KARDASHIANS
Putting up with the Kardashians
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Season finale of 'Kourtney and Kim Take New York' reveals the not-so-interesting details of Kim's divorce.
half as much effort into your marriage as you do into your a p p e a r a n c e, you might still be married to 'that guy from Minnesota' as you oh-so respectfully referred to him. When you take your vows and say 'forever,' that’s not short for 'until the wedding check clears.' If you’re getting paid to torture viewers with 4 hours of your excessively lavish wedding, the least you could do is have a marriage that felt like it lasted just as long. So, Kim, I hope you realize that marriage is not a publicity stunt or a way to make fast cash. It’s a full-time job that might actually require you to quit your current 'job' as a reality star and live in the real world for a change. It’s not too late to try and make things work with your husband. But if you don’t, save us the trouble and don’t broadcast your “Not-So-Fairytale Divorce” on E!
Let’s face it: the only authentic thing Kim Kardashian ever produced was a sex tape. So it surprised absolutely no one when she filed for divorce from New Jersey Nets player Kris Humphries just 72 days after their so-called 'marriage,' for lack of a better word. If you’ve ever been unfortunate enough to stumble upon the E! network, you know who the Kardashians are, don’t deny it. From the original “Keeping Up with the Kardashians” to any of the 57 other spin-offs, like “Kourtney and Kim Take New York,” the whole Kardashian Clan has aired its dirty designer laundry for all to see. When the season finale of “Kourtney and Kim Take New York” aired last Monday, fans and foes alike finally got a glimpse of just what caused Kim to file for divorce from her NBA hubby so hastily. First, she claims she doesn’t want her own husband to move his mere 15 boxes of possessions into her million-dollar mansion because there simply isn’t enough room. Puh-lease, Kim! We all know the real reason there isn’t any room is because your ego is just as big as your ample— oh, never mind. Then she cried tears as fake as her plastic surgery, sobbing how she feels 'dead inside' and how she’s “failed” her marriage. But I can’t help but wonder if that empty feeling is really just her complete lack of concern for anyone but herself. OK, that was a bit harsh. I am by no means claiming that Kim Kardashian is a soulless person. Kim, I am sure that behind the inch of makeup and designer clothes, you indeed have a heart capable of love. But until you realize the world does not revolve around you—no matter how much E! Entertainment Television inexplicably does — you will never be happily married. Marriages take work, plain and simple. And if you put
angie andera | staff writer
REJECTS
New record, same rejects
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The All-American Rejects shake off the rust with a stop in Columbia.
Goodness knows how our generation could have grown up without The All-American Rejects showing us how to move along, keep dirty little secrets and give some hell every now and then. Ever since, the band is doing just about everything except living up to its namesake, having sold over 4 million albums and 16 million singles worldwide. Now that the band is on tour again, Rejects guitarist Mike Kennerty lets loose about the new album, cool collabs and Freddie Mercury. [MOVE] What preparations did you make before beginning the “Shaking Off the Rust Tour”? [Mike Kennerty] It’s been a year and a half since we’ve actually done any touring, so that’s the longest break we’ve ever taken. We did a lot of rehearsing to get our bearings back, and on top of that, we just finished our new record, Kids in the Street. [MOVE] That’s your fourth studio album, Kids in the Street, to be released March 27. What can you tell us about it? [MK] With this record, we really wanted to focus on catching the vibe and spontaneity over perfection. So there’s a lot of mistakes on the record that add to the fun feel of it. [MOVE] How does it compare to AAR’s previous albums? [MK] I think it’s possibly our best record. And I’m not one to blow that around very lightly. [MOVE] How has working with producer Greg Wells (Adele, Katy Perry, OneRepublic) influenced that? [MK] It was just a blast. We’ve never worked with the same producer twice, but he’s the first one that would ever make us maybe debate working with someone again. [MOVE] You’ve been able to work with some really awesome people in the music industry like Wells. Dead or alive, who would you like to work with in the future?
MOVE HIGHLIGHTS (ALBUM RELEASE)
OF MONTREAL, PARALYTIC STALKS RELEASE DATE: TUESDAY, FEB. 7
Freak folk is a term thrown around lightly, but few groups embody it more than this group, which is actually of Athens, Ga. You can even get the band's 11th release on cassette if you'd like.
