Inside Beat 4/30/2009

INSIDEBEAT

APRIL 30, 2009 • Vol. 26, No. 27

THE WEEKLY ENTERTAINMENT MAGAZINE OF THE DAILY TARGUM

SUMMER get the most out of the season with IB’s must-haves

THE MODEL: FASHION’S GREATEST ASSET FINDING TV CLASSICS ON THE INTERNET AN INTERVIEW WITH THE DIRECTOR OF PIXAR’S UP

April 30, 2009

Column

And There You Are, Right In The Middle Of What You Love

BY NICOLE CAPATASTO ASSOCIATE / THEATER EDITOR

I ALWAYS FEEL BITTERSWEET when watching the finale of a really great musical. The final ringing notes of “No Day But Today” as Mark’s film flickers behind the entire cast. The gunshot that ends “Assassins.” Cliff’s softly spoken line: “I was dancing with Sally Bowles, and we were both fast asleep,” before he begins singing with the emcee in “Cabaret.” Ilse walking on stage barefoot, hauntingly singing “The Song Of Purple Summer” to close “Spring Awakening.”

These closing scenes are beautiful and are the perfect way to sum up two and a half hours of music, dance and sometimes, yes, even jazz hands. I’m torn as I watch those last few minutes, when the entire cast joins one

another on stage one last time.

Part of me is absorbed in the scene, delighted over what is happening and what I just watched, tapping my feet or nodding my head in sync to the orchestra.

The other part of me is dreading the fact that in the next minute or so, the stage lights will go down and the house lights will go up, and my temporary escape from reality will be over for the night.

My last issue of Inside Beat, and my impending graduation, has begun to feel a lot like watching a musical finale.

I’ve been with IB since September of 2006. A lot has changed since my first published byline (a feature story on a comedy group named Tastiskank).

The magazine looked different back then, and there were different faces behind each section.

INSIDEBEAT Rutgers Student Center 126 College Avenue, Suite 431 New Brunswick, NJ 08901 Phone (732) 932-2013 Fax (732) 246-7299 Email beat@dailytargum.com Web www.dailytargum.com Advertising in Inside Beat, Call (732) 932-7051 Monday through Friday, 8:30 a.m. to 4:30 p.m.

But what has never changed nor faltered since I began is the enthusiasm and dedication each writer and editor pours in to this magazine every single week.

I began writing for IB because at the time there was no theater coverage, and I believed (and rightly so) that since theater was the oldest form of entertainment, there should be.

Since, I’ve written for nearly every section. I’ve been a staff writer, the theater editor and most recently associate editor.

And I’ve had an absolute blast doing it. I looked forward to each and every meeting, to discussing content ideas with editors, exchanging e-mails with excited writers and figuring out the mystery that is Quark.

I’ve learned more than I ever imagined I would from my fellow editors — from layout and design (Thanks, Maggie) to the

rules of copyediting (Thanks, Keith) to the infinite joy that is “Jake And Amir” (Thanks, Tom).

I’ve watched amazing writers become amazing editors (Hey Stacy, Michael, Adriana, Kathleen — I’m looking at all of you).

And I’ve learned what the Rutgers student body likes and wants (OK, you guys like Twilight. I GET IT.) So this, this is my finale.

After years of chaos and deadlines and learning and meeting my idols and seeing tons of theater for free, it all comes to a close with this one issue. This column is my eleven o’clock number. If you could see me now, I’m giving you my best jazz hands. My time here has been wonderful, inspiring and fantastic and I’m excited to use the knowledge I’ve gained at IB to move into the work world. At the same time, I’m terrified to

rant

Page 2 • Inside Beat

let something I’ve put so much love and time into go.

My favorite musical of all time, “[title of show],” ends with the four cast members on stage, standing in a line. The lights are dim. Main characters Hunter and Jeff are wondering how to end the show they’ve worked so hard on for so, so long. Finally, Jeff says, “Let’s just step off.

Let’s just put the show out there and see what happens.” Then, in perfect harmony, they all sing: “Oh, it’s the end of the road / Oh, what a long road we hold / And now we ... have to let go.”

I’m stepping off and letting go, and leaving something I’ve loved dearly in the best of hands. I know they will continue making Inside Beat wonderful, and I hope all of you, as a student body, will continue reading, writing, contributing... and all that jazz.

EDITORIAL BOARD M ARGARET D ARIAS ..................................................... EDITOR N ICOLE C APATASTO ................................ ASSOCIATE EDITOR TOM WRIGHT-PIERSANTI.......ASSISTANT EDITOR A DRIANA T OMA ............................. ART EDITOR A DRIANA T OMA ......................... BOOKS EDITOR J ESSICA G ATDULA ......................... COPY EDITOR MICHAEL MALVASIO.......................FASHION EDITOR

KATHLEEN QUIGLEY.............................FILM EDITOR STACY DOUEK.......................................MUSIC EDITOR D AN B RACAGLIA ............. PHOTOGRAPHY EDITOR NICOLE CAPATASTO.......................THEATER EDITOR TOM WRIGHT-PIERSANTI..........................TV EDITOR

THIS WEEK’S CONTRIBUTORS TO INSIDE BEAT : Michael Bachmann, Victoria Goldenberg, Tom Hull, Shawn Kennedy, Marc Mance, Matt Politi, Nidhi Saraiya, Emily Schachtman, Jason Stives, and Rosanna Volis.

Cover photo courtesy of Getty Images.

Fashion

April 30, 2009

IB ’s Next Top Model

BY MICHAEL MALVASIO FASHION EDITOR

FOR DECADES, IT USED TO BE MODELS THAT GRACED THE COVER OF TOP fashion magazines. The supermodels of the 1990s — Cindy Crawford, Naomi Campbell, Christy Turlington — were the “it girls” of the era and had become the faces of the fashion industry. But for many years now, celebrities have taken the place of the fashion model. Top publications have traded in Linda Evangelista for Eva Longoria and opted for Kate Hudson over Kate Moss.

The supermodel may have lost her star power, but the fact remains that models are still a driving force behind the industry. It’s the models that excite, inspire and provide industry lovers with a glamorous escape into the glittery side of the business. In fashion, everyone has their favorite model; without them, the energy and passion would simply disappear. Even Vogue’s May cover (“The Models Issue”) features fashion’s most infamous faces, including several current industry favorites. Here are Inside Beat’s picks for our favorite top models:

Inside Beat • Page 3

STYLE FOR LESS

BY ROSANNA VOLIS STAFF WRITER

The 1970s music festival fashion, once reserved for the die-hard fans that were not afraid to endure the elements for the love of music, has eased its way back into the mainstream. Originally, the clothing was worn for comfort; breathable fabrics were a great way to beat the heat and flat sandals were the shoes of choice for hippie concertgoers. But now, fashionistas everywhere have adopted the easy-to-wear style with an updated 2009 feel. Gone are the unflattering peasant tops and paisley prints of the ’70s.

