OCTOBER 25, 2012 • VOL. 30, NO.18
INSIDEBEAT THE WEEKLY ENTERTAINMENT MAGAZINE OF THE DAILY TARGUM
Hallowed Horrors Remembering Some of Horror’s Scariest Films
• AU GOOGLE X
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October 25, 2012
INSIDEBEAT EDITORS INSIDE BEAT EDITOR Zoë Szathmary FASHION EDITOR ASSOCIATE EDITOR VIDEO GAMES EDITOR ASSISTANT EDITOR TV EDITOR MUSIC EDITOR
Ryan Surujnath Freddie Morgan Emily Gabriele
FILM EDITOR
Alex Natanzon
ART EDITOR
Saskia Kusnecov
COPY EDITOR
Rashmee Kumar
ONLINE EDITOR
Jason Pearl
CONTRIBUTORS Spence Blazak
Rina Mody
Shama Huq
Danielle Rossi
Kara Hushon
Kevin Salvador
Josh Kelly
Nouran Shehata
Emily Maas
Anthony Toto
Lisa-Anna Migliore
Philip Wythe
Alana Milich
CONTACT Rutgers Student Center 126 College Avenue, Suite 431 New Brunswick, NJ 08901 PHONE (732) 932-2013 FAX (732) 246-7299 EMAIL beat@dailytargum.com WEB dailytargum.com/inside_beat TO ADVERTISE IN INSIDE BEAT, CALL (732) 932-7051 Monday through Friday, 8:30 a.m. to 4:30 p.m. COVER: ALLMOVIEPHOTO.COM
an editor’s rant on
Horrible Horrors of Halloween Film
H
orror movies suck. Aside from a few classic exceptions like “Night of the Living Dead” or “The Exorcist,” horror movies are a perfect storm of bad acting, throwaway plots, and pedestrian direction. The current horror landscape is especially dismal, with an unfortunate influx of found footage and torture porn films flooding theaters like so much red-dyed corn syrup. These movies rarely feature anything more sophisticated than a series of score-telegraphed jump scares, let alone a defined storyline or characters. The horror genre is sick, and it’s afflicted with a terminal combination of sequelitis, reboot fever, and cameraman epilepsy. The horror genre mixes especially well with comedy. Zombie parodies “Shaun of the Dead” and “Zombieland” are exemplary of this potent combination. Both maintain enough frightening fundamentals from their source material while infusing the perfect amount of levity and mockery. ‘80s entry “An American Werewolf in London” is perhaps the most quintessential of horror-comedy movies. The darkly hilarious film teeters to the point of disturbing when it comes to visuals, including an infamous transformation scene that proves the film worthy of its Academy Award win for makeup. Even more interesting than combining other genre elements with horror is when a film completely subverts the horror genre instead. “Scream” is a great example of this, with its slew
Online Editor
Jason Pearl
of meta-references, red herrings, and twist on the “final girl” trope. However, this year’s “The Cabin in the Woods” might be the most selfaware horror movie ever made. The exceeding clever screenplay (co-written by Joss Whedon) seeks to explain everything horror movies are known for, from why people always decide to split up to where all these terrible creatures really come from. The unpredictable plot winds in and out of expected horror territory while consistently remaining unique with each twist. While straight horror films may be experiencing a fearsome low, there’s still hope for more atypical and original takes on the genre. Until those films come, you can be terrified by the quality of “Paranormal Activity 4” this weekend.
Tyler, the Creator Explores and Expands His Musical Arsenal Staff Writer
Ryan Lizotte
Odd Future Records doubled its catalogue on Oct. 9, a day which saw the release of MellowHype’s “Numbers,” and Trash Talk’s “119.” MellowHype, a collaboration between rapper Hodgy Beats and producer Left Brain, has been part of the Odd Future rap collective since its inception. Trash Talk, the Sacramento-based hardcore punk band, is the first non-rap act to sign to Tyler, the Creator’s label. MellowHype’s “Numbers” was first announced more than a year ago, but did not come to surface until a track from the album “La Bonita,” premiered in July. The album features all in-house, guest vocalists, including Frank Ocean, Mike G and Earl Sweatshirt. Frank Ocean’s presence on “Astro” could be enough to make it a single. In addition, Mike G’s guest feature assures the fans he is working on music and staying “more awkward than Kristen Stewart.” The production on “Numbers” is mostly composed of Left Brain’s beats from high school, but also contains guest production from Tyler, the Creator and Incubus guitarist Mike Einziger.