2 MOVE • 02.03.12
+Concert ALLAMERICAN REJECTS DOOR: 7:00 P.M. SHOW: 8:00 P.M. COST: $20 ADVANCE,
[MK] Honestly, if we could col- $23 AT THE DOOR laborate musically with anyone dead, LOCATION: THE BLUE I think we could all agree on Freddy NOTE, 17 N. NINTH ST. Mercury. We’re all huge Queen fans. That would be incredible. [MOVE] Can we expect any guest vocals in Kids in the Street? [MK] There’s a couple songs that the singer/songwriter named Audra Mae, who also is a total Oklahoman, lends her voice… She did an amazing job. We loved her. Have you heard of Mika? Greg Wells had produced his record, and we were a fan of his stuff on that, and he sings in one of the songs. Oh, and the singer Alex (Kandel) from Sleeper Agent. [MOVE] What’s next after this tour? [MK] We’re going to keep touring. That’s the plan for pretty much the rest of the year. The album comes out March 27, and we’re touring the U.K. in the summer with Blink-182. We’ll probably be on a U.S. tour in the spring before that. [MOVE] Ever been to Columbia before? [MK] You know, we played there in 2003, I believe?... There were about eight people there. It was us and Motion City Soundtrack. I can definitely remember the show…On that tour, we played like, seven shows, and there were maybe a total of 150 people that came out, if you combined all seven shows. [MOVE] I’m sure it’ll be a little different this time. [MK] Yeah. [laughs] We’re looking forward to the show. Can’t wait! delia cai | reporter
Head to MOVE.THEMANEATER.COM to check out an extended interview with The Rejects’ guitarist.
(EVENT)
BOB MARLEY BIRTHDAY CELEBRATION
A NOVEL IDEA claire landsbaum literary columnist
Hold the phony: Wry antihero keeps 'Rye' interesting J.D. Salinger’s Holden Caulfield is not a fan of growing up. The friends you eat lunch with are phonies. The professor standing at the front of your jam-packed lecture is a phony. Your TA, the girl who just passed you in the hallway, the roommate and his clingy girlfriend... all phonies. At least, that’s how Holden Caulfield sees it. The angsty 16-year-old narrator of J.D. Salinger’s "The Catcher in the Rye" can’t stand phonies. With his red hunting hat and his hackles raised, he guards himself against the adult world that we college students are being primed to enter. Why so angsty? It’s difficult to say. Perhaps because Holden sees adulthood as the death of childhood innocence and creative spirit. At 16 he’s nearing the dropping-off point himself; naturally, he fights against maturity as fiercely as possible. Salinger’s novel examines Holden as he teeters along a narrow ledge; on one side is salvation, on the other is destruction. Holden struggles to reconcile his coming-ofage with fiercely negative beliefs about what awaits in the wider world. Seniors: nice to know you’re not alone, right? "The Catcher in the Rye" spans exactly three days and 224 pages, but that tiny timeframe contains Holden’s personal journey of selfdiscovery — a series of moments in which he pinpoints his issues with adulthood and moves beyond them. After all, everyone has to grow up eventually. The journey begins (as cliché as it sounds) at school. Pencey Preparatory, to be exact. Holden has failed four of his five classes (OK, it happens) and has been expelled as a result. He’s packing up his things, complaining about an unhygienic roommate, and saying final farewells to teachers. And, of course, everyone at Pencey is declared a “phony.” What this means is never exactly spelled out. Sure, some of Holden’s acquaintances are fake and hypocritical, but it gradually becomes clear the word is used as a sort of shield against any semblance of adulthood. The shield is up constantly. Holden decides to ditch Pencey and head into New York three days early. On the train ride there he meets the mother of a schoolmate, and she’s a phony. He arrives in New York and checks into the Edmont Hotel, where he meets a phony elevator man and his phony prostitute friend. Even Sally Hayes, the cute blonde girl he takes on a date, falls in the phony category. isolates himself from the “phonies” because he thinks himself superior to them, never realizing he’s a bit of a phony himself. His smoking, drinking and sex talk are feeble attempts to fit into the world he superficially hates. (Sound familiar?) That’s not to say it isn’t secretly satisfying to read Holden hating on familiar archetypes; no one is safe from his scorn. Schoolteachers, “girls” as a whole and pompous, pretentious young men are all subjects of criticism. Holden’s bitterness is cathartic, especially during midterms or on Mondays or whatever. The angst is amusing, but in the end, it’s misdirected. Phonies are part of life. Try as you might to be rid of them, they’re inescapable. The most you can do is learn to cope with them, to see through them and to devote yourself to those rare few who aren’t so phony after all.
