INSIDEBEAT SEPTEMBER 24, 2009 • Vol. 27, No. 4
THE WEEKLY ENTERTAINMENT MAGAZINE OF THE DAILY TARGUM
FASHION WEEK Spring 2010 Over 100 designers showcased their lines last week in the fashion capital of the world, NEW YORK CITY
September 24, 2009
Column • Fashion
Things That Change The World BY STACY DOUEK ASSISTANT EDITOR
As an entertainment publication, we take pride in the fact that we know way too much information about way too many people that we do not know — just because, you know, it’s fun and all. But sometimes the things worth not mentioning are actually worth mentioning. As a tribute to entertainment publications everywhere I bring you: The dumb-
est things reported on this week. First, we have the MTV Video Music Awards. We all know Kanye pulled a Kanye on Taylor Swift, then Lil’ Mama Kanye’d Jay-Z’s performance, but did every media outlet have to aggregate a list of response tweets? I thought to myself, ‘Were Katy Perry, Kelly Clarkson and Pink all tweeting while it was happening?’ And, if this was the case, why didn’t we see their racing fingers and cell phone lights
during the camera close up? And while we are on the topic of the VMAs, do our lives seem that much better now that we know President Barack Obama thinks Kanye is a “jackass”? Wow, I had no idea, Mr. President! Well, actually, I kind of got the hint a while back when he complained about that Grammy, but now that you’ve clarified that up, we will all live better lives. Big thanks to the reporter that decided to tweet
something that was off the record! Yet the VMAs were not the only award show this week. The Emmys celebrated all that was glorious of primetime TV — 27 minutes late. Apparently, writers thought that was the most important part of the Emmys. Well, it wasn’t like Neil Patrick Harris’s monologue was all that riveting. Avril Lavigne and Deryck Whibley (Sum 41) are getting divorced after three years. That’s no real sur-
rant
Page 2 • Inside Beat
prise, since most Hollywood couples split after two, but what made this divorce that much more irksome is the way it was reported — in Lavigne’s lyrics. Apparently songs like “Sk8er Boi” and “Complicated” really “Sum” up “Letting Go.” Well, knowing the American public, we will probably forget about this until it winds up on a Best Week Ever episode rerun, so that we can tweet “OMG remember when…” and change the channel.
REWARDING HARD WORK ALL PHOTOS COURTESY OF PHILLIP ANNAND
BY ERIN SWEENEY STAFF WRITER
A combination of natural style and talent facilitated the beginnings of a lucrative business venture in fashion for one School of Arts and Sciences sophomore. Phillip Annand’s independent fashion brand, The Award Tour, puts him in legitimate contention for the position of the University’s next famous fashion designer. Annand started custom printing tees for friends in high school, and the brand has expanded to include a summer and winter collection. The collection — including screen-printed tees, hoodies, hats and scarves — is distributed and sold by merchants across the United States and the world. “In high school, I used to do hand-painted and other kinds of custom shirts for a lot of people. It got to the point where I had a lot of business, but hand-painting the shirts was taking too long. I decided to look into getting them screen-printed,” says Annand. “I got 100 shirts screen-printed, brought them into school, and [they] sold out in two days with triple the profit.” He followed up with a collection of four T-shirts a few months later, and the project only expanded from there. Now, Annand executes all aspects of the biannual collection himself, from design and manufacturer selection to marketing and distribution. A fellow University student
helps him with the actual technical design and coding of the Award Tour Web site, but otherwise, Annand runs the whole business himself while balancing a full-time schedule of classes. The brand’s success over a mere three years testifies to his skills in business, while the pictures and sketches — which appear occasionally in entries on the “Good Times Blog” located on the Award Tour Web site’s main page — attest to Annand’s artistic and aesthetic talents. He derives inspiration for the brand’s colorful style — full of iconography references — from the preferences of his own wardrobe and those of his friends. “Originally, I started doing Award Tour for my friends and me,” Annand says. “All of my friends were sort of conscious of a streetwear style, so the brand is things that we would wear, stuff that I wear. The collection changes from season to season reflecting my personal style and how it changes from time to time.” Although Annand designs his line under the pretense of streetwear, people with a variety of tastes could make good
