INSIDEBEAT APRIL 29, 2010 • VOL. 28, NO. 13
THE WEEKLY ENTERTAINMENT MAGAZINE OF THE DAILY TARGUM
Wine and Dine
Ditch the takeout and indulge in Downtown’s finest
Page 2 • Inside Beat
April 29, 2010
Column
Have a great summer from Inside Beat!
rant
Make It Your Way, Cook It Yourself! BY ARIBA ALVI TV EDITOR
I’m a foodie. I love to cook, and I love to eat. I’m the kind of person who will bake a cake for someone’s birthday, just as much as I’ll bake a cake because I feel like it. What often bugs me is the fact that most college kids don’t know how to cook. Food is a vital component to our existence, yet more people would rather go out and spend five bucks on a slice of pizza that tastes like cardboard rather than make something themselves. Or better yet, learn to make it themselves. It’s fine that college students are broke or on a budget, but it’s possible to actually save money and be healthy by cooking for yourself. Plenty of books and TV shows are dedicated to these two forms of cooking. Good Eats, for example, dissects food, tells you how they’re made and how you can make them. Cooking indeed involves time, but our lives revolve around food and eating, so it only makes sense that people should try to cook their own meal. It’ll make you more conscious of what you’re
throwing into that stomach of yours. You’d be surprised by what you learn simply by finding out what is in food. It is understandable that perhaps college kids don’t have a kitchen to work with at school, but there are books like Microwave Cooking that make it easy to make good and healthy food with limited tools. I’ve made some brilliant macaroni and cheese in the microwave, and it wasn’t Easy Mac (powdered cheese is no substitute for the real). And guys, don’t use the excuse that cooking is something that girls do. Some of the best chef’s in the world are men, like Bobby Flay, Rick Moonen and Jay Rayner, among others. It is only a stereotype because women tend to dominate home kitchens, but when men put their minds to it, they can make some amazing dishes. Who hasn’t noticed that at least 2/3 of the chef’s on Top Chef are male? So, for all the non-cooks out there, spend your summer having fun, partying, going to the beach and learning the basics of cooking. Not only will it be a handy tool in life, it will be a tasty one too.
EDITORIAL BOARD S TACY D OUEK ....................................... EDITOR MICHAEL MALVASIO............................ASSOCIATE EMILY SCHACHTMAN.........................ASSISTANT
EDITOR EDITOR
ARIBA ALVI...............................................................TV EDITOR JASON STIVES.......................................................MUSIC EDITOR NATALIA TAMZOKE........................................THEATER EDITOR ROSANNA VOLIS...............................................FASHION 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 : Amanda Amanullah, Katherine Chang, Emily Gabriele, Shama Huq, Perri Lerner, Mitchell Mattes, Ashley Park, Jason Pearl, Sean Quinn, Amy Rowe, Zoey Szathmary, Aleksi Tzatzev Cover photo courtesy of Jovelle Abbey Tamayo
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Theater • Books
April 29, 2010
Inside Beat • Page 3
Broadway Diva of the Month
Audra McDonald Born: July 3, 1970 (Berlin, Germany)
Birth Name: Audra Ann McDonald
Livingston Theatre Company | CBY ASHLEY PARK STAFF WRITER
Trademark: Ability to mix a classical vocal sound with contemporary Broadway music
Inspiration: Dan Pessano (Managing Director of Good Company Players) and her mother
“He was about 80 years old at the time. He kept telling me to open my mouth more!” —Audra McDonald on kissing Anthony Quinn in the film Seven Servants
Education: Received undergraduate degree in classical voice at the Juilliard School for the Performing Arts Notable Theatrical Performances: Carousel (1994), Master Class (1996), Ragtime (1998), Marie Christine (1999), A Raisin in the Sun (2004), 110 in the Shade (2007), Twelfth Night (2009) Fun Fact: She is the youngest actor to win three Tony awards —Natalia Tamzoke
The Livingston Theatre Company is an extraordinarily talented group of actors and producers, which is why their unmoving performance of The Who’s Tommy was such a disappointment. For the closing of its 12th season, the company performed the show from April 22 to 25 in the newly renovated Livingston Student Center. The Livingston Hall stage, while fit for guest speakers and talent shows, was constructed rather unsuitably for theater productions. The company fought hard for a more theater-friendly stage during construction last semester, but it seems the administration hampered their vision considerably. Between the seating, set and sound system, the move from high-end Crossroads Theatre was a downgrade. Tommy, a rock musical set in the 1950s, opens with the murder of Mrs. Walker’s (Selena Drobnick) lover by her husband Captain Walker (David Destro), who she had thought dead for six years. Tommy (Brian Aitken/Tyler Abelson), the young son of Mr. and Mrs. Walker, witnesses the murder. Horrified, the Walkers tell their son, “You didn’t hear it, you didn’t see it! You never heard it.” Traumatized, Tommy takes their instructions to heart and becomes deaf, dumb and blind. Tommy and his parents frantically search for a cure. Eventually discouraged, his parents leave him in the care of his creepy Uncle Ernie (Joey Braccino) and his bully of a cousin (David Seamon). One day, Tommy begins to play on a pinball machine and his skills draw in a throng of fans. Dealing with his sudden rise to fame and
miraculously cured condition, Tommy must now decide what is important—his fans or his family. Producing a musical is a multi-faceted task. It is an insane juggling act involving casting, choreography, set design, music, among many other factors. Nevertheless, the end product is supposed to seem like it was executed with ease. In Tommy, the storyline jumped abruptly from song to song. The band backstage was phenomenal, yet they were so loud that they completely drowned out the actors, whose British accents only made it more difficult in understanding the musical. A large white screen displaying computer images was, at best, a cheap way to compensate for the theatrical shortcomings of the Livingston stage. It was distracting, and Tommy might have been better without it. However, this is not to say that the production was a total flop. Some scenes were acted with incredible skill. The song, “Fiddle About”, during which Uncle Ernie molests Tommy, had a great balance of the dark, ambiguous, and eerie. Joey Braccino’s depiction of wacky Uncle Ernie was convincingly repulsive and sinister. Arabelle Luke delivered an energized performance as the Acid Queen with ground-shaking vocals. In these scenes, the true talent of the Livingston Theatre Company managed to shine. With absolute knockouts like Rent and Sweeney Todd in their repertoire, it was surprising and dismaying to find Tommy lacked the same oomph. It was, perhaps, a combination of the mediocre script, new stage, and the faintly forced quality in some of the acting. All production companies unfortunately have their highs and lows.
What’s Better: The Production or The Play? BY NATALIA TAMZOKE AND NIDHI SARAIYA THEATER EDITOR AND BOOKS EDITOR
Our Books and Theater Editors go head to head on these recent theater per formances of famous plays, declaring which version, production or play, best represents these valuable tales.
Production
A View from the Bridge by Arthur Miller
Measure for Measure by William Shakespeare
The Glass Menagerie by Tennessee Williams
Play
The recent Broadway production of A View from the Bridge at the Cort Theater wiped the dust off of the classic Arthur Miller play. The set and costumes remained reminiscent of the 1950s without seeming too period, while a rotating floor made transitions from inside and outside the home flow with ease. Though Hollywood stars Scarlett Johansson (The Other Boleyn Girl, Lost in Translation) as Catherine and Liev Schreiber (X-Men Origins: Wolverine, Taking Woodstock) as Eddie Carbone may have increased ticket sales, their performances were worth every penny. Director Gregory Mosher kept the staging simple to focus on the tension built in the script. In the end, the production managed to enhance the script.
Arthur Miller’s style of tragedy harkens back to the days of ancient Greek theater. The main character Eddie Carbone is a true tragic hero. He and his wife Beatrice raised their niece Catherine as their own, but now that Catherine is an adult, Eddie struggles to let her go. His hubristic desire to keep Catherine all to himself is finally challenged when she falls in love with an Italian illegal immigrant. Ignoring Catherine’s happiness, Eddie follows his selfish motives, and readers can only observe in horror as Eddie’s actions lead to his final ruin. While A View may be one of Miller’s best plays, the only way to feel those true tragic emotions of pity and fear is watch it performed live.
Though the text is not necessarily Shakespeare’s best, Measure for Measure, when done properly, can be an entertaining piece of theater. However, Theater for a New Audience’s recent production seemed to forget that. The direction by Arin Arbus failed to bring anything new out of the play. Only the costume department aimed to modernize, though it struggled to mesh with the all-around low energy. While Jefferson Mays played a captivating Duke, the other actors floundered. Rocco Sisto’s portrayal of the infatuated Angelo had no arcs and turned out flat, while Elisabeth Waterston’s obvious method acting amputated her from the role of Isabella.