Hodgy Beats’ lyrics have improved on this outing — he flexes his vocabulary on “Untitled L” and “65/Breakfast.” Highlights of the album include Earl Sweatshirt’s guest verse on “P2,” the sinister vibe of “Monster” and the entirety of “Snare.” Songs like “Exile on Broadway” and “Apathy” sound experimental for Trash Talk, and have their roots in classic punk and grunge. Vocalist Lee Spielman’s high-pitched screams and yells lace the tracks together, especially on lead single, “F.E.B.N.” Hodgy Beats and Tyler, the Creator jump in with guest verses on “Blossom & Burn,” marrying hip-hop and hardcore punk. The album’s closer, “Dogman” captures the live energy of Trash Talk, characterized by Garrett Stevenson’s low guitar riffs, and Sam Bosson’s poise behind the drum kit. Catch MellowHype and Trash Talk on the “Trash Wang East Coast Tour” in November, and make sure to pick up MellowHype’s “Numbers” and Trash Talk’s “119,” out now on Odd Future Records.
October 25, 2012
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INSIDEMUSIC
August Burns Red
Sleddin’ Hill A Holiday Album Staff Writer
Anthony Toto Christmas music? It’s October. Instead of acting like a scrooge, don’t judge too quickly. August Burns Red, known for its relentless style of metal and hardcore kick the holiday season off with a fresh dose of Christmas spirit with its new release, “August Burns Red Presents: Sleddin’ Hill - A Holiday Album.” August Burns Red catapulted to the forefront of metal for the last eight years through numerous tours, remarkable live performances and musical excellence. While some fans may find it odd for a band of its genre to attempt Christmas music, August Burns Red infuses a major shot of adrenaline through a number of well-known classics and originals in the album. With its members’ extraordinary musicianship, “Sleddin’ Hill
- A Holiday Album,” demonstrates the band’s versatility to apply its influence to highly regarded material. By incorporating orchestral instruments with melodic ferocity, August Burns Red’s members step outside the box as their unique interpretations breathe new life into “Winter Wonderland,” “Sleigh Ride,” “Rudolph the Red-Nosed Reindeer,” “Frosty the Snowman” and ”Jingle Bells.” This isn’t the band’s first foray into Christmas music. Before the this album, August Burns Red recorded popular covers of “God Rest Ye Merry Gentlemen,” “Little Drummer Boy” and “Carol of the Bells.” The latter track garnered mainstream attention and appeared in the television show “American Dad,” as well as the movie “The Spirit.” Instead of replicating the original “God Rest Ye Merry
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Gentlemen” could be mistaken for a song off August Burns Red’s catalog. The band fuses its distinct melody with its essential heaviness and speed creating a dynamic fury to a long heralded Christmas staple. Original tracks such as “Flurries” and “Sleddin’ Hills” demonstrate why the band stands on its own plateau among their contemporaries. “Flurries,” is an exhilarating listening experience with its harmonized attack of astonishing guitar playing, impressive time changes, breakdowns, soothing piano and bells in the background. The track combines the joyous excitement of Christmas with
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Beat Grade
plays their capability to push their sound into uncharted territory for future releases. The album will appeal to fans of all genres. The band joins Trans-Siberian Orchestra as critical groups showcasing the beautiful dynamics of heavymetal music with established Christmas masterpieces for the mainstream world to recognize. showcasing the beautiful dynamics of heavy- metal music with established Christmas masterpieces for the mainstream world to recognize.
