OCTOBER 4, 2012 • VOL. 30, NO.15
INSIDEBEAT THE WEEKLY ENTERTAINMENT MAGAZINE OF THE DAILY TARGUM
Grade School Fall TV’s Highs and Lows
LOOPER •
THE
CY • G N A C A V L CASUA
OSSIP G
NS • NO IRL RETUR
DOUBT
INSIDE BEAT
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October 4, 2012
INSIDEBEAT EDITORIAL BOARD Zoë Szathmary INSIDE BEAT EDITOR FASHION EDITOR Ryan Surujnath ASSOCIATE EDITOR VIDEO GAMES EDITOR Freddie Morgan ASSISTANT EDITOR TV EDITOR Emily Gabriele MUSIC EDITOR Alex Natanzon FILM EDITOR Saskia Kusnecov ART EDITOR Rashmee Kumar COPY EDITOR Jason Pearl ONLINE EDITOR CONTRIBUTORS Spencer Blazak Fatimah Foster Mary Grace Garis Darrel Gordon Zachary Halperin Emily Maas Lisa-Anna Migliore Rina Mody Danielle Powell Jessica Ray Alyssa Roibal Nouran Shehata Gianna Stefanelli Anthony Toto
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PHOTO COURTESY OF GETTY IMAGES
The Casual Vacancy BY RINA MODY STAFF WRITER
After five long years, “Harry Potter” author J.K. Rowling has finally released a new book. To say it is different from the Potter series would be an understatement – not only does it lack the magic of Hogwarts, but its characters are more complex than the mostly polarized versions of good and evil in the “Potter” series. The heroes in “The Casual Vacancy” are not risking death to save the world. The villains are not evil murderers, thecentral character does not always act with the best of intentions as Harr y did, the woman who guides her does not always know what to do as Dumbledore had. The characters that live in the small town of Pagford have much more depth.
The book begins from the perspective of council member Barry Fairbrother as he heads out to an anniversary dinner with his wife. Fairbrother dies before dinner is even halfway through, though, and the book almost immediately changes perspective and continues to do so throughout. It switches ever few pages between a wide range of characters – some that liked Fairbrother, and others that did not. The casual vacancy that occurs on the council board as a result of Barry’s death seemstrivial at first, yet for Howard Mollison it means great change. For Fairbrother’s death signifies the end of any serious opposition to the redistricting plans he wishes to implement. It seems inane, but with the introduction of Krystal Weedon and her family, the book turns into a story about poverty, addiction and
neglect. As a sixteen year old with a heroin-addicted mother and absent father, Weedon lives in the impoverished part of town which Mollision wishows to redistrict. Some in the town would wish to help her, as Fairbrother had, while others, like Mollison, would see her and her entire family as a burden on the town that is draining its resources. It is this ever-relevant battle that creates the heart of “The Casual Vacancy.” Rowling’s newest book is often hard to put down. While there are portions that lag, Rowling portrays the teenage characters in the book with great precision; they behave realistically and are relatable – unfortunately the same cannot be said about Rowling’s sexual descriptions …especially the condom that glistens “like the gossamer cocoon of some huge grub.”
COVER PHOTO COURTESY OF FANPOP.COM
Easy Apple Crisp
PHOTO COURTESY OF DANIELLE POWELL
BY DANIELLE POWELL STAFF WRITER
This apple crisp is cooked in the microwave instead of being baked in the oven, and can therefore be made in a dorm room, as long as there’s a microwavable dish on hand and utensils for peeling and slicing the apples. It’s easy to make and will have the whole room smelling like Autumn in less than a half hour! Ingredients: 4 large Granny Smith apples 1 stick of butter, melted 3/4 cup packed brown sugar 3/4 cup quick cooking oats 1/2 cup all-purpose flour 1 tsp cinnamon 1/2 tsp pumpkin pie spice 1. Core, peel, and slice the apples. Spread on the bottom of a microwavable baking dish. 2. In a medium bowl, mix together the melted butter, brown sugar, oats, flour, and spices. 3. Sprinkle the topping evenly on top of the apple slices. 4. Cook on full power in the microwave for 12 minutes, or until the apples are soft. Enjoy!
