INSIDEBEAT MARCH 4, 2010 • VOL. 28, NO. 6
THE WEEKLY ENTERTAINMENT MAGAZINE OF THE DAILY TARGUM
God Save The Queen
Or at least her nation’s television shows
Column • Theater
March 4, 2010
Hipster-ville BY STACY DOUEK
market unto itself. There is not a single clothing store that does not sell a plaid or flannel shirt, and Urban Outfitters and American Apparel sales are at an extreme high. Blogs run by Brooklynites make a fair amount of ad revenue and eventually grace the shelves of Barnes and Noble in book form. Example: latfh.com (Look at this F—-ing Hipster) started — and still flourishes — as a tumblr that posts photos and videos of the most stereotypical and crazy-looking of the bunch, and now has expanded to become a multi-volume series of books sold worldwide. So this goes out to you — the people around Rutgers who believe that any “hipsters” around here are mere poseurs of this supposedly whacked-out and pretentious subculture in Brooklyn. If you’ve ever given Animal Collective or MGMT a listen — or have even thought about trying on a pair of skinny jeans or a plaid shirt — you too are a victim of circumstance. It’s only a short matter of time before hipsters are merely mainstream and generic.
EDITOR
M AK ANH A “ AT TH TA EC N IT Y”
ILLUSTRATION BY STACY DOUEK
If America is the world’s melting pot, then New York City is the amalgam of our great nation’s cultures. Our cover spread this week reveals a television crossover between the United Kingdom and the United States, but here I’ll point out a more resented and localized crossover — the manifestation of the hipster subculture. Growing up in Brooklyn led me to realize that none of the borough’s residents really wanted to stay there; rather, the end goal was to move on up a few stories and live in “the city.” (Side note: The biggest tourist giveaway is when anyone calls it “Manhattan” during normal conversation.) But as time passed, it seemed like roughing it in the ’burbs ended up being the more affordable option for many, and the hipster subculture emerged. Here, nightclubs and bars are just as modern but instead of radio-hit remixes and DJ Tiesto playing, you can hear local indie acts amid Yelle, Empire of the Sun and Grizzly Bear. Just don’t Greenpoi nt make the mistake of calling anyone a hipster, because HIPSTER PARTY they will deny it to a Bus CENTRAL ill HIPS H le b hwic T ob cocaine death. C sburg AND ERS William k HIP FRIE TR STER NDS Although many US T F S W/O U are apathetic to this ND S HIPSTERS flannel-spor ting, W/ KIDS lope thick-rimmed Park S glasses-wearing, Pabst Blue Ribbondrinking culture beREST OF cause it prides itself BROOKLYN on irony and pretension, the nationalization of this group’s image has become a complete
Inside Beat • Page 2
CalvinBerger George Street Playhouse | B
BY FARNAZ MANSOURI STAFF WRITER
Calvin Berger, a new musical by Barr y Wyner, premiered in Febr uar y at the George Street Playhouse. Under the direction of Tony-award winner Kathleen Marshall, the production has drummed up much excitement in the theater community. As expected, the show lives up to its expectations. Barry Wyner, who wrote the book, music and lyrics for the entire show, takes on a subject that everyone struggles with: self-confidence. The play is based off of Edmond Rostand’s Cyrano de Bergerac, but with Wyner’s own twist. Calvin Berger, a teenager in his senior year of high school, hates the size of his nose and is in love with Rosanna, the most beautiful and popular girl in school. Fearful she will reject him because of his nose, Calvin joins forces with Matt, the new jocktype student. Calvin writes Rosanna love letters for Matt to give to her, combining their strengths to woo Rosanna while Matt reaps all the benefits. The plot gets even more interesting when it is revealed that Calvin’s best friend Bret secretly has feelings for him. In the midst of their fears of imperfection, the four characters knowingly or unknowingly help one another overcome these personal issues with heartwarming musical numbers, entertaining dialogue and a plethora of laughs along the way.