artist of the week
A Fine Frenzy
BAKER
Pines Beat Grade
the thrill of heavymetal music in an accessible atmosphere of fun. Neither metal fans nor listeners of Christmas music will feel excluded. “Sleddin’ Hills,” acoustic guitar and folk-style rhythm serves as a huge surprise. The track is off the scale in talent as the band demonstrates their ability to succeed in any style they play. “O Come O Come Emmanuel” and “We Wish You A Merry Christmas,” concludes a stocking-filled pleasure of Christmas classics just in time for the holiday season. On “Sleddin’ Hill - A Holiday Album,” August Burns Red dis-
TWITTER @BAKERmusic YOUTUBE.com/user/BAKERmusicofficial SOUNDCLOUD.com/bakermusicofficial/sets/bakermusic FACEBOOK.com/bakermusicofficial
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Music Editor FACEBOOK.COM
Staff Writer
Shama Huq On her third studio release, the lovely Alison Sudol — the solo artist behind A Fine Frenzy — has branched out creatively. It’s been three years since her sophomore album, “Bomb in a Birdcage,” where Sudol played with a more upbeat, dance-friendly sound. “Bomb in a Birdcage” was a change from her critically acclaimed debut “One Cell in the Sea,” which featured slow, piano driven pieces. Her musical progression continues in “Pines.” She’s not one to shy away from experimentation and her latest effort is organic, filled with charm and still remains true to her style. “Pines” is a concept album that tells the tale of a pine tree that is given the chance to choose her own life. If another artists attempted to tell this story, it might come across as lackluster, however “Pines” calls upon Sudol’s storytelling skills with lyrics that are a little more detached than her previous personal work, but remain heartfelt. Her talent to manipulate language really connects with the listener. She has described the album as a story, with each song serving as a chapter. The album starts off with a long track, “Pinesong.” Nearly eight minutes in duration, the track introduces the listener is introduced to “Pines,” the album’s main character. The first stanza croons, “The time has come for giving up/ I have lost/ I wanted once to become what I cannot,” and it’s clear that this isn’t just a sunny tale of a tree’s life. This is the tale of someone lost and pining — the main metaphor and overarching theme of the album. Sudol’s fragile, beautiful voice is especially showcased in “Pinesong.” She sings with
a lovely tone accompanied by a low cello and gentle acoustic guitar, which serve as the context for this introduction. The tracks proceed with softness, seamlessly transitioning into each other, sewn together by sounds of nature. The honeyed third track “Avalanches (Culla’s Song),” finds Sudol using touches of piano combined with sweet lyrics that leave an undeniable sense of warmth. However, on “Riversong,” she returns to the theme of uncertainty and pining, with a sound evocative of a cold, running river. From there, she mixes the slower pieces with faster tracks that have a groove to them, switching up the pace but still remaining in the same setting. Nonetheless, it can be a little unsettling. The penultimate track is actually the album’s lead single, “Now is the Start.” The track is a joyful celebration stuffed into song form that utilizes electronic sounds and ties the whole album together. The story reads not just as the story of “Pines,” but also the story of the artist herself, searching for a sense of meaning and belonging. While some of the tracks blend together, there are a few standouts. The opener “Pinesong,” “Avalanches” and the pleasantly surprising, dark song “They Can’t If You Don’t Let Them,” are among the album’s best. On this album, Sudol manages to capture the feeling of the forest within her sonic landscape. The effect is ethereal and calming — well worth a listen on a quiet afternoon. Let Them,” are among the album’s best. On this album, Sudol manages to capture the feeling of the forest within her sonic landscape. The effect is ethereal and calming — well worth a listen on a quiet afternoon.
Emily Gabriele New York native BAKER now resides in Los Angeles, and as a result, has made a splash in the country’s two preeminent entertainment markets. His enormously popular track is titled “Not Gonna Wait” and it grabs listeners’ attention in and refuses to let go. It’s a bold, dance anthem that hasn’t gone unnoticed, reaching more than 3 million views on YouTube. Electro-pop backbeats, synthesizers and catchy vocal melodies characterize BAKER’s music. It’s hard to believe, then, that BAKER attended Harvard University as a film student. His passion for music has led him to pursue a career in the industry, instead. “I felt as though I didn’t have a choice. This is what I am meant to do with my life. It became very clear and this is what I love. It’s been just three years now that I’ve been out of college. I feel like things are finally coming together.” He decided to move to LA, where a more, poporiented sound, has offered BAKER a more effective platform than his native New York. But what makes BAKER stand out from other electro-pop artists? To him, the answer is simple. “I think I have my own look. I also write my own music. I don’t think there’s anyone who looks like me out there in the electro-pop universe.”
Physical appearance and fashion have been important to BAKER for virtually his whole life. This attention to detail was sparked by his family’s involvement in the fashion industry. “Knowing what to wear or knowing what fits is something that [I learned at a young age]. Maybe it’s in the genes […] think about it less and less now actually and I think that’s actually a positive thing. Sometimes people are so desperate to be noticed that they’ll wear anything crazy even if it’s not authentic to them.” It’s no question that his musical efforts are genuine. He has covered songs by pop artists like of Britney Spears, but it’s evident that BAKER’s original music outshines his remakes. In fact, DJ Joe Maz remixed his blow-up track, “Not Gonna Wait,” proving that BAKER has a strong and appealing song-writing ability. It’s only a matter of time until BAKER’s catchy and spirited music takes over the airwaves. After a listen or two to his thumping track, “Not Gonna Wait,” listeners won’t be able to deny letting out a lighthearted, “wooo-ooo.” only a matter of time until BAKER’s catchy and spirited music takes over the airwaves. After a listen or two to his thumping track, “Not Gonna Wait,” listeners won’t be able to deny letting out a light-hearted, “wooo-ooo.”