(ALBUM RELEASE)
DR. DOG, BE THE VOID
RELEASE DATE: TUESDAY, FEB. 7
LOCATION: MOJO'S, 1013 PARK AVE DATE: SATURDAY, FEB. 4 TIME: 9:30 P.M.
A little bird (actually, it was "Three Little Birds") told us this is the place to be for all rude boys this Saturday night. You'll surely be "Jamming" and nodding your head when asked "Is This Love?"
Fans of indie rock with a retro twang will need no second opinion when it comes to Dr. Dog. The band stops by The Blue Note this March, so be sure to get those preparatory listens under your belt.
BATTLE OF THE COVER BANDS
MOVE reviews the Badfish and Killing in the Name shows at The Blue Note
BADFISH
A tribute to Sublime, a tribute to quality
When hearing the phrases “cover band” or “A tribute to. . .” we immediately think of almost-par instrumentals, an awkward stage presence and cruise-ship-worthy vocals. And of all bands to cover, Sublime is by far the most diverse, complicated sound to mimic, with different vocal ranges, the occasional addition of rasta and a bassheavy sound. The Blue Note welcomed Badfish: A Tribute to Sublime on Wednesday, Feb. 1. The tribute band proved capable by providing a SoCal jam to devoted fans, even in the heart of a gray, Midwest winter. Badfish offers a similar story to that of Sublime, coming to surface on the East Coast in Rhode Island during college years, where they quickly began to sell out small venues. As devout fans themselves, they had no difficulties mirroring the grooves of Sublime, but with a bit more of a punk-rock sound. The music wasn’t in-your-ears loud, but rather an appropriate volume to nod your head to and jam. The voice of Badfish’s lead singer Pat Downes honors the late Bradley Nowell’s legacy, and if people closed their eyes during vocal-focused songs such as “Waiting For My Ruca,” they could almost forget they were jamming to a cover band. “I find it hard to differentiate between Sublime and Badfish,” sophomore Courtney Lindbeck says. “Although I’ve never seen Sublime perform, Badfish sounds so much like what Sublime produced. I’ve seen Badfish four times now, and after each show I’m definitely really pumped, my friends and I are never ready for it to end. We have a great time.” Although the band provides a great cover sound, their stage presence was what stole the show. The foursome of Badfish appeared as no-nonsense guys with laid-back appearances as they took the stage dressed in plaid shirts, cargo shorts and snap-back hats. Freshman Ray Wertz has seen Badfish twice. “The core of Sublime is their carefree lifestyle, yet that they are resistant and angry at times toward social norms and conformity,” he says. “When I first saw Badfish in Chicago, the lead singer brought that to the show by dressing in PJs.” The band seemed to enjoy the college atmosphere. During “40 oz. to Freedom,” the lead singer couldn’t contain his laughter, while
the crowd favorites proved to be “Santeria” and “What I Got,” as these two songs provided extreme success for Sublime. Nonetheless, the worry-free vibe was found in party anthem songs such as “Smoke Two Joints” and “Doin’ Time,” which Badfish ended on. Although many fans in the crowd never had the chance to see Sublime with the original lead singer, it was an undisputed feeling this show would be the closest, most authentic chance. The cult-classic songs are popular to fans because of their sunshine-loving, easygoing feel. And at $14 a ticket, Badfish provided an unauthorized, unsigned and energetic show that was the trademark of Sublime’s early shows in bars and clubs in California. tess betts | staff writer
Rage cover band whips The Blue Note into a frenzy la Rocha’s, and the anger of his predecessor was lost. The guitarist played everything correctly, but the lack of Morello’s often used killswitch left me searching for Morello’s signature pauses in his solos. The guitar also produced far heavier tones than Morello’s. The rhythm section was about as perfect as could be. “I think they did really good,” Rage Against the Machine fan Alice Thompson says. “Not the same, but they did well.” The band did indeed perform very well, keeping the crowd in a state of excitement with a mosh pit that never ceased. The singer constantly moved about stage and never messed up a single complicated rap, which was impressive considering the number of beers he had on stage. Again, though, the presence was different. With de la Rocha, you had a dreadlocked psychotic revolutionary on stage. With Killing’s singer, you had a showman who performed excellently at his job. With Morello, you had a guitar saying, “Arm the Homeless.” Killing’s instrumentalists looked like normal guys with exceptional musical proficiency and skill. The band closed with Rage’s biggest hit, “Guerilla Radio,” and beer flew in the air in sync with the line “Light’s out!/Guerilla Radio!/Turn that shit up!” Sadly, the band did not return for an encore despite the crowd chanting for the band’s third biggest hit, “Testify,” and Rage’s second biggest hit, “Sleep Now in the Fire,” left unplayed. daniel shapiro | staff writer
MOVE HIGHLIGHTS (ALBUM RELEASE)
PATRICE O'NEAL, MR. P RELEASE DATE: TUESDAY, FEB. 7
Although the comedy world shed a tear in November when O’Neal died of a stroke at the age of 41, it can now enjoy a laugh or two with this posthumous release from the Boston comic.
