APRIL 5, 2012 • VOL. 30, NO. 8
INSIDEBEAT THE WEEKLY ENTERTAINMENT MAGAZINE OF THE DAILY TARGUM
Smartphones and Tablets The Future of Computing and Gaming TITANS E H T F O H UP • WRAT E IN L G IN • HBO SPR 4 O IC P O ULY D • TR A P • G IN T HEAVY PET
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Odd Future BY ALEX NATANZON FILM EDITOR
Popular culture constantly finds ways to come full circle, creating special niches for retro novelties or representations of specific styles. This doesn’t only apply to 20th century items; “steampunk,” a fusion of 19th century fashion and science fiction elements, is a notable example. Similar to reworked fashion styles or older music genres, outdated technology is today
considered memorabilia, or the influence for retro-fusion. Any fan of classic rock music knows that there is something special about listening to albums on a record player. There is nothing superior about a record player compared to modern audio listening equipment, but the record player has a novel charm, which makes it “cool” in its own right. This appreciation does not apply to all sorts of outdated technology, though; walking around with a cassette
Walkman, while hilarious, is not actually hip. Trying to justify the use of a floppy disc by characterizing it as “old-school” doesn’t work, either. However, going over a friend’s house and revisiting video games like Duck Hunt or Super Mario Bros on an original Nintendo system is an awesome trip down nostalgia lane. A question presents itself: “What factors make a particular item worthy of admiration and use in modern times after it has long
been replaced by a technological successor?” There obviously is a pull factor with old-school items. Why do some people insist on driving old cars? Why do others prefer older styles of music? Maybe it’s one generation keeping connections with the past. One way to analyze the merit of an item is to consider its influence, popularity and competition on the market. However, unlike a vinyl record player or an NES, it is difficult to imagine the constantly improving
INSIDEBEAT
EDITORIAL BOARD Z OË S ZATHMARY .................................................... EDITOR RYAN SURUJNATH......................................................ASSOCIATE EDITOR ASHLEY PARK............................................................ASSISTANT EDITOR
modern technology of today ever making a comeback and being celebrated for its vintage glory. Eighty years from now, what would make a second or third-generation iPhone unique or memorable? What sort of technology and what type of culture need to be around for today’s constantly replaceable gadgets to ever become novel? Perhaps a long time from now, someone will dust off some CDs and listen with a group of friends to some golden oldies artists like Maroon 5 or Lil Wayne.
THIS WEEK’S CONTRIBUTORS TO INSIDE BEAT :
FREDDIE MORGAN..............................................................................TV EDITOR EMILY GABRIELE.........................................................................MUSIC EDITOR Mike Bither, Spence Blazak, Diana Cholankeril, Tammie Chiou, Jacob HEATHER TEDESCO................................................................THEATER EDITOR ZOË SZATHMARY....................................................................FASHION EDITOR Eisenberg, Jessica Espinosa, Gabrielle Gatdula, Elena Georgopoulos, Jeff SASKIA KUSNECOV............................................................................ART EDITOR Hersch, Megan Mastrobattista, JILLIAN PASON...............................................................................COPY EDITOR Jessica Ray & Steve Smoke ALEX NATANZON............................................................................FILM EDITOR JASON PEARL.............................................................................ONLINE EDITOR Cover Photo Courtesy of RYAN SURUJNATH...........................................................VIDEO GAMES EDITOR Apple
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MOD MADNESS BY MEGAN MASTROBATTISTA STAFF WRITER
A new collaboration at the Los Angeles Museum of Contemporary Art (MOCA) presents 1960s mod fashion. The show, titled The Total Look, features iconic images of mod model Peggy Moffitt taken in the 1960s by her husband, photographer William Claxton. Moffitt was an icon of mod fashion with a unique, Japanese-inspired look. She was the muse not only to Claxton but also to Rudi Gernreich who became a controversial designer on the Los Angeles art scene. Gernreich designed the clothes featured in the photographs in the show. The collaboration between the three artists offers an exhibition that reveals the connections between the historical mod era and the modern world. The iconic mod period in fashion and art history, noted for its “youthquake” and influence on
rock music, television and media did not end in the 1960s. While Gernreich believed that “fashion will go out with fashion,” modern designs similar to those featured in the photo exhibition can be seen in stores across America today. Moffit, Claxton and Gernreich were ahead of their time, and maybe even ahead of ours. The three were considered important figures in the Los Angeles art community in their time and the fact that MOCA is bringing this art back after 50 years is a tribute to their contributions and to the city. Mod fashion designs pushed fashion boundaries and the people behind the movement became a part of art history in Los Angeles that is influential around the world. The iconic images of Moffitt with her signature bowl cut and dark kohl make-up, along with the color-block floral and pop art-inspired prints designed by Gernreich are both reminders of the past and signs of the future.