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INSIDEF
Oh the
not clear what attracts us to horror movies. Perhaps it’s the twisted pleasure we get from seeing a swarm of ravenous zombies rip someone apart, or maybe it’s the exhilaration we feel when we know that a machete-wielding psychopath will jump out any minute and claim his next unsuspecting victim. Whatever the reason, scary movies hold a special place in our hearts. They are clearly solidified in the confines of film history and are pop culture staples. In light of the upcoming Halloween, Inside Beat shares some of its favorite horror films and series.
It’s
Final Destination
Psycho (1960) Directed By Alfred Hitchcock STAFF WRITER
Danielle Rossi When naming the best horror films of all time, it is impossible to ignore the 1960 Alfred Hitchcock hit “Psycho”. “Psycho” takes place in a creepily perfect setting, has a mind-blowing twist ending and contains the single most famous horror scene to date of a young woman being stabbed repeatedly in the shower. One of the first psychological thrillers, and certainly the most well-known, it has retained its cinematic value half a century later. “Psycho” is a true work of art and has set the foundation for all future horror movies.
Beetlejuice Directed By James Wong STAFF WRITER
Kafu Shoda The ”Final Destination” series has definitely made the world more cautious about everyday objects, peculiar dreams and coincidental occurrences. Beginning with the first film ”Final Destination,” directed by James Wong, each film revolves around a protagonist who has a horrific vision of a large-scale accident, and
subsequently pulls both themself and others from an intended fate. But Death, presented in this series almost as a live character, seeks to claim those who had cheated fate through a series of abnormal and bizarre accidents that would put Rube Goldberg to shame. What makes “Final Destination” so different from other horror series is that it doesn’t have an easily identifiable killer. “Final Destination” has been successful in keeping people away from airplanes, bridges, roller coasters, tanning beds, elevators and even their own homes for the past 12 years.
A Nightmare on Elm Street
Directed By Tim Burton STAFF WRITER
Elena Georgopoulos For those who prefer campy to horror, no other classic quite matches Tim Burton’s 1988 dark comedy “Beetlejuice.” It’s a surreal tale of a recently deceased couple (Geena Davis and Alec Baldwin) trying to scare a family out of their home who enlist the help of Beetlegeuse, a “bio-exorcist” and showman, played memorably by Michael Keaton. Never has a story about the inevitability of death been so tonguein-cheek and fantastical. With its kitschy music and dance scenes, ghoulish aesthetic and cast of renowned actors it is pure, unsaturated fun.
The Evil Dead Trilogy Directed By Sam Raimi STAFF WRITER
Spence Blazak
Directed By Wes Cravem STAFF WRITER
Alex Natanzon In 1984, director Wes Craven introduced a horror movie character so different from predecessors like “Friday the 13th’s” Jason Voorhees, or “Halloween’s” Michael Myers that the genre would never be the same again. “A Nightmare on Elm Street” tells the chilling tale of Freddy
Krueger, a hideously burned man, who dons a fedora, striped sweater and bladed glove. What sets him apart from other characters is his twisted sense of humor and his murders — committed while his victims dream. Freddy employs wickedly creative means to eliminate his teenage targets, often placing them in disturbing dream realms and exposing them to horrid scenes. The original film spawned numerous sequels and a 2011 remake and is one of the most successful horror film series in history.
One of the few horror series where every entry holds up, the “Evil Dead” series is a cult gem. “Evil Dead’s” comedic tone and originality are what set it apart from the rest of the pack. Directed by Sam Raimi of “Spider-Man” fame, the story follows Ash as he and his friends go to a cabin in the woods for a weekend away. A friend reads from a Book of the Dead in the basement, and evil spirits quickly attack the cabin. What’s truly intriguing is the shift from film to film: The first is terrifying with a tinge of black comedy, the second is virtually a remake of the first but executed in a different way, and the third takes place in 1,300 AD. Make no mistake, however — “Evil Dead” is not for the faint of heart.