miles dobis
music columnist
First Aid Kit hardly a fix »
The Swedish folk duo releases the first musthear album of the year.
KILLING IN THE NAME
On Jan. 28, Killing in the Name, a Rage Against the Machine cover band, played in front of a packed house of Rage fans at The Blue Note. After opening act Logos, a grungy/classic rock act, departed the stage, a second opening band named Decadent Nation came out. The group had obvious Rage influences, and after exiting the stage, the band returned with new clothes as the band Killing in the Name. The band opened with a fan favorite in the classic “Bombtrack,” and from the start, it was obvious they had the stage presence and charisma of RATM. “I don’t know how many people saw the original Rage Against the Machine, but I saw them in ’97 and these guys did really well,” RATM fan Chris Kuhlman says. “These guys did really well. It was worth what I paid ($1.01). I would have paid $6-10 dollars for it.” The rhythm section then kicked into the band’s eponymous song, “Killing in the Name.” The song made the crowd erupt into frenzy, but a recurring difference between Killing and Rage became evident. Rage Against the Machine in its heyday was mixture of funk, metal and, of course, rage. The band had a mastery of altering volume to control the crowd. Killing in the Name sounded more akin to a heavy metal act that builds up enough energy that, once unleashed upon the crowd, the band can ride until the end to keep the crowd going. Killing in the Name had a much more metal sound to its music, due in large part to the fact that Zack de la Rocha’s nasal, vicious rapping is difficult to imitate and Tom Morello’s “Arm the Homeless” guitar produces some of the most unique tones in music. Killing in the Name’s vocalist had a much lower voice than de
CIRCLES
(VIDEO GAME RELEASE)
THE DARKNESS II RELEASE DATE: TUESDAY, FEB. 7 PLATFORM: PS3, XBOX 360, WINDOWS
If there is one word to describe the music of First Aid Kit, it would be openness. The Swedish duo’s music is rich to match the vast open spaces of their native Scandinavia, with images of fields, forests and endless sky coming out in the compositions and informing them in equal, beautiful measure. It’s no coincidence that the duo’s breakout was a cover of Fleet Foxes’ “Tiger Mountain Peasant Song”; the two groups’ sensibilities are startlingly similar. Both take elements of American folk, English minstrel music and modern country to create peerless slices of organic music, timeless in their background and feel but modern in their execution. First Aid Kit, consisting of sisters Johanna and Klara Söderberg, artfully retrofit its influences into a blend of modernism and sepia-toned nostalgia to create a fully inviting and accomplished sophomore album, perfect for these frigid winter nights. This is thanks in no small part to producer Mike Mogis, most famous for his work with singer-songwriter Conor Oberst and the folk-rock collective Monsters of Folk. He has a keen ear for mixing guitar sounds into the foreground while subtly adding shades of orchestration, piano and percussion to add colors of nostalgia and lushness without being distracting. That would hardly be an issue, considering how interesting and dynamic that foreground is; the sisters have some of the most dynamic and interesting vocal dynamics seen in modern folk. Songs like “To A Poet” find the sister’s voices gliding into each other with such ease and grace, and yet they remain distinct enough to remind the listener these are two contributors. Combined with the vast, panoramic sound, the two bring gravitas to the wide soundscapes, their un-showy guitar playing mixing with the setting to create a mood juxtaposing intimacy and power. That and their songwriting is rock solid. “Emmylou” is so assured, with its relentless (but never pushy) melody and swooning chorus harmonies never stepping on each other, it’s no wonder they named it after the great Ms. Harris. Like the rest of The Lion’s Roar, her smokiness and influence are felt yet somehow never heard, a testament to the Söderberg sisters’ craft. Elsewhere they let their music be accented by Mogis’ careful production. “Blue” has remarkably engaging bass work for a folk tune, while “In The Hearts of Man” never loses a beat with the simple but spritely drum rhythm. The team