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use of any of the pieces. The designs, particularly the tees, are extremely wearable in the day-to-day lives of college student. Subscribing to Award Tour’s brand of vibrant, original casual wear could turn that run-of-the-mill ensemble into an eye-catching look. The future holds big things for Annand and Award Tour. The extent of the brand’s fandom has already allowed Annand such opportunities as attending the recent MTV Video Music Awards and writing for Hypebeast, a pop culture blog collective that gets eight million views a month. Despite Award Tour’s success, Annand is unsure if the brand will be his career in the future. “Award Tour isn’t the only thing I’m doing right now, but it’s definitely something that’s going to continue for years to come.” As for his advice to someone hoping to enter any creative or business career, Annand says, “If you’re going to do something, make sure you’re doing something you enjoy.” Check out TheAwardTour.com if you are interested in pieces from the summer 2009 collection. PHILLIP ANNAND
EDITORIAL BOARD M ARGARET D ARIAS ..................................................... EDITOR T OM W RIGHT -P IERSANTI ................................ ASSOCIATE EDITOR S TACY D OUEK ....................... ASSISTANT EDITOR N IDHI S ARAIYA .......................... BOOKS EDITOR A DRIENNE V OGT ............................ COPY EDITOR MICHAEL MALVASIO.......................FASHION EDITOR
EMILY SCHACHTMAN.............................FILM EDITOR JASON STIVES.......................................MUSIC EDITOR D AN B RACAGLIA ............. PHOTOGRAPHY EDITOR TOM WRIGHT-PIERSANTI..........................TV EDITOR
THIS WEEK’S CONTRIBUTORS TO INSIDE BEAT : Michael Bachmann, Amanda Litchkowski, Elena E. Lobello, Tracy Lorenzo, Marc Mance, Tara L. Young, Erin Sweeney. Cover photo courtesy of Getty Images.
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Books • TV
September 24, 2009
Inside Beat • Page 3
Pygmy Chuck Palahniuk | ABY NIDHI SARAIYA BOOKS EDITOR
Cast and crew of 30 Rock ALL PHOTOS COURTESY OF GETTY IMAGES
Doogie Saves The Emmys BY TOM WRIGHT-PIERSANTI TV EDITOR
Last year, the Emmys awarded 30 Rock and Mad Men with the top honors in a ceremony simultaneously hosted by five reality show hosts. Thankfully, they only sort of repeated themselves on Sunday night. This year, 30 Rock and Mad Men once again took home the trophies for best comedy and drama, respectively, but host Neil Patrick Harris provided a reinvigoration of what was quickly becoming the worst award show of the year. Harris showed off his Broadway chops in a silly song-anddance number to star t, and though he was shaky through his already-poor monologue, he regained footing and held his own throughout. He kept the show moving swiftly with gentle, non-of fensive humor, but never seemed so tame or toothless as to make things boring. A new format also helped the show along; they distributed all the Emmys in various categories together. For instance, the show star ted with comedy, so all the awards for comedy acting, writing and directing were given out. That was followed by reality show, then miniseries and so for th. The night ended with the presentation of the two biggest awards, best comedy and best drama. The repeat winners didn’t end with the shows, though. Just like last year, top acting awards went Br yan Cranston for Breaking Bad, Glenn Close for Damages and Alec Balwdin for 30 Rock. The only newcomer to the winners’ circle was Toni Collette, who won for her Showtime series United States of Tara. Supporting actor in a comedy went to the wholly undeserving Jon Cryer, who plays the wimpy guy who isn’t Charlie Sheen on Two and a Half Men, while the same award on the drama side
Host Neil Patrick Harris went to the awesome Michael Emerson, portrayer of the Ben Linus character on Lost. Emerson glared at the audience, beadyeyed, and delivered a softly-spoken speech in perhaps one of the most accidentally terrifying moments in TV history. Kristen Chenoweth won a supporting actress Emmy for her enjoyable work on the delightful, but canceled, Pushing Daisies, and her counterpart on the drama half was Cherry Jones, who played the president on 24. The Daily Show took home well-deserved statues for writing and best comedy variety series (its seventh win), and though it would have been nice to see Stephen Colbert take the stage, it’s hard to argue that anything on TV has been sharper in the past year. But the evening wasn’t perfect. In perhaps the only organizational mistake, the producers stacked the categories of reality and miniseries next to each other, forcing viewers to sit through an hour of absolutely dull TV before the show was even an hour in. On the reality side, The Amazing Race won once again — as it has every year of the award’s existence — and Jeff Probst was rewarded for his work as host of Survivor. Then, in what seemed like its own six-hour award show tailored exclusively for elderly viewers, HBO’s Grey Gardens and PBS’s Little Dorrit dominated the movie/miniseries category.