October 25, 2012
EATURE
Horror! SAW Series
The Silence of the Lambs Directed By Jonathan Demme STAFF WRITER
Spence Blazak Director Jonathan Demme’s 1991 thriller gives audiences one of cinema’s best villains since Norman Bates and the scariest directing style since “The Shining.” An FBI student trainee, Clarice Starling, hunts a serial killer that skins his victims and makes suits out of them. To aid her quest, she enlists the help of incarcerated serial killer Hannibal Lector to track him down. The conversations between Agent Starling and Lecter feature unsettling editing and close-ups. STAFF WRITER
Danielle Rossi
The Exorcist
If horror movies were measured by the number of times the audience cringes in pain and tries not to look away in fear and disgust, the “Saw” series would take the cake. But it isn’t just the gore and shock value that make this series a modern horror legend; . tThe storyline is a complex mystery that keeps viewers interested for all seven installments. Audience members anxiously await the beautifully horrifying twist endings. The series follows Jigsaw, a serial killing mastermind who puts victims in “games” where they must either endure a significant amount of pain or die. But as viewers learn Jigsaw’s story and overall purpose, which is to teach his victims to appreciate life, there is a strange sympathy built for this brilliant psychopath. Switching directors four times, the series becomes progressively more interesting as it gets significantly gorier. Viewers cannot get enough of the gruesomely complex plot, and learn to appreciate their own lives a bit more, just to avoid waking up one day to the words “I want to play a game.”
Directed By William Friedkin STAFF WRITER
Peter Wertz There has never been an American film that has had more of a significant impact on the horror genre than The Exorcist. Horror films that contain artistic merit in terms of their cinematic power are so far and few between over the past few decades, which is evident since there has never been a horror film as well received by the Academy Awards since 1973 when The Exorcist received 10 nominations including Best Picture. Between the lack of horror represented at the Academy Awards since 1973 and the references within pop culture of the various demonic actions, the impact The Exorcist has had on the genre is undeniable and represents one of the scariest, most frightening film experiences for many.
Nosferatu (1922) Directed By F.W. Murnau STAFF WRITER
Lisa-Anna V. Migliore Before monster and horror films became popularized by the “Halloween”, “Friday the 13th” and “Nightmare on Elm Street” series, audience members of the 1900s were first enthralled and frightened by F.W. Murnau’s “Nosferatu.” “Nosferatu” could be seen as the precursory cinematic text of all horror cinema, since it was the first vampire movie ever made. Echoing Bram Stoker’s “Dracula,” this German film focuses on Vampire Count Orlok (Max Schreck), an inhuman entity that sets his desiring gaze on a Mrs. Ellen Hutter (Greta Schröder). It is up to her husband Mr. Hutter (Gustav von Wangenheim) to discover the secret to this monster’s demise before it discovers his first. This silent and monochromatic classic makes one’s skin crawl without the exhaustive CGIs and flamboyant gore of today. By simply relying on visual ambiguity through darkness and character deformities rather than sound, the shadow proves more frightening than the substance.
Devil
Directed By John Erick Dowdle STAFF WRITER
Kafu Shoda
Despite a negative reputation and M. Night Shymalan attached as producer, “Devil” astoundingly defies the odds and delivers. The film revolves around five
strangers who enter an elevator and discover that the Devil is among them. A conflicted detective must fight to save them and discover the deeper truth among the series of occurring events. “Devil” is a guessing game that will keep you on your toes about who the perpetrator is and by the end will force viewers to address their deepest, darkest fears and beliefs. ALL PHOTOS FROM ALLMOVIEPHOTO
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INSIDEBEAT
October 25, 2012
Girl’s Best Friend Staff Writer
Emily Corkum There is one item in every woman’s closet that she should wear with pride. Whether it is from Target or Victoria’s Secret, lace or nude, a mere placeholder for our money and cellphone during a night out or a potential breast cancer detector, the bra is essential and never goes out of style. It is hard sometimes to go out and not bring a purse with you. When you go dancing or to a bar your money, your phone and your keys all have to come with you – and who wants their purse stolen? The next best solution for partygoers is the dubious practice of putting them in your bra. Because stuffing these items down the front of a tight dress is clearly classy, two University of Washington business students attempted to solve the problem. The JoeyBra is the first comfortable — and rather cute — bra with pockets. The bra has a pocket in the wide-banded side of the bra making it easy to discreetly tuck things away. Carrying your phone and other bulky items under your arm might be uncomfortable, but according to the JoeyBra’s co-creator Mariah Gentry, you completely forget they’re there after a few minutes. Not only is the bra a girl’s best friend, now they are potentially saving our lives. After 20 years in development, Lifeline Biotechnologies has manufactured “First Warning System,” a smart bra that the company claims produces accurate detection of breast tissue abnormalities. The patient wears the sports bra-like device for a specified period of time, while sensors built within the bra scan breast tissue, determining the changes in temperature. The system then sends the data to the Internet to be computed, eventually sending the to the patient for via electronic access. After conducting three trials, The Huffington Post said First Warning System was able to detect abnormalities in breast tissue with an accuracy of 90 percent and higher. It also claims that the new technology will be able to reduce the amount of mammogram false positives. According to SmartPlanet.com, if Lifeline Biotechnologies is able to conduct more tests with the same results, then the company will be able to put the bra on the market. First Warning System will first be sold in Europe as early as next year, and will have its introduction to the U.S. market in 2014. However, Lifeline Biotechnologies also estimates that First Warning System will retail for a hefty $1,000.00 in both markets and will work for women of all ages and cup sizes.