Instead, the looks are paired with another one of the season’s hottest trends, the leather jacket, making for a sort of hippie, rock-a-billy look. Liven up your wardrobe with the summer’s hottest pieces: a maxi dress, braided head wrap, gladiator style sandals and lots of fringe — from your boots to your bag. Check out the top three boho pieces compared to their designer counterparts.

Oliver Peoples Eyewear sunglasses: $390 on Shopbop.com

THE VETERAN: AGYNESS DEYN The trend may have died after the early 1990s, but Agyness Deyn just might bring the words “super” and “model” back into the same sentence once again. The British native, born in 1983, has been one of the most successful models within the last three years. Originally named Laura Hollins, Deyn decided to have a name change after someone suggested it might help her career. The change in name (and most definitely her amazing features) eventually landed her the cover of French Vogue in 2006.

Since her debut, Deyn has walked countless runway shows — including Marc Jacobs, Versace and Anna Sui —graced the covers of every high fashion magazine and been the face of Giorgio Armani, Burberry and Blumarine. Much of her success has been attributed to her short, “boy cut” hair style, which Vogue’s Anna Wintour, infamous for her own choice in hair cut, said she “wear[s] … in an uncompromising style.”

The media attention doesn’t stop with her career; she has also dealt with a recent public break up from singer Albert Hammond and is now rumored to be dating Alex Greenwald, lead singer of Phantom Planet. When recently asked by Time magazine about the success of her career, she said, “Sometimes I wonder how the hell I got here. I got lucky, I guess.” Currently, the model can be found on the cover of i-D magazine and is featured in the latest issue of Vogue.

THE LEADING MAN: SEAN OPRY Cocky, young and an incredible force in the industry, Sean Opry has made a major impact in the world of men’s fashion. Born in 1989 and raised in Georgia, the southern boy came to New York to pursue modeling after being discovered on MySpace. Becoming a fashion model came as a surprise to Opry, telling the New York Times, “I thought Fendi was a food!” Since his debut in the 2007 Yves Saint Laurent show, Opry has been titled GQ Style’s 2007 “Man of the Season” and was the face of Calvin Klein. Thanks to his industry famous “pillow lips” and bright blue eye color, the model has landed a featured editorial spread in almost every major male fashion magazine from VMAN to L’Officiel Hommes.

Since moving to New York, Opry attempted a relationship with model Diana Moldovan. The two have since broken up, but Opry has much to be happy about, including his current campaign for Lacoste, shot by Terry Richardson. Whether in ads or editorial, Opry has proven himself a lasting fixture as a leading force in men’s fashion.

THE RISING STAR: TONI GARRN This relatively little-known but rising star is only 17 years old and is already considered the “it girl” by nymag.com. After being discovered in her home countr y of Germany, she was quickly signed to Women Management modeling agency. Within her first season as a runway model, Garrn was signed to a six-month exclusive contract with Calvin Klein for the spring/summer 2008 fashion shows. By the following season, designers like Carolina Herrera, Her vé Léger, Jill Stuar t and Salvatore Ferragamo were itching to put the model in their runway shows. Since being discovered, Garrn has landed the covers of Vogue, Harper’s Bazaar and Glamour in addition to several other top editorial magazines in multiple countries. Currently, the model is the face of Fendi, Prada and Hugo Boss, and is likely to land even more jobs before she becomes legal.

Oversized sunglasses — a classic, hippie inspired staple is a great accessory for summer.

Large shades are the perfect option American Apparel Vogue to pull off tree20 Sunglasses: $45 hugger chic.

Velvet tie-dye maxi dress: $152 on Shopbop.com

Forever21 twist-dye maxi dress: $24.80 A maxi dress is an easy way to pull off the festival style. The tie-dye twist is a colorful alternative to the usual drab paisley print.

Pair with a leather jacket to modernize the look.

Gladiator flats, giving the festival look some edge with buckles and studs, are a must-have spring and summer essential.

Aldo Farildor gladiator sandals: $60

Shopbop.com Belle by Sigerson Morrison gladiator flats: $265

Page 4 • Inside Beat

April 30, 2009

Film

Summer’s NJFF Returns

BY KATHLEEN QUIGLEY FILM EDITOR

COURTESY OF ALLMOVIEPHOTO.COM

heart-stopping action

BY SHAWN KENNEDY STAFF WRITER

CHEV CHELIOS HAS RETURNED TO dish out his unique brand of beatdowns to anyone and everyone who stands in his way. Stupid, fun, outrageous, adrenaline-filled, nonstop action is the name of the game when it comes to describing both Crank films. The sequel, High Voltage, ups the ante by including everything lovable about the original — car chases, gun battles, hilarious dialogue, an abundance of nudity, etc. — and adding plenty of awesomely insane new moments that will leave you wideeyed and slack-jawed.

The story is simple and is not a source of genius in either film.

High Voltage picks up exactly where Crank left off. Chev (Jason Statham), after plummeting thousands of feet out of a helicopter with nothing to break his fall except a car, gets abducted by the Chinese Triads, reanimated and prepared for organ transfer. All the audience needs to know is: 1) The Triads took his heart so their old

perverted leader could live; 2) He gets a temporary, artificial heart, but escapes and is stuck with his bum ticker till he can find his real one; and 3) Chev must constantly give himself electric shocks to keep his battery-powered organ from shutting down. From there, the manhunt begins.

Now sit back, turn off your mind and allow the ludicrous film to take control of you. Don’t ask how Chev could wake up after being in a bed for three months with complete motor skills, able to destroy his captors. And please, for goodness’ sake, don’t wonder how he is able to constantly electrocute himself with insane levels of “high voltage” and just walk away. Accept it all and enjoy the absurdity.

The movie offers a lot of unadulterated grizzly action that ranks by far as the best of 2009. What truly makes this film work are the impressive aesthetics transferred effortlessly from the first film to the sequel. The erratic nature, deep contrasts and the skewed angles in which High Voltage is filmed comprise its signature style and distin-

guish the movie from every other action flick out there.

Those who put off seeing the original should know High Voltage contains plenty of scenes revisiting what happened to Chelios in the previous entry, summing up the movie that established this fantasy world. If anything, the combination of this film and the flashbacks will make you want to get hopped up on Red Bull, run to your local video store and demand a copy of Crank. For fans of the first one: a variety of characters, including some that are deceased, get resurrected in High Voltage.

Death is not a factor in this Chev Chelios universe, apparently. Expect another sequel to make its way to the big screen in the future.

High Voltage never claims to be a smar t man’s action movie.

What it does is punch the viewer in the face, and refuse to stop for the entire hour and 36 minutes.

It forces the audience to become an accomplice to a renegade wreaking havoc on a not-soinnocent city, and we wouldn’t have it any other way.