The basic yet detailed design is yet another aspect that makes the show a strong production. Four bedrooms, one for each teenager, sit atop a high school setting. Separating personal and public life, the rooms seem to expose each character’s individuality. It is in the privacy of these rooms that they become more outwardly vulnerable, whereas in their high school, the characters seem to fall into their stereotypes. The individual talent and chemistr y between the actors work in synch with the quality of the production. Not only do they embody their characters to the T, they also succeed in bringing a vulnerability to each role that distinguishes them from ever y other typical nerd, loner, princess and jock. Noah Weisberg, who plays the title role of Calvin Berger, has impeccable comedic timing and deliver y. While at times the vocals sound as though they are out of Weisberg’s range and are overshadowed during male/female duets, his voice appears to strengthen as the show continues. Kr ystal Joy Brown, playing the role of Rosanna, brings a sense of openness to her character, showing a different side to the stereotypical popular girl. While ever y so often Brown’s voice sounds strained, her beauty transcends past her looks, making her personality and voice shimmer. David Hull, playing Matt, has such a charisma onstage that his jock-like character
becomes extremely personable to the audience. There are times where the music is out of Hull’s range, forcing him to really push his lovely voice. However, similar to Weisberg, Hull becomes significantly stronger as the show progresses. Hull and Weisberg have incredible chemistr y throughout the entire show; the actors work off of each other exceptionally well, to the point where every line and joke is completely on point. Dana Steingold, playing the role of Calvin’s best buddy Bret, never fails to impress the audience. Steingold flawlessly goes back and forth between having a tough-girl persona to becoming a raw and emotional teenage girl. Aside from her acting, Steingold’s powerhouse vocals tear down the house after each number. Overall, Calvin Berger is certainly a success. Wyner emphasizes that his characters have more depth than what is presented at face value, and the same can be said about this production. While at first glance the appearance of the set is stunning and the show itself starts off entertaining, there are many little surprises and details along the way that push the production from solid to impressive. Though at times the vocals are not up to par, they are overshadowed by the other positive attributes. Through a well-balanced combination of hilarity and sentiment, Calvin Berger succeeds in keeping the audience entertained.
EDITORIAL BOARD S TACY D OUEK .................................... EDITOR MICHAEL MALVASIO......................ASSOCIATE EMILY SCHACHTMAN.....................ASSISTANT
EDITOR EDITOR
ARIBA ALVI...............................................................TV EDITOR JASON STIVES.....................................................MUSIC EDITOR ROSANNA VOLIS...............................................FASHION EDITOR NATALIA TAMZOKE.....................................THEATER EDITOR AMANDA LITCHKOWSKI....................................ART EDITOR ADRIENNE VOGT...................................................COPY EDITOR RAMON DOMPOR................................................PHOTO EDITOR EMILY SCHACHTMAN............................................FILM EDITOR NIDHI SARAIYA...................................................BOOKS EDITOR
THIS WEEK’S CONTRIBUTORS TO INSIDE BEAT : Ilana Kaplan, Perri Lerner, Amy Rowe, Mitchell Mattes, Farnaz Mansouri, Ashley Park, Jason Pearl Cover Photo Courtesy of SFUniverse.com Rutgers Student Center 126 College Avenue, Suite 431 New Brunswick, NJ 08901 Phone (732) 932-2013 Fax (732) 246-7299 Email beat@dailytargum.com Web www.inside-beat.com Advertising in Inside Beat, Call (732) 932-7051 Monday through Friday, 8:30 a.m. to 4:30 p.m.
Books • Fashion • Art
March 4, 2010
Inside Beat • Page 3
The Art of Satire
BY AMANDA LITCHKOWSKI ART EDITOR
There is art to be found in New Brunswick, especially this week, as local artist Robert Mermet holds the spotlight in a downtown gallery. The Class of 2007 Mason Gross School of the Arts alum has his first solo exhibition at the Alfa Art Gallery. The exhibition, titled God Bless, is a way of saying “screw you” to American politics and religion. The exhibition features various paintings that satirize the country’s dismal political situation and reapplies consumer messages and pop culture symbols. Although the irony in some of Mermet’s art can be either a pickme-up or a downer, his sculpture of LSD’s chemical structure is a definite mood-lightener. Mermet was educated in film and video, but the multi-talented artist said he wanted God Bless to show everyone that he is a painter as well. Inside Beat met up with the man behind the “Dancing Hitler” painting and got the scoop on his inspirations and intentions. What follows are some of Mermet’s key pieces and his personal commentary about them. RACHEL ROY TRANSFOURMER COAT
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Convertible Chic
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BY ASHLEY PARK STAFF WRITER
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COURTESY OF ROBERT MERMET
“Skull” (2009) 1 Robert Mermet: It’s not supposed to look like a skull. The point is that it’s kind of symmetrical like a face would be. People crave symmetry, but in reality nothing is really symmetrical. “Target” (2010) RM: This is referencing Jasper Johns who did the original target. Then Target stole the symbol in what I’m assuming was in their own way an homage to Johns, and I wanted to reclaim it for the art world. Actually if you look really closely, you can see that I made the lines in the same way Jasper would make his target. I could have just as easily printed something and made a stencil, but I figured the process was important.