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BFA THESIS EXHIBIT:HEAVY PETTING BY JACOB EISENBERG
Sculpture by Rachel Off
STAFF WRITER
COURTESY OF SASKIA KUSNECOV
On March 29, Mason Gross students presented Heavy Petting, the first of two spring theses art exhibitions, offering a challenging and interesting array of visual artworks. The show features the final products of 35 Visual Arts majors, who are going to be graduating at the end of the semester. Heavy Petting is named for the intimate process the student artists went through during the production process and refers to students considering their works as pets, as well as a risqué double entendre. The exhibit offers something for everyone, yet maintains a focus on digital works and manipulation. Gerry Beegan, undergraduate design director, said, “Over the past few years that I have been part of this there has definitely been a rise in the use of technology.” The show highlights this trend in a variety of ways; paintings on display like Here’s Your House or Report a Problem by
Ryan Rusinski, feature artistic renditions of Google’s “street view.” Max Churak’s light show incorporates geometric patterns, as well as programming knowhow. Other students’ works tackle more introspective issues. Tracy Ku’s #FirstWorldProblems #RealWorldProblems #HumanProblems, for example, features a social, yet introverted, narrative. Her drawings of mundane problems ser ve to draw upon the Internet culture of our age, referring to social media like Twitter. John DiMarco’s threepart video tackles personal issues that resonate with anyone who watches it. Sculpture pieces were also featured throughout the gallery. Rachel Off’s suspended fabric sculpture is one of the first pieces visible upon entering the gallery. Samantha Owen Knierim’s wall sculpture is also on display, and is in constant flux due to air circulation. C.H. Liptrot’s head sculptures, however, are the dominant pieces within the show. At least one is located in
almost every room of the gallery, and the variety of mediums used to construct the heads ensures that they are always an eye catcher. The heads are all of the same face yet conceptualized each time in a different medium, giving the sculpture a different function. A plaster head, once given a slit, becomes a piggy bank; a head made of soap becomes functional once it’s located in the bathroom. Liptrot’s fellow artists organically dispersed his series throughout the gallery without intentional placement. While the overall show was fine-tuned by Beegan, he said that students were responsible for the banner, the programs and even had a strong say in the placement of the art, resulting in a strong student statement. Heavy Petting will run until April 12, when it is replaced by the second BFA show, I, Spy. The Mason Gross Gallery may be one of the University’s best-kept secrets, but is definitely something every University student should visit before graduating.
The Heidelberg Project BY JESSICA RAY STAFF WRITER
Artist Tyree Guyton has redefined the concept of public art in Detroit, Michigan, with the Heidelberg Project: an artistic refuge for residents and visitors alike. This year, the project celebrates its 25th anniversary. The Heidelberg Project began when Guyton, a native of Heidelberg Street, returned to his childhood home later in life, only to find it crippled by poverty and crime. With the help of his grandfather, Guyton cleaned up trash from the vacant lots in the area and began to create sculptures out of the refuse. He soon branched away from these sculptures and began to incorporate the abandoned houses, automobiles, fences and other objects in the area to create works of art The most notable portions of the project are the houses. The “polka dot house” is the first house that Guyton painted. Its exterior is covered with painted polka dots of all sizes and colors. Similarly, the “number house” has numbers painted on its exterior in different
sizes and colors as well. Guyton often incorporates found objects into the landscape in unconventional ways, such as creating sculptures out of wooden doors, aligning vacuum cleaners on a lawn or stacking old television sets. Many of Guyton’s displays evoke political themes, like Barack Obama’s presidential win in 2008. Along with the multicolored polka dots that cover nearly every surface in Heidelberg, Guyton uses a few token words sparingly, such as “GOD” and “WAR.” As part of Guyton’s mission to integrate the art with the community, the Heidelberg Project is accessible at all times; there are no fences separating it from the rest of the community and viewers are allowed to walk or drive through whenever they please. In creating this world, Guyton’s aims were not only to give back to the community but also to invite outsiders into it. He hoped that by creating a safe, innovative environment in the Detroit area, spectators would be drawn to the city. In fact, Guyton’s own mother lives in the “polka dot house.”
The “animal house”
COURTESY OF DETROITMOXIE.COM
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THE PAULY D PROJECT MTV Thursdays at 10:30 p.m.| BBY DIANA M. CHOLANKERIL STAFF WRITER
Fresh off his Jersey Shore days, reality star Pauly D is rounding up his crew of guido wannabes and packing up to go to Las Vegas, Nev. Pauly D’s dream is finally coming true: a chance to be the house DJ for the Palms Resort in Las Vegas. Through his hard work — or his association with the Jersey Shore media frenzy — he scored the opportunity of a lifetime. He’s now taking his DJing skills to the big leagues. His best friends, Biggie and Jerr y (work associates who are paid to stick around), come along for this crazy, yet completely expected spinoff of Jersey Shore. As with most reality shows these days, the audience should-
n’t expect anything new. There are probably enough Pauly D clones roaming the streets at 3 a.m., but some might prefer the those of Jersey Shore, with its glorified drinking and promotion of male promiscuity. Of all the characters on the Jersey Shore, Pauly D is the most comical and least annoying (which really isn’t saying much), arguably the per fect ingredients for a reality series. While it would have been nice if Pauly’s best friend Vinny from Jersey Shore joined the cast, MTV can’t work miracles. After all, how would the network explain why a fellow cast member from a past reality show gets to join Pauly D on the job halfway across the countr y? Despite the fact that the show is devoted to a man who
became famous solely for his debaucher y, The Pauly D Project provides solid, if mindless, entertainment for 30 minutes each week. If you seek hilarity in bad television akin to Jersey Shore, then look no fur ther than The Pauly D Project. Fans of Pauly D’s frighteningly white smile, unnaturally tan skin, or numerous catch phrases will definitely enjoy this spin-of f. For those who just enjoy making fun of the cast of the Jersey Shore or complaining how the cast is a detriment to society, watching The Pauly D Project will give confirm these beliefs. The show is the ver y embodiment of current reality TV; just add it to the unfortunate growing list of guilty pleasures in mainstream American media. Hello, 21st centur y.