INSIDE BEAT
October 4, 2012
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Gossip Girl’s Final Season BY MARY GRACE GARIS STAFF WRITER
“Gossip Girl” debuted as a provocative show that had flocks of teens boasting headbands, plaid skirts and sleek cellphones with its influence. Now, the series is wrapping up with a ten-episode mini-season and a once not-soembarrassing guilty pleasure has now arguably morphed into a glorified primetime soap opera. It seems that the predictable, absurd storylines are a far cry from their early taglines of “OMFG.” In fact, most remaining fans are scrambling to online forums with echoes of “LOL, WTF?” Will “Gossip Girl”’s swan song redeem the series, or are we set up for a very sparse shortened season? The premiere opens after another summer of the gang spread about the globe, and another disappearance of It Girl Serena Van Der Woodsen (Blake Lively), who was last seen dabbling with nose candy on a train out of the city. The gang finds her whereabouts and they all immediately abscond to an impromptu wedding. Of course, in the world of “Gossip Girl,” impromptu weddings are just another Monday. Where did the show leave off with its central, controversial couple, Chuck Bass and Blair Waldorf? Last season ended with the duo in a casino, Blair putting her
chips on the table and declaring, “I’m all in.” Without spoiling anything, Canadian promos have suggested that Chuck is “all in” as well. We can smell the endgame from a mile away. The show is also set to introduce some last-minute new characters. This includes Serena’s new squeeze, Steven Spence, played by 7th Heaven’s Barry Watson. Sophia Black-D’elia is also set to appear as Sage, who is slated to fulfill the role of Nate Archibald’s love interest of the season. Last year’s subpar season primarily involved Blair’s wedding to the Prince of Monaco, Dan Humphrey (Penn Badgley) becoming a best-selling author by essentially publishing a FanFiction about his life, and Chuck’s discovery that his dad was faking his own death. The plot seems to be getting more farfetched by the moment. No solidified plotlines for the upcoming season have been announced other than skeevy rumors of Ivy (Kaylee DeFer) shacking up with Rufus (Matthew Settle), and Nate adorably trying to expose “Gossip Girl” with the online newspaper he manages to run without a college degree. Oh, “Gossip Girl.” Despite it all, you know we love you. “Gone, Maybe, Gone” premieres Monday, Oct. 8 at 9 p.m. on The CW. Crying about it is scheduled to start immediately after.
PHOTO COURTESY OF FANPOP.COM
Eye On...Emanuelle Alt BY ZOË SZATHMARY INSIDE BEAT EDITOR
With both the Paris and Milan fashion weeks winding down, steely editors and bloggers are returning to their computers to write about, praise and alternately bemoan the latest collections. Of course, this doesn’t mean they won’t be photographed on the way home looking fierce. Enter Emmanuelle Alt, editor-in-chief of VOGUE Paris, is arguably one of the coolest editors in fashion, with her minimalist, high-low uniform. Alt became editor-in-chief of VOGUE Paris in February 2011 following the departure of the celebrated Carine Roitfeld, after serving as fashion director and occasional stylist for eleven years. With Roitfeld, Alt helped put
VOGUE Paris back on the map after dwindling circulation numbers, using controversial fashion shoots, the rise of “porno chic,” and It Girl celebrity cover models. Alt previously worked at Mixte and first entered the magazine industry at the tender age of 17, working for French ELLE. In terms of runway brands, Alt relies heavily on French brands like Givenchy, Balmain and Isabel Marant – her husband Franck Durant is creative director at the latter. She has also admitted to liking high street chains; she has expressed an interest in Topshop jeans, telling American VOGUE “Jeans should be jeans.” Rarely seen in skirts or dresses, Alt normally sports the following outfit: skinny trousers, sometimes cropped; a loose-but-
ton down; pointy boots; and a dramatically draped leather jacket. This list of items is deceptively simple; combined with Alt’s makeup-free face and long hair, she cuts a figure as the most stylish tomboy in the room. Of course, looking this good means someone is bound to copy you. It seems Alt has style clones in her own office. Geraldine Seraglio and Capucine Safyur tlu, VOGUE Paris’s market editor and Alt’s assistant, respectively, don a similar look when going to various events. When lined up next to one another, the women form an intimidating army of It Girls – all the better protection when Alt is inevitably photographed by the likes of Scott Schuman, Tommy Ton and Garance Doré.