There were more than a few digs at Kanye West’s Video Music Awards stunt from last week, too. Early on, Harris said “Here’s hoping Kanye West likes 30 Rock.” Later, Ken Howard, who won a suppor ting actor award for Grey Gardens, referenced West and the now-infamous Rep. Joe Wilson when he said, “I’ll make my speech as brief as possible in hopes it won’t be interrupted by a congressman or a rapper.” Another highlight included a newly televised categor y — best music and lyrics — which was included presumably just to allow likely winner Justin Timberlake a chance to take the podium. He lost, though, to the crew who wrote Hugh Jackman’s Oscar song from last year — and Jackman wasn’t even there. The writer who accepted the award acknowledged all that, saying they were “just the dumbest, dumbest, ugliest people, the least televisable you could have given this award to.” All in all, the night almost felt like a re-do of last year’s catastrophe, as if some producer said, ‘All right, we’ll keep the same winners, but we’ll let them get their awards in a ceremony that doesn’t make viewers throw a brick through their screen.’ And even if that is the case, you won’t hear many complaints — it was quite a pleasant experience.
Only problem of Chuck Palahniuk’s latest book Pygmy: Writing so cryptic in broken English that account of mission of operative Pygmy gives reader headache. Begins here review of telling story of young spy sent to United States for priority mission Operation Havoc. For official record, agent number 67 with name Pygmy by host pig dog brother and host cat sister sent to Midwest America to live with soda drinking, “Made in China” shirt wearing, and WalMart shopping family and attend brainwashing song singing and spelling war holding middle school to carry out terrorist mission. Although Palahniuk’s Clockwork Orange-esque writing does take some time to get used to, within a few chapters the quirky Pygmy’s storytelling develops a familiar rhythm. In each dispatch entry, Pygmy recounts his day-to-day activities with his host families, at school and with his fellow operatives. His blunt and literal descriptions of his activities are humorous, as they show just how clumsy his attempts to blend in really are. His attempt to invite a girl to dance with him goes horribly wrong when he asks, “Speciman female, permit perform mating dance prior generate human embryo?” When Pygmy attends a Model United Nations meeting as the U.S. representative, he not only fails to stand up for America,
but goes on to apologize to the other teenage delegates about America’s overuse of world energy resources, problems with obesity and history of slavery. Throw in several colorful illustrations of how he could easily decapitate every person he meets with a Punching Panda or Striking Cobra Quick Kill attack and a few inspiration quotes from his buddies Che Guevara, Benito Mussolini, and Mao Tse-tung, and Pygmy almost becomes charming. But despite all the craziness of his new American life, Pygmy never loses sight of his mission: to win the science fair, get his project to Wa s h i n g t o n D.C., and use it to massacre civilians. Compar ed to Palahniuk’s previous books Fight Club, Choke and Invisible Monsters, Pygmy, with its difficult prose and slow-todevelop plot, is unlikely to gain a cult following. But Palahniuk has never been afraid to express unpopular ideas, and Pygmy is no different. Underneath the comical situations of the story, Pygmy picks up on the cultural oddities, dysfunctional family relationships and senseless social behavior of modern American life and declares them with a frankness that makes readers wonder why they are tolerated in the first place. The book does not scold or preach wisdom, but rather tries to open our eyes in that candid, “kids say the darndest thing” kind of manner. Palahniuk’s satire of modern America through the experiences of this impressionable political troublemaker is an entertaining and provocative read.
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FASHION W BY MICHAEL MALVASIO FASHION EDITOR
Last week was that time of year when the tents went up, the heels went on and NEW YORK buzzed with anticipation as women and men rushed from one fashion show to the next. It was an exciting week, but something was different about the MERCEDES-BENZ SPRING 2010 fashion shows. As the economic climate changes, so do the spending habits of Americans, forcing some designers to opt for smaller presentations over large-scale shows and showcase 30 instead of the usual 60 looks. It was a necessary change for the industry to survive tough economic times; however, the hardships have given light to a renewed sense of urgency for quality. This season, designers stepped up to the plate and created collections worth buying — including pieces that are wearable, accessible and realistic — proving that sometimes even the worst of situations brings about the best in ingenuity, imagination and design.