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“Buy a Boat” (2008) RM: Boats are so unnecessary, but conservatives, yuppies and the like tend to buy boats and will just have them but never really use them. It’s just an elitist, nonsensical thing to have. As opposed to driving, you could have a boat, which could take you nowhere.
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“Nixon” (2009) RM: This is one of my more successful paintings, and I’ve been using it to market the show. It can be read a number of ways: “V” for victory, the symbol for peace, and in Germany, it means “f—- you.” And the tiedye is kind of acting as the crown of thorns, like he’s being crucified by the ’60s era.
The secret to possessing a New York & Company’s Conseemingly endless wardrobe of vertible Tunic fluidly translates fabulous clothes does not re- to ever y woman’s personal quire frequent trips to the mall. style. Drawstrings on the shoulTrue fashion chameleons know ders and sides create a chic how to recycle their favorite ruching ef fect while also conpieces in multiple ways. Their ver ting the tunic into a minig r e a t e s t dress or a weapon is the draped top. newest trend: Rachel Roy’s conver tible “Transfourmer” clothing. coat can zip and In this econunzip to form a omy, the downhip blazer vest sized wallet of and a sleeveless the wise college coat. This highfashionista does drama jacket not depreciate can adapt to her style. Concrazy weather vertible clothpatterns or even ing is more volatile specifically defashion trends. signed to have Conver tible multiple differclothing is a ent looks. For great way to example, the stretch dollars, new “Daytime but it is not the Conver tible only way to get Dress” by Victoinnovative with ria’s Secret can an outfit. There be worn in six is plenty of posexy styles: a tential in ever y one-shoulder, a THE VICTORIA'S SECRET CONVERTIBLE DAYTIME DRESS w e l l - p u t halter, a sweetheart and more. together wardrobe to get the Turn up the heat with a reversible most out of basic pieces. Layerhalter-style swimsuit from Express’s ing and belting is a great way to latest spring collection. This bikini of- morph styles and silhouettes. A fers the wearer a choice of two prints, long necklace can be worn as a for double the sun at half the price. belt, or a longer skirt can be Express’s accessories department raised to become a cute minifeatures a wide collection of re- dress. Creativity is the true key versible belts, including a super ver- to convertibility and ever-changsatile four-in-one leather cincher. ing ensembles.
A Look at New Books in March
With the relentless snow and cold weather this winter, you may find yourself indoors more than usual in March. Here is a mix of light and serious reads to help you get through spring fever. Chelsea Chelsea Bang Bang by Chelsea Handler March 9 Comedienne Chelsea Handler finds herself in unusual company. Joining the ranks of Tori Spelling, Stephen Colbert and Madonna, Handler has become one of the most popular celebrity writers. With bestselling titles My Horizontal Life and Are You There, Vodka? It’s Me Chelsea already under her belt, Handler has developed a reputation of dissecting her life experiences with stark and self-deprecating honesty. Chelsea Chelsea Bang Bang promises more of the same. This time, she analyzes her life from youth to adulthood with topics ranging from a particularly memorable third-grade sleepover to domestic squabbles with her boyfriend. Her ability to reveal some of her most personal and embarrassing episodes and spin them into humorous anecdotes is an admirable trait and a convenient source of entertainment for readers.
I Am Not a Serial Killer by Dan A. Wells March 30 “I am not a serial killer” isn’t a declaration that most people have to make. But for 15year-old John Cleaver, this statement has become a daily mantra. John, fascinated by the stories of murderers and frequently exposed to dead bodies while working at the family mor tuar y, finds it difficult to rein in his violent fantasies. But when several corpses star t turning up around his hometown of Clayton — each missing a body part — John must act on his hidden obsession to uncover the killer. This gor y mystery — the first in a projected trilogy — will keep readers riveted until the unexpected solution at the end.
BY NIDHI SARAIYA BOOKS EDITOR
The Surrendered by Chang-rae Lee March 9 In this Korean War tale, Chang-rae Lee provides a multifaceted perspective of the fighting and its afteref fects. Narrator June Singer is only 11 years old when the war tears her family apar t. Rescued by G.I. Hector Brennan, a man tr ying to escape some horrors of his own, June and Hector spend the rest of the war at an orphanage run by a caring missionar y couple, the Tanners. But although June and Hector are brought together by chance, their impact on each other do not end with the war. Thir ty years later, the two, now living in America, must reunite to complete a mission that will take them back to the past they both tried so hard to forget.