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HBO April Lineup BY GABRIELLE GATDULA STAFF WRITER
HBO is ready to prove once again why it’s the leading premium cable network for original programming. From returning favorites like Game of Thrones to promising freshman shows like Girls, here’s a preview of what’s to come. Game of Thrones The first season of the critically-acclaimed fantasy series left many loose plot threads: Robb Stark’s (Richard Madden, Chatroom) forces bowed down to him; Tyrion Lannister (Peter Dinklage, The Station Agent) reluctantly accepted the position of
Hand of the King; Sansa (Sophie Turner) and Ar ya Stark (Maisie Williams) dealt with the consequences of their father's execution; resident brooder Jon Snow (Kit Harington) set out to encounter threats beyond the Wall; and Daenerys Targaryen (Emilia Clarke, Triassic Attack) firmly solidified her power, emerging from her husband’s funeral pyre unharmed with three dragon hatchlings. Based on A Clash of Kings, George R.R. Martin's second novel from the A Song of Ice and Fire series, the highly anticipated second season promises grander visuals and supernatural creatures, along with more violence, sex and political power
plays than ever before as the War of the Five Kings unfolds. Season 2 of Game of Thrones airs on Sunday at 9 p.m. Girls With the death of How to Make It in America, fans may be searching to fill the void of a show depicting young adults attempting to make it in brutal New York City. Look no further than the new Judd Apatow comedy, Girls. The show focuses on a group of friends in their 20s struggling to support themselves and their dreams. The premise sounds similar to the female-centric Sex and the City, but what seems to set Girls apart is that it's rooted in the realism of
emerging adulthood. Judging from the trailers, it also doesn't seem to take itself too seriously, which will make the emotional moments all the more genuine and satisfying. Already earning early critical acclaim, Girls seems to be the perfect mirror of the current generation. Catch the series premiere of Girls on Sunday, April 15 at 10:30 p.m. Veep Coming off the heels of the Sarah Palin drama Game Change, political comedy Veep focuses on a fictional universe in which Senator Selina Meyer (Julia Louis-Dreyfus, Seinfeld) becomes Vice President of the United States. Upon their arrival at the Capitol, Meyer and her
team find themselves in over their heads as they try to leave a legacy while navigating the day-to-day political games that surround them. The comedic potential is immediately apparent in the preview clips of Meyer running around in an attempt to find the President. Julia Louis-Dreyfus seems to already bring her starring role as Selina Meyer to life with her bluntness and awkward humor. The supporting cast is just as frank and hilarious, making the ensemble all the more worth watching. This may not be U.S. politics 101, but you'll get a kick out of poking fun at the ridiculousness of the political world. Veep premieres Sunday, April 22 at 10 p.m.
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Tropico 4: Modern Times DLC Developed by Kalypso Media| BBY RYAN SURUJNATH ASSOCIATE EDITOR
Tropico 4 is perhaps the ultimate test of a person’s character. Given control of a small island in the Caribbean, Tropico asks players how they would govern. Whether they choose to rule as a democratically elected man of the people or as a totalitarian dictator, Tropico 4 can make any person’s fantasies of grandeur come true. Now, with the Modern Times DLC, there are even more options for players to exert their will on the denizens of their virtual nation. Modern Times expands upon the original game by moving the setting from the Cold War into the 21st century. Along with this new time period comes a number of new structures and edicts, such as high-rise corporate buildings and the ability to ban social networking among members of the populace. These new abilities serve are expansions of the game's original mechanics instead of a dramatic gameplay change. Edicts and structures are still used to influence a
variety of regime-influencing variables on the island, like happiness, income and subversive activity. The most prevalent gameplay addition comes in the form of a new Timeline feature that is present in the both game’s campaign and sandbox modes. Timeline events occur at set years and force players to adopt certain edicts or change their strategy in some way. Real life events, like the onset of the 2008 economic collapse, can detrimentally affect players’ islands, forcing them to rethink policy choices. Modern Times features a number of new missions to the main campaign, but they are not as fun nor do they require the same degree of strategy as the game's sandbox mode. The story is also a bit thin: one year after the events of Tropico 4, the president of the island nation of Tropico, El Presidente, must rebuild after his advisor predictably ruined the country. Though the story is hardly a central facet to Modern Times, the game’s trademarked satirical humor falls flat and feels
recycled. The campaign’s gameplay is also disappointing, mostly due to the game’s mission structure. Though it presents the illusion of variety, each mission objective effectively asks players to do the same thing: build or adopt a financially-draining structure or edict, and subsequently attempt to rehabilitate the island's crippled economy. The approach is too formulaic, and gets old quickly. Finally, there is the game’s price. The Modern Times DLC costs 1200 Microsoft Points, or $15. For some inexplicable reason, however, the game costs $5 more on PC, where the graphics and controls are superior. Either way, the DLC is a bit expensive considering that Modern Times doesn’t add too much. While the new edicts, buildings and Timeline feature are amusing, they can’t quite justify the price tag. Hardcore fans of Tropico 4 will certainly appreciate some of the subtle new strategies that come with the new features. For others, though, the game is amusing enough even without DLC.