Alexander Wang
It is hard to picture a college campus as inspiration for a spring collection, but the young and incredibly talented Alexander Wang did just that for next season. By using stereotypical images of American university culture, the designer was able to create a cohesive collection of looks that embodied the sexy, all-American college girl — but of course, with a Wang twist. His collegiate looks included varsity cardigans, cut-off sweatshirts and brown leather, football-inspired hats. The Ivy League theme, however, did not wash out Wang’s signature style, which was seen in the collection through the cut of his garments and the originality in the detailing of each piece. The details designed into each article of clothing made even the simple grey sweaters special and original. A laced-up pair of brown leather shorts, a baggy striped skirt with pockets and several sexy cut-outs (one model wore a top cut to frame her belly button) all helped create a collection that could be worn together or as separates. Another key ingredient for the success of this show was color. By using neutrals — browns, light khakis and whites — Wang was able to blend the colors of the collection while accenting certain looks with pops of red and green. For a final touch, all the models were anchored by leopard print, brown leather or black leather high heels, including what is being called next season’s “it” boots — a black chunky heel, with open toe and lace detail. Buyers and editors alike will surely be placing their requests for a collection that showcases the continued effort of a talented designer.
Proenza Schouler
ALL PHOTOS COURTESY OF GETTY IMAGES
The show began deceivingly boring last Wednesday as the first three models made their way down the runway in very basic looks. However, the extremely talented 28-year-old design duo of Jack McCollough and Lazaro Hernandez were not about to let down an audience that included Leighton Meister and Rachel McAdams. Thankfully — and not surprisingly — by the ninth look, it was clear the designers were about to reveal a line full of color and youth. Following the introduction, model after model sported short, sexy dresses, colorful and vibrant patterns and glittery-fringed skirts. The collection, which seemed to showcase skin more than anything else, is definitely targeted to the proper Proenza demographic -— young, trendy girls with a sense of attitude, especially with the revealing, yet tasteful, summer cocktail dresses that draw on inspiration from the tropics. Each one of these dresses shone and were colored to match the look of a vibrant, tropical fish — a likely option for girls looking to swap the little black dress for something cheerful next summer. Bright yellows, sea greens, light teals and ocean blues were all used to add to the “exotic aquatic” look the designers said they were aiming for. McCollough and Hernandez also managed to add several tie-dye dresses into the line without making the models look like hippies, creating a style that is everything from chic and dressy to fun and playful. It is likely to be a standout trend along with another must-have of next season. The skirt goes all the way to the chest and touches right at the center of the bra, revealing skin on both sides of the model. The outfit’s selling points are its bold colors and exotic feel. This sexy vibe created by McCollough and Hernandez certainly is meant for summer, so when asked by Tim Blanks why the designers decided to start the show with black and white, they revealed, “We like when a show opens up and evolves … you don’t expect what’s coming … it makes you realize the joy of color.” Regardless of the duo’s method, each dress is sure to create a lot of buzz as a colorful staple for next season.
WEEK
SPRING2010 NEW YORK
Carolina Herrera
Deep oranges, rich ambers and dark browns are all colors that are usually not first to come to mind when imagining a spring collection, but veteran designer Carolina Herrera managed to skillfully use them in her latest fashion show. The summer’s sunset was used as inspiration for this unique choice of color incorporated throughout the pieces. The collection showcased an impressive array of gowns, light blazers, shorts, pants and skirts — all designed with an elegance that is expected of Herrera. The designer also introduced a special method of weaving into the collection. “The inspiration was the technique of how [a] woman weaves baskets in Japan,” Herrera told Style.com. On the runway, this form of design translated into a collection that seemed couture instead of ready-to-wear, allowing each gown, skirt and blazer to have an interesting complexity and sense of character. Her use of shiny fabrics and materials also stood out in the show, which made the dresses shine and shimmer. Several looks using tiny wooden tiles sewn into blazers and skirts were arranged in a way that reflected the light and added a loud statement to an otherwise conservative piece. The new techniques, choice of color and use of material all combined to give the now-70-year-old designer a modern update for both her older and younger customers.
As promised, Lady Gaga was front and center for the much-anticipated fashion spectacle that was the Marc Jacobs runway show. And of course, Jacobs kept things new and fresh with his spring collection — a total change from the ’80s, glam rock time warp that was fall 2009’s main look. Jacobs changed next season’s woman into a refined, dance-inspired lady — think ballerina headed home after a performance at Radio City Music Hall. The models, complete with white faces and high buns, donned lots of ruffles, slouchy pants and light colors. The collection was different than the usual Marc Jacobs feel. Besides the occasional, Lady Gaga-inspired pantless looks, the line was void of accessories like high heels -— a surprisingly non-edgy vibe for Jacobs. The collection did have appeal in its own right with looks that felt romantic instead of sexy. Last season’s party girl image was replaced this season with high collars, baggy dresses and lots of non-form-fitting pieces. The strongest looks throughout the show were the one-piece ruffled outfits — a simple but powerful statement for next season. Although Jacobs showcased a totally new collection, there were elements sprinkled throughout that were typical of the designer — unique fabrics, the use of long pencil skirts, and his always fun, over-the top handbags. This season, handbags were a wide range of styles — some had long fringe, while others were small with short handles. Whether referencing the women of the ’80s or the ballerinas at Lincoln Center, one thing is certain: Marc Jacobs never ceases to inspire fashion and continues to move the industry forward season after season.