The Rise of the
In the past ten years, an influx of British TV shows have thanks to their original storytelling an BY JASON STIVES
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n the diverse medium that we call television, shows are struggling to stay on the air. The networks’ desires to grab an audience worthy of a Nielson rating report makes it more difficult for completely original shows to sur vive. But when we run out of ideas or interesting shows we can always rely on the Brits. Since the early days of television, the British have shipped across the pond some of the most engaging television to grace our screens. From drama to comedy to science fiction, British television has become an unaffiliated partner to the American networks by importing programs to fill timeslots and ideas to recreate for this countr y’s fluxuating market. Particularly in the past decade, the phenomenon of British television has made its way to our screens during the week. Indeed, according to an article on marketingmagazine.co.uk, the United States accounts for some 36 percent of the U.K. television exports in the world. From Ricky Ger vais to Hugh Laurie, the sudden rise to stateside stardom of acclaimed U.K. actors and comedians alike show America has gone full tilt anglophile. For some it may be the mysterious accents, and for others it’s the glowing performances; regardless, we have a firm appreciation for the wonders of Queen and countr y. Shows like The Of fice and Spaced, noted for their
snappy and fast-paced dialogue, also revel in the excess of American popular culture by referencing it on a regular basis. While many British-made television shows find their homes on U.S. cable networks and public television stations, the major networks tend to shy away from airing these shows in their original form, opting instead to recreate them as in-house productions. This practice is not new to American television networks. Dating back to the ’70s, BBC’s best offerings were remade to fit the changing television market. Classic British shows like Steptoe and Son and Till Death Do Us Part had their American distribution rights picked up and structured into the now classic staples Sanford and Son and All in the Family. This process has continued for more than 40 years in America, and in the early 2000s, it reached its peak. The invasion of reality television — thanks to premiere of Survivor in early 2000 — led to many already popular reality and game shows in England being picked up to capitalize on the exciting new trend. Starting with Big Brother, and then shows like The Weakest Link and Dancing with the Stars, British reality shows garnered big ratings. But the remaking of British television shows in the 21st centur y isn’t just limited to the reality genre. As early as 2000, Showtime was airing hit shows thanks to dramas originally conceived in the U.K., like Queer as Folk, which was critically acclaimed and lasted two seasons. As far as contemporar y culture is concerned, the most commended British import is The Of fice. Created by Ricky Ger vais and Stephen Merchant in 2001, it was one of the biggest British imports to come into the United States and was quickly remade by King of the Hill executive producer Greg Daniels in 2005. The controversy surrounding the Americanization of the The Office was harsh, as many saw it as an insult to the creative talents of both Ger vais and Merchant. Even as the controversy continued well into its second season, the show prospered despite having low ratings. The series, now in its sixth season, has since helped garner Ger vais with some much needed exposure in America. Thanks to the popularity of his short-lived HBO series Extras and his lead role in the critically-touted The Invention of Lying, Ger vais is a star all to himself. Unlike Ger vais, Simon Pegg and Edgar Wright, noted for the sleeper hits Shaun of the Dead and Hot Fuzz, used their newfound American notoriety to bring their cult television show Spaced to DVD in 2008. The show, which lasted two seasons between 1999-2001, featured the single living hijinx of main characters Tim (Pegg) and Daisy (Jessica Stevenson), Spaced who live together as a couple in order to keep their COURTESY OF MY.SPILL.COM
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Although there have been numerous British made shows remade to great fanfare here in the United States, many haven’t worked out and some should have never been remade at all. Here are five shows that were given the American treatment only to be met with low ratings and eventual cancellations.
COURTESY OF SERIALNEWS.RU
so-called “dream flat. ticular those to scien following in the Unit series. In fact, some mentar y tracks on th cluding directors Qu co-creator Matt Ston Outside of the ma imported shows. BB 1998 to exclusively a early years, the chan Attic and the daily BB critically-acclaimed s and has garnered som sion in the past five y Due in part to the overlooked wonders many of the original wellian nature. Strang brought on by govern ver y engaging if not tice, and both SyFy a hitters — in particul
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Coupling (2003)
Life On Mars (2008)
With ratings megahit Friends going into its final season, NBC quickly scrambled to find a suitable replacement. In doing so, they came across Coupling, a Friendslike sitcom centered around six sexually promiscuous friends. Its risqué content deemed too much for primetime television, the show was cancelled after four episodes. NBC is still searching for its new Friends.