Shakespeare may be known for his comedies and tragedies, but this “problem play” deserves an equal amount of praise. Like many Shakespearean plays, Measure for Measure deals with troubled love. But what makes it special is the way the extremes of passion are expressed in the different characters. Claudio is the quintessential character who is punished unrightfully for love. Her sister Isabella, on the other hand, promises to stay chaste and become a nun. But Angelo suffers from both extremes, vowing to destroy Claudio while secretly lusting for an unattainable woman. The complexity of romantic morality is evaluated from all angles, creating a solid plot with many twists.
Roundabout Theater Company’s current production of Glass Menagerie brings the text to life. Purists might stand against the altered locale of the piece, but most others will enjoy the other aspects of Tennessee Williams’s masterful writing, in addition to the brilliant acting and direction. Director Gordon Edelstein chose to go with period costumes, yet the simplicity of the set does not make the piece feel too dated. Judith Ivey plays Amanda Wingfield with vigor, instilling cruelty and desperation within the aging Southern belle. Patch Darragh, Keira Keely, and Michael Mosley equally do justice to their roles.
While most of us associate Tennessee Williams with “Stella!” and A Streetcar Named Desire, maybe it’s time we take notice of Williams’ far more profound work, The Glass Menagerie. The play tells the story of the Wingfield family. Tom Wingfield longs to be free in the world, yet he is tethered by his responsibilities to his family, his widowed mother Amanda and his crippled sister Laura. Things finally seem to be looking up when the family meets a young man named Jim O’Connor. But as Williams shows us, our dreams and hopes for the future can be easily shattered as glass figurines.
Page 4 • Inside Beat
April 29, 2010
Art • Books
A Look at New Books for the Summer
COURTESY OF NICHOLAS BRASOWSKI
BY NIDHI SARAIYA BOOKS EDITOR
Whether you’ll be relaxing in the sun at the beach, traveling to a vacation getaway, or just bumming around the house, chances are that you’ll need a good book or two to help you pass the time. Here’s a look at this summer’s best upcoming books:
True Blood may not be airing until June, but that doesn’t mean you have to wait to get your latest fix of Sookie Stackhouse. Sookie is back for her tenth adventure in Dead in the Family, and it doesn’t look like the troubles for this telepathic waitress from Louisiana will be ending any time soon.
The Girl Who Kicked the Hornet’s Nest by Stieg Larsson, May 25 Serial killers, international crime and a curious journalist determined to solve it all with his young hacker sidekick — what’s not to like? Part mystery and part suspenseful thriller, The Girl Who Kicked the Hornet’s Nest is the final book of the Millennium Trilogy, and advance readers have already declared it to be the best of the series.
The Particular Sadness of Lemon Cake by Aimee Bender, June 1 Young Rose Edelstein has an unusual gift. She can taste the emotions of others in the food she eats. But the discovery of this flavorful sixth sense is bittersweet as her first bite with her heightened taste buds turns her mother’s lovingly-made birthday cake into a mouthful of sadness and despair. Particular Sadness will have you rooting for Rose as she grows up and comes to terms with her special skill and the sometimes painful truth that it provides about her family.
Mockingjay by Suzanne Collins, August 24 In Hunger Games, there were just murmurs of dissent. In Catching Fire, there were few hushed-up revolts. But in Mockingjay, there is no longer talk of a full-scale rebellion. The rebellion has officially begun. The Capitol has finally gone too far. The threat of human sacrifice in the Hunger Games may have kept the twelve districts of Panem in line for 75 years, but when they chose Katniss Everdeen and Peeta Mellark as tributes, their political mind-game was finally beat. Now Katniss and Peeta are the unlikely heroes of the rebellion, and it will be up to them to unite the poor districts against the wealthy, powerful and ruthless Capitol — and to win or die trying.
Always On BY AMANDA AMANULLAH STAFF WRITER
In the era of cell phones, computers and Wi-Fi, you cannot help but notice It is clear society has an increasing love for online networking and paperless communication. In place of face-to-face conversations, we use text messaging to make or break relationships. Rather than stamped letters, we receive e-mails from relatives that live oceans away. In lieu of classroom discussion, we have rousing academic debates through online blogs. It seems that the traditional means of writing, printing and communicating are generally becoming unpopular, with ever ything from hardcover books to handwritten love notes facing extinction. You’re probably thinking: “I’ve heard this already” or “So what?” But have you considered the specific role of language in relation to interpersonal relationships in an online and mobile world? Just think about your cool online alter-ego that emerges only on your blog or your superhero multitasking ability that enables you to text, IM and email, all while listening to your professor give a lecture. In Always On, Naromi S. Baron writes a seminal and stimulating exploration of these ideas, proposing new questions about the online/mobile craze and providing fascinating evidence that will have any reader at the edge of their intellectual stance on contemporary language and culture. Baron notes that she writes for a wide range of readers: “People curious about the Internet and
Naromi S. Baron | A
mobile phones, teachers and parents trying to get a fix on the likes of IM and blogging, students of new media, [and] linguists seeking a scholarly analysis of online language.” Baron, a professor of Linguistics at American University and author of six other speech-related books, has studied college students’ Facebook usage, mobile phone practices, instant messaging and an entire range of language technologies. She has fresh ideas on this current topic and provides her insight into the discovery of more fundamental changes than the obvious un-friendliness and loss of intimacy. In particular, she analyzes “our growing ability [to use] communication to assert control over when we interact and with whom” and “the amount of writing we are now doing and what effect quantity may be having upon quality.” Always On is a great work in its entirety; each chapter reveals scientific, theoretical and cultural aspects of language. Baron does not neglect the changing place of language in history, noting that blogs began from the idea of “web logs,” which were lists of favorite URLs. Besides the insights in linguistics, the most interesting aspect of the book is Baron’s references to current culture and society. It’s always fun to read about yourself from a different perspective and view society through fresh eyes. Although an intellectual work, Always On allows for reader-self-reflection on many levels. A stellar piece of non-fiction, an exposé of the communication world and a journey into the new heart of our society, Always On is a necessary read.
BY AMANDA LITCHKOWSKI ART EDITOR
Let’s just dispel the belief that art students don’t do any work. Mason Gross School of the Arts is showcasing the thesis projects of soon-to-be bachelor of fine arts graduates. The exhibition, titled First World Problems, is proof that art school is no joke. First World Problems is about as diverse as they come. Detailed painted portraits cover one wall of the Mason Gross galleries, while three feet away, exhibition-goers pick personalized black and white M&Ms from handsculpted ceramic bowls. The latter piece, titled “see, touch, feel, eat. pARTicipate!,” created by Amy Hartmann-Ohlson, promotes viewer participation throughout the gallery. Another piece, “Cancertainment,” by Michael Gage Costa, also encourages viewers to engage in the artwork itself. Although the title appears utterly distasteful, the piece plays on such initial irony. “Cancertainment” is a video, construction and Wii-incorporated game that has players climb stairs to the wheel of survival which they spin for your life and hope to land on white to survive. With its bright colors and lively nature, the game invites viewers to consider national statistics of the country’s ever-present disease. Continuing with the camp humor present in more than a handful of thesis projects, the piece “Buddhism for Dummies” draws a giggling crowd in
a corner of the gallery. Created by Tony Tran, the piece comprises plaques depicting Buddhist principles such as the emptiness of material objects and relationships. Despite its simplistic drawings captioned with funny commentary, “Buddhism for Dummies” is secretly intelligent in its dumbing-down of one of the world’s most-followed religions. Some of the theses in First World Problems are a bit more serious and somber. Danielle Ramirez’s “Unraveling Feeling and Fact” is one of these. A combination of eight acrylic and ink paintings, a video and an antique chair covered in tempera paint makes the piece a bit haunting. The cause of the chair’s paint-covered state is revealed in the voyeuristic-like video in which paint is dumped on Ramirez while she sits in the onceuntouched chair. The vulnerable nature of the video and the step-bystep paintings accompanying it give Ramirez’s work a touch of solitude with a lot of significance. There are endless surprises and intriguing creations included in First World Problems. With a piece called “The albino octo-cat in its natural environment,” the exhibition proves that there is undoubtedly a bundle of young, fun and talented BFA students eager to burst into the art world. Unfortunately, the show closes on Saturday, but any students interested in seeing the efforts of all those art students we see on the EE bus should definitely check it out.