Marc Jacobs
DONNA KARAN
If someone had to pick one thing Donna Karan does best, it would have to be her ability to drape jersey satin. Karan’s collection, which fashion critics are calling “structured, but sensuous,” is a perfect blend between tailored looks while still being comfortable for the everyday woman. The material was draped and pulled to form to the model’s bodies and ranged from subtle gunmetal grays to bold and intense reds. Perfect for business or going out, Karan designed a line capable of being formal or informal — her pieces seem to have the ability to change depending on the context. Another great quality about Karan is her refreshing take on the pantsuit. Made infamous by Secretary of State Hillary Clinton, the pantsuit has
gained a horrible reputation of being too manly. However, Karan showcased a white pantsuit that was feminine, powerful and sexy — not an easy combination for a woman to pull off all in one outfit. Karan also does a great job at creating flattering silhouettes, including many looks that are cinched at the waist, allowing women of all sizes to look beautiful in her clothes. “Its not the way they look … it’s the way they feel … whether she’s a size two or a size 14,” said Karan to Style.com about how women should feel when wearing her brand. She competed her look with hats made of a stiff fabric and chain — linked accessories that nicely accented many of her v-neck goddess dresses. Karan has once again proven her expertise in draping fabric and stands out as a leader in making clothing for women that are consistently beautiful and comfortable.
Page 6 • Inside Beat
September 24, 2009
Film
this weekend
at the nj film fest:
COURTESY OF ALLMOVIEPHOTO.COM
Cloudy With A Chance of Meatballs Phil Lord, Chris Snyder | B+ BY AMANDA LITCHKOWSKI STAFF WRITER
Most would not complain about perfectly sculpted cheeseburgers, monstrous slices of cherry pie or scoops of brightly colored ice cream falling from the sky. At first, the inhabitants of Swallow Island had little problem with the constant buffet of delicious food raining down on their small town in Sony Pictures Animations’ new film, Cloudy With a Chance of Meatballs. Yet Flint Lockwood’s (voiced by Saturday Night Live’s Bill Hader) novel invention proves to be a dangerous force when the town mayor chooses to maximize the machine’s abilities in order to turn Swallow Island into the tourist trap, “Chew and Swallow.” Joining Flint on his quest to save the town from his creation are Steve (voiced by Neil Patrick Harris), his pet monkey equipped with a thought translator and a
geekily cute meteorologist named Sam Sparks (Anna Faris, The House Bunny). Together they attempt to stop the water-to-food converter from destroying the town with gigantic steaks, bouldersized meatballs and thundering watermelons. Besides being packed with visually stimulating graphics of humongous culinary items, Cloudy also sports some comic relief. Flint’s constant one-worded narrations of his actions (“Painting!” as he decorates a piece of his invention to make it look more hightech) and the insight into a monkey’s thoughts (“Gummi bears!” as Steve dreams of his ideal food product) carry the audience laughing throughout the movie. The single negative aspect of Cloudy is that it boasts a handful of very generic stereotypes. The single police officer in the town is a black man named Earl (voiced by the infamous Mr. T) whose man-
ner of speaking reflects an overused representation of black English vernacular. Feminists would cringe at Sam’s habit of counteracting her intelligent and scientific-jargonfilled statements with airy, mindless utterances deemed appropriate for young, blond women. The anchorman of the news program for which Sam reports also declares that she will only be put back on air if she looks pretty, not like a dork. Sam’s handy cameraman, a short Latino man named Manny (voiced by Benjamin Bratt, Miss Congeniality, Traffic) describes himself as an immigrant who has come to America to make a better life. Despite the ideological problems in the movie, Cloudy With a Chance of Meatballs is an entertaining and delightful film that could possibly be the first nonPixar piece of the season to dominate the box offices.