FROM JUNE 5-21, THE NEW JERsey Film Festival will continue to run with its latest summertime schedule. Screenings of more than 40 films sample from the conventional and the experimental through various forms that include narratives as well as documentaries. Of these, 39 films submitted from across the United States and from overseas are to make their debut.

The festival adds “international” to its title this season. An array of films from not only foreign filmmakers will appear, but also domestically produced works that question multicultural discordance and harmony in contemporary American life.

Each night features a different theme drawing the films together.

Friday, June 5 begins the season with “Music Is My 1st Love.” This evening includes a hilarious original music video from Lambertville, N.J., and two documentaries: one about Cajun music, and the other on the subject of the die-hard college a cappella subculture.

NJFF’s signature “Animania” night of animated shorts is always cutting edge, and on June 6 will show alongside a collection of films adhered using the universally acknowledged “Love Hurts” motif. On this night, seven animated short features and four live action films convene in a dynamic meeting of creative possibility and exploration of cinematic media.

The implications of racial and cultural difference support “Beyond Black And White In New Jersey,” a collection of three films based around questions about social identity in one of America’s most diverse states. On June 7, two features and one documentary approach the interwoven circumstances that lead to the present shape of things for a young adopted girl, an Immigrant family and a school with a troubled history.

Friday, June 12 is “Fright Night,” with five films screening from California, New Jersey, New York and France. Vampires, Orson Welles and forbidden woods are

only some of the chilling topics these movies peruse.

“Landlocked” is the theme for Saturday, June 13. These films find homes and rich subject matter in the cultural, political and economic histories of specific areas in the U.S. and abroad, including Montana, Massachusetts and Jamaica. These regions are placed into the foreground of each film, communicating the value of history and also of the future.

Tales of resistance, the frightening and the unknown summon the human spirit to live in peace on June 14 with the theme of “Us & Them.” Among these three films is Spielzeugland from Berlin, which won this past year’s Academy Award for best short.

Beginning Friday, June 19, “Love Hurts-Part 2” continues the familiar idea explored earlier in the month. Four narratives bind the different manifestations of love into this night that celebrates and grapples with the complications of such an emotion.

Three documentaries comprise a night of “The Forgotten Ones” on Saturday, June 20. The cruelties of factory farming come under the scrutiny of the camera in Fowl Play, while Humble Beauty: Skid Row Artists follows the artistic population of a desperate Los Angeles community.

The plight of bureaucracy versus the sur vival of the remaining dozen of Pennsylvania’s coal mines is voiced in Hard Coal: Last Of The Bootleg Miners.

This illuminating trio traverses different industries and settings peculiar of American society, bringing attention to the nature of consumerism and government, and to the voices of even the most disadvantaged citizens.

Sunday, June 21 is an ode with “Jersey Fresh,” a night of screenings by some of New Jersey’s newer talents. The four films come together in an evening of satire, love stories, and philosophical journeys.

Many of the films this summer are scheduled to be accompanied by their filmmakers.

Information about locations, times and ticket prices can be found at www.njfilmfest.com.

Film

April 30, 2009

Inside Beat • Page 5

FACING THE MUSIC

BY KATHLEEN QUIGLEY FILM EDITOR

COURTESY OF PIXAR/DISNEY ANIMATION

UP UP AND AWAY

BY KATHLEEN QUIGLEY FILM EDITOR

IT BEGAN IN THE EARLY 1990S with Toy Story, the first ever feature-length film animated entirely using computer technology. With a script by Pete Docter, the movie became the eldest child in a family of creations from Pixar Animation Studios. Since then, Docter has played various roles for other Pixar films, including his first time as director with 2001’s Oscar-nominated Monsters, Inc. The studio that produced such titles as WALLE, The Incredibles and Ratatouille seems to adhere to a standard that has allowed for consistent success, with movies that quickly endear themselves to a massive audience.

Docter is one member of a team that creates these serially momentous films; a feature from Pixar has yet to open without anyone expecting less than superlative entertainment. He is humbly able to make clear that he is an individual in a large group of talent.

His collaborators provide perspectives to which Docter is receptive.

“Rather than having to take notes from executives who may be

great at what they do, but have never made movies, I get to work with these guys who I respect so much what they do. And when they come in and say something it really has some strength to it,” he says. Pixar’s ability to make films that are both novel and emotionally resonant are things Docter knows are what defines the studio’s cinematic emblem. “It’s certainly something we work hard at.

It’s largely because of the people.”

The latest from the studio, bearing the happily terse title Up, marks Docter’s second time as director. The movie, which opens May 29, is the story of a widowed septuagenarian named Carl whose dreams of travel become reality when he is joined by an earnest young scout called Russell. Travel soon becomes adventure in Up’s story, where the destination of a peculiar Venezuelan mountain range is both ethereal and completely real for the characters.

When asked how Up differs from his past effort as director, Docter knows precisely how to answer: “It’s quite different in that it’s not a madeup world at all, it’s based on real small towns in the Midwest and a

real place in South America, and of course like I mentioned it’s quite caricatured.” Caricature, it turns out, is something vital to the animation and storytelling processes. Docter believes, “One of the joys of animation is its ability to simplify in caricature.”

This simplicity is what makes Pixar’s movies familiar because they are based in reality. The Toy Story films do not conceal that they are about loss of love and a need to preserve and protect it. Up embarks on a similar emotional journey.

Through Carl, Docter says, “We knew that thematically the story is about Carl discovering what that true adventure in life is, and the ups and downs of that.” When addressing Carl’s life with his deceased wife, according to Docter the film attempts to “show how amazing and rich it was, and you really only get the beautiful moments if you couple it with some tragedy, as well.”

As filmmakers, Docter and his coworkers may not know how bold this aim for emotional truth really is, yet Pixar’s movies have proven to be intrepid with intricate narratives. Perhaps, then, consider the secret to Pixar’s success revealed.

MAURICE JARRE, CREATOR OF TWO OF THE MOST FAMOUS FILM scores in the last fifty years, Dr. Zhivago and Lawrence Of Arabia, passed away on March 29 at the age of 84.

The sweeping compositions for the two David Lean epics are part of what make these movies classic cinema. Jarre’s use of full orchestras and extraordinary themes set the tones for the grand spectacle of Lean’s Oscar-winning duo. His particular treatment of music echoed the narratives through instrumentation inspired by the settings.

This was momentous in how the epic soundtrack was subsequently written. A few modern composers succeed in producing similarly matchless scores, carrying on Jarre’s legacy of making the soundtrack a true piece of musical dynamism and innovation.

DARIO MARIANELLI Making a prominent mark in 2005 after years in the business, Marianelli’s work on Pride & Prejudice and V For Vendetta captured the poignant complexity of those films. In 2008, he earned an Academy Award for his score to Atonement, a powerful, soulbearing composition that points to the efforts of a virtuoso.