This science fiction-esque cop drama, centered around a cop stuck in 1973 from an accident he suffered, started out right in fall 2008. Strong ratings along with approval from the show’s original showrunner gave the series a lot of hope mid season. However, a sudden reshuffling in its timeslot coupled with a dip in the ratings brought the show’s run on ABC to a sudden conclusion in early 2009.
t e l e v^i s i o n
British Empire
e given the American media market a run for its money nd award-winning writing and acting. • MUSIC EDITOR
The Office
Life on Mars
COURTESY OF BBC.CO.UK
.” The show’s frequent pop culture references, in parnce fiction and horror genres, gave the program a cult ted States thanks to circulating bootleg copies of the of the show’s most famous fans appear on the comhe American DVD release of the complete series, inuentin Tarantino and Kevin Smith, and South Park ne. ajor networks, cable channels have embraced original BC America, the cable/satellite channel launched in air British-made content is one such channel. In its nnel’s content revolved around reruns of Cash in the BC World News reports. However, the influx of many shows gave BBC America a much-needed makeover me of the highest ratings on cable and satellite televiyears. e network’s facelift, we have been treated to the often s of British science fiction. An art form all in itself, l British sci-fi dramas produced are of brooding Orge worlds, secret conspiracies and apocalyptic effects nment mishandlings have made many of these shows nail biting. American cable networks have taken nond BBC America have picked up many of these heavy lar that of sci-fi stalwarts Doctor Who and its equally
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popular spin-off, Torchwood. For Doctor Who, the sudden U.S. exposure was almost 30 years in the making. Considered by the Guinness Book of World Records as the longest running science fiction show in the world, Doctor Who has aired in one form or another for the better part of 45 years. The show, which tells the tales of a time-traveling alien known only as “the Doctor,” is a British staple. It has acquired both critical praise for its amazing stor ytelling and criticism for its low-end special effects and wobbly sets. But in 2005, partially due to its popular revival and its star David Tennant, the show crossed over into the U.S. and finally gained great ratings for the SyFy channel and later for BBC America. Because of this, the show’s adult-themed spin off, Torchwood, followed quickly in its footsteps and gave BBC America its highest ratings in summer 2009 with the weeklong Torchwood: Children of Earth. Its dark themes and risqué uses of sex and violence brought the show mainstream exposure for lead John Barrowman, who will be seen later this year on ABC’s Desperate Housewives. There is also an American version of the series in the works over at Fox Networks, with Barrowman reprising his role as main character Captain Jack Harkness. As the ratings for BBC America continue to rise and more shows are being remade, the continuing invasion of British television is expected. This is no fluke, as the quality of these shows are at an all-time high, thanks in part to world-class writers and actors who remind us of the possibilities of great television when the right people are heading it up.
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Eleventh Hour (2008-09)
Spaced (2007, never aired)
Just like Life on Mars, this sci-fi drama about an FBI team of paranormal investigators started out with a weekly average of 12 million viewers on CBS. Unfortunately, because the show couldn’t hold half of the audience of CSI leading into it, it was cancelled in May 2009. Even after a campaign to bring the show back for another season, CBS executives still held their ground and the show remained inactive.
With the inevitable release of the original series on DVD to follow in 2008, the Fox Network jumped on the idea of remaking the Simon Pegg 2001 sitcom into an American series. But when both Pegg and co-creator Edgar Wright caught wind of the planned relaunch, they quickly sent a cease-anddesist to Fox. This, along with an outcry from diehard fans, gave the network no other choice but to cancel the remake after its initial pilot in fall 2007.
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Payne (UK - Fawlty Towers) (1999) While this post-Monty Python classic starring John Cleese has been remade several times, Payne is the only one that had any leg to stand on. Thanks in part to the dry and overly witty acting of star John Larroquette, this remake of Towers debuted to rather favorable reviews. But like all good ideas, it couldn’t find the right audience and was shown the door after just eight episodes.