A Faith of Our Own Hot Off the RU Press
Dead in the Family by Charlaine Harris, May 4
Assorted Art
BY SHAMA HUQ
Sharon Kim | A
STAFF WRITER
What separates the KoreanAmerican churches today from traditional American churches? The second-generation of any culture is usually known as a transitive generation, acclimatizing more and more to the culture of their new country. However, the Korean-American churches stand as a strong example of people taking their roots and blazing an entirely new path that is a unique mix of background, identity and newfound culture. The book A Faith of our Own: Second Generation Spirituality in Korean-American Churches, by Sharon Kim, takes an in-depth look into the grassroots creation and shaping of the Korean-American churches by second-generation Korean-Americans. Kim first launches into a discussion of the tension between first and second generations and how it helped shape the churches into what they are today. According to the author, a factor in the establishment of so many churches across the United States is due to splits in the original Korean churches. This is mainly due to differences in ideologies between the generations, such as focusing on socioeconomics versus spirituality. Following this, she discusses the search for comfort and community. For many Korean- Americans, Kim found that these churches provided the sense of community that they were looking for. Many Korean church members discovered that attending a Korean church helped to create a common bond of culture and solidify many meaningful friendships. In subsequent chapters, Kim proceeds to examine the creation of Korean- American churches as we know them today, distinctively shaped by the second-generation. She talks about the effort to reach out by many church members in their multicultural communities in order to fully follow through on Christian ideals and principles. In the end, Kim is able to draw the conclusion that faith is not limited to a black and white spectrum, but rather can be created into hybrids that link a community together. Overall, A Faith of Our Own is a pleasant, informative read and provides all the pieces to understanding the creation of the modern Korean-American church.
Art • Fashion
April 29, 2010
Mission Makeover
BY ROSANNA VOLIS FASHION EDITOR
Basketball shorts, sneakers, white tee; we all know the typical college guy look. There’s nothing wrong with the laid-back style, but when graduation rolls around, the look won’t garner the same attention in the real world as it does in class. Eric Strauss, a SEBS Junior, was among the collegiate masses in his fraternity sweats and generic gym sneakers until Inside Beat, with the help of Strauss’s girlfriend Lisa, gave him a more sophisticated look. “I never really cared that much about what I wore, but I’ve definitely changed my mind when it comes to clothes,” Strauss told us. It isn’t hard to put together a more streamlined look; a dark-wash jean is more modern and age-appropriate than a light, faded shade and dark-colored tops such as navy and charcoal grey look good on just about every skin-tone. For guys with red or pink in their skin, wearing a warmer hued shirt only makes blotchiness more apparent. The right sneakers go a long way in the eyes of girls who usually pay close attention to a guy’s shoes. Any kind of shoe that isn’t a plain white gym shoe from the ‘90s or a Croc usually works. “It’s pretty easy to look good, you just have to know where to find good deals. I love the guys’ clothes at H&M, and American Eagle always has good sales,” added Lisa. We hope Strauss continues with his new look, proving to college guys everywhere that it really isn’t that difficult, or that much of a hassle to look good.
BEF
E OR
Inside Beat • Page 5
Summer Essentials
Top 5 1
BY ROSANNA VOLIS FASHION EDITOR
Classy: Exceptional Advice For the Extremely Modern Lady by Derek Blasberg It’s the perfect beach read. Blasberg, a writer for V, Style.com and Interview magazine has put together a cheeky guide on how to “not send out a big slut symbol” when you’re out on the town, running errands, or going to the airport. Complete with photographs, this book should be in any classy lady’s library.
T
H G I N
Y DA T-Shirt: H&M
2
Shirt: American Eagle Outfitters
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Lady Gaga lipstick The bubblegum pink shade makes any look pop. Viva Glam for M.A.C cosmetics inspired by Lady Gaga
Colorful Nails
In bright, beachy shades, Essie’s Resort Collection has the perfect summer palette. Our favorites: “Splash of Grenadine”and “Turquoiseand Caicos.” Essie Nail Color $8
Shoes: K-Swiss PHOTOS COURTESY OF MARIELLE BALISALISA
Summer Preview: Art Exhibitions
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Menswear Shirtdress The perfect beach cover-up you can buy- or just steal from your guy’s closet. Staring at Stars Pintuck Dress UrbanOutfitters
BY AMANDA LITCHKOWSKI ART EDITOR
Summer is fast approaching, and although it’s hard to imagine, waking up at 2 p.m. and zombie-ing around the house all day may grow a bit boring. Summer may be the best time to rest an academically-weary brain, but it’s never a good time to neglect a creative mind. For those interning in the city or just looking for an inspiring way to pass the time, these upcoming art exhibitions are worth checking out. site specific_NEW YORK CITY 07 Now – May 28 Yancey Richardson Galler y Italian photographer Olivo Barbieri’s New York City pictures make the Big Apple appear doll-size. Barbieri’s trick to making Manhattan look like a model sculpture meticulously built with tweezers and toothpicks is to use a technique called “tilt-shift photography” in the wrong way. He obtains his bird’s-eye view from helicopter rides over the city. Big Bambú: You Can’t, You Don’t, and You Won’t Stop Now – Oct. 31 (weather permitting) Metropolitan Museum of Art The rooftop of the Met has often been a site for adventurous artmaking. This summer, it is the location of a 100-foot long, 50foot high maze of bamboo created by New Jersey twins Doug and Mike Starn. Big Bambú is not only enormous and thrilling, but it is also never fully completed, for its construction will continue during the duration of the exhibition. Visitors, required to buy timed tickets and wear comfortable shoes, are taken in group tours through the dizzying jungle gym of 5,000 intertwined bamboo poles. Daniel Merriam: Taking Reality by Surprise May 20 – Sept. 30 Animazing Galler y Animazing Gallery is unlike other NYC art spots — it focuses primarily on illustration, animation and fine art. Even more, this show is a specter in its own genre. Daniel Merriam, considered one of the world’s best watercolor artists, once showcased his work alongside Salvador Dali’s. This exhibition comprises Merriam’s imaginative fairytale-like pieces inspired by his recent residence in a French medieval castle. Hipsters, Hustlers, and Handball Players June 8 – Oct. 17 Metropolitan Museum of Art Before the hipsters of today, there were the hippies of the 1960s. Leon Levinstein, a master of candid street photography, captured countless black-and-white images of New York City neighborhoods. Ranging locations from the Lower East Side to Times Square, these pieces seize the raw and expressive attitude of Levinstein’s slightly oddball subjects.