HANS ZIMMER Among Zimmer’s achievements are the soundtracks to The Lion King, The Thin Red Line, Gladiator, Pearl Harbor and The Last Samurai. The far-reaching emotionalism of Zimmer’s work is unfailingly beautiful with just about every film he scores.

JAMES HORNER Glory, Braveheart, Legends Of The Fall, and Titanic are only some of the epic films on which James Horner has worked.

Nearly every soundtrack with Horner’s brand upon it is a triumph. His manipulation of themes is, for better or worse (perhaps a little worse in the case of Titanic), always memorable.

HOWARD SHORE With three distinct, yet effortlessly connected soundtracks, Shore fashioned a gorgeous family of symphonic radiance for the Lord Of The Rings trilogy. He mastered a harmony between the subtle and the grand, mirroring the romanticism of Peter Jackson’s instant classics.

JOHN WILLIAMS Let us all hope this man never tires of movies. Not only has Williams given us the endearing themes to Star Wars and Indiana Jones, as well as the most ominous two notes ever heard side by side in Jaws (Da da. Da da), Williams knows how to structure a haunting and exquisite score with undeniable brilliance, shown in the recent examples of Munich and Memoirs Of A Geisha.

MoMA SPOTLIGHT ON KINO

BY EMILY SCHACHTMAN STAFF WRITER

THE MUSEUM OF MODERN ART’S midsize theater was full on one of the first really beautiful Saturday afternoons of April. Audience members leaving behind the beginnings of summer were there to watch Werner Herzog’s Stroszek, and their dedication was so great that when the darkly funny drama had finished and the lights had come up, for minutes their applause thundered at the inanimate movie screen before them. The film is more than just a milestone for the advancement of the New

German Cinema movement or just another feature in MoMA’s KINO! At Thirty retrospective; it’s a revered classic.

Stroszek tells the story of Bruno Stroszek, an alcoholic street musician being released from prison where he has been serving time for some unnamed, drunken crime.

Despite warnings to the contrary, Bruno’s first act as a free man is to return to a local bar (where he is already well known) for a beer. There Bruno sees Eva, an old friend enduring abuse from the group she’s with. Bruno then invites her to live with him, something they pay for when Eva’s friends begin harassing

him. Bruno is also reunited with his eccentric neighbor Scheitz. The three decide to emigrate to Wisconsin. There, Scheitz’s American nephew situates them with work (waitressing for Eva, mechanic work with the nephew for Stroszek), and they live in their new mobile home on the nephew’s land.

Soon though, the American dream they all had starts to fall apart, and the results are alternatively bizarre, hilarious and devastating.

Herzog’s films are as fascinating as his start in Germany after World War II, a story that, along with other members of the Filmverlag der Autoren, is told in

the documentary Reverse Shot — Rebellion Of The Filmmakers. This piece takes a look at the inception of the co-operative Filmverlag in response to the strict copyright and censorship laws in 1960s Germany that left of the co-op’s 13 young directors, including Wim Wenders and Rainer Werner Fassbinder, feeling stunted. Old footage shows an interview with a young Herzog quietly saying, “The entirety of what I am is my films.”

Although one of his peers describes him as making films “in another universe,” in general, the same could be said for many of the directors interviewed in Reverse

Shot. Working together, they succeeded in returning German filmmaking to something Germans could relate to and feel proud of.

Films released through their partnership, like Stroszek and Fassbinder’s Ali: Fear Eats The Soul, returned long-missing acclaim and attention to Germany.

KINO! At Thirty strives to commemorate both these creative veterans and newer directors, like Tom Tykwer and Christian Klandt. In the process, it strikes an interesting balance between the influential and the influenced, showing how those who paved the way did so and how they shaped what is to come next.

summer essentials Page 6 • Inside Beat

April 3

Going on vacation this summer? Whether heading to the local beach or jet-setting to the islands, IB is here to help you figure out what to bring to get your entertainment fix while on the road.

THE FEEL-GOOD MOVIE

THE TECHNOLOGY

PHOTOS COURTESY OF SLING MEDIA

If you’re anything like me, one of the biggest thrills of vacation is watching TV in a different time zone (imagine my joy when I went to Puerto Rico!). Hopefully, though, you are cooler than I am, and you don’t get excited to see when “The Simpsons” is on in Toledo, Ohio.

There’s a device out there for the rest of you. Slingbox, by Sling Media, is a set-top box (like a cable box or DVR) that gives users access to their cable service (including recorded shows) re-

gardless of their location. Sitting in an airport with a desire to watch your local news? Just open up a laptop, and you can view anything you would see in your own living room. Riding the train with just a phone and craving some Yankees action? Slingbox is also available on many BlackBerry and Palm devices. Priced around $250, it’s only for serious TV junkies, but its services are remarkable enough to warrant the cost.

— Tom Wright-Piersanti, TV Editor

Taking a break is easy with summertime movies. No one really wants to watch Kate Winslet’s latest cerebral drama come July.

That moroseness is better saved for the winter months, when feeling dreary and a wee bit smarter are inevitable. Make your nights more than carefree with these three graciously blithe films.

2 DAYS IN PARIS Jack is a sarcastic New Yorker traveling around Europe with his Parisian girlfriend, Marion. Their last stop is her hometown, where the cultural differences and unexpected run-ins with Marion’s past boyfriends drive Jack crazy.

A cross-examination of paranoia in relationships, this transatlantic love anecdote is so funny and truly moving. 2 Days In Paris charms with its balmy spirit.

WET HOT AMERICAN SUMMER Hot indeed; this movie is a raunchy fireball of hilarity. You will spend many gleeful hours watching Wet Hot over and over, just to memorize every line.

It’s the last day at Camp Firewood, and the ensemble of staff is wrapping up the season with some last-minute obsessive hidden romance, marriages, drug addiction, camper rescues and refrigerator love. This absurd and twisted film is one of the most unforgettable comedies made in the last decade, and a total summer must.

SOME LIKE IT HOT In the style of a Shakespearean gender-bending comedy, this classic starring Jack Lemmon and Tony Curtis follows a pair of musicians being hunted by a Chicago mobster. They manage to flee the frigid Midwestern weather in favor of Floridian beaches and a little number named Sugar Kane. Marilyn Monroe plays Sugar, the dizzying singer of the all-girl band the boys join to keep their identities a secret.

There is a reason this movie has remained a favorite for half a century: the combination of romance, farce and wit blends into one cinematic confection.

—Kathleen Quigley, Film Editor

COURTESY OF ALLMOVIEPHOTO.COM

COURTESY OF ALLMOVIEPHOTO.COM

COURTESY OF GETTY IMAGES

Inside Beat • Page 7

30, 2009

THE BROADBAND BROADWAY If you’re leaving the Manhattan area this summer for some fun in the sun, don’t despair — you can still get your Broadway fix on the road. Some of Broadway’s more creative performers have discovered their favorite new outlet: YouTube.