JOEYBRA.COM
COURTESY OF YATEE DAVE
Goulish Foods for Halloween Staff Writer
Yatee Davé Halloween is coming soon — and its arrival is accompanied by a flurry of trips to Halloween supply stores for plastic tarantulas, wigs and the perfect costume. In between painting pumpkins and stringing up eyeball-shaped lights, take some time to make the perfect Halloween finger foods. Not only are they incredibly easy to prepare, but they are also perfectly spooky for those Halloween-themed get-togethers. SPIDER DOGS Spiders are a popular focal point every Halloween. Whether there are big, hairy spiders hanging from the ceiling, or fake spiders left under your friends’ pillows, arachnids are the perfect creatures to make people shudder. Transfer the idea to food, and there are a ton of possibilities. Spider cookies and cupcakes are popular, but the idea of “spider dogs” is less known. Yet, spider dogs are probably the easiest things to make, and they can be served as a meal, too. Only two ingredients are necessary — hotdogs (or sausage) and spaghetti noodles. First, cut the hotdog into four or five pieces. Pierce the long, raw noodles through the center of the hotdog, until the hotdog is almost like a bead in the center of the noodle. Two more noodles are passed through the hotdog in the
same way. Then boil these bundles as you would boil plain pasta. Once the pasta is cooked, it becomes limp and resembles spider legs more closely, with the hotdog being the spider body. To give the spider dogs an added personality, try serving them with blood red tomato sauce. OWL CUPCAKES Cupcakes are a great vehicle for decoration. They can be customized with a variety of toppings, and if viewed as a canvas for interpretation, a lot can be done with them. Owl cupcakes fit the Halloween theme in a more adorable manner. They’re also more a matter of assembly than anything else. To make these yourself, start off with any kind of cupcakes. A boxed mix would work well here, or you could stop by any grocery store. Just be sure to buy cupcakes that have chocolate frosting, or to frost them with chocolate frosting, if preparing from scratch. Next, you want to have Oreos and brown and red M&M’s on hand to make your owl. Split two Oreo’s, and place the two halves, cream filling side up, on the frosted cupcake. The frosting should act as glue. These are the eyes. Push a brown M&M into the center of the cookies to serve as pupils. Stick a red M&M in between the eyes to serve as the beak. If desired, pipe more chocolate frosting on any bare
areas of the cupcake to act as feathers. Now, you have owl cupcakes to serve after your meal of spider dogs. MUMMIES IN A BLANKET This savory finger food is a play off the well-known pigs-in-a-blanket hors d’oeuvre. They look impressive despite taking little time to prepare. These mummies start off with hotdogs and crescent dough, both of which can be bought in the refrigerated section of any grocery store. Open the can of crescent dough, and instead of separating the preformed segments, simply roll it out into one sheet. Cut the sheet into strips about one inch wide. Wrap one strip around each hotdog, in a manner similar to the shreds of a mummy’s coverings. Leave one large gap at one end of the hotdog, to serve as the head. Remember, the crescent dough will puff up slightly as it bakes, so leave a little more space between the other gaps. Place the wrapped hotdogs, about two inches apart, onto a baking sheet that has been lightly greased with a nonstick cooking spray. Bake for about 12 minutes at 375 degrees. The crescent dough will be a golden brown. Remove from the oven, and let cool. Then use mustard or ketchup to make small eyes. Serve with other Halloweenthemed finger foods.