PHOTO COURTESY OF GETTY IMAGES
From Art to Experience BY JESSICA RAY STAFF WRITER
As a neo-primitive artist living in South Africa, Richard Hart has a unique perspective that shines through in his art. Hart was born in Scotland, but moved to Zimbabwe, then South Africa by the time he was twelve. Because of this, Hart became familiar with war, death and racism at a very young age. He describes his childhood as vivid and sometimes frightening. After high school, Hart wanted to pursue a career as an artist, but at the time it did not seem like a
realistic option. Instead, Hart studied graphic design at the Technikon, a technical institute in Durban, his hometown. The adjustment was rough; he flunked his first year for poor attendance and incomplete assignments. After being given a fortuitous second chance, Hart rose to the top of his class. He then opened up a design studio, which became well-known for illustration. Hart says the transition between graphic design and painting came when he discovered that he had something to say, rather than saying something specific for someone else. However, it wasn’t
so easy – Hart spent a year and a half working on the illustrations for his first solo exhibition when he suddenly had an epiphany. “Something clicked,” he said, “and I knew that painting was something more than making images. So I guess that’s when I started painting and stopped illustrating.” Richard Hart’s describes his artwork as “a sort of cultural mash-up.” He is influenced by impressionist-inspired artists such as Michael Borremans, Victor Man, and Razvan Boar. His paintings all share an allusion to unspecified ritualistic practices within context of South
African culture. In a painting titled “The Beginnings of Other Stories,” for example, a naked woman stands with her back to the viewer. Animal horns and knives are strapped to her body in preparation for a ritual. Other works feature the dichotomies between black and white bodies, or contrasts between nude and partially covered bodies. “There is a cut-and-paste approach and a definite interest in finding new ways to involve the human form,” Hart said of his perspective on the human body. “It is quite sculptural in a sense; a body is simply a form much as
a table or a car tire is.” Hart wants his view to be able to experience the spirituality of the moments he depicts. Though Hart’s background is unique, students can learn from his perseverance and drive. His diverse experiences, including some heavy setbacks, have indirectly enabled him to find a way to follow his dreams and express himself through the medium of paint. To anyone whose ideal careers don’t exactly pay the bills, Hart said, “Look for the back door! And be prepared to take the scenic route, you have all the time in the world!”
Report Card With midterms around the corner, Inside Beat takes fall shows back to school. Who passed with flying colors, and who came up short? Read on as we grade the newest additions to primetime television. All Photos Courtesy of Facebook.com
Star Student: ‘The Mindy Project’ NBC, Tuesdays at 9:30 p.m.
A
BY ALYSSA ROIBAL STAFF WRITER
“The Mindy Project” is the brainchild of Mindy Kaling, the prolific writer, producer and co-star on NBC’s “The Office.” Drawing heavily from Kaling’s own fascination with romantic comedies, self-centered Mindy Lahiri is an OB/GYN with a comically tragic love life. For Kaling fans, the show stays true to her self-mocking, highpitched brand of humor. Mindy hilariously believes she is starring in the movie of her life. “I’m basically Sandra Bullock,” she says after meeting a handsome doctor (Bill
Hader) who, we eventually see, will not end up being the love of her life. Her friend Gwen (Anna Camp, “The Good Wife”) points out that her life is not a rom-com, but rather a sad documentary about a “criminally insane spinster.” Mindy retorts, “Sounds like I could win an Oscar, though.” A great supporting cast surrounds Kaling’s heroine. There is instant chemistry between Mindy and her two fellow residents. Jeremy (newcomer Ed Weeks) is a charming English doctor whom Mindy compares to Hugh Grant in “About a Boy.” Danny Castellano (Chris Messina, “The Newsroom”), on the other hand, is a tough, career-dri-
ven resident who listens to Bruce Springsteen and watches “Deadliest Catch.” By the end of the pilot, we see that Danny has a soft spot for Mindy. The pilot opens with a montage of Mindy through the years reciting lines from various romantic comedies in front of her television screen, beginning with “When Harry Met Sally” and progressing to the present day. We can infer that Mindy has internalized the convoluted messages of romantic comedies from a very young age. But Mindy is not another Manic Pixie Dream Girl, and “The Mindy Project” is nothing like “New Girl.” Mindy does not have much in common with
Zooey Deschanel’s Jess, aside from an occasional pair of black-rimmed glasses. Though Mindy may be just as psychologically damaged, in contrast, she is confident and self-aware. When she pulls herself together, we see she is good at what she does. Mindy is a successful OB/GYN, unlike many disheveled characters on similar sitcoms whose lives are messes in every aspect. “The Mindy Project” truly has legs to stand. Television veteran Kaling knows how to execute a captivating concept with ease. With a fully developed, self-assured voice already in place and tight, sharp writing, this show is worth your time.
Good Try: ‘Partners’
B
CBS, Mondays at 8:30 p.m.