With just a few clicks, their video blogs and Web series can be downloaded straight to your iPod.

Long plane ride? Watch LinManuel Miranda’s (“In The Heights”) spoof on last summer’s “Legally Blonde: The Search For The Next Elle Woods.” Miranda and a slew of his Broadway friends created the aptly named “Legally Brown: The Search For The Next Piragua Guy.”

The small cast of “Rock Of Ages,” under the guise of “ROA Productions,” has created a Web series chronicling their backstage adventures from off-Broadway till now.

Cast members Mitch Jarvis, Lauren Molina and Wesley Taylor conceived, film and edit the series, which is currently on episode seven.

And if you have an especially

long way to travel and quite a bit of time to kill, check out the always recommended “The [title of show] Show,” which is now in its second season. The cast of “[title of show],” which closed this past October, and their multitude of performing friends have created two seasons worth of 10-minute videos. Plot lines include getting

their show to Broadway, time traveling, a puppet murder mystery and a Tony campaign.

Of course, if you’re just looking for a cast recording to listen to while lounging on the beach, the upcoming recording of the recent “Hair” revival should do just fine.

— Nicole Capatasto, Theater / Associate Editor

COURTESY OF JO RICHARDS

THE BATHING SUIT

THE PLAYLIST

Although we’re always on a hunt for new music, it’s always nice to be a tad nostalgic and listen to some live recordings. Live acts tend to be more relaxed and free — they are never rushed nor anxious, reminiscent of those summer days by the beach or pool.

It’s always exciting to hear a track live because the artist changes it up a bit, making that single moment exceptional and unforgettable. Damien Rice’s live

version of “I Remember,” extended to approximately 10 minutes, is a thrilling and captivating piece in which distortions are used so well on guitar and cello, an incredibly difficult feat to achieve live. Similarly Radiohead’s live version of their classic song “Idioteque” is even better than the studio recording.

For those of you who prefer radio hits, try listening to the audio from T.I. and Justin Timber-

lake’s Grammy performance “Dead And Gone.” The drums and live piano add a refreshing element to the track, making you fall in love with it all over again.

Listening to live recordings lets you travel back in time to an instance that is so unique that they are only fitting to be the soundtrack to summer moments, which will be equally unforgettable.

— Stacy Douek, Music Editor

This summer, when planning that awesome vacation to some island or mapping out a backpacking trip across Europe, it’s important you remember the number one essential when it comes to summertime clothing: the bathing suit. One standout trend for women this season is a classic and clean-cut look.

The spring/summer 2009 runway shows featured several suits for the season inspired by old school glamour, including polka d o t s , high waists and classic colors.

To get the look, opt for simple, rich colors like navy blues, reds and yellows complemented by contrasting shades of white, tan and beige. Michael Kors was a leader for this look, dressing his models in 1940s housewifeinspired styles. For a look that’s more edgy, try a cut out bathing

suit; one with an intense, geometric pattern or lots of patchwork. Other trends include ruffles and little detail styling, like flowers.

Guys should also look to be clean cut when showing off those six packs this summer. Gentleman should find bathing suits that actually fit them; the suit should not hang down low (butt cracks are definitely out this season).

Instead, it should fit at the waist and cut off right at or above the knee, giving off a look that is both put together and sophisticated.

Brands like Ralph Lauren and Ben Sherman are perfect for pulling off summertime prep.

Check out sites like shopbop.com for a look at all the latest trends in bathing suits.

— Michael Malvasio, Fashion Editor

THE GREAT READ Summer is in the air, which means putting together a summer reading list. There is no nicer feeling than knowing that if you want to, you can sit outside and read all day. For vacations, I typically choose books that aren’t too in-

tense and that are relatively thin and easy to pack. But since this summer may be a stay-cation, James Joyce and Oscar Wilde have finally made it on the list. For day trips to the beach or to your favorite cafe, I recommend short story collections like “Runaway” by Alice

Munro, “Drown” by Junot Diaz or “Problems” by John Updike. The fiction section of “The New Yorker” is a personal favorite, but don’t forget to read the Talk Of The Town and Shouts and Murmurs sections too.

— Adriana Toma, Art / Books Editor

COURTESY OF STYLE.COM

Page 8 • Inside Beat

April 30, 2009

Books • TV

Evils Of The

rediscovering classic tv with

Superclass

BY NIDHI SARAIYA STAFF WRITER

COURTESY OF FOX

BY TOM WRIGHT-PIERSANTI TV EDITOR

WE ARE MORE THAN 50 YEARS into the television era, and as a result, many young adults have never been able to watch most classic programs. TV Land and Nick At Nite aided our appreciation of sitcoms, but there’s a plethora of amazing TV that people our age have never even heard of. Lucky for us, though, the Internet gods have handed us Hulu, and our TV appreciation will never be the same.

Fans of the directorial work of Alfred Hitchcock might be surprised to know that for years, he loaned his name to a weekly suspense series (not unlike “The Twilight Zone”) called “Alfred Hitchcock Presents.” Though Hitchcock only directed 20 episodes, his sense for horror always lingered around the series, and it gave TV drama a lot of credibility in an era when the medium wasn’t taken very seriously. Not to mention, it features one of the most prolific theme songs and silhouettes in the history of television. Hulu boasts more than 200 episodes of the series.

For folks looking to get a classic laugh, Hulu is home to a number of shows that were crucial in paving the way for today’s modern sitcoms, many of which are still just as funny today. The oldest is “The Dick Van Dyke Show,” a 15-time Emmy Award winner that bridged the gap between the 1950s era of “I Love Lucy” and the more modern sitcoms of the ’70s. Hulu offers the first three seasons.

Getting into the 1970s, Hulu has three seasons each of “The Mar y Tyler Moore Show” and “The Bob Newhar t Show.”

Though similarly named, these hugely different series had profound ef fects on the television landscape. “The Bob Newhar t Show” allowed the deadpan comedian to play his quiet, lowkey straight man role to per fection, as his psychiatrist character was surrounded by wild patient personalities.

“The Mary Tyler Moore Show,” which collected a staggering 29 Emmys in its seven-season run, can be found near the top of every “Greatest TV Show” list published. The series redefined the

sitcom though its use of character development and romance, as well as Creator James L. Brooks’ trademark sense of humor and the undeniable adorableness of Moore.

If classic TV isn’t your thing, Hulu is swarming with nearly ever y show currently airing.

While most of them are awful (“Moment Of Truth,” anyone?), there are a few brilliant recent shows that, if you missed them the first time around, should certainly be revisited.

The most notable is “Arrested Development,” one of the greatest comedy creations in the history of man. Remarkably, the entire series is available on Hulu, giving all of humanity no excuse to put off watching it any longer. Also available are the breathtaking first season of “Friday Night Lights” and all 10 episodes of the dramatically underappreciated Comedy Central sketch show “Stella.”