A Look at Google’s Little Secret Staff Writer
Nouran Shehata “Just Google it.” It’s a phrase used by more than a billion people each day due to Google’s seemingly unstoppable innovation and never-ending tech breakthroughs. Google has introduced many useful tools over the years that users utilize every single day, including, but not limited to Gmail, Google Chrome, Google Maps, Google Wallet, Google Apps for Business, Google Play and even Android. On top of that, Google’s prominence expands beyond hardware and software through community outreach programs and cool competitions like “Doodle for Google.” These, and other, contributions have added to the many reasons why Google is the widely known tech juggernaut it is today. However, there is one more reason to add to that list, a reason that many people are unaware of, that reason is Google X. So, what exactly is Google X? As the name seems to imply, Google X is a bit secretive, but more specifically it’s a secret lab rumored to be located somewhere near the Bay Area in North-
ern California. The existence of this lab isn’t really what’s a secret, but its exact location is more of the mystery. Despite this, Google X is led by company cofounder Sergey Brin, and is said to experiment with ambitious future technologies. Its purpose is to develop products that have the potential to make a large positive impact on society. The lab is reportedly working on a list of 100 mind-blowing ideas, pertaining to these future technologies. Here’s a brief look at some of the projects: Project Glass: Project Glass is a research and development program by Google to develop an augmented reality head-mounted display. The purpose of Project Glass products would be to display information and tools currently available only on smartphones, hands free without the use of an actual smartphone. It would allow users to use the Internet and many more cool tools via natural language voice commands. The Autonomobile: The Autonomobile is a driverless car that has been taking the media by storm. Sebastian Thrun leads the project. Thrun’s team at Stan-
ford created the robotic vehicle ‘Stanley’ which won the DARPA Grand Challenge and the $2 million prize from the United States Department of Defense. The car uses video cameras as well as radar and laser sensors to “see,” and uses impressive computing power to anticipate hazards and adapt to rapidly changing environments. The car has been legalized in Nevada, Florida and California and is predicted to be available to everyone within the next five years. The Space Elevator: The space elevator, first proposed in 1895 by Konstantin Tsiolkovsky, is Google’s biggest dream. The main purpose of the elevator would be to collect information and haul things into space. In theory, it would involve rocketless space travel along a cable anchored to Earth. Brin has recently commented that as of now, Google is collecting the world’s data, so with the space elevator it could collect the solar system’s data as well. Speculators are saying that there are so many glitches to these ideas that it’s impossible, but then again an intricate search engine such as Google was also just an idea 16 or so years ago.
October 25, 2012
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INSIDEBEAT
Mason Gross Fall Galleries:
Pushing Painting Paradigms COURTESY OF ANDREW MOORE
Eye on A. Moore Art Editor
Saskia Kusnecov There are many reasons why people like the autumn season — pumpkin lattes at Starbucks, sweaters and Thanksgiving break, to name a few. One aspect that people get especially romantic about is the crunch of fallen brown leaves under their boots, and the reddening leaves still clinging to the trees. It’s a season of eloquent decay — the same eloquence that can be found in Andrew Moore’s photographs of abandoned buildings. Moore takes pictures of decaying places from Times Square to Cuba, capturing something beautiful about the melting walls and abandoned rubble akin to Dali’s melting clock in “The Persistence of Memory.” He captures still moments in a country’s history and present, like the gypsy camp in Bosnia. The gypsy camp’s green corridors are visibly decaying as the bricks begin to show
through the green. Children look over the walls of the camp, their clothes hanging on a string above them. Moore’s skill makes the scene as much a scene of poverty and displacement as it is a fairy tale. Moore’s photographs of abandoned places grounds the idea that around us in our daily lives are places that have been completely left to decay and rot — in the same way that we feel the dead leaves of changing seasons as we walk to class, there are cat corpses and homeless hideouts in our hometowns and major cities. The popular horror movie image of the “abandoned warehouse” is taken to a new level when Moore photographs a cat corpse he found in Detroit. The pictures probe the question: What kind of life can exist around so much death? They are post-apocalyptic pictures from our every day lives. Moore’s photography is ghostly, beautiful and perfect for the Halloween season. Anyone interested in exploring the world’s abandoned nooks and crannies should check out Andrew Moore’s photography.