BY TARA L. YOUNG STAFF WRITER
Ever yone is familiar with the classic image of two lovers passionately kissing and rolling around on a beach. The waves crash around them and their passion is so fevered that not even the elements can interrupt their embrace. What people are not as familiar with is the origin of this classic cinematic moment, Fred Zinnemann’s From Here to Eternity. Based on the James Jones novel with the same name, the movie follows the men of the Schofield Barracks on Oahu as they alternate between professional and personal life in the weeks leading up to the bombing of Pearl Harbor. The previously mentioned love scene features Burt Lancaster (All My Sons, Judgment at Nuremburg) as 1st Sgt. Milton Warden — just Warden to his men — and his paramour, played by Deborah Kerr (An Af fair to Remember, The King and I), the wife of his commanding officer. Private Robert E. Lee Pruitt, portrayed by Montgomery Clift (The Misfits, The Defector), is newly transferred
playing Friday at Scott Hall 123, 7p.m. The 2009 documentary A Place Out of Time: The Bordentown School, from director Dave Davidson, traces the history of the titular institution — an allblack school — through three generations. Narrated by Ruby Dee (Do the Right Thing), the film explores not only the history of this particular school but also that of discriminatory practices against black education in the United States at large. From alumni, local historians and archival footage, a story emerges about how this community managed to enrich itself, and what was lost and gained in the fight for equality. —Emily Schachtman
COURTESY OF ALLMOVIEPHOTO.COM
Remembering Patrick Swayze BY ELENA E. LOBELLO STAFF WRITER
COURTESY OF ALLMOVIEPHOTO.COM
From Here
to Eternity
A Place Out of Time
into the regiment. The company is known for their boxing team, and Pruitt is especially well known for being a highly skilled pugilist. Though he has no desire to fight again, he is harassed by his superiors into joining their team. To blow off steam, his friend takes him to a local “social” club where he meets Lorene (Donna Reed), a professional “hostess” (changed from prostitute as described in the book, to protect the integrity of the U.S. Army). Though Lorene is not allowed to give all her attention to just one man, it is the one thing Pruitt truly desires and — despite the consequences — he demands it. This is a thoroughly American tale of how jealousy, love, prejudice, integrity and fate all intertwine in the pursuit of happiness. Besides Lancaster, Kerr, Clift and Reed, the ensemble cast also includes Frank Sinatra (who won an Oscar for his supporting role), and Ernest Borgnine (The Wild Bunch, The Poseidon Adventure). Released in 1953, From Here to Eternity won eight Oscars total. So next time you want to make it a movie night and you find all the current releases derivative, give this movie a try for a fraction of the cost of going to the cineplex.
Johnny Castle had his last performance this past week when beloved actor Patrick Swayze lost his battle to pancreatic cancer. Swayze was born in Houston, Texas, in 1952. He was the son of a dancer who owned a dance studio in Houston, where he grew up. There, Swayze learned to love and perfect the art of dancing and went on to study dance at the Harkness Ballet School and Joffrey Ballet School in New York before making his movie debut. His first film role was Ace in a 1979 roller-disco movie called Skatetown, U.S.A. alongside famous child actors Scott Baio and Maureen McCormick. He made a few other films over the next few years, including a roll in the teenangst themed hit The Outsiders, but nothing made Swayze more beloved, admired or desired than the 1987 film Dirty Dancing. Dirty Dancing inspired its generation and generations after it to get down and dirty on the dance floor and have the time of their life while doing it. As Johnny Castle, the hip-swinging dance instructor at a summer vacation club who woos the shy, innocent and off-limits Baby, Swayze captured the hearts and desires of women everywhere. Whether it was his hip-thrusting to Frankie Vallie or his smooth voice in the song “She’s Like The Wind” (which he co-wrote and sang for the film), Swayze had secured his place in the hearts of movie-goers everywhere. In an attempt to break away from his romantic typecast, he took the role of butt-kicking Dalton in 1989 film Road House.
He couldn’t stay away from his romantic roles, though, and in 1990 he took the par t of Sam Wheat in the film Ghost. To this day, there is rarely a dr y eye by the end of this bittersweet film about a man who was shot during a late-night mugging and whose ghost lingers on Earth to watch over and protect the love of his life, Molly (played by Demi Moore). Before this film, the word “ditto” was only a grammatical expression, a potter y wheel was only for making ar t and The Righteous Brothers’ song “Unchained Melody” was just song of the past. But Ghost changed all that. Swayze also lived a real-life romance with Lisa Niemi, whom he met at age 15. They married in June 1975 and remained together since. In January 2008, Swayze was diagnosed with pancreatic cancer. While he underwent chemotherapy, he took his final role in the A&E show The Beast. Then, after a long battle, he died on Monday, Sept. 14. Swayze was more than just a dancer. He was an icon, securing some beloved and famous catchphrases we will all continue to remember. Who would think the scold, “Don’t put your heel down!” would be heart-warming? Or that, “Spaghetti arms!” would make the world smile in delight? While the world mourns the loss of this man who was an idol to girls of all ages, from those who based their wedding dances on the climactic scene in Dirty Dancing to college girls discovering the movie together in their dorm rooms, we can promise Patrick one thing — we’ll never, ever put baby in the corner.