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COURTESY OF EA
Mass Effect 3’s Ending Controversy BY RYAN SURUJNATH ASSOCIATE EDITOR
Ever since Mass Effect 3’s release on March 8, developer BioWare has received criticism from its fanbase over the game’s lackluster ending. Now, BioWare agreed to the fans’ demands by promising to release a brand new ending to satisfy players' concerns. While some question BioWare’s decision to cave into player demands, the fans are absolutely right in their criticism. There are numerous gaping problems and inconsistencies with the game's present ending that need to be changed. A word of caution: this article is a critique of Mass Effect 3’s ending, and as such, spoilers will follow.
The simple brevity of Mass Effect 3’s ending is astonishing; it’s almost dismissive of the hundreds of hours players have each poured into playing through the trilogy. Ideally, Mass Effect 3’s ending should have been not just a summation of a single game, but rather an all-encompassing blend of cinema and game play that tied up all the franchise’s loose ends. Instead, upon reaching the game's final confrontation, players are rewarded with a few confusing conversations and three irrelevant cut scenes. The endgame takes roughly 15 minutes and feels ill conceived, if not cheap. Conciseness does not necessarily equate to a bad ending, but the sheer terseness of Mass Effect 3’s ending is coupled with the fact
that none of the scenes make any sense. The most questionable part is the final reveal of who the villain ultimately is; the mastermind behind the Reaper invasion is an AI, which is physically represented by a small boy whose death haunted protagonist, Commander Shepard throughout the game. The AI essentially explains that the Reapers after organic life forms created synthetic beings that would kill them. Thus, the Reapers’ purpose is to harvest organics and turn them into synthetics so that organics can't be killed by their own synthetic creations. This is a halfbaked explanation for a galactic genocide and the idea is not developed any further. Players can either destroy the Reapers, control them or un-
dergo an ill-explained genetic synthesis with synthetics to stop them. Instead of three distinct endings, players are given the three same cutscenes, albeit with a different colored explosion. First, there is a scene of the Mass Relays being destroyed. This makes no sense in the context of the game's lore; the Arrival DLC for the first Mass Ef fect establishes that the destruction of the Mass Relays would result in a supernova large enough to engulf a star system. This would make Shepard a bigger mass murderer than the Reapers. Second, players are shown a cutscene in which the Normandy escapes the destruction of the Mass Relays only to crash land on a deserted planet with no
means of leaving. Interestingly, one of the characters depicted in this scene will always be a party member who fought with Shepard on Earth and was presumably incapacitated by a giant laser. How did that person get to the ship? And why did Joker leave the massive space battle? There are a plethora of other issues with the ending, chief among them a lack of closure. What happened to Shepard's companions and the thousands of aliens now stranded on Earth? There is no choice either. The ending does not take into consideration the hundreds of decisions players have made over three games. Hopefully BioWare can address some of these concerns with their new ending.
Smartphones and Tablets
People are downsizing by trading in heavy, traditional computers for sleek, yet powerful smartphones and tablets. There is certainly no shortage of choices. Google’s Android-powered devices continue to sell. Apple’s iPhone and iPad are extremely popular among University students, and even Microsoft tries to make strides in the smartphone department. Inside Beat takes a look at some of the coolest gadgets on the market. — By Ryan Surujnath, Associate Editor
COURTESY OF MICROSOFT
PREVIEW: WINDOWS 8 While Microsoft owns roughly 80 percent of the computing market, the software giant has yet to make significant strides in the realm of smartphones and tablets. Competitors like Apple and Google have instead established themselves as the gold standards of ultra-portable operating systems. Microsoft, however, hopes to change the status quo with its upcoming version of Windows, which will be used on both PCs and tablets. Windows 8 is a visual departure from its predecessors and is Microsoft's first computer operating system since Windows 3.1 to lack a start button on the bottom taskbar. Instead, the new user interface is heavily redesigned and
based off the Metro design language used on current Windows Mobile devices. While a traditional desktop is present, the start menu is clearly the main screen. Programs and applications are presented as tiles and are a simple click or touch away from full access. Programs can be run fullscreen, while two programs appear on the screen simultaneously using the snap feature first introduced with Windows 7. The new app store is another interesting new feature. Though there are only a few apps for the Windows 8 Consumer Preview version, Microsoft has promised wide application support for the future. It will be interesting to see how Microsoft will develop this
idea and make it distinct from Apple and Google's alternatives. In addition, users can sign in to their tablet or computer with a Windows Live ID, thus allowing them to access their applications and programs on different machines. While the visual redesign is Windows 8's most immediately noticeable feature, another ver y apparent facet is how lightweight this new operating system is. While Microsoft announced that system requirements could change in the months leading up to Windows 8's release, the minimum hardware specifications allow for a wide variety of machines, both PCs and tablets, to run it. PCs require only 1 GB of ram (2 GB for 64-bit Windows), a
1GHz processor and 20 GB of free hard drive space. To put this into context, this means that even a 7-year-old Dell Inspiron notebook and its meager Core Duo processor and aged hardware could conceivably run 32bit Windows 8. Microsoft has also released a list of minimum hardware requirements for tablets. Displays must have a minimum resolution of 1366x768 and there must be at least five hardware buttons. Devices must also have at least 10 GB of free hard drive space, a 720p camera, a magnetometer and gyroscope, built-in speakers and microphones, at least one USB port and Direct3D compliant graphics cards. While these minimum re-
quirements are hardly as lofty as the hardware found in Apple's iPad, Windows 8 devices will almost certainly be offered at a wide range of prices. There is no set release date for Windows 8, though it is rumored that Microsoft's new operating system will hit stores this fall. For now, however, the Windows 8 Consumer Preview version is available for free at Microsoft's website. It is worth noting, however, that messing around with a computer's operating system should not be taken lightly. While anyone can download Windows 8, only users experienced in using virtual hard disks or system restore disks should attempt to install it.