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Highlighting Powder
The summer sun calls for less bronzer and more luminous skin instead. Smashbox Softlights add the perfect amount of silky shimmer to cheeks. Smashbox Softlights $28
Restaura
Served up St
With City Market’s debut of New Brunswick Restaurant Week ending Inside Beat sent out its staff to survey some of the loc
Clydz Bar and Gourmet Snacks 55 Paterson St
$$ Clydz is kind of a hidden gem. Its entrance on Paterson Street, which is off of George Street, leads to a subterranean, cave-like bar. Despite being slightly more difficult to find than Easton Avenue bars like Scarlet Pub and Knight Club, which benefit from foot traffic, Clydz is generally worth the detour—if only for their martini menu. While the drinks there can be kind of expensive (and with $10 martinis, the bar tab can quickly add up), the 4-7 PM happy hour promises half price on all drinks. Perhaps because of this deal, happy hour is also a student-filled affair. Clydz is a pretty classy place though, and you may find quite a few young professionals lurking about. Still, overall the music is good and the atmosphere is congenial. There is also a dining room in the back (which they call upstairs, since technically you climb about 5 steps to reach it). Though you can eat at the bar and there are tables in the front, the dining room allows for big parties to relax. But beware! If you sit in the back, you don’t get the half-price drink special. I learned that one the hard way. The service is not great as well, and the food can be kind of hit or miss. When I visited with some friends we tried a series of appetizers, some of which were delicious (the pierogies, the crab cake) and some of which were decidedly less so (chewy calamari stuffed with caribou sausage). The drinks are definitely the highlight of visiting Clydz. I tried a Lychee Nut and a French martini and they were both great. Plus, they give you the shaker with the drink so that each time you order, you’re getting at least two glasses worth. The bar menu offers plenty of small, very easily shared dishes, including some interesting variations on classics. For instance, the chili features elk and rattlesnake and the quesadilla uses duck meat! Though there is a dinner menu, many of its offerings were high end meat and fish dishes that were way out of this lowly college student’s budget. Clydz is a great place to go for a couple of delicious and creative drinks with friends, and perhaps a less great place to go to eat. Still, if eat you must, the bar menu does offer some intriguing, affordable dishes. — Emily Schachtman Elk and Rattlesnake Chili or the
Duck Quesadilla? I’d say yes
Crowd Type: Manhattanite wannabes, students Atmosphere: The bar is awesome, skip the din-
Taste: Delicious, for the most part
ing room
Creativity:
COURTESY OF JOVELLE ABBEY TAMAYO
Verdigré Tapas/Mediterranean 25 Liberty St
$ Creativity: Fusion artistry gives it an edge
Taste:Really stimulates the pallet nicely
Crowd Type:Ages 20-35. Atmosphere:Modern, hip and innovative COURTESY OF GETOUTNEWBRUNSWICK.COM
Frank opened the door for us, only to introduce us to a dimly lit space and just one table of people. We were greeted by what seemed to be only a three-person staff—after all, the restaurant barely resembled the party-filled lounge of which we had heard. Our server let us choose a table or a couch, as this space apparently turned into a lounge in the latter hours of the night—for now though, it was empty. The atmosphere was subdued, yet colorful with green and pink lit-up boxes guiding customers to a place to sit. The place was trendy, edgy at times. I could not get over the misshapen silverware and twisted—à-la Fordham Spire—glasses. When it came time to order, I was hardly ready as the tapas menu had everything from sliced cured salmon and escargot to simple cheese plate. I could only define the style as Mediterranean. The skewered meat that I ordered was arranged and stuck into an upside-down orange, making the food more of a visual piece than anything else. Among the skewered meat, selection of cheeses and escargot, the coup de grâce was the crab, brie and asparagus plate. It was all served in modernist-styled plates, twisted into a symphony with the silverware. The whole evening went smoothly until the very end. Even though the dessert selection wasn’t wide, but we enjoyed a delicious crème brûlée and good coffee. The restaurant was just starting to fill up around nine-thirty, yet it was time to go. Perhaps it was best that we didn’t have a whole lot of people to shout over on a night of great food and quiet setting. — Aleksi Tzatzev
Tula French/Italian Fusion 47 Easton Ave
$$ Tula is relaxed dining spot on Easton Ave with beautiful décor, but not so amazing food. For a Friday night, Tula was not as packed as one might expect it to be from the outside. Looking at it from the sidewalk, it looks like a classy pre-clubbing eatery with its open windows and sheer drapery and nightlife-like neon sign. The bar is located in a central location and is a point of interaction for the tables along the wall but secludes the seating in the front. In the back is a live two-man band that makes it impossible for anyone to hold a conversation, regardless of seating location. The wait staff is enthusiastic and friendly, and certainly knows the menu inside and out. They are attentive without being overbearing and feel no need to rush diners through their meals. The drink menu is thorough and has everything from the classics like an Old Fashioned to creative concoctions like the Dragon Kiss made of Dragon Berry rum, strawberries and basil. The wine list is impeccable, featuring everything from the affordable to the extraordinary. The food menu is not as large or varied as the drink menu. It certainly does not contain a lot of vegetarian options, although the spring 2010 menu contains a prix-fix menu that is vegetarian. Many of the items are seafood or meat, which is perhaps due to the young chef’s experience as a Poissonier (fish monger) prior to coming to Tula. The plates are dressed artfully and portion sizes are perfect. They are not too light or too heavy and allow for room for more than one course. After sampling a variety of dishes it is apparent that Chef Sam Fertik has very creative ideas, but the execution is not yet clear. He still has work to do in regards to the food. Even dessert, which included a variety of options, was only worthy of a good, not a wow. Tula is great destination for drinks and maybe a dessert, but it’s not really the best place to go for dinner. — Ariba Alvi
COURTESY OF GETOUTNEWBRUNSWICK.COM
Creativity: Fusion artistry gives it an edge Taste:Great, but not fantastic
Crowd Type:Students and professionals
Atmosphere:Nightclub-like
ant Week
tudent-Style
g last week, we decided to do a little additional sampling of our own. cal hotspots that will be sure to tickle your tastebuds.
Hotoke
Creativity: Basic fusion cuisine, Crowd Type:
Japanese Fusion 350 George Street
nothing out of the ordinary Taste:Met expectations
$$
Young alumni and
trendsetters
Atmosphere: Zen chic
Hidden within the many quaint restaurants of George Street lies Hotoke, a posh Japanese restaurant and lounge. If you’re looking for a more sophisticated night on the town, Hotoke offers just that. A taste of New York City right here in New Brunswick, Hotoke would go unnoticed as just another swanky sushi joint in Manhattan, but in a college town, it is the perfect environment to get dressed to the nines and pretend you have the money to spend. An intimate and classy setting with modern black and white furniture, deep red paper lanterns, and a very zen-chic Buddha as the focal point, Hotoke is the perfect date restaurant in the evening and a dance-all-night hotspot on the weekends. Offering everything from standard sushi to Kobe beef, ginger chicken and seafood, the restaurant is an eclectic fusion of Thai and Japanese. We tried the Ginger Roasted Chicken Salad, Wok Seared Lettuce Cups and a side of Stir Fried Vegetables all of which were delicious, and we will definitely be returning to try the sushi. The entrée prices are a bit steep: an 8oz steak is $48 and signature sushi rolls range from $10-$20. We recommend sticking to the hot and cold appetizers most of which are no more that $10. Be sure to sample the unique cocktails such as the Ginger-Pear Saketini, Lychee Martini, and Zen Iced Tea. The restaurant was a perfect setting for a night of glamorous and trendy fun as well as nice music, ambience and pleasant service. — Rosanna Volis
My Way
Korean 351 George St
COURTESY OF JOVELLE ABBEY TAMAYO
$X
Creativity: Nothing too original Taste:Jam-packed with flavor Relatively hidden between Payless Shoes and a few other George Street eateries, My Way Korean Restaurant Crowd Type:Quiet families
COURTESY OF JOVELLE ABBEY TAMAYO
Ginger N’ Olive
is a secret treasure of authentic Korean deliciousness. The paper placemats and lack of décor even manage to make and students the little hole-in-the-wall restaurant feel more genuine. The taps of light, plastic Asian dinnerware on the hardwood Atmosphere:Minimal décor tables act as a sort of soundtrack for engorging on tasty Korean fare. But don’t let the simple décor fool you. The sit-down, family-style restaurant is a great new addition to the downtown New Brunswick dining scene. It may lack the frills of some more expensive eateries in the area, but it definitely doesn’t hold back when it comes to the food. The wide variety of meat, seafood, soup, vegetable and tofu dishes suit all types of diners. The elegant presentation of the entrees and generous portion sizes are just an added bonus. My Way may not be the type of restaurant for showy first dates and important business meetings, but it is a great place for a moderately-priced meal with friends and family. Of course, no one can discuss a Korean restaurant without commenting on its kimchi. A traditional Korean dish, kimchi is basically fermented cabbage full of sinus-clearing spice. My Way’s kimchi feels like an all-inclusive taste bud satisfier. Without a doubt, it’s spicy beyond belief, yet its savory vegetables and slightly sweet and tangy chili sauce keeps the dish tolerable and delectable. Thankfully, there is a Korean mom and pop shop smack in the middle of George Street to satisfy the urges of those hoping for something a bit beyond pizza. — Amanda Litchkowski and Nidhi Saraiya
Italian/Indian Fusion 120 Albany St
$
Creativity: Fresh take on simple dishes Taste: Spicy and exotic