never lets these elements take control; rather, they let them build on their melodies to create some truly engaging buildups, rare in a folk environment that favors chops and songwriting over sound. “I Found a Way” is the best example, mixing in sandpaper snares and quiet strings to create the vibe of a prairie sunset, gorgeous and understated. Elsewhere, the duo’s wry minimalism comes out; “New Year’s Eve” has a skeletal structure and barely-there string fill that feels so right for the minimal composition, and “Dance to Another Tune” dances with Lana Del Rey-style melancholy, with doomy piano and languid swells creating the closest thing that could be considered downbeat on the album. However, the group’s light side is equally present, as seen in the closer “King of The World.” It’s positively festive, with upbeat trumpet and fiddle nudging for competition. Even guest star Oberst, usually wispy and reedy in his vocals, sounds downright energized. For the typically downbeat songwriter to sound this delighted, there must be some magic at work. With hardly a dud, this is a true seasonal surprise. The Lion’s Roar is a display of magnificent songwriting and production in a package that honors its roots yet remains refreshingly free of irony or cynicism. Along with fellow northerner Tallest Man on Earth, First Aid Kit makes a definite claim that now is the time more than ever to listen to Swedish folk or even traditional acoustic music in general. First Aid Kit proves tradition and purity do not have to be sacrificed for relevance, and The Lion’s Roar is a stunning, accessible piece of evidence.
FIRST AID KIT - THE LION'S ROAR 4.5 STARS OUT OF 5
(ALBUM RELEASE)
PAUL McCARTNEY, KISSES ON THE BOTTOM RELEASE DATE: TUESDAY, FEB. 7
Based on the comic books of the same name, it seems the fun is just getting started with this FPS sequel, as the Darknessfueled Jackie Estacado is now head honcho of the mob family.
Well last week it was Ringo, and if we’re going to maintain any sort of consistency, I suppose we’re obliged to point out that now Paul has a new release this week. Although, with this title, we’d really rather not.
02.03.12 • MOVE
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KISSLESS IN COLUMBIA emma woodhouse romance columnist
Awkward encounters of the male kind Of course I was sporting sweats with my “Mizzou Agriculture” shirt and carrying a box of Zebra Cakes, a bag of pretzels and a ukulele when I happened to run into Ringo (No, not the Beatle. It’s a code name. If this confuses you, please refer to last week’s column.) in the hallway of my dorm. I am taking this encounter as a sign from the universe that it doesn’t want Ringo and me to be together because if it did, it would have kindly suggested I not look like a total fatass when I left my room that evening. He probably wouldn’t have even seen me if I hadn’t physically run into the kid. He’s so tall, and I’m so short that we kind of live on different planes. However, there is promise on the horizon. When I bumped into Ringo, my brain cells immediately shut down so I would be free to stutter like an idiot. After some conversation that should not have been awkward but was, Ringo asked if I had a stapler. DID I EVER. (A stapler and so much more.) I’m not sure exactly sure why Ringo needed my stapler (I’m guessing it was along the lines of attaching papers), but I do know that he is now in possession of something that is mine. And since he is an upstanding citizen, at some point he will want to return that stapler. When he does, we’ll have to meet again — face to face. By that time I will have prepared so many excellent stapler jokes for the occasion that I won’t even know which to choose. I have a few ready now, just in case. I could say, “Thanks so much for bringing this back! It’s a staple in my collection of desk supplies,” or “Oh, don’t go! Stay, plz.” These are just two gems. I have so many more ready to go in my treasure chest of jokes. In the meantime, I need to fix this freaking out thing that I do. The instant I see someone who is a) male, b) straight and c) attractive (flexible on the attractive part), I panic. What is that? Does everyone have that problem? I think they call it “butterflies” in books and stuff, but that makes it sound so pleasant when really it’s just horrific. The