COURTESY OF SAMSUNG
COURTESY OF HTC
Choosing the Right Phone or Tablet Choosing a smar tphone or tablet can be a life-altering decision. For many, it can be even more significant than choosing where to go to university or who to marr y, and it can be just as difficult. There are many tablet and smar tphone options on the market, both already out and on the horizon. Apple iPhone, iPad, iPod Touch — iOS devices have found a home among university students, as college-aged young adults form the backbone of Apple's borderline-fanatical consumer base. This is with good reason, as the iPhone, iPad and iPod Touch boast some of the most
impressive hardware and software specifications on the mobile market. The latest and greatest iPad was released on March 16. It sports an impressive 9.7-inch, 2048x1536 resolution screen, and is powered by a dual-core processor and 1 GB of RAM. There have also been a number of rumors surrounding the iPhone 5. After Apple disappointed last year by releasing an updated iPhone 4S instead of an entirely new device, many tech websites believe that the iPhone 5 could debut either this summer or fall. While details are relatively difficult to come by, it’s rumored that the new iPhone could feature a new 4.6-inch retina display.
Samsung Galaxy Note — The Samsung Galaxy Note is enormous by smartphone standards. Measuring in at 5.781in. x3.266in. x .38in, the Note easily dwar ves its Apple competitor. Fortunately, the Galaxy Note more than makes up for its size with a 1.4 GHz dual-core processor, 1 GB of RAM, up to 32 GB of internal memory, and 8 Mpx camera, which is fully capable of HD video recording. The Galaxy Note also comes with a stylus to make menu navigation and games of Draw Something easier. Though the Note was initially released with the Android 2.3 "Gingerbread" operating system,
Samsung intends to offer an upgrade to the latest 4.0 "Ice Cream Sandwich" version. Though the Note is currently only available for AT&T customers, it is believed that the Note will be released as the Samsung Galaxy Journal for Verizon later this year. Motorola Droid Fighter — Details on this upcoming Motorola device are scant at best and were revealed via leaked photographs and internal documents. While neither Verizon nor Motorola made any formal confirmations, the general consensus among the online tech community suggest that the Droid Fighter will feature a
4.6-inch 1280x720 screen and could possibly ship with the Android Ice Cream Sandwich. HTC One XL — The latest addition to the HTC One family was already released overseas. Unfortunately, by the time it reaches the United States, it will be somewhat watered-down. The 1.5 GHz quad core processor present in the international version will be scrapped due to a network compatibility issue. Instead, the One XL will have dual-core processor, but fortunately there are a number of other impressive specifications. These include an 8 Mpx camera, 1 GB of RAM and Android Ice Cream Sandwich.
Inside Beat’s Favorite Apps
Infinity Blade on iOS
Last week, Google re-released its content distribution service, under the new name Google Play. Android users can use the Play service to download apps, among other things; together with the Apple App Store, there are thousands of useful applications and amusing games that can eat up vast swaths of time. Inside Beat takes a look at some of our favorites: Grand Theft Auto III — The game that redefined the concept of “open-world exploration” is available on iOS and Android devices. Rockstar has generously rereleased its famous title as a tenth-anniversar y edition for only $4.99 in the App Store. As in the original console version, players assume the role of an unnamed protagonist COURTESY OF EPIC GAMES
who ascends the Liberty City criminal hierarchy. VGBA — VGBA is a GameBoy Advance emulator that is specifically designed for Android users. While VGBA does not come packaged with games, users can create and run ROMs with games they already own. VGBA is surprisingly smooth, and can flawlessly run titles like Pokemon Emerald. VGBA is an impressive application and is a mere $4.99 on Google Play. Final Fantasy Tactics: The War of the Lions -- Like Grand Theft Auto III, Final Fantasy Tactics: The War of the Lions is a por t of a popular old game. Tactics first appeared on the Sony PlayStation in 1998 and was updated and rereleased for the PSP in
2007. The rerelease has now been por ted to the iPhone and iPad, with multiplayer, new characters and classes and animated cutscenes. At the same time, this new iteration of Tactics retains the feel of the original. This attention to detail comes with a price, however, as the iPad version costs a whopping $16. Infinity Blade -- Infinity Blade and its sequel, Infinity Blade 2 are the most promising displays of the gaming potential of iOS devices. The Infinity Blade games are touch controlled adventures that feature an intricate combat system that fully takes advantage of the iPhone's unique control scheme. Coupled with a compelling stor yline, the Infinity Blade games are two musthave iOS applications.