September 24, 2009
Inside Beat • Page 7
Music
The First Annual Inside Beat
BY TRACY LORENZO In reality, last week’s MTV Video Music Awards praised plenty of music videos that no one really cares about. People are becoming less amused by the cheesy mini-storylines for songs that are overplayed on the radio. Instead, they find enjoyment in watching videos on YouTube, whether it is of a dramatic gopher or someone trying to look like a tool. While these videos stir up a lot of laughs, we can’t forget that there is also a lot of musical talent showcased on the famed Web site. They might not be famous enough for Kanye West to steal their moment, but they are famous enough to get thousands of subscribers watching their homemade productions. Some of the best YouTube stars are the ones who create extraordinary renditions of popular songs by adding their own style. If there were awards for these videos, the YouTube Music Awards go to the following users:
Alex Serra (YouTube ID: aleutube) for Best Male Artist. This British cutie is one sensational singer. He’s got a guitar on hand, the black-and-white video setting on, and a voice that can sing songs by different types of artists such as Jack Johnson and Alicia Keys. He also fulfills the fantasy of having more than one amazing voice. In his cover of “Just Friends” by Musiq Soulchild, he virtually duplicates himself to add background tones that complete the song. He also forms a pseudo-fiveperson band of Alex Serras to create the effect of a collective harmony in a cover of Jazz Standard’s “Summertime.” The Best Female Artist award does not go to one female singer, but two girls that should never be separated. Rin on the Rox (YouTube ID: hiphopRINROX), otherwise known as Erin Perey and Roxanne Ilano, are known for singing beautiful R&B songs in a very private place: their bathroom. Earlier this year, they performed their most popular cover, Beyonce’s
“Halo,” on a televised bathroom performance on The Ellen DeGeneres Show. Talk about an upgrade! Sure enough, their divine covers of NeYo and Keri Hilson songs will keep their increasing popularity from going down the toilet. By day, he’s Brad Doggett (YouTube ID: doggettbm), an ordinary, bored 21-year-old in his college dorm room. By night, he grabs his guitar and turns into a musical genius worthy of the title Best Breakthrough Artist. The instrument screams the obvious; he sings favorites from Jason Mraz, John Mayer and other alternative artists. However, the boy magically transforms rap songs such as Drake’s “Best I Ever Had” into masterpieces of amazing acoustics. Not to mention, he also does a phenomenal cover of “Green Light” by John Legend with his band Earthtone. These artists may not have amazing Hollywood productions, but they will surely get you glued to the tube — or at least, YouTube.
Alex Serra (aleutube) Best Male Artist
Brad Doggett (doggettbm) Best Breakthrough Artist
Rin on the Rox (hiphopRINROX) Best Female Artist
STAFF WRITER
COURTESY OF PUNKBANDS.COM
Brand New Daisy | A+
BY JASON STIVES MUSIC EDITOR
Some things in mainstream music are left unexplained to the average fan. The songwriting of Brand New lead singer Jesse Lacey is one of them. Wrestling with creative genius and borderline insanity, the Long Island outfit has morphed over the past decade into one of the most identified names in alternative rock, yet has never once tried to replicate the sound of their previous efforts. Instead, they choose to grow as a dedicated studio band and live act. The band’s fourth album, Daisy, is an exercise in futility, relinquishing whatever hopes fans had of the group returning to the glories of their sophomore release, 2003’s Deja Entendu, and creating some of the most cohesive and disturbing music in recent memor y. Channeling many alt-rock acts of the mid-’90s, Brand New has crafted the perfect safe record. Somewhere between being the most meticulous stalker music ever imagined in a band and an extension of their 2006 release The Devil and God Are Raging Inside Me, the band found a neutral zone in their changing sound that fits perfectly with the ever-evolving
music scene. Oddly enough, there is no dark aura in Jesse Lacey’s life, as he has said time and time again that there are no dark horses in his life, just a television to sit in front of while he writes new songs. So where these strange tales of bottomless pits of despair (“At the Bottom”) and procrastinating one’s direction in life (“Sink”) come from, only Lacey knows. What we do know is the band has never sounded as strong and as slick as they do here. Triballike backbeats added by Garrett Tierney’s doom-like bass lines leave a foreboding atmosphere behind the already murky lyrics. This comes as no surprise for a band that has been known to craft their sound and their songs better live and on the road than in the studio where the song is just a blue print. Lead guitarist Vincent Accardi gets more flexing room on this album than in any of the band’s other releases, thanks to some strong and avantgarde songwriting on tracks like “Gasoline.” In an ever-changing industr y, it is nice to see some things never change. Daisy offers one of the most raw, unsettling and — at times — unexplainable albums in recent memories. It is the chameleon-like style of the music of Brand New that ensures longevity and strength through changing times.
