Diverse City - The Brandeis Hoot - 01-16-09

Vo l u m e I I I , N u m b e r X I V

Celebrating The Precious Human Tapestry

J a n ua ry 1 6 , 2 0 0 9

Hollywood’s finest five from 2008

My top five may not even be close to your top five. A few of them aren’t even up for the major awards. But my top five made this list for many different reasons: some showcased lesser-known talent, some had powerhouse actors doing incredible work, and some were just a total mind trip. Take them or leave them, this is just a smattering of the greatness Hollywood has to offer. By Arielle Kaplan, Staff 2. “Doubt”

I’ve read and seen the play before but it wasn’t enough to prepare me for the transition to the screen. Playwright John Patrick Shanley managed to take his Tony Award winning story and successfully bring it to the masses via the talents of Meryl Streep, Phillip Seymour Hoffman, Amy Adams, and Viola Davis. Streep’s Sister Aloysius was a formidable adversary for both Father Flynn (Hoffman) and the naive Sister James (Adams). In Davis’s one scene, she manages to put herself on the same footing as Streep.

In the final two minutes of the film comes the most powerful shift in character for the tour de force that is Meryl Streep.

3. “Miss Pettigrew Lives for a Day”

Ah, the colorful, flighty goodness that is Amy Adams shines in this period piece with Emma Thompson and Lee Pace. British governess Guinevere Pettigrew (Thompson) spends one incredible day as the social secretary to the lounge singer/aspiring actress Delysia Lafosse (Adams).

As she tries to navigate her career and love life she is pursued by three men, including poor pianist Michael (Pace).

In the whirlwind day, Miss Pettigrew lives her life glamourously, learning about the darker side of human nature and even finding out more about herself than she ever knew. The ensemble cast is strong and witty, and what seems to be a simple movie actually has much more to it below the surface.

1. “The Dark Knight”

Ok, this one is kind of a given. I was lucky enough to see “The Dark Knight” in IMAX this summer, and it was one of the best movie experiences I have ever had. Heath Ledger was terrifying as The Joker, and it was nice to see Katie Holmes’s character become more than one dimensional when played by Maggie Gyllenhal. Aaron Eckhart was another stellar cast member, and his portrayal of Harvey Dent was heartbreaking and chilling after his transformation. It’s too bad his character wasn’t left an opening to appear in the next film.

See MOVIES p. 11

Top ten musical highlights of 2008 This year saw some of the finest, envelope-pushing music of the decade. From extraterrestrial hip hop to country folk rock fusion, newcomers to fixtures in the music world, artists expanded their channels of expression to an unprecedented degree.

Without further ado, I am pleased to provide my official list of this year’s best albums. By Maxwell Price, Editor 3. Dodos “Visiter”

1. TV on the Radio “Dear Science”

On previous albums the Brooklyn art rock ensemble stirred up concoctions of as many genres and textures as they could manage. From gospel to electro to funk to post-rock, the band was the aural equivalent of a cocktail that tastes delicious on the first sip but makes you nauseous by the end of the glass. But on “Dear Science,” the band has really found its groove, which means more hooks and less brooding. Paradoxically, they seem to focus their sound by letting their sonic imaginations drift. From the percussive quasi-rap of “Dancing Choose” to the evocative, strings laden piano ballad of “Family Tree,” the most talented quintet in indie rock today has finally given us an album that’s worth toasting.

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2. Fleet Foxes “Fleet Foxes”

Many modern indie bands have tried to pull off the rural Americana sound, but most just sound boring. Fleet Foxes captures the essence of that burgeoning subgenre while besting most of its competitors. The group’s trademark harmonized vocals carpet the pastoral scenes its songs evoke. With echoes of Band of Horses and early My Morning Jacket, Fleet Foxes manages to exist in its own special realm. If the songs on the band’s debut simply expressed Appalachian folk nostalgia we wouldn’t have paid attention, but their sound cuts across time and space to an emotional terrain where categorizations are rendered meaningless. This is an album to listen to while taking long, soul-searching walks.

Winter: A photo display Visions, page 9

Just when you thought you Flight of the Conchords has conquered the market on indie folk duos, San Francisco’s Dodos have emerged at the top of their league.