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COURTESY OF ALLMOVIEPHOTO.COM
W RATH BY JESSICA ESPINOSA STAFF WRITER
Wrath of the Titans is the longawaited sequel to the 2010 film, Clash of the Titans. One thing is for certain when comparing the two films: the sequel does much better with effects and action scenes. For those who seek exciting battle scenes with mythological creatures, this is surely one to watch. Sam Worthington (Avatar) returns as Perseus, son of Zeus. Ten years after his defeat of the Kraken, Perseus, is now a single
OF THE T ITANS Directed by Jonathan Liebesman | B
father to his young son, Helius (John Bell, A Shine of Rainbows). He decides to leave the life of a soldier for the calm life of a fisherman in order to protect his son. This plan doesn’t last very long, however, when Kronos, one of the original Titans, escapes his prison and launches a plan to destroy not only the gods but also the world. Naturally, it is up to Perseus to save both Zeus and mankind. Much of the original cast returns for the sequel. Liam Neeson (Taken) and Ralph Fiennes (Harry Potter) return as battling brothers
Zeus and Hades, respectively, and their chemistry is believable. Neeson and Fiennes have a long working history together, including Schindler’s List, and it shows on screen through their portrayal of Zeus and Hades’ relationship. Their scenes together are more interesting here than in the series’ first installment; in fact, their battle scenes are the best ones in the movie. The actors work hard at bringing the seemingly simple plot and screenplay alive. While the film’s premise is a simple case of “Perseus must save Zeus,” the
actors salvage it by bringing resonance to their performances as they battle numerous creatures, including the Cyclops. Fiennes’s Hades is also an unusual villain; his wide emotional range gives room for redemption and is fun to watch in between numerous shots of mythological beasts. Wrath of the Titans is the latest film to utilize 3D, though unlike some of its contemporaries, it uses these effects to its advantage and makes the movie-going experience engaging. The effects seem effortless and the visuals are eye-catching;
creatures seem more ferocious and scenes are truly enhanced by the technology. Though not completely necessary, the 3D effects improve the already action-packed film. Wrath of the Titans features an overabundance of powerful action scenes, with some lines of comedic relief mixed in, keeping the movie light and exciting. While the film lacks a high level of character development, it is still a vast improvement compared to its predecessor, and should be appreciated for the high-octane action it provides.
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Mirror, Mirror Directed by Tarsem Singh | CBY GABRIELLE GATDULA STAFF WRITER
Adaptations of beloved childhood fairy tales are either hit-ormiss. Unfortunately, Mirror, Mirror, Tarsem Singh’s version of Snow White, is a miss, failing to create a fresh and memorable take on the classic Grimm fable. Mirror, Mirror follows the basic outline of its source material as the Queen (Julia Roberts, Ocean’s 11) attempts to reduce her competition in the beauty department by sending Snow White (Lily Collins, The Blind Side) into the woods and ordering her servant, Brighton (Nathan Lane, The Producers), to kill her. Like the huntsman in the original tale, he frees her instead, and she flees into the woods where she encounters the iconic seven dwar ves. However, in a slight twist, they are highway thieves who take Snow White under their wing, helping her realize an inner power she must use in order to take back her kingdom. Despite the film’s efforts to modernize the familiar tale by empowering its heroine, Mirror, Mirror enfolds in a dull, static fashion that does nothing to engage the viewer. The bright, colorful backdrops and ornate costumes have more life and vitality than the plot and dialogue. There’s a per vading lack of energy that encompasses the entire film, and at least half of the scenes feel unessential to the plot. When there actually are important scenes, they still have a joyless sense of detachment. Director Singh might think that the
film’s visual flair can fool viewers into believing that there’s life in its stor y and characters, but he’s dead wrong. The movie also isn’t as funny as it thinks it is, especially when it comes to the portrayal of the Queen. The film means to frame her “insecurities” as a sympathetic flaw that she attempts to cover up with humor, but her backhanded comments and petty behavior are more grating than anything else and inspire zero laughs. The Queen’s original menacing nature is also absent, making her more like a mean girl rather than a villain to be taken seriously. The heroes of Mirror, Mirror sadly aren’t much better than the villains. Lily Collins as Snow White has an undeniable sweetness, but as far as personalities go, she’s pretty bland. If Singh meant to create a more modern Snow White, she could be feistier. Prince Andrew Alcott (Armie Hammer, The Social Network) has convincing charm, but his chemistry with Snow White is lacking. What they lack in rapport isn’t made up for with their romantic development, either. Gone are the days where audiences could fall for the idea of two people falling in love by the mere sight of each other; modern day movie romances demand more substance. The family crowd may eat up Mirror, Mirror, but college students have no business watching something so forgettable. Save your time and money for another adaptation — one that offers a more original premise, with a Queen and Snow White that actually mean business.