BY EMILY MAAS STAFF WRITER
“Partners” is just another sitcom that CBS can add to its list of indistinguishable weeknight comedies. Amidst a lineup with mixed reviews, “Partners” seems to fall right down the middle. It’s a good show, but it could be better. “Par tners” centers around two men, who are par tners in their architectural firm and have been best friends since childhood. This, naturally, makes them quite the pair; together, they meddle about in each other’s lives in a classic sitcom format. The focus of their relationship, however really centers on their sexuality — Joe (David Krumholtz, “Numb3rs”) is straight, and Louis (Michael Urie, “Ugly Betty”) is gay. The show was created by “Will and Grace”’s David Kohan and Max Mutchnick and bares striking similarities to the duo’s past creation. “Partners” has borrowed the dynamic that held together the two leads on “Will and Grace.” Now, it is clear Debra Messing’s character is male. In the pilot episode, Joe proposes to his long-time girlfriend, Ali (Sophia Bush, “One Tree Hill”). A spat with Louis leads Ali to call off the engagement, but by the end of the episode, all is for-
given. The final scene features the four main characters, including Louis’ hunky boyfriend Wyatt (Brandon Routh, “Superman Returns”), sitting around a restaurant table laughing and delivering toasts. The show is cute and has several laugh-out-loud moments, but it is not without flaws. The biggest issue is that there is hardly any chemistry between the four main characters. Additionally, the characters themselves are unlikeable. Louis is self-centered and detrimental to those around him. Too many of his lines were stuttered, and although his funny dialogue and flamboyant body language often carry the show, it is hard to not feel frustrated with him. With Joe, Ali and Wyatt, there isn’t much to say. All three are very one-dimensional so far. Aside from learning about his childhood and past, Joe’s serious and reclusive nature make him far less interesting than Louis. “Partners” definitely needs to work out the little kinks. Time will allow each actor to settle into their role and grow comfortable with their cast mates. It certainly has the potential to become a popular sitcom, and “Will and Grace”’s success is proof that “Partners” formula can be done well. The only question now is whether it will succeed.
More Effort Required: ‘Elementary’
C+
CBS, Thursdays at 10 p.m. BY ZOE SZATHMARY INSIDE BEAT EDITOR
Sherlock Holmes, with his eye for detail and quirky personality, is having yet another moment in the spotlight. Both Robert Downey Jr. and Benedict Cumberbath have portrayed the infamous sleuth in “Sherlock Holmes: A Game of Shadows” and “Sherlock” on the big and small screens, respectively. American television has also jumped on the bandwagon, with CBS’s new series “Elementary.” Starring Jonny Lee Miller and Lucy Liu, the show offers some potential but seems to be stuck in first gear. Like “Sherlock,” “Elementary” is set in a 21st century metropolis. Miller (“Dark Shadows”) plays Holmes, this
time as a recovering addict and former Scotland Yard consultant who goes to New York City to assist the NYPD. Miller’s Holmes, with his ever-present scarf and throwaway lines, is an odd mash up of Hugh Laurie’s beloved Dr. House and any number of stereotypical Merchant Ivory protagonists. His multiple tattoos and cavalier attitude pale in comparison to the “steampunk badass” approach Downey made famous. He seems like the network’s awkward attempt to make the protagonist trendy. CBS was wise, however, to make his Watson counterpart female. As Holmes’s live-in sober companion, Liu (“Charlie’s Angels”) shows surprising range — she is alternately sensitive to victims and suspects, but is not afraid to
call Holmes out on his loutish behavior. However, it’s clear she harbors a traumatic past — she refuses to talk about her former life as a surgeon. Producers have stressed that the relationship between Holmes and Watson will remain strictly platonic — that said, the scene introducing the pair features obvious sexual tension. There is also an awkward power struggle between the two characters when Holmes brings his non-NYPD companion with him to both crime scenes and the police station. Hopefully writers will use this dynamic in later episodes to further develop Holmes’s personality. In terms of design, the show feels intimate and personal. Most scenes from the pilot take place in interiors with
dark lighting and feature dramatic close-ups of characters’ faces. Unfortunately, the plot itself doesn’t stand out from the other procedurals on nighttime television. Holmes picks up on things that no one else in the NYPD can, yes, but at this point, U.S. viewers expect and demand their detectives to be extraordinary. With a palpable chemistry between the two leads, “Elementary”’s examination of personal and professional friendship could prove interesting. It’s too bad, though, that its overall plot and layout is secondary.
See Me After Class: ‘The Neighbors’
C-
ABC, Wednesdays at 8:30 p.m. BY FATIMAH FOSTER STAFF WRITER
Critics awaited the premiere of ABC’s “The Neighbors,” if only to roast it. The show, about a typical American family moving into a gated Jersey community full of friendly aliens, was slammed from ever y angle before it even aired. It seemed unfathomable that somehow, creator Dan Fogelman of “Cars” and “Tangled” thought this trite sci-fi comedy
about humans and aliens coexisting would be successful. It turns out, unsurprisingly, that he was wrong. The series premiere of “The Neighbors” opens with some insight into how these aliens that physically resemble humans arrived on Ear th — by landing their spaceship directly onto the proper ty and buying up ever y home in the complex. Their next mission: to contact “home,” which becomes an issue when they realize they are missing the one in-
strument that allows them to connect to their other world. Fed up with how things are going, one of the alien couples decides to head back home, thus leaving a vacancy. The next scene cuts to a suburban family, with daughter Amber Weaver (newcomer Clara Mamet) inelegantly yelling, “Can’t believe we have to move, this totally blows.” By the end of the episode, suburban dad Marty Weaver (Lenny Venito, “The Sopranos”) makes the most clichéd American exception-
alist promise when he vows to “make the neighbors normal.” The fact that the show is completely unoriginal makes it funny, but in all the wrong ways. The jokes are so simple and the premise is so worn that it’s laughable. “The Neighbors” is also childproofed in a way that will ultimately limit the scope of its viewership. Let’s just hope that the show has some tricks up its sleeves; if not, “The Neighbors” will be labeled a disaster.