The elements that make a good restaurant all have to come together to satisfy the contemporary audience. Ginger N’ Olive, a new Indian/Italian fusion restaurant on Albany Street, tries to satisfy the experimental nature in all of us. The décor, even on a slow Wednesday night, was sublime. Walking in, the music of Michael Bublé and various jazz ensembles made the place feel like a gala night out. Hospitality in toe, the server greeted us like a distinguished patron looking to wine and dine us to the fullest extent. Cooling our jets on such a brisk night, the decorative house salad that started out the evening was short on tradition but held great ingenuity. A spring mix sprinkled with raspberry vinaigrette surrounded by slices of tomato and cucumber was exceptionally pleasing and, surprisingly, Jersey fresh. The menu had a lot to offer, leaving the desire for more out of curiosity of what the exotic meals were called. While the place emphasized an Italian/Indian hybrid, the food was greatly of Indian orientation only keeping an Italian flare by offering a variety of pasta and chicken dishes. One of those chicken dishes, the Chicken Vindaloo, was spicy blend of chicken and potatoes roasted in light vinegar. Even after being forewarned about its spicy nature, it was still satisfying despite the need to have three glasses of water. While we were entertained with the idea of coffee and dessert, clearly eyeing out a mango crème brulee they offered, we had to call it quits for the evening. Still at very reasonable prices for such a new place, and a wide variety of dishes, Ginger N’ Olive fits in perfectly along with the other great establishments on Albany Street. — Jason Stives
Stage Left Fine Dining 5 Livingston Ave
$$$
Crowd Type: Casual diners Atmosphere: Relaxed and classy COURTESY OF GINGERNOLIVE.COM
Creativity: Just in the title Taste:Contemporary American Crowd Type:Students and professionals
Atmosphere:Nightclub-like
Going out for a night of theater? Then Stage Left is the perfect preshow treat. Appropriately named due to its location “stage left” of The State Theatre, George Street Playhouse and Crossroads Theatre, it is a short walking distance to any of the three venues. The dress code is business casual, yet the ambiance is by no means pretentious. The dark wood contrasts nicely with the white tablecloths and candlelight, making the interior seem warm and delightful. The setting alone would be a great place for a date or a swanky outing with friends. Well-known for their burgers and steaks, they offer multi-course meals that surely indulge the palate. The service is decent, though at times it becomes very busy (more of a reason to make reservations). Still, if you’re looking to spoil yourself, Stage Left may be just the place. — Natalia Tamzoke
COURTESY OF JOVELLE ABBEY TAMAYO
$ $$ $$$
Cost Key $1-25, your Work Study check is still safe $25-50, who’s the lucky lady? $50+, hope the parents are paying
Page 8 • Inside Beat
April 29, 2010
Film • TV
COURTESY OF ALLMOVIEPHOTO.COM
Vintage Film: Funny Face
ASHLEY PARK STAFF WRITER
The Losers
Sylvain White | C
JASON PEARL STAFF WRITER
The Losers is an action adventure movie based on the award-winning comic book of the same name by Andy Diggle and Mark Simpson. Having not read the original series I can’t say how faithful the script is, but if the comic has the same convoluted plot as the movie then I’m sure Diggle and Simpson had to pay someone off for those awards. The Losers begins with an elite Special Forces unit on a simple mission in Bolivia. The squad is led by Colonel Clay (Jeffrey Dean Morgan, Watchmen), and includes Pooch (Columbus Short, Death at a Funeral), Roque (Idris Elba, RocknRolla), Jensen (Chris Evans, Fantastic Four), and Cougar (Óscar Jaenada, Che: Part Two). After completing the mission, they are betrayed and ordered to be murdered by their superior, known only as Max (Jason Patric, In the Valley of Elah). Surviving their attempted assassination, the team tries to secure new passports and travel back to the United States while living off the grid. However, they are tracked down by the mysterious Aisha (Zoe Saldana, Avatar), who offers them new identities and safe transport in exchange for killing Max. The rest of the film follows the team’s attempts to locate and eliminate Max to prevent him from supplying superweapons to terrorists.
Let me get this out of the way first: The Losers is somewhat enter taining. The shootouts are exciting, there’s plenty of witty dialogue, and Chris Evans steals the show as the hilarious Jensen. Unfor tunately, clever quips aren’t enough to cover up the lackluster, recycled plotline used in this movie. Stop me if this sounds familiar—a highly trained militar y unit is betrayed by the higher-ups, and then said unit attempts to get revenge and clear their names. Sounds like a dozen different action movies you’ve seen, doesn’t it? Sylvain White’s (Stomp the Yard) direction is pretty hit-or-miss. Some scenes are well done, particularly a chase involving Jensen and the song “Don’t Stop Believin’”. In others, however, White resor ts to many cliché directorial techniques such as overuse of slow motion and shaky, handheld camera during fights. Besides Evans, who is fantastic, the rest of the cast also gives believable performances in their roles, but are other wise nothing special. While The Losers is funny and entertaining at times, the overall film is a choppy mess of explosions and jerky camera movements. Despite Evans’ performance and some cool gunplay, the wholly unoriginal and uninteresting plot prevents the movie from really distinguishing itself from other similar action movies.
Tribeca Film Festival The Tribeca Film Festival, an annual event for film-lovers in lower Manhattan, has been running this past week and will continue to do so until Sunday. While the festival is publically screening over 300 films, I only aim to highlight a few interesting selections showing this weekend.
FRIDAY The Killer Inside Me Casey Afflek plays a Texan deputy sheriff, ordered to evict a local prostitute (Jessica Alba). Instead he gets involved with her, only to have to cover his tracks when his wife (Kate Hudson) becomes suspicious. Michael Winterbottom (9 Songs, A Cock and Bull Story) directs. 9:45 PM at Village East Cinema 4
Freakonomics An omnibus documentary from directors Morgan Spurlock (Supersize Me), Alex Gibney (Taxi to the Dark Side), Rachel Grady and Heidi Ewing (Jesus Camp), Eugene Jarecki (Why We Fight), and Seth Gordon (The King of Kong), Freakonomics explores Sumo wrestling, baby names, paying underachieving kids to work harder in school, and a theory about the crime rate drop in the ‘90s. 8:30 PM at BMCC Tribeca PAC
Elvis and Madonna Playing with romcom conventions, the Brazilian Elvis and Madonna follows lesbian photographer Elvis, who takes a second job delivering pizza only take find battered drag queen Madonna on her first day. Naturally, love and complications ensue. From Marcelo Laffitte. 3 PM at Chelsea Clearview Cinema 7
SATURDAY Metropia For lovers of futuristic dystopia films, there is the animated noir Metropia. In the year 2024, Roger (Vincent Gallo), a powerless worker drone, stumbles upon Nina (Juliette Lewis), a beautiful shampoo spokeswoman. She leads him into the underworld and conspiracy. Directed by Tarik Saleh. 12:45 PM at Village East Cinema 4
Possessed Lee Yon-ju’s Possessed is described as a blend of “k-horror and police procedural”. It tells the story of college student Hee-jin, who returns home when her sister goes missing only to find her mother has become some sort of religious fanatic and the neighbors are ritualistically sacrificing themselves in strange and gruesome ways. 6:45 PM at Village East Cinema 4
Micmacs Jean Pierre Jeunet (Amelie, The City of Lost Children) returns with Micmacs, the story of the unlucky orphan Bazil, who receives a stray, irremovable bullet in his brain. Completely destitute, he is taken under the wing of a merry band of misfits, the Micmacs. 2:30 PM at Village East Cinema 3
— Emily Schachtman For more information on screenings, go to www.tribecafilm.com.
No movie better showcases Audrey Hepburn’s gamine beauty or Fred Astaire’s suave dance moves than 1957’s Funny Face. This Pygmalion-esque musical follows a bookish killjoy in Greenwich Village as she is turned into a glamorous fashion model in Paris. It is everything we love about classic American films — upbeat, romantic and irresistibly charming. The film opens on the sassy and imperious Maggie Prescott (Kay Thompson), editor of Quality magazine, and Dick Aver y (Fred Astaire), a charismatic photographer. During a photo shoot, Maggie commandeers a philosophy bookshop much to the protest of Jo Stockton (Audrey Hepburn), the owlish salesgirl. Seeing Jo in the background of one the pictures, Aver y insists that Maggie recruit her “funny face” for Quality. Jo, who thinks fashion is “chichi,” agrees to model in Paris as a means to meet the renowned philosopher, Professor Flostre. Dressed in classic Givenchy in the romantic City of Lights, Jo star ts to fall in love with fashion and her photographer. The on-set chemistry between Astaire and Hepburn during musical numbers, like “S’Wonderful”, is a reflection of their warm off-screen friendship and mutual
Glee: ARIBA ALVI TV EDITOR
respect. In order to cast both celebrities, Paramount Pictures had to tell each that the other had already signed on, correctly predicting that they would jump at the chance to work together. Post-millennium audiences may be perturbed by the thirty-year age difference between Astaire and Hepburn, but after all, Hepburn has always been too classy for men her own age. In fact, Hepburn explicitly stated that she would not take the part unless she had a chance to dance with Fred Astaire, whom she idolized in her youth. Funny Face magnificently showcases both actors’ dancing and singing talents. Hepburn was ecstatic when she finally got to draw upon her earlier ballet training for the jazzy Montmartre café scene—footage which was later used in a 2006 Gap commercial for black skinny jeans. Unlike in My Fair Lady (1964), in which Marne Nixon dubbed her singing, Audrey’s beloved “Moon River” voice gets the chance to shine in happy and wistful musical numbers. Fred Astaire flawlessly complements Hepburn with an equal amount of grace and elegance in his singing and dancing, especially in the songs “Funny Face” and “Let’s Kiss and Make Up”. It was a match made in Hollywood Heaven. Funny Face remains standing as one of the best classics for its light merriment, iconic cast members, high fashion pedigree, and enchanting stor y. S’Wonderful!