Singer and multi-instrumentalist Meric Long manages the fuse personal struggles with the universal experiences in a way that few lyricists can. His unique finger picking style, modeled after country-blues but elevated to a whole different level gives the songs a distinctive twang. Drummer Logan Kroeber’s percussion, infused with West African influences, dynamically interlocks with Long’s picking. The combined forces of the two musicians give the music a propulsive quality, which is probably the reason “Visiter” tops my best traveling albums list.

“Slumdog” wins big Chorus, page 10

4. Lil Wayne “Tha Carter III”

Is there any praise I can heap upon Lil Wayne that the ubiquitous rapper hasn’t already attributed to himself? While every other MC was just busy trying to make a fast buck and look cool, Lil Wayne honed his talents through mix tapes released for free online and guest tracks on other rappers’ albums. His diligent work ethic paid off when “Tha Carter III” sold a million copies in its first week and Weezy became a true pop culture icon. Lil Wayne’s production is sui generis, a layered mix of throbbing beats, hypnotic riffs, and expansive arrangements. But his rhymes remain outrageous and bold at a time when most hip hop sounds like recycled garbage. Some of the lyrics on “Tha Carter III” might offend, but you’re more likely to perk your ears up and think, “Did he actually say what I See ALBUMS p. 11 think he did?”

DID YOU KNOW? Although he will take over NBC’s Tonight Show on June 1, Conan O’Brien will give up his post as Late Night anchor on February 20 to comedian Jimmy Fallon.

January 16, 2009

Diverse City 9

VISIONS

Winter Photos by Max Shay

Brooklyn housemates take out the trash

BY ALISON CHANNON Editor

A few years ago, somewhere between “Real World San Diego” and “Real World Key West,” I remember thinking that is was time for MTV to throw in the towel.

The days of challenging relationships and interesting discoveries about race relations, sexuality, and social politics were over. The days of trashy barhopping, trashy blondes, and trashy sex were upon us. Get over it, MTV. Twenty-somethings don’t need to turn on the television to see their peers making fools of themselves. It’s called a

frat party.

At that point, I thought the best bet was for MTV to stop filming new seasons of the Real World and start airing old seasons.

Most current college students and those who’ve just recently graduated are unfamiliar with “Real World New York” (the very first one) or “Real World San Francisco,” where we were introduced to the infamous hygiene-challenged bike messenger, Puck, and Pedro, the young Cuban man who put a face on AIDS for everyone from Omaha to Wasilla. With two older sisters who came of age in the mid and late nineties, I was lucky enough to see these seasons

(albeit at too tender an age).

These early seasons were meaningful.

We actually did see what happened when a diverse group of interesting, intelligent, and thoughtful young people stopped being polite and started getting real. Through the tenth anniversary “Back to New York” season, it seemed that the Real World was continuing on the right track. Then came “Real World Chicago.” It pains me to call out the season filmed in my illustrious hometown (the season was filmed on the north side so it’s OK for me to hate on it), but the sex and “dramarama” of this season opened the door for Las Vegas, which, in my humble opinion, should really be called “Real World Emotionally Unstable and Immature People Drinking and Having Unprotected Sex.” Pretty much every season of Real World since could pass under that title.

For the last half a dozen seasons, it seemed that the criteria for casting was drunk and stupid but with Real World Brooklyn, the reality television gods might just be smiling down on us. The tide might be changing.

Of course, like any young person familiar with the Real

World from Las Vegas to Sydney, I’m skeptical. However, the moment between JD and Katelynn at the end of the first episode where he shares stories of his abusive father and she of her struggles with gender identity gave me hope that this time around we might see more substance than substance abuse.

Now the second episode brought us back to some familiar Real World tropes – the sheltered country boy at his first gay bar and fights about who went through whose drawers. But the episode didn’t stop there. Excepting Ryan’s horrified expression after a kiss from a drag queen, we saw individuals deal with issues in a way that could almost be categorized as emotionally mature. We even saw two roommates engage in a conversation that was pseudointellectual!!! No one’s quite Kevin Powell from the very first season, but this is major progress.