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October 4, 2012
Hotel Transylvania
Looper
Directed by Genndy Tartakovsky Directed by Rian Johnson BY JASON PEARL ONLINE EDITOR
Director Rian Johnson’s (“The Brothers Bloom,” “Breaking Bad”) first foray into sci-fi received nearunanimous praise at the Toronto International Film Festival earlier this year. What arrived in theaters this past weekend, however, looks like it should have been left on the cutting room floor. “Looper” takes place in the dystopian future of 2044, where the country is wracked by overpopulation and organized crime, including a unique segment of criminals known as loopers. These contract killers are used to assassinate people sent back in time from even farther in the future. When a looper’s contract is up, the mob sends that looper’s future counterpart back, head covered, for an unnecessarily complicated suicide. When Joe (Joseph-Gordon Levitt, “The Dark Knight Rises”) fails to slay his anachronistic analogue (Bruce Willis, “Die Hard”), he must track himself down before the mob finds one of him. Older Joe has a mission of his own, however, with his sights set on snuffing out a future crime lord while still a child. The entire conceit of this film is a gaping plot hole. Why would the mob not only trust the loopers to kill themselves, but tell them about it in advance? That’s right — anyone who becomes a looper knowingly agrees to a death sentence 30 years in the future. Why does the
mob even tell them this? Why doesn’t the mob send the doppelgangers of each looper to another looper, instead of to themselves? Not that any of these specifics matter past the first act anyway, as the movie jarringly shifts its focus onto a motherand-son pair of telekinetics and their potential connection to Joe’s future. While Johnson’s direction is fine, and Gordon-Levitt and Willis do what they can with what they’re given, basically everything else in the movie is markedly subpar. It is Johnson’s screenplay especially that brings this movie to a surprisingly low level of quality. In addition to the aforementioned logical inconsistencies, the film is filled with generic and forgettable dialogue. Furthermore, there are virtually no likable characters in the movie, as everyone is either a selfish criminal or just plain annoying. Admittedly, it does have a couple of interesting elements, such as the disfigurement of someone in the past affecting their time-displaced version, or how Older Joe finds his past self by the new memories he was forming. The hardened killer protecting broken family story is already overused, and the nonsensical scifi veneer added in “Looper” doesn’t really do anything to distinguish it from other inferior entries like “Elektra” or “Punisher: War Zone.” The only thing that sets “Looper” apart is how something so objectively bad can be so well received. IB Grade: D
ALLMOVIEPHOTO.COM
BY LISA-ANNA MIGLIORE STAFF WRITER
Sometimes children’s cartoons also catch the attention of an older audience, but unfortunately director Genndy Tartakovsky’s latest animated adventure, “Hotel Transylvania,” does not. Penning scripts on “Dexter’s Laboratory” and “Samurai Jack,” this TV cartoon writer’s most recent venture is unimpressive and brimming with more well-worn fart jokes than a child can handle. It takes place at the titular hotel, a luxurious castle resort built by Count Dracula to keep his friends and inquisitive daughter safe from humanity. At its core, “Hotel Transylvania” is a stor y about a traditionalist single father (Adam Sandler, “That’s My Boy”) who struggles to accept his daughter Mavis’ (Selena Gomez, “Monte Carlo”) desire to grow up and engage the modern outside world. In the end, he accepts her maturity and worldly boyfriend Jonathan (Andy Samberg, “That’s My Boy”). In this case, however, the father and daugh-
ter are bloodsucking vampires, and the boy a blood-pumping human. It is a silly twist on a time-old tale that exists both in fantasy and reality, but the film’s attempts at sincerity are slightly lost because of its stereotypical and humdrum humor. Despite the sweet story line and star-studded cast, including Kevin James (“Zookeeper”) as Frankenstein and Sandler’s daughter Sadie Sandler (“Just Go with It”) as a young Mavis, the film is ultimately unoriginal and predictable. The speedy, detailed animation of Tartakovsky’s world helps carry the viewer along despite bumps the less impressive script. One of “Hotel Transylvania”’s failings is its use of stereotypes. An array of monsters floods the walls of the hotel, including average witches and zombies to literary classics, such as Quasimodo and Dracula himself. The presentation of characters, specifically Quasimodo and Jonathan, are done so in a prejudicial light for young viewers. Quasimodo is shaped into a short, conniving chef with a terribly broken French