COURTESY OF ALLMOVIEPHOTO.COM
Tomboy Directed by Celine Sciamma | A BY ELENA GEORGOPOULOS STAFF WRITER
COURTESY OF ALLMOVIEPHOTO.COM
Transgendered people often say their true gender identity when they were children. Unfortunately, it can be very difficult to make anyone outside the community understand what it’s like to be young and at odds with one’s sex. However, one film, Tomboy, a French film released on DVD and Blue-Ray on March 5, explores what it is like to be such a child against the backdrop of childhood innocence and its developing relationships. The film introduces Mikael, a young boy whose family moves into an apartment complex in the French suburbs during the summer. He soon becomes friends with the other children. Mikael is embraced by the others for his skill in sports and finds a love interest in a female neighbor. However, at home he is Laure, the oldest daughter whose parents only see “him” as such. Mikael attempts to navigate his feelings of idealizing masculinity and wanting
to be seen as a boy, often wondering if the two worlds he seems to inhabit could ever be compatible. His conflict to be accepted by his peers, one most children face, is intensified by his difficulty in understanding himself while continuing with his façade. Being a child isn’t easy — social hierarchies and rules within groups of kids can be extremely rigid, and become more so when gender roles start to be recognized, as displayed in scenes where the kids play innocent yet sexually charged games of truth or dare. While Mikael readily adapts to his created identity and in fact seems rather natural in it while playing outside with the others; at home he stifled and quiet. He spends much time in front of the mirror, being the visual epitome of a young boy, though he and the audience know the truth. All the child actors deliver genuine performances throughout the film, displaying both the sweetness and cruelty exhibited by children who don’t know any better. Zoe Heran, however, is truly the
standout; as Mikael/Laure her movements thoroughly come across as someone whose preferred gender is at odds with her body and her facial expressions reveal someone who is contemplative about her actions and struggles with her hidden identities. The exterior shots of playing children are filmed in a blurry, fast-paced way, as if they were muddled childhood memories from a summer in which one day dissolves into the next. The celestial haziness of the film seems to comment on the identities children are allowed to blur before puberty, contrasting sharply with the clearness and grey colors of Mikael’s home where his gender is imposed by his parents. Tomboy is a beautiful film, visually and conceptually, shedding light on how it is to be a kid that is “different” in any way. It shows the beginning of a persona and its triumphs and heartbreaks, foreshadowing what Mikael, and children like him, may face in today’s world.
Page 10 • Inside Beat
April 5, 2012
INSIDE BEAT
Civil Twilight Holy Weather | B-
COURTESY OF MATT LINGO
Rusko Songs | BBY MIKE BITHER STAFF WRITER
Ever since breakout single “Cockney Thug,” English producer Rusko is considered the founding father of “brostep,” subgenre of dubstep — a dubious honor that he tries to ignore. After clearing the path for brostepper extraordinaire Skrillex, Rusko’s Songs is a further attempt to clear his name. While the record ultimately lacks consistency and unity, it features several moments of borderline genius. Songs opens with a minute-long conversation about innovation and the desire to bring dubstep back to its Jamaican roots. The opener is followed by lead single “Somebody to Love,” which isn’t “Jamaican” whatsoever. Regardless, the track is catchy, danceable and as accessible as dubstep can get. The album continues to jump around different styles throughout. With the poppy garage of
“Pressure,” the deep reggae of “Love No More” and “Mek More Green,” the hip-hop stylings of “Dirty Sexy” along with the pure house of standout track “Thunder,” the album is truly all over the place. This is both a strength and weakness. For every track as fun as “Pressure” or as clubready as “Thunder,” there’s a misfire, like the ear-destroying “Asda Car Park” or the halfhearted “Dirty Sexy.” As its title suggests, Songs is a collection of standalone tracks, each memorable in its own right, for better or worse. The album’s lack of general cohesion is likely not an accident, but an attempt by Rusko to shed his unwanted identity as the father of brostep. Regardless of his public perception, it is clear that Rusko is more fun than many of his more traditional peers in the dubstep scene. Expect an infectious Avicii remix of “Thunder” to hit the air waves any time now.
PHOTOS COURTESY OF FACEBOOK
BY STEVE SMOKE STAFF WRITER
Alternative rock has always been an ambiguous designation, encompassing a variety of acts that don’t quite fit into any other rock subgenre. With the release of second album Holy Weather, three-piece band Civil Twilight has embraced the alternativerock label and explored the medley of sounds that fit within it. “River” opens the album and is paced with an energetic acoustic guitar and backing vocals. Lead singer Steven McKellar provides vague lyrics throughout the album, seemingly more focused on delivering emotions rather than specific messages in the tracks. On
“River,” McKellar sings, “You see those statues, they’re men of frozen will/We’re not like them, baby/We will never be still/Take a little dive into the river.” Throughout Holy Weather, Civil Twilight uses delicately placed riffs and rhythms to create an overall sound. Despite his duties as lead vocalist, McKellar provides the most defining musical moments on the album, with both his bass and keyboard. This is evident on the meandering title track, propelled by his bombastic bass. It peaks, however, on the album’s highlight, “Fire Escape,” where his infectious bass riff and catchy vocals combine to create a vibrant single. On “Move/Stay,” McKeller’s authoritative keyboard, interjected with his brother Andrew’s distortion-soaked guitar, produce a different, darker sound.
This deliberately paced album toys with the role of silence in song construction — the effect is sleepy and forgetful at times, but there are a few songs that make it worth a listen. “Ever y Walk” and “Highway of Fallen Kings” are the album’s standout tracks and may remind listeners of U2. “Shape of a Sound,” however, is a respite from monotony. Powerful drums drive the song, later accompanied by background vocals and tambourine, creating a majestic outro. Closing song “Door way” is less dramatic and brings the album to a close with a light, inviting tone. Ultimately, listeners will see that Civil Twilight explores several different sounds in Holy Weather, and the album allows them to get a sense of the diversity that the group has to offer.