Hulu is an amazing tool for catching up on shows you missed last week, but it’s so much more.

Just a cursory glance at the full list of shows available will give viewers more enticing options than you could imagine.

FOR ALL ITS DYNAMIC CHARACTERS and fast-paced scenes, award-winning author Paulo Coehlo’s newest novel “The Winner Stands Alone” is certainly no standout. If anything, it is a true reflection of its subject matter: beautiful and intriguing on the outside, but lacking substance within.

The book, released earlier this month, is a disappointment because it has all the necessary elements of a compelling story. The plot moves rapidly from the start, with all the events occurring in one day at the illustrious Cannes Film Festival in France. The main character, Igor, is a multimillionaire Russian businessman who is attending the festival for the first time, desperate to get his ex-wife Ewa to return to him. But he is no timid romantic; he is a man on a mission, willing to “destroy whole worlds” just to get Ewa’s attention.

Throughout the novel, readers get to see how Igor is divided between his compassion for others and his delusional sense of power that has made him slip over the edge.

Throughout Igor’s quest, the reader is introduced to the other characters, each providing a unique perspective of the glamour and first-class deception that occurs at Cannes. Hamid Hussein started out as the son of poor fabric shop owner in the Middle East and has now risen to fame as a haute couture fashion designer. Despite his intentions to help his country when he started his career, Hamid finds

himself distracted from his goals by his wealth and status.

Gabriela is one of thousands of aspiring actresses at Cannes who may have finally stumbled upon her first big role. Gabriela has always managed to keep her dignity despite the difficulties of such a cutthroat business, but her new lifestyle threatens to change that.

Jasmine, the latest “it” model, seems to outshine the clothes that she wears while posing for pictures on the catwalk. But for Jasmine, modeling is less a career and more an escape from the demons of her past.

Coelho’s plot falls flat due to his repeated attempts to educate readers about the evils of the Superclass, the upper echelon of actors, producers, directors, film distributors, models and fashion designers, who use their wealth and reputation to dictate the entertainment industry.

Coehlo is well known for his ability to sprinkle in pearls of wisdom throughout his plots. His novels “Brida” and “The Alchemist” are international bestsellers that deal with the protagonists’ struggles to follow their dreams and find meaning in their lives. But in “The Winner Stands Alone,” the characters lose their appeal when it becomes evident that they are just convenient plot devices meant to depict the stereotypical rags-to-riches stars who have lost their morals and dreams.

“The Winner Stands Alone” is a novel that has certain strong areas. But ultimately, Coelho just missed the mark.

EYE ON: Pushing

Daisies

COURTESY OF ABC

FANS OF “PUSHING DAISIES” rejoice: Taking a cue from mystical pie maker Ned’s ability to reanimate the dead, ABC has breathed new life into the series. Just like in the show, though, this second chance comes with a catch.

Ned can only bring back the dead for 60 seconds. If he doesn’t put them back down in that

time frame, someone else near him will die. ABC must have feared a similar consequence, because the “Pushing Daisies” revival will only last three episodes.

The new episodes, which should hopefully wrap up loose ends, will air Saturdays at 10 p.m., May 30 through June 13.

— Tom Wright-Piersanti

Theater • Art

April 30, 2009

Inside Beat • Page 9

art to beat the heat

BY ADRIANA TOMA ART / BOOKS EDITOR

ASSOCIATE / THEATER EDITOR

DON’T YOU DARE BELIEVE THE next person who tells you that originality is dead on Broadway.

The original musical is not dead. It is alive, so alive, and if you need proof, look no further than the Booth Theater.

A new, original musical lives there, and it is pulsating and electrifying in every way possible, a ray of hope for the next generation of musical theater amid revivals and jukeboxes. “Next To Normal,” which opened two weeks ago to rave reviews, is the textbook definition of an emotional roller coaster, forcing its audience to dive headfirst in to the psyche of a family that longs to merely be normal.

Alice Ripley stars as matriarch Diane Goodman, a mother suffering from manic depression and bipolar disorder, and attempting to live and feel and function despite the pills and treatments she faces each day alongside her family: her perfect son Gabe (Aaron Tveit), her practically invisible daughter Natalie (Jennifer Damiano) and her resiliently optimistic husband Dan (J. Robert Spencer).

Together, these four paint the perfect picture of what happens behind the scenes; what goes on in a home that look structured from the outside, but inside pure chaos reigns. The audience sees not just the struggle of Diane as she break downs, stumbling through a drugged life, but the turmoil the entire Goodman family suffers as a result: burgeoning drug problems, uncertainty and the horrible fear of what the next day, the next moment, will bring.

It’s safe to say there are no glitzy costumes, ensemble tap numbers or puppets in “Next To Normal.” No, because it needs

none of that. Heartbreaking and brave and beautiful all at once, its material and its stellar cast is all that needs to be seen and heard.

Among a fragmented and cold metal set designed by Mark Wendland, the cast of six — which also includes Adam Chanler-Berat as Natalie’s boyfriend Henry and Louis Hobson as Dr. Madden — tell their story, quietly directed by Michael Greif (“RENT”).

Ripley does not so much perform on the Booth stage for two plus hours but destroys it, giving a performance so equally over the top and subtle that it is mind-boggling.

Spencer, Damiano and Tveit are stellar, who, with Ripley, work amazingly as a family, yet as individuals hold their own — all three strong presences with outstanding vocals.

Chanler-Berat and Hobson, as the only two cast members who are outside of Goodman family looking in, leave their mark, not getting lost amongst the chaos despite the fact it’d be extremely easy to do so.

The score, with music by Tom Kitt and lyrics by Brian Yorkey, is explosive and non-stop, a rock opera sung beautifully and consistently. Highlights — “Song Of Forgetting,” Tveit’s “I’m Alive” and Spencers’ “I Am The One” — stay with you long after the house lights come up, as does the material itself. This is the type of musical that leaves people only wanting to talk about it, the type of musical that doesn’t end when the cast takes its final bow but lingers as its audience filters out in to the street as discussion.

It is a story that should be seen, proof that amazing and new things are still possible in commercial theater. “Next To Normal” does a hauntingly fantastic job of breaking hearts yet inspiring hope that we have seen the future of musical theater, and that it is good.

The exhibit will feature works by 30 artists who shared a similar view regarding imager y and our perceptions of the world, including David Salle, Paul McMahon, Robert Longo, Sarah Charlesworth, Ericka Beckman, Barbara Bloom and others.

Other museums that are worth visiting are The New Museum on the Bowery, the Whitney Museum, the Brooklyn Botanic Gardens, and of course, the Natural History Museum.

Vasily Kandinsky, “Winter Landscape with Church,” (1910–11). Oil on board.