My joy was tempered though when I saw the preview for next week’s episode. It seems some roommate love (or lust) is on the horizon. While predictable, and frankly, almost required by viewers at this point, I’d rather not see the confessional phone call to the soon-to-be crushed girlfriend whose boyfriend’s infidelity will likely garner its own highly viewed YouTube clip. But alas, I may be asking too much. I should just be happy that this season the cast knows how

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January 16, 2009

CHORUS Indian pauper wins game show and audiences’ hearts

BY MATT FOWLER Staff

It doesn’t take much to convince me to go to the movie theater. Overpriced beverages, hard to find seats, and more than a couple opportunities to attempt casual conversation with people who didn’t think they would have to see you after graduation are just some of the delights that I eat up when attending a movie (I say this in all seriousness). When viewing movies at home, it takes next to nothing to convince me to watch a film I’ve already seen.

Some of the classic cinema I’ve watched an alarming amount of times are “Happy Gilmore,” “High Fidelity,” and “Bring it On” (I don’t have to justify myself, thank you). However, it is a strange occurrence when I find myself going to the movie theater to catch a repeat viewing of a movie I’ve already paid to see.

There have only been three movies in my 20 years of living that have compelled me to return to the movie theater more than twice. Three of those movies have been promptly placed into my collection of personal favorites. The fourth movie escapes me (it probably starred Will Smith, who in my opinion makes every movie he stars in at least ten times better than it would be without him. In case you were wondering).

The three movies that I’m positive I’ve seen more than once are as follows: “Spiderman 2” “Forgetting Sarah Marshall” “Slumdog Millionaire” (I promise we’ll get to this) What do all of these films have in common? What would make a person watch three vastly different movies again and again in the theaters? What would provoke me to put down the remote control, leave the confines of my home, and travel miles (maybe one) to pay for a movie that I have already seen? The answer is simple (as

are most philosophical questions posed by a person who hasn’t taken a philosophy class). Love. (Did you really expect anything else from me?)

I first saw “Spiderman 2” the summer directly after freshmen year of high school. The details of what occurred at the theater are shaky (I don’t remember who I first saw it with), but remembering the feelings I felt afterward are not difficult to recall. The movie experience left me feeling exhilarated and smiling ear to ear. It was a popcorn film at its best. It is fair to say however; I did not think I would be returning two weeks later to see it again. A girl that I was actively pursuing at the time wanted to see it, and being a courteous and sophisticated male that many know me to be, I could not refuse her.

“Forgetting Sarah Marshall” (expertly done, by the way) I first saw late at night with two of my friends. I distinctly remember commenting out loud (every five minutes) at the attractiveness of Mila Kunis. But, the reason I returned to that movie was the connection I felt with the main character (Jason Segal).

He was going through a bad breakup and I, being the self-loathing crybaby that I am, had not yet gotten over that girl I had seen “Spiderman” with all those years ago (we can talk about my masculinity another time). Once again, I was compelled to see it repeatedly.

Slumdog Millionaire (finally right?) is an entity all on its own. It’s not exactly a movie that one would go to see four times in one month. The movie is a Dickensian story that intersects past and present as the audience watches Jamal (played skillfully by Dev Patel), a boy from the slums of India, play for a million dollars on “Who Wants

to be a Millionaire.”

Danny Boyle’s film while not always easy to watch (especially the torture scene involving electricity) is always heart wrenching and beautiful to observe.

Everything that Boyle throws on the screen is a marvel to view. Under the direction of Boyle, colors smack through the screen and things that should look decrepit are so appealing to the eye that the viewer will leave the theater wondering how the man behind the camera did it. To make it plain, Boyle could film Keanu Reeves eating a sandwich and make it interesting to watch.

The movie is a crowd-pleasing piece of entertainment that should easily evoke emotion from even the most callous moviegoers. The story elicits sentiment from the audience with an overarching love

story involving Jamal and his counterpart Latika (played by Freida Pinto who was promptly put into the list I keep in my head of the top five most attractive female celebrities).

The movie plays with the audience’s heartstrings so proficiently that it’s a wonder the viewers don’t see a puppeteer pulling cords and smiling devilishly back down on them.

If you’ve stuck with me to this point, you can probably see that “Slumdog Millionaire”is a winner in my eyes.

However, that does not account for me going to the movie four times over winter break in order to see the same story played out for me repeatedly. What was it then?