Doctor Who COURTESY OF BBC.CO.UK
Page 6 • Inside Beat
March 4, 2010
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Film • TV
The Marriage Ref BY ARIBA ALVI
Jerry Seinfeld | A
TV EDITOR
The Wolfman Joe Johnston | C-
BY JASON PEARL STAFF WRITER
Joe Johnston’s (The Rocketeer, Jumanji) The Wolfman is a remake of the 1941 movie of the same name. While the original was somewhat of a Bmovie, it still had some decent character development to back up the action. The remake however is all bark and no bite. The movie begins with Lawrence Talbot (Benicio del Toro, 21 Grams) returning to the family estate years after he has had any contact with his family. His brother’s fiancée, Gwen, (Emily Blunt, The Devil Wears Prada) prompted his return by sending him a letter about the brother’s mysterious disappearance. When Lawrence arrives, his father (Anthony Hopkins, The Silence of the Lambs) informs him that his brother has been found dead, seemingly killed by a wild beast. While trying to learn the true nature of his death, Lawrence travels to a gypsy camp at the edge of town. Shortly after he arrives, a werewolf appears and begins a bloody rampage through the camp. After killing several townspeople, the lycanthrope bites Lawrence before being chased away. This leads to Lawrence becoming a werewolf himself, and the rest of the film follows his attempts to track down the werewolf who bit him while eluding the authorities, led by Inspector Aberline (Hugo Weaving, The Matrix). While del Toro, Hopkins and most of the other actors are competent, none of them really stand out
except for Hugo Weaving, in a role too small for his talent. In addition to poor casting and unremarkable performances, the screenplay by Andrew Kevin Walker (Se7en) and David Self (Road to Perdition) was clearly lacking in character development. They choose to focus more on driving the story forward quickly than establishing personalities and motives. It almost seems as though entire scenes were missing from the film. Joe Johnston’s direction was uneven throughout the movie. While some scenes are done well — particularly the fight scenes — his unusual take on flashback sequences was awkward and overly stylized. Overall, the whole movie felt disjointed, with a glaring lack of cohesion. Nevertheless, The Wolfman did have a few redeeming qualities. In addition to Weaving’s performance, the art direction was excellent. All the sets had a distinct feel, each uniquely dark and foreboding. I also appreciated the decision to use makeup for the wolfman himself instead of CGI. It helped give the creature a more realistic and threatening look that could not have been achieved through the use of computers. With far more flaws than strengths, The Wolfman fails to deliver as either a successful homage or a satisfying horror experience. While the original certainly was not perfect, I would definitely recommend it over the remake. All in all, unless you are a diehard monster movie fan, there is not much to enjoy in The Wolfman.
Best Picture Showcase BY EMILY SCHACHTMAN FILM EDITOR
For those who just can’t wait for this Sunday’s Oscar award ceremony, your local movie theater may have the answer. AMC is running their annual Best Picture Showcase at select theaters this Saturday, March 6. Because of the expanded list of nominees, this year’s showcase has been split into two weekends. This weekend’s showings include: An Education, The Hurt Locker, The Blind Side and Inglourious Basterds. The showcase begins at 10:30 a.m., and one $30 ticket covers all 11plus hours of movie-watching, plus a free large popcorn with unlimited refills. There is also a 24hour marathon for Oscar diehards at select theaters in New York City. For students on campus, the closest theater is AMC Loews New Brunswick 18, on US Highway 1. For more information and participating venues, check out www.amcentertainment.com. COURTESY OF ALLMOVIEPHOTO.COM
BY EMILY SCHACHTMAN FILM EDITOR
Independent filmmaker Daryl Wein’s second featurelength film, Breaking Upwards, is sort of like a dissection of the modern breakup. Along with directing and starring, he also penned the screenplay with co-star Zoe ListerJones (both use their real names in the film), and the result is a clever meta-narrative about what it means to remove yourself from the life of someone you love, but with whom you may not be in love with. Breaking Upwards is screening at the New Jersey Film Festival this weekend, so Wein answered a few of Inside Beat’s questions about his latest effort. IB: The script for Breaking Upwards is great! Was any of it improvised? Dar yl Wein: Yes, there was some stuff that was improvised. The actors were free to add lines if they felt inspired to make something up. But I’d say 95 percent of it
