywood moments with montages of cinematic love scenes as well as the kiss that takes place between Toto and his beau in the rain. His romance with this unattainable banker’s daughter, Elena (Agnese Nano), characterizes the universal desire to find true love and solace in the ease of childish passions. From the moment he first captures her on film to her epic declaration, “I’ll meet you at Paradiso,” their love is as ideal and out of reach as those romances Toto streams from his projection booth.

Cinema Paradiso is a truly brilliant film with universal themes and relatable messages. It also poses questions that ever y college student probably ponders from time to time. For example: What is the difference really between doing what you love and loving what you do? Is home still home, or are there really “only ghosts” there now that you’ve somehow fostered a home away from home? And what’s the point of coming down from the clouds or out of the cinema if what you’re coming down to is uncertain?

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Page 10• Inside Beat

October 13, 2011

MUSIC

Mutemath

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Odd Soul | A-

BY GIANNA MOSCATELLO STAFF WRITER

T h e New Orleans-based alt rock b a n d Mutemath released something truly special with its third fulllength album, Odd Soul. While diehard fans of their first or second albums may not be in aurally familiar territory, Mutemath’s new musical direction will prove to be undeniably infectious if listened to with unbiased ears and an open mind.

The musical approach on Odd Soul is truly original. It sounds as if the band members took a time machine back into the 1970s, immersed themselves within the blues rock sound and then wrote this album with their own signature 21st century spin on it.

The album starts out with the title track “Odd Soul,” which is a funky, sonic bombardment from start to finish. The song is filled

I’M WITH

THE

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BRAND

BY DIVYA PATIBANDA STAFF WRITER

Fashion is often music’s partner in crime. Inside Beat takes a look at some of the hottest clothing brands that bands wear and endorse while rocking out on stage.

Glamour Kills — A front-runner in the pop-punk music scene, Glamour Kills Clothing was first introduced to the masses at the Bamboozle Music Festival in Spring of 2005. Founder Mark Capicotto founded the company that same year, creating colorful and eye-catching designs. The merchandise sold consists of items such as T-shirts, tanks, cardigans, denim, skate gear and various other accessories. The company’s logo, a pig with wings, is often spotted on the merchandise itself. Glamour Kills has come a long way with endorsements of bands such as All Time Low, Cobra Starship and Hey Monday. Whether you’re looking for a slouchy crop-top or a plain logo tee, Glamour Kills caters to all music lovers alike.

Jac Vanek — Known for her rubber bracelets seen on the wrists of many concert-goers, Jac Vanek has gone from Ocean County-native to music culture

phenomenon. Inspired by a concert that she attended at the age of 15, Vanek started out her business small with one bracelet that read, “Ruthless.” Demand for her products has grown substantially since then, allowing Vanek to design many other bracelets featuring some band collaborations. Vanek also sells T-shirts, tanks, sweaters and accessories. As said by Vanek herself, all of the designs and products, “have a reasoning and inspiration behind them, fueled by emotion, desire and drive.”

Kill Brand — Created by Jonny Smith, former musician of the band Tokyo Rose, Kill Brand has taken the punk scene by storm.

While on tour, Jonny spray-painted “K-I-L-L” across his shirt, and it was an instant success. Since then, the shirts have been screenprinted with the signature logo.

Since leaving Tokyo Rose, Jonny has continued to promote his brand at various music festivals.

While a lot of the garments feature the signature “Kill” logo, others incorporate already existing brand name designs of other companies and recreate them in a new way.

Kill Brand offers everything from popping comic book-like designs for men, to girly floral and tribal prints for women.

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with Paul Meany’s distinctive lyrics and vocals and his raspy melodies soar above the chaotic instrumentation grooving below him. While much of the album continues in this fashion, each song is distinctive, featuring unique melodies and surprising instrumental twists.

More laid back and contemplativesounding songs such as “All or Nothing” and “In No Time” are reminiscent of their earlier works, and they are interspersed throughout the album perfectly.

The heart of the Odd Soul lies in Meany’s vocal communication and interplay between the bluesy guitar and bass riffs as well as throughout Darren King’s ingeniously executed drumming. Although the band’s sound draws immediate comparisons between a vast array of classic rock groups, Mutemath never comes off as a copycat band. The album sounds more like a modern homage to the great rockers of the past than it does a simple tribute to them. At the end of the day, Mutemath has crafted a completely refreshing approach on the modern-day rock sound.