(No. It wasn’t a girl or me wallowing in self-pity.)

The answer is easy: I love this movie.

Animal Collective offers listeners a mind trip

BY DANIELLE GEWURZ Editor

The cover for Animal Collective’s newest album is an optical illusion, with a green and purple pattern that appears to be moving when you don’t focus anywhere, with no other identification. It seems emblematic of an album that bleeds weirdness into music at the edge of all genre boundaries.

Animal Collective’s work has spanned multiple genres and proven to be almost unclassifiable. Their latest, “Merriweather Post Pavilion” is by far their most popinfluenced work yet, combining their wide and varied influences and tendencies and distilling them into a more concise form.

“Merriweather” is more accessible, strictly speaking, than previous Animal Collective works, but it doesn’t suffer for that at all.

Instead, these elements of restraint serve to strengthen it; if previous albums proved the maxim that sometimes more is more, than this one, already garnering a substantial amount of praise, is that less is most definitely more.

The Beach Boys have become a token comparison and influence to reference when listening to Animal Collective, which is odd, especially when Animal Collective (obviously) doesn’t really sound anything at all like the Beach Boys. Nonetheless, the band, having refined their songcraft on this album, display an approach to song construction and orchestration that eerily echoes the Beach Boys, not to mention those choral harmonies that sound as though they were lifted directly from “Pet

Sounds.”

The album starts with the slow open and dynamic build of “In the Flowers” and hits an early peak with “My Girls,” the second track. The elements of pop as approached from an electronic standpoint are evident as the album progresses. In fact, the underlying beats possess a great deal of pop and hip hop influence, only to be rendered somewhat obscured by vocals, samples, and electronics. There’s the addition of foreign influence as well, the recently trendy African tribal chants and drums emerging every once in a while from the hazy fog of music.

Animal Collective continues its woozy vocals, sounding both grand and somewhat obscured. “Merriweather” does bear some

similarities to “Person Pitch,” member Noel Lennox’s 2007 solo album. However, the group has harnessed and shaped his psychedelic tendencies into a grander vision of pop through a funhouse mirror.

“My Girls” and the track after, “Almost Frightened,” both demonstrate the sunny, summery pop influences that seeped into the rest of the album. “My Girls” has Lennox renounce material pleasures for the simple things: “I don’t mean to seem like I care about material things like a social status/I just want four walls and adobe slabs for my girls.”

“Summertime Clothes” is yet another standout, and it’s a rare band that forms a perfect, spacey, compelling song, pleading, “I want to walk around with you” in a

deep, slow tenor. The beat pounds, keeping time behind the lyrics of summer sun and strolling past the smell of trash, until the song reaches dizzying heights and concludes with the refrain, “Just you, just you” repeated over and over.

The childlike vibes the band has become noted for emerge in “Daily Routine,” but childish doesn’t mean simple and isn’t being used in a pejorative sense; it’s just the best way to capture the sheen of fun and simplicity that overlays the complexity of each song. In fact, it’s Animal Collective’s best trick to be able to produce those kinds of tracks. What’s better, though, is that the band previously embodied those traits as a sort of freak-folk band, but on “Merriweather” they retain the same sense of childlike wonder, only in a more effortless, relaxed pose that has them sublimate much of their formerly obvious folk influence.

It’s premature, but many reviewers have gone so far as to suggest that “Merriweather Post Pavilion” is the top album of 2009.

Time will tell, and the album, though close, is not perfect, and suffers from a lag in the middle.

Yet, by the time the album’s flawless closer, “Brothersport,” comes around, I can’t help but think that this has to be some of the best music that 2009 will produce.

Animal Collective have certainly set a high bar, and if you’re interested in an accessible yet rewarding avant-garde electronic album, give Animal Collective’s latest a chance.

This is music that is truly new, in all senses of the word, and it’s so much the

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END-NOTE

Top films of 2008 MOVIES (from p. 8)

4. “Iron Man” After I saw this movie, I could not stop talking about how great it was. I’m not generally one for comic book films, but this is one of the best ones I’ve seen in years. Robert Downey Jr., Gwyneth Paltrow, and Terrence Howard are equally strong characters and Downey Jr. brings a touch of both humanity and humor to his superhero, something which was missing in Christian Bale’s Bruce Wayne. The dialogue was quick and well written while the storyline was fast paced and clever.