I’m not married, nor have I ever been married, but there’s something understatedly brilliant about the new NBC reality show, The Marriage Ref. It’s a comedic look at married couples who have some outlandish fights, but with the twist that there is finally a winner in these arguments. Couples fight over things like stuffing a dead dog, having a stripper pole in the house and keeping a dead husband’s prosthetic leg. Intrigued yet? Hosted by comic Tom HOST TOM PAPA Papa, who is the “marriage referee,” the show’s panel of celebrities changes every week. Guest panelists like Alec Baldwin, Tina Fey, Madonna and Ricky Gervais argue the case of either the husband or the wife, and add a great deal of humor to the show. Baldwin, more hilarious in person than when he is scripted, says lines like, “Women come and go, but a stuffed dog is forever.” Papa, who makes the call at the end of the debate, does great impressions and livens things up with standup comedy. Natalie Morales acts as the show’s “fact checker,” looking into facts about the couple as well as facts about their arguments. For instance, did you know that pole dancing can burn up to 250 calories an hour? The Marriage Ref is educational as it is entertaining. GUEST PANELIST ALEC BALDWIN Watching couples fight has never been more amusing. One wife, Dianah Hunter, tells her husband that, “People in Hell want ice water, but they don’t get it,” after he tells her that a stripper pole is something he really wants. Some of these people are truly outlandish, and it makes you wonder if these couples are scripted or actually exist in real life. But some things simply cannot be made up, like a man whose GUEST PANELISTS TINA FEY, JERRY SEINFELD, AND EVA LONGORIA mistress is his cat. For anyone who isn’t married, this show is like the what-not-todo-when-you’re-married guide. And for anyone who is, it’s the man-thank-god-my-spouse-isn’t-like-that show. It’s witty, informative, amusing and certainly appeals to the masses. It’s a mustwatch for anyone who is or plans to be married one day. The Marriage Ref airs on Thursdays at 10 p.m. on NBC. ALL PHOTOS COURTESY OF NBC.COM
Director Daryl Wein Talks Shop
was scripted. Peter, Zoe and I worked really hard on the screenplay for about a year or so. IB: I read one review on IMDb that compared the film to Woody Allen’s New York films. Do you see that? DW: Yes, I would say Woody Allen was the biggest influence. I miss those early films like Annie Hall and Manhattan. They are funny, sad and serious, and I love that combination. I was trying to create something similar to them in a way but in a fresh, new light. IB: I noticed you used a lot of outdoor shots. What was your experience with filming in NYC? DW: Totally renegade. We just went out on the streets and shot. Everyone in the background is real. Nobody ever bothered us except for in Madison Square Park. They guard that park well. IB: Is it difficult directing yourself? What I mean is, how did you deal with both directing and starring in your film?
DW: Yes, I never want to do it again … I couldn’t focus on both my performance and the other actors at the same time. You have to be invested in one or the other for it to be the best it can be. Sometimes I could watch playback and then give notes and some stuff I wasn’t in, so that was fine, but the rest was hard. I just had to let go and trust sometimes. IB: What do you see as the one message in Breaking Upwards you’d like audiences to come away with? DW: There is not one message. I hope people walk away laughing, maybe crying, feeling nostalgic, excited, moved, in love with New York, and asking lots of questions about the nature of relationships. Breaking Upwards is being screened by the New Jersey Film Festival in Voorhees Hall Room 105 on the College Avenue campus at 7 p.m. on March 5 and 6. Tickets are $9 for students. For more information, visit the Web site at www.njfilmfest.com.
Music
Inside Beat • Page 7
COURTESY OF LAST.FM
March 4, 2010
Phantogram BY PERRI LERNER
Eyelid Movies | B+
STAFF WRITER
Shout Out Louds BY ILANA KAPLAN STAFF WRITER
You’re sitting in the front seat of your friend’s car with the open road to California ahead. Scrambling around for some tunes, Shout Out Louds’ Work makes its way into your hands and provides a soundtrack to your journey. Pleasingly, the Swedish band goes into unchartered territory. Their last album, Our Ill Wills,
proved to harbor the same boring melodies as their debut album, Howl Howl Gaff Gaff. Work reflects the music of Rogue Wave, Fleet Foxes and the background sounds of Explosions in the Sky. The combination of the various sounds and vocal techniques used keeps the album fresh and not redundant like its predecessors. The tracks blend nicely together, while still remaining distinct. “Candle Burned Out” is very mellow and dreamy, as if to create a sort of psychedelic space for the
Formed from a reunion of two high school friends, Phantogram blossomed from a small town indie band into an electronic rock band. Now the Saratoga Springs, N.Y., duo have released its first full-length, Eyelid Movies, after releasing two EPs over the past couple years. The instrumentals are calm and soothing, giving the album a mix between melancholy and dreamlike. Keyboardist and vocalist Sarah Barthel’s organic, haunting voice complements the electronic sound of the album. Guitarist Josh Carter’s vocals are dressed up to blend with the trippy sounds of the instrumentals. Despite the darker tracks on the album, there are some dancefriendly songs that provide relief from the overall emotionally heavy tone. “Futuristic Casket” offers an upbeat sound, while still remaining gloomy. Although the lyrics are somewhat nonsensical, they paint interesting imagery and leave it open for listener interpretation. The eerie and whimsical “Mouthful of Diamonds,” which contains electronic loops and a ghostly melody, is a highlight on the record. Although there are interesting dynamics, the music tends to blend into the background. While Carter’s vocals are not as strong as Barthel’s, they add a different feel to the songs, as well as prevent the album from becoming one 45-minute long song. Eyelid Movies proves to be successful at incorporating ’60s bohemian melodies with ’90s beats while still maintaining a contemporary sound, making it a solid full-length debut.