THE POWER OF MADONNA
Anyone who has seen Glee understands how the power of music can simply suck you in. This past week’s episode, “The Power of Madonna,” not only floored Madge but it floored Gleeks and non-Gleeks alike. From Sue Sylvester’s (Jane Lynch) classic black and white rendition of “Vogue,” to Finn (Cory Monteith) and Puck (Mark Salling) belting out “What it Feels Like for a Girl,” the entire episode was phenomenal. Mr. Schuester (Matthew Morrison) gives the kids an assignment to come up with their own spin on a Madonna number since “we are all aware of Madonna’s musical and cultural significance and because Will wants the boys to treat the girls fairly. The message behind the episode is heart warming, with Sue enforcing the idea that women can be strong and in control of their lives and bodies. It is reinforced by a musical rendition of “Like a Virgin” where Rachel (Lea Michele) is pressured to hook up with Jesse St. James (Jonathan Groff), Emma (Jayma Mays) decides she wants to sleep with Will, and Finn decides to hook up with Santana (Naya Rivera) to prove he’s over Rachel. The only one who goes through with it is Finn, proving that these three women are in control, just like her Madgjesty. Jane Lynch has brought Sue Sylvester to a whole new level of extraordinary. We find out a little bit more about Sue, and it’s no surprise that Madonna is her role model. More interestingly we get a bit of back-story as to why she mercilessly mocks Schuester and his well-coiffed mane. Her epic one-liners, like “I just lost my train of thought because you have so much margarine in your hair” and “You don’t deserve the power of Madonna... simply put, you have all the sexuality of all those pandas down at the zoo who refuse to mate” made the show. It was also great to see the ensemble have a bigger role in this episode, regardless of how much we all like seeing Rachel and Finn together. The Cheerios version of “Ray of Light” was spectacular, and even their version of “4-Minutes” with Kurt (Chris Colfer) and Mercedes (Amber Riley) was just as good, if not better, than the original. However, it’s beginning to feel like the writers are making the plot lines fit into the songs, rather than letting the songs grow organically from the storylines, which has some fans up in arms. If ever there were a time to catch up on Glee, this would be it, because Glee is becoming as much a cultural phenomenon as Madonna. COURTESY OF FANPOP.COM
Film • TV
April 29, 2010
Inside Beat • Page 9
Shows To Catch Up On this Summer
COURTESY OF ALLMOVIEPHOTO.COM
ARIBA ALVI • TV EDITOR Fringe is by far one the most underrated television shows on the air. In its second season, Fringe has gone from great to phenomenal. JJ Abrams does a great job making sci-fi freaky but not so far outside the realm of reality that it isn’t believable. Unlike Lost and Alias, Abrams manages to keep the plot line of Fringe within the sphere of understanding but retains all the fascinating twists and turns that he’s known for. It is a bit gory at times, but makes you wonder what they are really doing in secret labs all around the world. Through unconventional and unorthodox methods, the Fringe science team of the FBI imagines and tests pyrokinesis, neuroscience, cryonics, genetic engineering, astral projection, and other fantastical theories. Incorporate the acting of Anna Torv, John Noble and Joshua Jackson with the often mind-bending story lines, and you have the making the best show that you should be watching.
Death at a Funeral
Neil Labute | C+
KATHERINE CHANG STAFF WRITER
When the British Death at a Funeral debuted in 2007, the reception was only mild, with most of the comments addressing either the clever usage of black comedy or the awkward cohesion of the film in general. However, when the Hollywood remake of the film was announced, there was so much more hype about it, as per usual with American-made films. With director Neil LaBute, an all-star cast, and some time to work out the kinks of what went wrong in the original movie, the remake would be surely be a huge success, right? Unfor tunately, the hype led to much higher expectations of the movie than necessar y. Death at a Funeral proves to be dif ferent from its antecedent; whereas the original came of f as sick and twisted, this film was slow and a bit awkward. While it wasn’t necessarily the acting that attributed to this conclusion, the script — and thus, the stor yline itself — cer tainly adds to the discomfiture of the movie. Death at a Funeral follows the funeral of Aaron’s (Chris Rock) father. Aaron, who is the eldest of two sons, a writer and a tax accountant, finds it incumbent upon himself to make sure that his father is guaranteed a dignified ceremony, though in the opening scene, this sentiment is foreshadowed to be nearly impossible when the
morgue delivers the wrong body. Alas, ever ything that could possibly go wrong at a funeral actually does happen. Aaron’s successful younger brother, Ryan (Martin Lawrence), proves to be ver y unhelpful in facilitating the process, as he chooses to flirt with an old family friend instead of easing the ensuing chaos. Also, it doesn’t help that Norman (Tracy Morgan), a friend of the family, adds to the weirdness of the movie, at times appearing more like an insensitive, ignorant side character rather than the comic relief that he was meant to be. Ironically, while the majority of the humor was expected from Rock, Lawrence and Morgan, the true gem of the show was in fact James Marsden (27 Dresses, Hairspray), who plays Oscar, the boyfriend of Aaron’s cousin Elaine (Zoe Saldana, Avatar, Guess Who). To ease his ner ves, Elaine gives Oscar what she believes is Valium, but is actually a hallucinogenic dr ug that her brother Jef f (Columbus Shor t, Accepted, Stomp the Yard) concocted for a friend. In the end, the chaos subsides, and Aaron delivers a much-expected “profound” eulogy for his father. Death at a Funeral was supposed to be a comedy that would have the audience laughing from the moment they sat down until the credits finished rolling. Instead, it was just 90 minutes of boredom, a handful of chuckles and pity-laughs, and a great deal of awkwardness.
It is indeed possible for a show to get better and better. Without a doubt, The Vampire Diaries has slid into the guilty-pleasure category. So what if vampires are everywhere? Clearly, they’re not going anywhere—after all, Buffy and Angel started it all back in the ‘90s. Vampire Diaries is proving that it has a lot of depth and lasting power as the show’s plot has thickened. The anticipation is infuriating. Nina Dobrev (Elena), Ian Somerholder (Damon) and Paul Wesley (Stefan) are riveting and have a magnetic chemistry. They make the relational-triumvirate intriguing and passionate. Regardless of this being a fantasy teen drama, it’s had one interesting premiere season. There is nothing better than a classic geek, especially four socially inept geeks by the names of Sheldon (Jim Parsons), Leonard (Johnny Galecki), Howard (Simon Helberg) and Raj (Kunal Nayyar). Raj can’t talk to women unless he’s drunk, Howard is the geek who’s sexually frustrated, Leonard is the semi-normal but dwarf-like geek, and Sheldon’s the super-geek who sees everything from a rational perspective. Created by Chuck Lorre, who’s had great success with Two and a Half-Men, The Big Bang Theory is just as hilarious and somewhat male-oriented. Penny, played by Kaley Cuoco, rounds out Big Bang Theory as the normal female influence. Big Bang Theory is short and sweet and easy to get caught up on. There is a reason why Michael C. Hall swept all the awards shows last fall. It had to do with his spellbinding performance as Dexter, everyone’s favorite serial killer. He’s the guy who’s one step ahead of the cops, and is trying to make the world a safer place. Captivating as it is creepy, this show is rife with complexities. Dexter follows orphan Dexter Morgan who is adopted by a Miami police officer named Harry Morgan (James Remar). Harry recognizes Dexter’s sociopathic tendencies and teaches him to channel his gruesome passion for killing people who deserve it. Dexter’s victims must be killers themselves; people who have killed the undeserving (usually multiple times) with no remorse. He must also have proof that the criminals are guilty before he takes action. Now in its fifth season, Dexter is by no means for the weak stomached, but it will make you wonder if your lab partner who enjoys cutting open frogs has a secret like Dexter’s. It’s Always Sunny in Philadelphia is the quintessential frat boy show. It’s crude and laugh-till-you-snort-milk-out-of-your-nose funny. It has a somewhat chaotic nature, but is not hard to follow. The show is quite exaggerated, and The Gang who runs Paddy’s Pub is full of controversy. In one episode in their first season, Dee (Kaitlin Olson) finds herself a younger man—still in high school—that uses her to get his ex jealous. They are a dishonest, selfish, self-centered, egotistical and antagonistic group, often lacking unity. Danny DiVito plays Frank, the father of three of the characters and the mastermind behind their schemes. In one memorable episode, Frank convinces two of the boys that the meat they stole from his fridge was human meat, and that they are now cannibals. As crass as Always Sunny is, it’s worth every minute. Castle is a mystery comedy about Richard Castle (Nathan Fillion) a famous mystery novelist who has killed off his main character in his book series and has writer’s block. Castle is called in to help the NYPD solve a copycat murder based on one of his novels. Castle, who becomes interested in Detective Kate Beckett (Stana Katic) as a potential character for a new series, uses his contacts and receives permission to continue accompanying Beckett while investigating cases. The show is proliferated with the sexual tension between Beckett and Castle. Castle is amusing and well written. It delivers action with an interesting perspective on crime fighting. It’s a great show that’s as much comedy as it is a mystery, and with only two seasons it’s not too hard to catch up on.