Thrice Beggars | B+
BY MARC MANCE STAFF WRITER
Thrice’s music has evolved from album to album, showing more complexity in their music while branching out and experimenting with dif ferent styles. Their last effort, The Alchemy Index, proved that they could get their feet wet from anything fast to a mellowing slow song. With their latest release, Beggars, the quar tet continues to fine-tune their complexity. Each member contributes to the melting pot, mixing melodic guitar riffs, pulsating bass lines, off-timed yet original drumming, and vocals that bring out the meaningful, deep lyrics. Beggars opens up with “All The World Is Mad,” an up tempo plea of warn-
ing about “our sad, wretched fires.” The next track, “The Weight,” toys around with an unusual time signature for the verses, where the guitar and bass are off time with the drumming, while aggressive lyrics are shouted over it. Lead singer Dustin Kensrue shouts the line “But true love is a choice you must make and you’re the one that I have set my heart to choose” with undeniable passion and emotion attached. His vocals complement the deep lyrics and musicianship, especially in “Doublespeak,” where he sings, “I drugged my heart with doublespeak,” over a piano jazz-like chord progression. The album weaves in and out from slow mellow songs to upbeat ones, giving each member of the band time to shine at their instrument. Creativity does not run dry for one second on Beggars, making it easy for the listener to sink deeper after each listen.
Music Awards
Hub City Heroes: 20 Years of
The Bouncing Souls
BY MICHAEL BACHMANN STAFF WRITER
For two decades now, the Bouncing Souls have been at the forefront of the punk rock scene, creating anthems of youthful nihilism, growing up and finding out what life really means. Their fans are die-hards, but are also young kids just discovering the world of alternative music. To survive as a band for 20 years is nothing short of impressive. While their sound has been refined from their earlier, grittier days, the qualities that define the band have not. Since forming, the guys from the Bouncing Souls have set the bar high for what it means to have an active role in the scene, allowing new bands to gain fame by opening for them, hosting shows and starting their own record label — doing it all with the honest but authentic attitude that keeps underground music alive and thriving. Their earliest album releases include 1994’s The Good, the Bad & the Argyle and 1996’s Maniacal Laughter, and were all released on their own record label Chunksaah. After much success from these releases, the Souls toured tirelessly around the country, teaming up with big names like NOFX and Lifetime. These releases were followed by a laundry list of many more very respected and amazing albums released on Epitaph Records. This year, in celebration of their landmark as a group, the Bouncing Souls have been releasing a new mp3 once a month, all packaged nicely on four 7” records. Thus far, veteran fans have widely loved the songs. Some notable releases so far include “Gasoline” and “We All Sing Along.” In comparison with their older
tracks, the 20th anniversary releases are much more refined but still have that same, solid substance that has come to define the band — lyrics of getting back up after being beaten down, counting out the things in life that matter and sometimes that punk rock goofiness. What sets the Bouncing Souls apart from other big names in the industry is their roots. To New Brunswick, they are “hometown heroes” in every sense of the phrase. Their involvement in music began with their participation in the local scene of the area, even writing songs such as “174 Commercial” about their original house on Commercial Avenue. They are a group of punks with Jersey pride from the heart. As big as they may become, the guys never forget where it all started and the scene they helped carry on. Their tours are often cheap, with frequent trips to Jersey spots like Asbury Lanes. With a thriving music scene today, it’s always important for New Brunswick musicians to remember these guys and the countless other bands that laid the framework. The Souls over the years have been able to combine all of the best elements of punk — a DIY ethic, hard work and commitment to fans. They are the typified local heroes — from Commercial Avenue basement shows to sold-out nationwide shows — yet they are still real people who make real music. Look out for the rest of their releases in the upcoming months as the Souls celebrate 20 years. As Ronen Kauffman, a New Brunswick scene veteran puts it, “The Bouncing Souls are as close to a household name as you can get in punk rock, and they did it with hard work and honest music. That’s Springsteen stuff, you know? Jersey style.”