COURTESY OF GUGGENHEIM.COM

BY NICOLE CAPATASTO

COURTESY OF BARLOW HARTMAN

next to AWESOME

AS THE SEMESTER COMES TO A close, a fresh season of art is beginning. Spring is in the air, and some of our favorite museums in the metropolitan area are welcoming a host of new artists and collections.

Spending hours at a time at the Museum of Modern Art is a wonderful way to pass a hot summer day. As you work your way down from the top level and the permanent collections, there are also a number of new and enticing upcoming installations.

“Looking At Music Part 2” will explore the artistic creativity that went in concert with the music scene of the 1970s. The projects of the visual artists that will be featured are a fusion of rough music, materials and new, various forms of media. Accordingly, the exhibit will feature films, music videos, drawings, photographs and zines from MoMA’s collection. Starting May 6, “Sensation And Sentiment Redux,” a film poster exhibit, will feature early cinema posters selected from the collection of Dutch film distributor Jean Desmet and will comprise posters from French, Italian, American, British and American films from 1912-1914.

Coming soon to the Guggenheim Museum is “Frank Lloyd Wright: From Within Outward,”

which will celebrate 50 years since Wright’s brilliant design of the museum.

Also at the Guggenheim is a fascinating ongoing exhibit, the “Kandinsky And Expressionist Painting Before World War I” show. The exhibit elaborates upon the development of expressionist art in Europe, which rose from the works of artists such as postimpressionists Paul Gaugin and Vincent van Gogh, and the Cubists. There is a gallery dedicated to Kandinsky, who became “a leading theoretician on chromatic symbolism” after arriving in Munich from Russia and went on to form connections with multiple other artists, whose shared visions and unity were ruptured in the advent of the first World War. From April 21 through Aug. 2, the Metropolitan Museum of Art presents “The Pictures Generation, 1974-1984,” featuring the Minimal and Conceptual art of this ver y specific time frame.

Page10 • Inside Beat

COURTESY OF MYSPACE.COM/THECROCODILES

Summertime Soundtrack Crocodiles Summer Of Hate Fat Possum

BY MICHAEL BACHMANN STAFF WRITER

LACUNA COIL’S TRIUMPH

THERE REALLY IS NO PROPER introduction for San Diego’s newest lo-fi noise duo Crocodiles, whose first full length, Summer Of Hate, is due out April 28 on Fat Possum. The substitute schoolteacher and baker, also known as Crocodiles, are riding the current lo-fi wave, producing darknoise pop that is both raw and eerie, echoing the Velvet Underground and Jesus And Mary Chain. Crocodiles’ music is not technical nor is the voice of Brandon Welchez always in tune, as in “The Plot to Blow Up The Eiffel

April 30, 2009

Music

Tower.” But what they lack in perfection is made up for with raw tunes filled with teen angst, summer freedom and the ups and downs of life.

The tracks “I Wanna Kill” and “Summer of Hate” have already been released and have had great reception. On “I Wanna Kill,” the repeating chorus of “I want to kill tonight” will undoubtedly, and maybe unfortunately, be stuck in your head. While their lyrics are full of melancholy and sinister thoughts, the poppy guitar hooks and power of Welchez’s vocals create a great balance. They seamlessly blend these kinds of catchy choruses with a wave of reverb, rhythm saturated in distortion and Welchez’s crooning voice, which successfully resulted in nine songs produced of pure punk with poppy drenched with creepy overtones and an unmistakable raw power that is definitely worth a listen.

Lacuna Coil Shallow Life Century Media

BY MATT POLITI STAFF WRITER

KNOWN FOR THEIR LUSH COMBINAtion of goth and heavy metal, Italian group Lacuna Coil begin to step out of the darkness with their latest release Shallow Life.

Lacuna Coil trademarks used to include co-vocalist Andrea Ferro’s harsh

Vintage Vital: Big Star

BY JASON STIVES IN 1972, THERE WERE NO SIGNIFICANT changes going on in music; the Beatles were long gone and the ’60s music revolution had died with its peers at the beginning of the decade. But for the baby boomers still clinging onto their musical youth, there was power pop, a genre that combined the sounds of the British Invasion and West Coast folk rock scene into a cozy and marketable teen idol-look that would flourish through the rest of the decade, with acts like the Raspberries and Cheap Trick. Regardless of these bands’ good looks and catchy singles, no one did power pop music under the radar like the Memphis-based quartet Big Star.

The band was formed in 1971 by singer/songwriter Chris Bell and singer Alex Chilton, who had tasted fame in 1967 when his band the Box Tops had a number one hit with “The Letter.” Big Star was an entirely different venture into pop music, the mustering up of all the creative juice and thoughts that Bell and Chilton could conjure in a Lennon/McCartney songwritinglike fashion, while still being homegrown music that music lovers young and old could relate to.

Their first album, aptly titled #1 Record, was a 12-song DIY on pop music. Chilton and Bell’s songwriting, combined with the bass

and drum work of Andy Hummel and Jody Stephens, created the most underrated and underutilized pop record of the seventies.

Chilton, having already proven to be a strong songwriter during his time with the Box Tops, cranked out a flurry of pop rock gems ranging from the against-all-odds sounds of “The Ballad Of El Goodo,” to the easy feeling rocker tracks like “When My Baby’s Beside Me” and “Don’t Lie To Me.” The tragic tale that is Chris Bell makes his songs all the more haunting. His soft trembling vocals on tracks like “My Life Is Right” are taken up a notch on the blasting-through-the-door opener “Feel.” While his vocals are rich with a real homegrown texture, his lyrics are ideals to life as demonstrated in the escapist text of “The India Song.”

The most recognized track to today’s audience is the Chilton/Bell penned “In The Streets,” which 30 years later would find mainstream exposure as the theme to the hit Fox sitcom “That ’70’s Show.” Re-

screams and tracks sung in their native language. In their place on this album are polished, radio-friendly songs that wouldn’t sound out of place on any alternative rock station.

Some fans have complained about the accessible feel of Shallow Life, and although it can become tedious at times (as in the Linkin Park-influenced “I’m Not Afraid”), the band still hasn’t completely abandoned their roots. “I Survive” features rushing guitars and eerie keyboards, while “The Pain” is a slightly quieter slice of goth-pop about a couple who, despite what’s best for them, just can’t call it quits.

In stark contrast, “I Won’t Tell You” sounds like the results of a union between The Eur ythmics and any modern-rock outfit of the day. With strong vocals from lead vocalist Cristina Scabbia and a catchy, fast-paced sound, it is unquestionably the album’s finest moment.

Don’t be fooled by the naysayers. While the album is poppier and less experimental than Lacuna Coil’s previous works, it is also a consistently strong release.

After 2006’s disappointing Karmacode, Shallow Life breathes new life into the band.

STAFF WRITER

gardless of their exposure now, Big Star hardly made a flash on the charts in the ’70s due to poor marketing and terrible album sales, which resulted in the group’s breakup in 1974 after two more highly acclaimed studio albums.