Inside Beat • Page 11

October 13, 2011

MUSIC

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Artist of the Week: Chadwick Stokes

BY SASKIA KUSNECOV STAFF WRITER

In the ’ 90s, a small-scale independent band named Dispatch miraculously made it into the mainstream with a chart-topping song entitled, “The General” — most commonly known to people as the take-a-shower-shine-yourshoes song. The music scene’s newest solo indie-rock artist, Chadwick Stokes, wrote the catchy tune. After dropping out of

college to play music, he joined Dispatch and founded State Radio.

While still affiliated with these politically charged indie bands, Stokes has also released two solo albums, Simmerkane I and Simmerkane II. Chadwick Stokes is not only a gifted hippie/jam rock musician, but he’s an activist as well. He founded the organization, Calling All Crows, and before ever y show he invites audience members to engage in community

service. A lot of his own music, as well as his work in State Radio, is played at benefit shows. Adding to his résumé, he was deemed “Humanitarian of the Year” at the Boston Music Awards in 2008, and with the benefit of playing small venues, he is able to foster an intimate and personal relationship with his fans.

A lot of Stokes’ songs are also oriented around current events such as the shooting of Troy Davis, which he commemorated

with the emotionally infused song, “State of Georgia.” The relevance of the song’s lyrical content and the catchy acoustic chords make Stokes a great listen for anyone who likes to be engaged as well as entertained by the music that they listen to.

Stokes’ style is a delicate mixture of Neutral Milk Hotel and Blur — with a distinctively indiealternative sound, strong choruses and distinctive chords.

While his presence is definitely

noted in Dispatch and State Radio, nothing compares to the latest album Simmerkane II, which showcases the talent that has somehow slipped under the radar. He launched his solo tour for his album in August and is now heading around the country, spreading the love for both the community and good music. This bushy-haired talent could be bringing his retro jam rock tunes to a venue near you, so keep an ear out!

Local Corner: Unbearable Slackers

BY ALEX HOLLAND STAFF WRITER

Ska has always been a popular type of music in the Garden State.

From local upstarts The Wafflestompers to scene veterans such as Catch-22 and Streetlight Manifesto, New Jersey is no stranger to the upbeat genre. Continuing in the tradition is a band from the little town of Madison, N.J., — Unbearable Slackers. This energetic group is the epitome of vibrant music that evokes an entertaining time.

While the band has only been around for a year, Unbearable Slackers has shared the stage with noteworthy bands such as Catch22 and Survey Says and will be opening for one of Ska music’s biggest acts, Big D and The Kids Table in the near future. “I’m very excited to be able to play in front of Big D. It’s been such a ride from where the band started to

where we are now,” said lead singer Rob Hammernik. Alongside Hammernik is drummer Mark Spelker, guitarist Josh Hershkovitz, trumpet player Spencer Peles, trombone player, John Cortelyou, bassist Greg Gecik Jr and saxophonist Christopher “Schetty” Schetelick.

Unbearable Slackers is a band that writes what it’s all about. In a time where bands talk politics, the Madison-based band is about entertaining audiences to the best of its ability. “We are a band that wants to leave our audiences with a positive experience, and we have been able to do that with every show we do.” With songs such as “Red Cup Revolution,” “Good Ol’ Days” and “Skankin” U.S. energizes audiences with their catchy choruses, dance hall beats, and powerful song writing abilities. The band is currently touring throughout New Jersey and is looking to record an EP sometime soon.

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Page 12• Inside Beat

October 13, 2011

MUSIC

Feist Metals | A-

BY JOSH KELLY STAFF WRITER

Musicians are artists that paint on a canvas of silence, and Leslie Feist does just that quite beautifully.

What was slowly introduced to the public via a series of short YouTube clips, Metals, Feist’s fourth studio album, has arrived. At the opening of the album, you get an air of adventure and exploration that’s reminiscent of early Tom Petty. As the album progresses, she comes into her own with a sound that can be paralleled to that of Alanis Morissette or Fiona Apple.

Feist really makes the crooning female style work for herself — she keeps the listener submersed in her world from start to finish.

“How Come You Never Go There,” the first single, isn’t fairly

indicative of the album’s true nature. The song conveys a Feist that is familiar, but the rest of Metals doesn’t seem to follow suit.

This album is a true product of its environment; it was recorded in the mountains out west and throughout the album there is a clear reflection of natural themes referring to landscape, animals and to the ways of love.

Her voice can be interpreted as a constant contradiction; its warmth and resonance is reminiscent of another time, while she still maintains an aura of freshness.

Notable tracks on the album include: “Caught A Long Wind,” “Undiscovered First” and “Anti-Pioneer.” Metals can be uplifting and calming; it can create a sense of audible nirvana; it can be a sobering testament to the ways of our world. Feist took great care in crafting what may be considered her best album to date. This album is not one to pass up — it’s definitely worth a buy.

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