“Emily Owens, M.D.” The CW, Tuesdays at 9 p.m. Staff Writer COURTESY OF CHRISTINE WANG
Staff Writer
Jessica Ray To anyone who thinks that painting involves little more than a paint-by-number scheme and a few tubes of paint, the latest exhibit at the Mason Gross Galleries presented a much different outlook. Appropriately titled “Pushing Painting Paradigms,” the exhibit was on display until Oct. 23. The painters featured pieces that emphasized their different styles. The layout of the exhibit enhanced the effect of highlighting each individual artist, but still allowed opportunities for making comparisons between them. The first room of the gallery was also the largest room and contained paintings bursting with color from all of the contributing artists. Visitors were immediately drawn to Christine Wang’s “Untitled” diptych, displayed on the wall opposite the entrance, in which the artist explicitly asked “Should I paint like A, B or C?” and portrays different stereotypical painting techniques. This direct and blatant message set the theme for the exhibit: the idea that paintings should be innovative and true to the artist’s individual perspective. Unlike the rest of the exhibit, there were lots of multimedia pieces featured in the main room. One attention-drawing piece was Katie Herzog’s “C is for Cookie (PARC),” using acrylic on wool blanket, in which the painter created the appearance of Cookie Monster on a colorful striped blanket.
One drawback about the pieces being displayed in such a large room was that there was only one title plaque per wall, and even sometimes for two walls. This required viewers to match pieces to their titles and artists, which became a distraction from the artwork. Once having gone through each artist’s individual section of the exhibit, it became easier to tell whose work was whose, but upon first impression it may not have been as clear. Giving each artist their own small room allowed visitors to focus on the individual perspective each painter had to share. Robert Nava’s display recalled artwork made in his childhood, while Aaron Gilbert’s realist paintings portrayed adult themes of intimacy and violence. The artists all brought something new to consider to the table, making the spacious rooms seem much fuller. Even though the artists’ paintings were enclosed in separate nooks, the activity of discovering art hidden in offshoots of the main room gave the exhibit a thematic cohesiveness. Overall, the exhibit was a great reminder of the infinite possibilities that the medium of paint possesses. As Wang’s diptych satirically suggests, people in mainstream society might believe painting is an archaic, exhausted medium with little opportunities in the modern day. However, the artists in this exhibit made it clear that using unusual mediums such as wool blankets can add to a piece, but good old-fashioned oil on canvas can still make just as strong of a statement.
Emily Maas The CW has its hands in every type of television show, ranging from run-ofthe-mill reality competitions like “America’s Next Top Model” to salacious teen dramas like “The Vampire Diaries.” It seems logical that its next step would be into the world of hospital dramas. Its latest show, “Emily Owens, M.D.,” centers on titular Emily Owens (Mamie Gummer, “The Ward”) and her fellow interns as they begin their residency at Denver Memorial Hospital. The pilot episode begins with Owens’ first day of residency after med school. Viewers quickly meet some of her fellow interns, including her crush, Will Rider (Justin Hartley, “Smallville”), and an old enemy from high school, Cassandra Kopelson (Aja Naomi King, “Damsels in Distress”). Another intern, Tyra Dupre (Kelly McCreary, “White Collar”) shows Owens around, reiterating the idea that hospitals are like high school as she gives a cliché for each medical position. This is a huge problem for Owens, as she is painfully awkward and struggles with being “cool,” a recurring theme through the episode. In her work life however, she is as valiant and knowledgeable as they come. She is asked into surgery on her first day, a feat that takes most interns years to accomplish. The show has many promising aspects, despite its criticisms for being a “Grey’s Anatomy” rip-off. While “Emily Owens, M.D.” resembles “Grey’s
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Anatomy,” it could also be considered a less goofy version of “Scrubs” with a female protagonist. When it comes to hospital shows, it is inevitable that there will be similarities. The only other flaw is exists in Owens’ inner musings. Viewers can grasp enough of Owens’ awkwardness from her mannerisms and dialogue alone — her narrations are distracting and overdone. Owens herself as a character, however, is simply delightful. As the daughter of Meryl Streep, Gummer does not disappoint. She portrays Owens’ intricate emotions through the smallest gestures and subtleties. Owens has a likeable quality and viewers want to see her succeed. Her character makes the show worth watching. “Emily Owens, M.D.” has the potential to soar among the other hospital-showgreats. It’s full of heart and has characters to root for. Most of all, it maintains all the seriousness of a drama while bringing in the buoyancy of a comedy.
Beat Grade: A-