Chilton went on to have a successful solo career while, sadly, Chris Bell perished in a car accident in 1978. But his influences can be heard in the sounds of acts like R.E.M. and the Replacements, and as the soundtracks to films like Nick And Norah’s Infinite Playlist and Adventureland. Regardless of their small amount of success years ago, Big Star has proven to be as big and important as their name implies.

COURTESY OF POPDOSE.COM

eye on... grizzly bear

YOU HAVE TO HAND IT TO Grizzly Bear. In almost no time they were able to put out two full lengths, a collaborated remix album and were given the opportunity to tour with Radiohead in 2008, breaking guitarist Johnny Greenwood out of his speechless shell.

If you’re not yet convinced, check out the video for the song “Shift” where they per form nurturing instruments in a Parisian bathroom. The video is so tame yet full of spine, accepting that it’s ordinar y life never felt so flawless. With muses surrounding them, they broke out a freestyle version of “The Knife” on the streets of Paris in jest and in love for sound.

If they were criminals, they would be repeat offenders in loving what they create. In the heart of music, there lies a place of dignified appreciation; for what one enjoys to produce, another can applaud.

Weave such an understanding into your coat of armor and you’ll stand invincible.

It’s what Grizzly Bear has come to grips with, earning the rights to being considered indispensable.

—Tom Hull

April 30, 2009

COURTESY OF CELEBRITY-EXCHANGE.COM

SUMMER PIT STOPS

BY MARC MANCE STAFF WRITER

WITH THE SEMESTER TICKING DOWN to the end, cram sessions for finals and unnecessary amounts of stress in the air, what better way to wind down and relax but with some live music and entertainment? This summer, some of the biggest names are crossing the country to rock out live, especially artists that have been under the radar for the past few years. So let’s forget about finals and grades for a bit, and explore what is in store for the summer ahead.

RUTGERSFEST

ALL POINTS WEST FESTIVAL The All Points West Festival returns for its second year right on the banks of the Hudson River in Jersey City’s Liberty State Park. This threeday event features more than 65 artists of dif ferent variety and taste.

The headliners for each night respectively are The Beastie Boys, Tool and Coldplay. Alongside them are The Yeah Yeah Yeahs, The Arctic Monkeys, MGMT, The Gaslight Anthem and many more. With great music being so close to home and right next to NYC, what more fun could you have in the middle of the summer?

THE BAMBOOZLE New Jersey’s own yearly week-

end festival of pop punk, rock and everything random in between hits the Meadowlands this weekend.

The headliners are Fall Out Boy and No Doubt (also in town June 26th), the latter of which will make their return after their hiatus in 2004. Other acts include Third Eye Blind, New Found Glory, Taking Back Sunday and more than 100 other bands. It is a weekend of mosh pits, crowd surfing and singalongs that shouldn’t be missed.

Record Revival?

BY VICTORIA GOLDENBERG STAFF WRITER

RECORD STORE DAY AT KIM’S Video & Music in New York was more of a eulogy than a celebration for music stores.Since 2007, April 18 has been the designated date when stores and musicians collaborate to “celebrate the art of music.” But people weren’t celebrating much at Kim’s, which is now an emasculated one-floor version of what was once a four-story source of eclectic music. Only about 10 to 15 people were shopping there in the early afternoon, and some of them just for the video half of Kim’s Video & Music. The Record Store

BLINK-182 They are back! The punk-rock trio known as Blink-182 has returned from a hiatus to bring the thunder back on stage with their fun, catchy, toilet humor and energy-filled music. Touring with them is Weezer, another band just as quirky and fun as they are. This team will surely be unstoppable.

BONNAROO If there were anytime to take a summer roadtrip, it would be for Bonnaroo. Combining the best of music, cinema, art and comedy, it’s an oasis for any avid music lover.

There’s a bit of nostalgia mixed in with the best acts of today. If you weren’t sold on it already, the lineup includes a happily reunited Phish, Nine Inch Nails, Bruce Springstein, Wilco, Yeasayer, TV On The Radio and The Beastie Boys.

Stacy Douek contributed to this article.

“Anything we can do to try to promote record sales is good,” Hayden said. He acknowledges physical music sales aren’t what they used to be, citing the diminished size of his store as an example. “The business is reflected in here,” he said. Still, he wants to do what he can to keep selling physical music in a physical shop.

But a manufactured holiday isn’t going to revive the physical music business. If anything, it draws attention to how much the market’s fallen, especially since so few people care to go. Perhaps someday people will realize downloading compressed MP3s can’t compare to the excitement of going to a music store and bringing home some high-quality albums.

Folk ’s Favorite Bob Dylan

Together Through Life

GREEN DAY Green Day is another band that went under the radar for the past four years. With a new album titled 21st Century Breakdown coming out around the corner, the band is ready to take the stage this summer and immerse in the spotlight again.

Day presence was limited to a small, and mostly neglected, table of exclusive vinyl next to a large shelf of CDs on sale.

The stores that had bands playing probably drew a bigger crowd, but it’s still sad that a well respected music vendor has so little business even on a day that’s supposed to get people out and shopping.

About 20 dedicated record fans lined up an hour before the store’s opening to purchase the vinyl, Music Manager Ned Hayden said.

Emily Dimego, a customer and Record Store Day fan, explained why she came: “It’s not the same experience of buying a CD versus buying a record.”

Sony BMG

BY STACY DOUEK MUSIC EDITOR

BLATANTLY, TOGETHER THROUGH Life will never rise to the greatness of Blood On The Tracks or Blonde On Blonde. But the album contains one thing and one thing alone, which has already made the music world bow down: Bob Dylan.

The album started out as a movie soundtrack with the song “Life Is Hard,” but Dylan just kept on writing.

The album has its moments of signature quirkiness, like in the track “If You Ever Go To Houston,” in which Dylan replaces the guitar with an accordion, and “My Wife’s Home Town” features the laugh-out-loud

COURTESY OF BOBDYLAN.COM

What better way to start the summer off early than our annual Rutgersfest? This year’s lineup includes the Battle of the Bands winner The N-Result, R & B singer Ryan Leslie, quirky but energy-filled pop-rock band Motion City Soundtrack and the hip-hop rock funk group led by rapper Pharrell, N.E.R.D. Free, with an awesome lineup, on campus?

There’s no excuse not to attend this.

Inside Beat • Page 11

Music

clincher “Hell’s my wife’s hometown.” The track “Beyond Here Lies Nothing” features a suave rumbaesque vibe, and “Jolene” will make any girl’s heart melt.

But the thing that is frustrating about this album, and many of Dylan’s recent albums, is that they

are all perfectly good, but so underwhelming because the listener has an innate desire to make Dylan something he isn’t. Although the baby boomers of the ’60s and obsessed fans will enjoy this album, it’s unlikely to provoke any epiphanies for new listeners.