My one criticism was that the relationship between Pepper Potts (Paltrow) and Tony Stark (Downey Jr.) wasn’t explored more, but with the ending the way it is, I’m sure it’ll be expanded on in the sequel.

5. “Tropic Thunder”/“Mamma Mia!” (Tie) Both of these films were extremely silly, fun, and had great actors. My boy Robert Downey Jr.’s turn as method actor Kirk Lazarus in Tropic Thunder and Meryl Streep’s singing matriarch in Mamma Mia! brought a touch of legitimacy to each film.

In Mamma Mia!, Amanda Seyfried from Mean Girls showcased her wonderful singing voice and was a joy to watch and hear.

Pierce Brosnan, sadly, was just hilarious every time he opened his mouth.

Jack Black and Ben Stiller in Tropic Thunder were up to their usual antics most of the movie, but the real surprise was Tom Cruise as the insane studio head. His cameos had to be the most entertaining parts of the film.

Best albums of 2008 ALBUMS (from p. 8)

5. The Hold Steady “Stay Positive” The Hold Steady is the kind of band that can bring generations together. Its straight-ahead approach to rock hearkens back to bands ranging from the Stones to the Replacements. Critics like to call them a bar band, but that term only remains accurate if used to describe the quantity of alcohol its members imbibe. This release finds the band embracing a kind of hardedged exuberance, not to mention songalong potential. The single “Sequestered in Memphis” features a horn arrangement and harmonized chorus that make it a centerpiece. But the gritty, atmospheric “Slapped Actress” steals the show, exploring the relationship between film and life.

The familiar never sounded so fresh.

6. Okkervil River ”The Stand Ins” The sequel has never quite caught on in music the way it has in film or literature. Ever since Dylan recorded “Blonde on Blonde,” musicians seem more willing to release their material in multiple disc sets than in separate installments.

Luckily, Okkervil River decided to buck the trend with The Stand Ins, an addendum to “The Stage Names,” which explores disillusionment and cynicism over the cult of the celebrity. Songwriting has always remained the band’s tool for transcending the indie folk rock masses. Will Sheff ’s ability to convey the real emotions that lay beneath artificial ceremonies of modern life continues to astound me. “Pop Lie” is an ironic hook-filled ode to radio-friendly singles, while “Blue Tulip” is a slow, searing ballad between a movie star and his would-be love. A perfect album for cynical artists and dejected poets.

7. Bon Iver ”For Emma, Forever Ago” I used to think that falsetto was a technique bound to fail when employed by white boys. That was before I heard Justin Vernon’s angelic choir of sky scraping melodies. The folksy singer songwriter gets back to basics on his debut album, which features gently strummed acoustic guitars and his anguished, searing vocals. By layering his voice over itself into a mass of orchestral triumph he achieves a sound that ought to have its own effects pedal setting. Bon Iver’s velvety rich acoustic palette retains exudes a rustic charm that reflects the Wisconsin cabin retreat where he recorded the album. This album is a grower, and after a few listens its sepiatoned grandeur gets under your skin.

8. Vampire Weekend “Vampire Weekend” It’s easy to dismiss a band that gets overhyped in a very short amount of time.

Nevertheless, Vampire Weekend’s media saturated debut proved to have staying power, at least through the year. The sunny, Afro-pop influenced rock tunes inevitably hook their way into your head and stay there. “Walcott” stands out as a simple, yet endearing number featuring a straight ahead beat and dueling tremolo guitars.

“Cape Cod Kwassa Kwassa” shows off some killer tribal drumming and a riff you’re sure to be whistling for days. The four Columbia students that make up the band have been dissed for their elitist tendencies, but when a band makes an album this original and addictive, they deserve to act as preppy as they like.

9. Erykah Badu “New Amerykah: Part One (4th World War)” It turns out that the best R&B album of the year came from the woman who released the best R&B album of the year over ten years ago. After receiving bizarre comparisons to Billie Holiday’s vocal style, Badu has gone on to explore stylistic territory from funk to hip-hop. Her latest release is held together less by genre constraints than an expression of social consciousness. She challenges the injustices of a country that treats citizens unequally and demands subservience to a greedy government. Badu doesn’t tell us anything that hasn’t been said before, but her chief asset is her vocal prowess, which remains unchallenged. From buttery swells on the introspective “Me” to quavering flourishes ornamenting “Master Teacher,” Badu’s powers of expression remain unchallenged.