accent, which adds to a negative view of the French. The film also presents the stereotypical representation of a modern teenage boy with Jonathan; the typical American boy dressed in smelly, baggy clothes uses “dude” or “cool” in every other line. While “Hotel Transylvania” makes children laugh, it does so with unoriginal material that could lead to misguided views of certain people. Though it has its share of negatives, “Hotel Transylvania” definitely has moments of promise. During an intense pseudo-car chase when Dracula and his crew are racing to catch Jonathan after he leaves the hotel, they are suddenly halted by a hoard of sheep blocking the road. The werewolf, decked out in suit and tie, takes care of the job in a second. He then returns with wool sticking to the side of his mouth to a buggy full of wide eyes. There is an awkward pause, the message is clear. If the rest of the script were as eccentric and clever as this brief moment, the film as a whole would be more successful. IB Grade: C
RESIDENT EVIL: A RETROSPECTIVE
Blackberries: Where are they now? BY RYAN SURUJNATH ASSOCIATE EDITOR
According to the most recent figures released by the International Data Corporation (IDC), Blackberry has continued its downward spiral, with Research in Motion’s (RIM’s) device reportedly accounting for a mere 6.4 percent of global smartphone market share. These figures represent a 29 percent market decline for RIM in the past year, while competitors Google and Apple have recorded combined growth in excess of 200 percent. Not too long ago, the Blackberry was the lifeblood of the working professional whose career required constant email connectivity — nowadays the once-iconic device is but an afterthought in a world dominated by Android and iOS. Despite its decline in popularity, it is impossible not to acknowledge the influence the Blackberry had on technology and business. The first Blackberry, the 850, was released in 1999, and functioned primarily as a twoway pager. It had a number of features, however, that set it apart from other pagers of the time period — the 850, for example, featured a full QWERTY keyboard, which was an uncommon feature among phones of the day. More notable was the inclusion of email and messaging clients, which
allowed users to keep connected and allowed the device to function as a miniaturized PDA organizer. RIM wouldn’t aim for a wider, consumer audience until 2006, with the 8000 series, more commonly known as the Blackberry Pearl. The Pearl included a number of specifications aimed at a more mainstream audience, such as a 2 Mpx camera and the implementation of the Blackberry’s now-famous TrueType feature. At the time, TrueType broke new ground in the realm of predictive type technology — the Blackberry was arranged in three five-button rows, with each key representing two letters and the entire keypad mimicking a computer QWERTY layout. Early models also included MicroSD slots to expand internal memory, while later RIM would include Blackberry Messenger (BBM) in new devices. BBM was a feature that allowed text-based communication between Blackberry devices, and would later serve as the framework for similar applications from companies like Apple. Over the years, the Blackberry earned the nickname “Crackberry,” referring to the device’s widespread popularity and addictive qualities. RIM’s success in the mid2000s resulted perhaps blinded the company to Apple’s iPhone release in 2007. In many respects, the original iPhone offered many of the
same features present on the Blackberry in a package that many business users believed was too unsecure. Perhaps it is for this reason that RIM had an almost blind faith in its classic, functional and popular device, but the iPhone eventually began making significant incursions into Blackberry market share. Apple’s device was critically touted for its accessibility, ease of use and fluid user experience. While the Blackberry was only functional, the iPhone was considered a pleasure to use. Thus began RIM’s slow demise. At its highest point in late 2007-early 2008, Blackberry commanded roughly 21 percent of the global smartphone market, but the introduction of the iPhone and the subsequent development of Google Android resulted in RIMs precipitous drop in market share. To put the Blackberry’s former popularity into perspective, iOS’s current market share lies at around 28 percent, according to the IDC. While RIM’s long-term prognosis is far from sunny, the company is not dead yet, as new details regarding Blackberry 10 slowly emerge. Will it be enough, however, to put RIM on the right track? For now the Blackberr y ser ves as a reminder of the speed of technological development: Yesterday’s fad is only a memor y today.