New Jersey International Film Festival Summer Preview STILL FROM HAND OF FATIMA, COURTESY OF NJIFF
EMILY SCHACHTMAN FILM EDITOR
For those intending to linger in New Brunswick for the summer, whether to endure the drudgery of summer classes, the unpaid slave labor of an internship, or just tied to an apartment by a seemingly endless lease—fear not. The New Jersey International Film Festival begins its summer program and offers plenty of choices for those who remain New Brunswick-bound. The weekend of June 4 offers some local flavor with the feature Sneakers and Soul, a coming-of-age story filmed mostly in New Jersey by local filmmaker Jonathan Zelenak, who will be making an appearance afterwards to talk about his film. Saturday
sees this Jersey theme continued with Muskrat John: Urban Trapper, a documentary short about a local 80 year old man who remembers what North Jersey was like before the Turnpike and the Giant stadium. The scope gets a little more global on Sunday; the features include a documentary, Jews and Baseball: An American Love Story, as well as the surrealistic adventures of two British gangsters attempting to protect their ill-gotten gains in Miles Away. June 11 to the 13 presents a myriad of shorts, including When Life Gives You Lemons, a stor y about reclaiming one’s youth; Poi Dogs, a stor y about two young Hawaiian teenagers; Milestone, a comedic look at heartbreak; Eyes Nose Mouth, an exploration of three characters and their
emotional environments and several more. On this weekend the NJIFF will also play host to documentaries Madcap Mabel, the stor y of the woman described as the “female Chaplin”, Voices Inside, a histor y and discussion of Zionism and the Israel peace movement as told by 16 Jewish Israelis, and For the Life of Me, an exploration of the adoptee experience in the U.S. The final weekend of Friday June 18th offers another round of diverse choices. Friday’s Ultraviolet for Sixteen Minutes examines the life, clinical death, and spiritual rebirth of Andy Warhol associate Isabelle Collin Dufresne, aka Ultra Violet. The Grand Hotel looks at one of the last single room occupancy hotels in the U.S., and The
Hand of Fatima studies New York Times music critic Robert Palmer’s friendship with the legendary Moroccan band, Master Musicians of Jajouka. Saturday’s feature, Lilly’s Thorn, follows the fantastical adventures of a Lilly, owner of a small flower shop who must battle an evil real estate conglomerate. Finally, on Sunday the festival will close out with No Tomorrow, an investigative documentary about the life and murder of foster care runaway Risa Bejarano. These are only a few highlights of the films being offered throughout the month of June by the International Film Festival. With a wide array of choices, there is surely something for anyone hanging around New Brunswick. For more information, go to www.njfilmfest.com
Page 10 • Inside Beat
April 29, 2010
Music BY MITCHELL MATTES STAFF WRITER
COURTESY OF MASS FICTION
Making the Grade: Artist, Musician, Student
Perceived as being harsh, risky and unstable, the music industry is hard to break into. But imagine all that while balancing a full semester of courses. Yet for Rutgers sophomore Max Fishkin, that scenario is quite the reality. Pursuing a B.A. in music, Fishkin is simultaneously building on his skills as a student and musician while starting a budding career as a producer. Fishkin’s interest in music started at an early age and really sparked in the two summers he spent at Buck’s Rock Performing and Creative Arts camp in New Milford, CT during high school. While attending, he shadowed a production engineer, and after gaining a great deal of knowledge, he returned home to set up his own studio. There, he was able to record with tons
of local artists as well as recording his own demos, EPs and even albums which he has either personally recorded or produced. He then gave himself a stage name, Mass Fiction, which is a slurred pronunciation of his own name. Of course, attending Rutgers has helped too. While noting that not having any music industry classes is a huge setback, Fishkin praises Rutgers’ music program. “The classes force you to grow as a listener and thus a musician,” Fishkin says. “However, sometimes I feel frustrated because time spent on homework could have been spent on a new project, and when the school work starts piling on, I don’t have as much time to be creative and work on music.” Stacks of books aside, his love of music helps him get through the days. With influences from The Beatles to Animal Collective, Fishkin says that
music in general is his inspiration. “As a listener I want to get lost in the music and all the greats do this, from Beethoven to Metallica, and as a musician myself, I want to create something that has a feeling of no restrictions and is just natural.” Realizing the difficulty of becoming an engineering producer full time, Fishkin is diversifying his skills by interning for Sony’s premier independent distribution and artist developments, RED distribution and this summer, working for HeavyRocMusic learning all the in’s and out’s of the professional music business. With a background in music and a developing knowledge of the business, Fishkin hopes that his experience will define his professionalism as a producer. “To this day, I have not limited myself in my music taste and will not limit myself to learning about the music industry.”
Saving Court Tavern
BY AMY ROWE STAFF WRITER
B.o.B
COURTESY OF B.O.B
The Adventures of Bobby Ray|A
BY EMILY GABRIELE STAFF WRITER
Up and coming rapper Bobby Ray Simmons aka B.o.B. has entered the real world of competition. Having only previously released mix tapes and EPs, it seems as though he is aiming for perfection on his debut release, The Adventures of Bobby Ray. Looking to make a mark in such a tough genre is highlighted in the album’s first track “Don’t Let Me Fall.” Showing off his surreal nature he sings, “Cause there ain’t no parachute that they could make for this/cause I put my pain, my heart, my soul, my faith in this.” The first single, “Nothin’ On You,” has a pop mentality destined to make it a radio hit. The two-part track “Airplanes,” which features both
Hayley Williams of Paramore and Eminem, shows B.o.B. strive to have a more diverse sound than most rap artists today. Both parts are great additions to B.o.B.’s already talented arsenal as he features artists such as Rivers Cuomo of Weezer, Lupe Fiasco and T.I.—all of whom showcase a myriad of styles. Having such a diverse group of artists featured in his tracks is just a precursor to his sound’s potential evolution. Lyrically, B.o.B. keeps listeners on their feet with his clever words and constant usage of metaphors in his own storytelling. He shows that there is a lot more to him then what appears on the surface as well as the perseverance he has overcome in his journey to recognition. Rhythmically, B.o.B. shows his great skill in being able to change up his flow to create upbeat tracks as well as some slower songs, all while keeping his lyrical creativeness intact.