10. Hercules and Love Affair “Hercules and Love Affair” When I first heard Antony Hegarty’s voice under the guise of an Antony & the Johnsons record, I couldn’t have imagined that the same high, sexually ambiguous vocals would adorn one of the best dance records of the decade. Although, truth be told, DJ Andrew Butler deserves the most credit for crafting electro beats that evoke the lost era of disco while pointing the way toward a new fusion style. “Blind” is sure to get any party started with its insistent beat and bouncing bass line. The album sounds confident and assured without compromising its inventiveness. The only thing more surprising than hearing Antony Hegarty’s voice on a neo-disco album is hearing my own voice singing along as I convert my room into a dance floor. Trust me, you’ll be doing the same after a couple of listens.

Top movie prospects in 2009 Child’s French cooking book in the space of one year. The film is adapted from the real Julie Powell’s book and experiences. The movie not only boasts a fantastic director, 1. “The Brothers Bloom” Academy Award winners Rachel Weisz but again a cast of Academy Award winners and Adrian Brody headline this intricate and nominees.

Julie & Julia is in theaters August 7. caper movie by director Rian Johnson (Brick).

Mark Ruffalo and Academy Award nominee Rinko Kikuchi also star. Ruffalo and Brody 4. “Nine” One of my favorite musicals has finally are the Brothers Bloom, the best con men in the world who are about to retire when they been made into a film! Daniel Day Lewis decide to take on one last job: swindling an takes over the role of chauvinistic director eccentric heiress, Penelope Stamp (Weisz), Guido Contini, who suffers a midlife crisis on a trip around the world. However, one as he tries to balance all the females in his life brother jeopardizes the plan by falling in love such as his wife Luisa (Marion Cotillard), his with Penelope. It has already been nomi- mistress Carla (Penelope Cruz), his ingénue nated for a 2008 Satellite Award and will hit actress Claudia (Nicole Kidman), and of course, his mother, played by the indomitable theaters May 29.

Sophia Loren. Only two of these actors have sung on film before so I’m excited to see 2. “Public Enemies” There are few actors I enjoy watching more what “Nine” will be like. Hopefully it won’t than Johnny Depp. In Michael Mann’s period be another Pierce Brosnan “Mamma Mia!” piece about organized crime in the 30’s, Depp disaster. I am somewhat saddened by the lack stars as John Dillinger along with Christian of Broadway stars in this film (the revival cast Bale, Marion Cotillard, and Channing included Antonio Banderas and Tony winner Tatum in supporting roles. Public Enemies Laura Benanti), but I’m still optimistic.

“Nine” hits theaters December 11. tells the oft-sensationalized story of Gangster Dillinger and his crime spree, which made headlines all over the country. Described as 5. “The Ugly Truth” Katherine Heigl and Gerard Butler star in a modern Robin Hood, Dillinger endeared himself to the suffering Americans who had this battle of the sexes comedy which could been thrown into the Great Depression by end up being incredibly cliché—though I’m the banks he chose for robbery. A teaser reserving judgment until the credits roll. catchphrase from the film: “No one could Heigl is an awkward, romantically challenged stop Dillinger. No jail could hold him.” Want tv producer (Brandeis, anyone?) who is talked into trying out her new chauvinistic news to see it? Opening day is July 1. correspondent (Butler)’s theories on love and sex. Butler’s character bears a strong resem3. “Julie & Julia” 2009 brings another Meryl Streep/Amy blance to some of Dane Cook’s sketches, for Adams collaboration with Streep taking on the guys, and Heigl’s romantic woes can be the guise of famous chef Julia Child. In shared by many a girl. It’s entirely possible this new film from Nora Ephron (Sleepless this comedy could end up being same old, in Seattle, When Harry Met Sally), Adams same old, but judging by the trailer, maybe plays Julie Powell, a government employee we’re in for something new.

The Ugly Truth is in theaters April 3. who decides to cook her way through Julia

BY ARIELLE KAPLAN Staff

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