BY DARREL GORDON STAFF WRITER
Nearly two decades ago a title was released that would not only create an entirely new genre of video games, but spawn a juggernaut franchise that would encompass books, movies, comics and other media. 16 years ago “Resident Evil” single-handedly defined what survival horror was all about: claustrophobic hallways, zombie dogs jumping through windows and a scarcity of essential supplies. Since then, the games have gone through several sequels and iterations that will culminate this fall in the release of the highly anticipated “Resident Evil 6.” But how has the “Resident Evil” franchise survived and maintained popularity in the many years between these two releases? It’s time to take a look back at the games that have been frightening fans for years. The first game was released in 1996 in Japan as “Biohazard.” Rebranded in America as “Resident Evil,” the game followed a special task force as it explored a mysterious mansion on the outskirts of the now-legendary Raccoon City. The player controls Chris Redfield and Jill Valentine as they uncover the horrors unleashed by the evil Umbrella Corporation and its mysterious T-Virus. The game focused on careful inventory management, light puzzle elements and, of course, battling the undead. “Resident Evil 2” and “Resident Evil 3” took place two months after the original and had players leave the mansion to explore the nightmare that is Raccoon City. These games also introduced another character that would become a franchise icon: Leon S. Kennedy, a rookie
cop who had the worst first day on the police force ever. “Resident Evil 3” in particular is memorable for featuring the famous bio-organic antagonist called Nemesis. Nemesis’ relentless pursuit of the game’s protagonists results in some truly terrifying moments that are among the most memorable in the franchise. When “Resident Evil 4” was released, the game redefined the genre yet again. With a more focused and adventurous experience and improved combat mechanics, “Resident Evil 4” was a critical and commercial success, so much so that it would be ported from the GameCube to other systems. It featured Leon S. Kennedy once again, but this time it had him roaming the Spanish countryside in search of the President’s daughter, while fighting a new kind of biological weapon called the Las Plagas. “Resident Evil 5” was the series’ most controversial entr y — it starred Chris Redfield and his new partner Sheva Alomar fighting enemies in Africa. This was the first title in the franchise to feature cooperative gameplay — and thus the controversy begins. Some argued that the cooperative nature inherently made the game less scar y than others in the franchise. And yet, the game still had fantastic sales, with reviewers citing its phenomenal action and tight gameplay. As “Resident Evil 6”’s release date approaches, initial previews suggest that the installment will tout a mix of gameplay elements from throughout the franchise and several fan favorite characters like Chris and Leon. Players everywhere can find “Resident Evil 6” in stores now.
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October 4, 2012
Page 7
Artist of the Week: Hopsin A New-Age Rapper with an Eminem Edge BY ZACHARY HALPERIN STAFF WRITER
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As I Lay Dying “Awakened” BY ANTHONY TOTO STAFF WRITER
As I Lay Dying stood this past decade at the forefront of the heavy metal revival in the United States. In the early 2000s, As I Lay Dying captured fans with its combination of metal and hardcore music. The band’s ferocious assault of screaming, clean singing, virtuosic guitar playing and a shape-shifting rhythm section reinvigorated interest in metal music for a younger generation. As a result of its premier catalog, the band landed spots on several different tours, including Warped Tour, Ozzfest and Rockstar Mayhem. These tours generated widespread exposure among audiences across a variety of genres. By maximizing their opportunities, the San Diego natives earned their fans with breathtaking live performances. They built a reputation based off originality — their sound couldn’t be duplicated. The band's last two al-
bums, “An Ocean Between Us” and “The Powerless Rise” debuted at No. 8 and No. 10 on the Billboard charts, respectively. Its work ethic and consistency separated the performers from imitators by a wide margin. Now entering the second decade of its career, As I Lay Dying sets a tone of excellence for metal music once again with the group’s new release, “Awakened.” The sixth studio album pushes to a higher level as the band redefines its sound while still honoring its roots. It’s the band’s career milestone — “Awakened” is a clear attempt by the band to create an epic album. “Going into the writing process, what we wanted to do is take the diversity that we’ve had on previous records from song to song [and] combine them all in each song. I think we were extremely successful in doing so. I think this album more so, than any other album, showcases almost ever y element that we’ve had the past
few records but also showing new elements and new types of ideas,” Jordan Mancino, the band’s drummer, explained. In terms of sound, much of the credit goes to producer Bill Stevenson. “Awakened” captures the velocity of the band’s live performances while the production offers masterful direction. Under Stevenson’s guidance, the album maintains a perfect balance of mellower moments with the band’s trademark brutality. Album opener “Cauterize” exemplifies As I Lay Dying’s musical elements with its blistering speed, brilliant lyrics and hooky chorus. The albums better songs, though, are those with a laid-back approach. On “Whispering Silence,” and “Overcome,” guitarists Phil Sgrosso and Nick Hipa blend acoustic guitar and fretwork skill to create the strongest melodies of the band’s career. “Awakened’s” strong, uncompromised sound sends As I Lay Dying’s music to uncharted territory. IB Grade: A
When upcoming artists first get recognized, the masses want to immediately compare them to already-established talents. For Los Angeles rapper Hopsin, the comparison could not be any greater. The 27-year-old upstart was recently compared in XXL to Eminem, critically lauded as one of the greatest rap artists to date. Eminem, a.k.a. Marshall Mathers, made a name for himself in the new millennium as a brash-talking rapper who shook off what anybody thought or said about him. Nobody was off-limits to Eminem as he slammed everyone from N’Sync to Ricky Martin. Hopsin is no different, displaying the same anger and hostility in songs where he disses rap music’s current superstars like Lil Wayne and Drake. “I snuck in Drake’s house when he was alone inside/You can say I have a bogus mind/I dim the lights down and close the blinds/Around his neck is where my rope was tied/I yanked on it till it broke his spine,” he spits in “Sag My Pants.” Like Eminem, Hopsin is not limited to generic rap themes. While Eminem gained his fame rapping extensively about his fraught re-
lationships with his mother and ex-wife, Hopsin instead deals more with topics involving his age group. In his most recent record, “Ill Mind of Hopsin 5,” Hopsin discusses the issues surrounding youth today. “But I ain’t taking the full blame cause most of you chumps running around here ain’t never had strict parents/All of your brain cells rotting from weed/You feeling like if you ain’t got it your life’s not as complete/You having sex with ever ybody you see.” Hopsin targets ever ything from drug culture and rampant sex to our generation’s entitled attitude. Hopsin has heard the comparisons to Eminem often. Recently, he acknowledged Eminem’s influence in his musical career. “He was the one I wanted to be like, he was my role model,” Hopsin said in a recent Hardknock TV inter view. “I didn’t really like rap that much until he came on the scene, but I wanted to learn from the best, so I listened to his stuff a lot and naturally, just started to sound like him. But the dude is dope.” Hopsin is currently signed to his own independent label, Funk Volume, and will be releasing his upcoming album, “Knock Madness,” in early 2013.