Once upon a time, New Brunswick was home to several rock clubs that showcased new talent and popular acts, but many of these venues have fallen by the wayside. The Court Tavern on Church Street is the “last remaining rock ‘n roll club” in town. It’s responsible for starting the careers of bands like The Bouncing Souls and The Screaming Females, and has played host to acts like The Flaming Lips, Pavement and Henry Rollins over the years. The Tavern had financial trouble last winter and almost had to close down, until generous friends and patrons lent money to keep business afloat. Much of the financial trouble the Tavern experienced can be attributed to the 21 and up policy for shows as well as last season’s unfortunate series of snowstorms. “I want kids to go there! People don’t know about this place. It can be intimidating and dark and there might be creepy people outside, but I want kids at Rutgers to bring their bands there and find out about the place like I did,” Joe Chyb, manager of the Court Tavern, said. But in order to give back to those benefactors who understand the importance of the Court Tavern, Chyb reached out to his friend Tony Shanahan, bassist for Patti Smith. “I e-mailed Tony, and while reading it he was sitting in the room with Patti,” Chyb says. “She heard his reaction to my description of how bad things were and of fered to play for free.” Besides the cooperation of Smith, Glen Burtnik’s Slaves of New Brunswick and The Smithereens will play a benefit concert for the Court Tavern at the State Theatre on April 30th. The acts are close to the cause since Patti Smith’s Shanahan, Burtnik, The Smithereens and guitarist Lenny Kaye grew up around New Brunswick in some form. “We wanted to find bands that had some connection to the Court Tavern,” Chyb said. “The Smithereens recorded their last album at the Court, so they were happy to do it.” The concert is looking to raise $26,000 in order to pay back all of the borrowed money, yet Chyb along with owner Bobby Albert, are hoping for more. “We need to sell it out to make the money back, but we also want money to keep the place open,” Chyb said. “The benefit is also a celebration of the Court Tavern and what it’s done over the years. Bobby’s place is the only one in town where people can really showcase their music, art and poetry.”
COURTESY OF BROOKLYN VEGAN
Buy tickets: http://www.statetheatrenj.org/court_tavern Or State Theatre ticket office April 30th, 8 pm Tickets: $42-$25 (depending on seating)
Music • Video Games
April 29, 2010
Inside Beat • Page 11
Kate Nash My Best Friend Is You | A
COURTESY OF GAME STOP
Starcraft II: Wings of Liberty
COURTESY OF FANPOP.COM
Blizzard Entertainment | A
BY SEAN QUINN STAFF WRITER
When Starcraft was released in 1998 by Blizzard Enter tainment, it quickly became the highest selling PC game up to that point. Hailed as one of the greatest games ever made, it picked up an enormous international following especially in South Korea. There it is credited with starting the countries‘ burgeoning competitive gaming industr y; professional players have achieved celebrity status comparable to American football players or film stars. The Starcraft phenomenon continues today, and is still centered on the aged game and its expansion pack, Starcraft: Brood War. However, change is coming as Starcraft II: Wings of Liber ty is slated to release sometime this quarter. Wings of Liberty will be the first game released in a threepart saga, and will feature a 30+ mission Terran campaign along with full multiplayer suppor t.
Once again, the player will follow Jim Raynor through a new chapter in the Starcraft universe. Two more releases, Heart of the Swarm and Legacy of the Void, will follow the Zerg and Protoss races respectively. Though the campaign is sure to be exciting, Blizzard’s prime focus is producing a multiplayer experience balanced for casual and professional play. The game plays much like the original, but incorporates vast improvements in graphics and mechanics. Selection groups are no longer limited to 12 units, which makes it much easier to micromanage your forces. Additionally, production buildings can be grouped and given dynamic rally points similar to Warcraft III which eases the burden of managing multiple bases in the mid to late game. Each race has also received new and unique mechanics furthering the game’s core ideal of making the three races play dif ferently while maintaining balance. The tech trees for each race have also been revised, featuring
old favorites from the original along with many interesting new units. Though some will lament the exclusion of old favorites like the Firebat and Lurkers, all of the original units will make appearances in the campaign and will be available in the map editor. All in all, Wings of Liber ty promises to be the next generation in the R TS genre and will likely be distracting you from your schoolwork for years to come. The Galaxy Editor, available to beta testers this week, will be even more powerful than the expansive Warcraft III editor. Its aim is to attract indie game developers to the Starcraft community and is sure to yield a heap of custom content such as Tower Defense games and the hugely successful Defense of the Ancients. If you are interested in joining the beta test, GameStop is now offering free beta access to anyone who preorders the game. This is a beta version preview; game aspects and details are subject to change
BY JASON STIVES MUSIC EDITOR
It’s easy to silence the critics by not responding to their jeers. But if you’re Brit pop singer/songwriter Kate Nash, you silence their snickering by upstaging their expectations in the studio. Nash, whose 2007 debut Made of Bricks, was met with some unnecessary pandering, has come back at her haters with her highly anticipated sophomore release My Best Friend Is You. Immediately from the first note of her wall-of-sound ode “Paris,” Nash is quick to get on the backs of the critics, knowing she has got the naysayers cornered about her lack of inspiration. But the parallel to the track is its honest perception about hopes for a meaningful relationship. This is indeed the underlying theme to this girl group centric record, combining Nash’s brash, cockney vocal styling with a careless outlook on a scorned love life.
Borrowing heavily from various girl groups, Nash finds influence in girl bands like the Slits, giving a loud and shrieking appeal to a track like “I Just Love You More.” Still beyond some of the most lyrically vile and deep, emotionally rooted tracks, singsong melodies and an ever present hand clap track on songs like “Early Christmas Present” and “Kiss That Grrrl” keeps the album firmly pop. Part of Nash’s songwriting appeal lies in her British scowl and her nature for writing for a young mind that likes to take music seriously but relate to an immature subject matter at time. The album’s lead single “Do Wah Doo” displays a childish nature but a high production that easily works for a Top 40 audience. While her originality shines brightly here, it is Nash’s use of what is already established and what has worked that takes this simple pop record and makes it a luxurious mainstream gem. Some may find it too bubblegum-like, but My Best Friend Is You is a great example of expansion and not just another generic pop record.
Natalie Merchant Leave Your Sleep | B
BY PERRI LERNER STAFF WRITER
COURTESY OF NATALIEMERCHANT.COM
After an almost seven year absence, singer and former 10,000 Maniacs front woman Natalie Merchant has returned with her fifth studio release, a concept album entitled Leave Your Sleep. The album is a compilation of modified 19th and 20th century British and American childhood poetr y as well as works from noted poets like E. E. Cummings, Jack Prelutsky and Robert Graves. Ever y song is done in a different style, but the overall earthy sound of the album brings a feeling of mysticism and relaxation that keeps the audience engaged throughout the album’s 26-track duration. Violins accompanying acoustic guitars give a sweet, sad sound heard vividly in “If No One Ever Marries Me,” a solemn track about a woman
Rufus Wainwright BY ZOE SZATHMARY STAFF WRITER
Rufus Wainwright has never been afraid to be painfully open with his fans. His latest album, All Days Are Nights: Songs for Lulu, is no exception. Wainwright sings of alienation, unrequited love, and the terminal cancer of his mother, folk singer Kate McGarrigle. Wainwright begins with the voyeuristic “Who Are You, New York?” Over a dizzying, intensifying piano, he sings of watching someone—or something—at various famed locales and accompanying existential anxiety. The song’s abrupt end leaves the track with an unfinished, and unsettling, quality for the listener. “Martha” is arguably the album’s best song. Wainwright sings as though leaving a voicemail for his sister Martha, a musician in her own right. His troubled relationship with her is hinted at as he tells of his
doomed to be a spinster. In “Bleezer’s Ice-Cream” the bluegrass, upbeat melody of the song goes perfectly with the eccentric lyrics making references to such flavors as “yam anchovy prune pastrami” and “cotton candy carrot custard”. “The Dancing Bear” is a whimsical song that mixes old world Yiddish melodies with contemporary flair, using fiddles which mix well with the folksiness of her voice. Similarly in a 40’s jazz style, “The Blind Man and the Elephant,” a song about six blind men who go to see an elephant, is light-hearted and comical with a soulful beat. Although the musical style changes from song to song, the album has a constant flow from beginning to end. However, the album is relatively long, clocking in at almost 2 hours. Though these songs originated as children’s poems, Leave Your Sleep can be appreciated by people of all ages.
All Days Are Nights: Songs for Lulu | B-
mother’s failing health. Here, Wainwright’s voice is both nasally and captivating. He is truly desperate for any human contact as he sings the final words, “Please call me back...” Three of the songs from Lulu are musical adaptations of Shakespeare’s sonnets. “Sonnet 43,” from which the album gets its name, describes the emptiness in life until seeing his beloved. Slowly pounding piano accompanies Wainwright as he croons and swoons at the chance of a reunion. This song flows nicely with the other two sonnets, working as a nine-minute reverie. “Zebulon” ends the album on a bizarre, unsatisfying note. Lines like “Your nose was always too big for your face/Still, it made you look kinda sexy” are forced and awkward. Coupled with a dragged-out piano melody, the song veers toward bad cabaret. While Lulu features some gems, it needs more focus so as to better showcase the fragile songwriter Wainwright is.
COURTESY OF RUFUS WAINWRIGHT