Work | B listener. “Fall Hard” is a romantic track sung between Adam Olenius and Bebban Stenborg as if their vocals are the reflection of a conversation between two lovers. The thematic elements provide for a suspenseful and lovely musical experience in the song. This time, Shout Out Louds produced an album that is raw, nostalgic and more honest than their previous two efforts. The band has finally mastered a mature sound, but they remind their listeners that they still have room to grow and move ahead.
Joanna Newsom Have One on Me | B+
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The New Queen Bee Nicki Minaj’s guest vocal notoriety prepares her for solo stardom. BY MITCHELL MATTES STAFF WRITER
Turn on the radio to any pop or hip-hop station and you are bound to hear “BedRock,” a collaborative rap song from Lil Wayne’s super group Young Money. Yet the verse that has been getting the most attention — and critical appreciation — is that by feisty femcee Nicki Minaj. Born Onika Maraj in Jamaica, Queens, Minaj set her sights early for a career in entertainment, attending a performing ar ts high school. Initially she was reluctant to cast herself as a rapper because the industr y, so heavily dominated by males, often left no room for successful female rap artists. To take on the industr y, Minaj developed her threepart “Wonder Woman” persona: Nicki the Ninja, the naughty hip hop lyrical assassin; Nicki the Harajuku Barbie, the girly fashionista; and Nicki the Boss, the savvy
business women. No matter which persona, her skills and talents were noticed, and in August 2009, Lil Wayne signed Minaj to his record label. Minaj has released three mix tapes; the most recent, Beam Me Up Scotty, earned her critical success including a “Female Artist of the Year” award at the Underground Music Awards. Minaj is already impacting the music industry. Her brazen and energizing sound is featured as a guest appearance on nearly 10 albums. She spits faster than the beat in “Shakin’ It 4 Daddy,” on Robin Thicke’s album Sex Therapy and outshines Mariah Carey in the remix of “Up Out My Face,” a cheeky song from Carey’s remix album, Angles Advocate. Minaj has also recorded tracks with Ludacris and Usher for their upcoming albums. With an already impressive résumé and a debut album out later this year, it seems the future is bright for this rising queen of rap.
MUST DOWNLOADS • “Up Out My Face (Remix)”• •”Knockout” (with Young Money)• •”Massive Attack”•
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BY AMY ROWE STAFF WRITER
Joanna Newsom’s third full-length album Have One on Me is quite ambitious. It features the same squeaky — sometimes freaky — vocals, idiosyncratic pronunciations and eloquent harp skills that the previous Ys did, but it delves much deeper. While Ys had only five 10minute-long tracks, Have One on Me is a triple album broken up into three parts, each six tracks long, which runs for a total of two hours. The segmented album allows listeners to start and stop listening, rather than listening all in one sitting. In total, the album is a bit difficult to take in at first and may require multiple listens before really getting into it. An early standout from the first part of the album is the track “Good Intentions Paving Company” which features
climbing, jazzy piano melodies and impressive vocal harmonies. It’s very upbeat and has a different tone than the rest of the album. The next track, “No Provenance,” slows down and evokes a more somber tone through Newsom’s twinkling harp plucking and soft vocals. The second part’s most notable track, “In California,” demonstrates vulnerability and depth on the strange songstress’s behalf. Her voice climbs to impressive heights and dips often while singing about her lover visiting her in California. The third par t of the album lags a little bit, but is made memorable by the final track, “Does Not Suffice.” The slow, sorrowful ballad mostly features piano as opposed to the orchestral accompaniment featured throughout the album. The song ends on a melancholic note, but is undoubtedly sublime. While Have One on Me takes a bit of commitment on behalf of listeners, those who are dedicated will surely not be disappointed.
Top Ten Takeout Treasures
1 Buffalo Chicken Wrap Sanctuary 2 Chicken Fried Rice with Spicy Chili Sauce Noodle Gourmet
3 Banana Flip SmoothieHansel n’ Griddle 4 Cheese Pizza La Familia 5 The Bitewich Cluck U 6 Fried Oreos Fresh Frites 7 Bubble Tea I’s Cafe 8 Greek Salad King Pita 9 Potato Wedges Tito and His Junkyard Dogs 10 French-Fry Slice Skinny Vinnie’s
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