Mumford and Sons
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“Babel”
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No Doubt
BY SPENCE BLAZAK STAFF WRITER
“Push and Shove” BY GIANNA STEFANELLI STAFF WRITER
After an 11-year hiatus, No Doubt is making a true ’90s comeback with new album “Push and Shove” — except the band doesn’t sound like it’s stuck in the ’90s at all. In its glossy glor y, “Push and Shove” is a collection of contagious anthems with prevailing choruses that show new artists like Carly Rae Jepsen and Fun how a great pop song is done. “Push and Shove” abandons the quirkiness and ska-punk influence from 2001’s “Rock Steady” to stay relevant. The album’s compromise in sound is bound to keep old fans happy and bring in plenty of new ones. The album begins with stomp romp “Settle Down,” a song oppo-
site of what its title suggests. From its Bollywood-inspired intro to its Rasta groove, it’s an eclectic first track that sums up the “new” No Doubt. While they acknowledge their roots, the band’s members have no problem spicing it up. “Push and Shove” is undeniably fun — surefire single “Looking Hot” is a track that could have come straight from songstress Gwen Stefani’s solo album, “Love. Angel. Music. Baby.” With its sweeping synths and unwavering confidence, it’s an undeniable hit. Next track, “One More Summer,” was made for the radio — with its younger sound and Stefani’s chilling cool vocals, it has got perfect timing. “Push and Shove” is the real standout on the album. Its crash-
ing synths, intense drums and crazy lyrics all contribute to its infectious energy. Collaborating with Busy Signal and Major Lazer, it’s the forceful party song that the album needs. Stefani croons “La la la la vida loca/We speeding it up like soca” and recalls memories of No Doubt's glory days. While power ballads like “Easy” and “Gravity” let Stefani show her vocal prowess, the album is at its best with dance numbers like “Undercover.” It’s a low-key song that is still catchy. “Sparkle” is another notable tune — its reggae beat and horn solo show the song's meat. Reminiscing on the old times, Stefani makes a good point as she cries, “ I know it’s never gonna be the way it was/ How can it?” She’s right — it’s better. IB Grade: A
Band Mumford and Sons avoids a sophomore slump with its second release, “Babel,” With its fresh take on folk rock, the album delivers in every way a fan could want. It provides deep lyrics, mandolin solos and an evolved sound. Marcus Mumford and his pack of merry men start the album with the song, “Babel.” Mumford sings, “My ears hear the call of my unborn sons/and I know their choices color all I’ve done/But I’ll explain it all to the watchman’s son/I’ve never spent a better year in love.” This line is a good sample of the tone the album is going for — something introspective and haunting with an unforgettable chorus. Another great song on the album is the single “I Will Wait,” which became a YouTube sensation after the band performed it on “Saturday Night Live.” “Now I’ll be
bold/As well as strong,” Mumford sings. It utilizes the sophisticated hoedown vibe that made previous hits “Little Lion Man” and “The Cave” huge Top 40 hits. The album doesn’t have any bad songs, per se, but lurches through the underwhelming “Lovers in the Light.” As far as the last three songs, they are only available on the Deluxe Edition, but they are certainly worth the extra $3. It includes a Simon and Garfunkel cover, as well as two originals pieces. They might be the three best songs on the album — their use of silence and harmonization will leave listeners with satisfied chills. The overall tone works more effectively than that of the first album. At times, 2009’s “Sigh No More” was too dreary, whereas “Babel” is melancholic yet vibrant at the same time. For a Mumford newcomer or seasoned listener, “Babel” is a must-own album. IB Grade: A