Inside Beat • Page 11
April 5, 2012
INSIDE BEAT
COURTESY OF JORGEN RINDSTRAND
< < < < MIIKE SNOW > > > > > Happy to You | A BY TAMMIE CHIOU STAFF WRITER
With a self-titled debut in 2009, indie pop trio Miike Snow has been steadily dropping teasers and singles leading up to the drop of Happy to You. Combining strange and wild music videos, Miike Snow con-
structs a narrative, often using piano elements for flourish. The entire album bounces back and forth between different moods — a testament to Miike Snow’s advancement in production. On one end, Miike Snow retains its playful, whimsical side, most notably in “Enter the Joker’s Lair,” the first
song on the album. With a quirkysounding toy glockenspiel emitting burbling runs, Miike Snow leads us all the way into the group’s psyche before showing us what its members have to offer. “The Devil’s Work” is a proud, insistent war cry gussied up with battalion-like keyboard pounds. In
comparison, “God Help This Divorce” is a more reserved. The track features a shimmering harp and dreamy vocals that take a typical, mopey break up and subvert it. “Paddling Out” revs back in like a whirring, space odyssey with a mad-happy keyboard carrying the beat. For those nostalgic
for Miike Snow’s first album, the song “Bavarian #1” is a strong reminder, with the reintroduction of warped vocals and bright chirps. Miike Snow’s Happy to You is a fun album, with songs that pull listeners up and down, remaining cheerfully unapologetic for the group’s reckless, emotional rollercoaster.
ARTIST PROFILE: DEAD BUGS BY JEFF HERSCH STAFF WRITER
These days, the combination of intricate guitar work and vocal harmonies are not enough to make one stand out from other musicians. But with the addition of percussion, bells, whistles, ukulele and piano, the one-man band known as Dead Bugs has been able to do just that — creating and expanding an exceptional sound since 2008. “More than anything, I try and let my music sound natural,” says Adam Martin, a University junior majoring in English, who is also the man behind Dead Bugs. “I think that’s a good way to put it. But I still let some experimental electronic elements or man-made elements talk in there as well.” Such alt-folk and lo-fi themes are apparent. Sometimes collaborating with other local musicians, Martin adds an array of distinct sounds in the mix, often tricking the listener with various panning effects and unconventional noises.
With more than seven self-recorded albums out to date, his latest, Of a Feather, will be his first project to see a much-deserved vinyl release later this year via Haute Magie — a label based in Austin, Texas. This record is a more laid-back than previous releases but very intimate nonetheless. “Of a Feather is a winter-into-early-spring album to me,” Martin said. “I tend to get influenced by the seasons more than anything, but I try to let my sound aesthetics be accessible throughout the whole year if I can help it.” Soft tones and crisp, soothing vocals give you the illusion that he is singing to you in your living room surrounded by candles. Martin says the Rutgers atmosphere is a great place to pursue music. “New Brunswick by itself is a musical town,” Martin says. “It has a lot of punk and hardcore history in local venues/house shows and hopefully, will continue to serve as a place where musicians can come together to network, develop and share their art.”
TO STREAM OF A FEATHER AND OTHER ALBUMS COURTESY OF SALLY REISCH
WWW.DEADBUGS137.BANDCAMP.COM
LOCAL CORNER
Page 12 • Inside Beat
April 5, 2012
INSIDE BEAT
The All-American Rejects Kids in the Street | C-
COURTESY OF FACEBOOK.COM
BY SPENCE BLAZAK STAFF WRITER
People have a hard time letting go of the past. Some of us are still sad The Sopranos is over, some miss the days of yore when a Coca-Cola was a nickel, and some are just bands that got popular off of a few radiofriendly hits in the early 2000s
and refuse to admit their style of music isn’t popular anymore. The new album Kids in the Street firmly plants the All-American Rejects in the latter group. Somehow, the All-American Rejects are back with a new album. The good news for the band is its album is decent for what it is. The bad news is it is an album full of overdone, alt-
rock/pop of a bygone era. If this album came out six years ago, maybe it would be a different story, but instead it seems as if it is beating a dead horse. American ears can only take so much of emotionally tumultuous songs about how ex-girlfriends are lame and after several years, pop culture has moved on. Also, it’s one thing to
be singing about this stuff when you are 22, but it just comes off as creepy once you’ve hit 30. The album’s strong points are the first two songs on the album, “Someday’s Gone” and “Beekeeper’s Daughter.” They both feature that angst-ridden vibe that takes listeners on a trip down memory lane and could soon become a guilty pleasure. At all costs,
avoid the cut “Kids in the Street,” which attempts to be a poppy top40 hit, but instead comes off as smooth as a gravel road. All in all, if you miss the early 2000s, there are many things worse than Kids in the Street. But for the rest of us, it would probably be best to leave the Rejects where they came from — the past.
WHAT WE’RE LISTENING TO “BLACK MILK” BY MASSIVE ATTACK “SLIGHT WORK” BY WALE “SUMMER ANGEL” BY MINUS THE BEAR “STAY IN THE SHADE” BY JOSE GONZALEZ “LES” BY CHILDISH GAMBINO “TRUNK MUSIC” BY YELAWOLF “FREAKUM” BY BEYONCÉ