horrible paradox here is that this only happens when I actually care about someone’s opinion of me. I have no problem sassing people I don’t know, flirting with people I don’t even like and turning down fraternity guys at parties. I’m going to be a journalist, for God’s sake. I have to get used to harassing people for a living. But for some reason it’s so difficult for me to sound interesting and intelligent in front of someone who has caught my eye. How do I fix this? Do I just stop caring what people think of me? That would probably do. But no matter what anyone says, that’s an impossibility. Even Charles Manson wanted people to like him. I don’t think the “butterflies” are a thing that can be beaten. Like an intrusive roommate, they’re always walking in on your date with a, “What’s up, guys? I thought we could all watch this movie together while you two don’t have sex!” But I guess that’s what makes things interesting. And while I’m anxious to find a suitor (only 13 columns to go!) I’ve got to give it some time. So, my two lovely readers (Hi, Mom and Dad!), this week I’m going to challenge myself to get to know people and be more outgoing. Since I can’t abolish my case of the butterflies, I’ll embrace them. The awkwardness is all a part of the process of getting acquainted with someone, and if there was a way to skip over that inevitable stage, what would happen to the intrigue? Universe, I appreciate your input, but I think I’ve got this one under control. Bring on the butterflies.
Word 4 Word
The Swell Season
“It’s the first concert that I’ve ever been to, in 2005 in Madison, Wis. They were very engaging on stage. They definitely made a connection with audience.” –Brent Davidson, senior journalism major
4 MOVE • 02.03.12
So far, 2012 has completely gone to Shit. Gov. Jay Nixon proposed mega-cuts to the UM System. Etta James died. Nicole Scherzinger quit The X Factor. But perhaps the worst of them all? “Shit ___ Say” meme videos have caught on. Upon my first viewing of the original “Shit Girls Say” video, I was amused. I’ll admit that I laughed quite a bit, and after thinking about them even more, I saw they had a possibly even better (and likely unintended) outcome. They expose taboos. When watching the “Shit” videos in a group, they are often met with a chorus of laughter, agreements and “Oh my God, I’m a racist!”s. And though I think going as far as calling the videos “racist” is a bit extreme, the videos do an exceptional job at making viewers a bit more self-aware. The original’s immediate successors – namely “Shit White Girls Say... to Black Girls” and “Shit Girls Say to Gay Guys” – built off of the original’s foundation. They were funny and true. Oftentimes. But now, after seemingly 1,000,000,000 Facebook postings of “OMG this is so true:,” and “OMG watch at 2:01.. it’s totally you”s, I’m crossing my fingers that the fad has run its course. As much as I want to devote two or three minutes of my life to watching “Shit Pretty Little Liars Fans Say to Horseback Riders” (completely hypothetical… but I’m working on making it a reality), I just can’t anymore. Like any good joke, it’s always funny to a point. Cue Charlie Sheen. Cue Rick Santorum. That being said, I’m still waiting for a “Shit Mizzou Students Say.” I mean, we have the new “We Are Mizzou” rap video – it’s about time we hopped on the “shit” bandwagon as well.
Fashion police: infringing fashion
If that does happen, let me offer some suggestions:
▶ "MIZ-SEC” ▶ "MIZ-DGB” ▶ "You lived in Mark Twain?! Oh…” ▶ "I need to start going to the Rec!” ▶ "(Last week of semester): I have 100 swipes left”
But if that doesn’t happen, I won’t be too upset. With the advent of the “Shit People Say… About Shit People Say Videos,” we’ve come full circle. “Shit ___ Say” has become self-aware. Hopefully this comes paired with an understanding that enough is enough. I really hope this piece doesn’t end up in “Shit Debbie Downers Say,” but if it does…sorry I’m not sorry. jimmy hibsch | senior staff writer
TOTAL FASHION MOVE kayla elam fashion columnist
Chalk it up to “fashion girl issues,” but every time I see a blatantly designer bag, I immediately question its authenticity. The very fact that I cannot admire an LV logo or even have the goal of buying one because it would not even get its time to shine in a sea of “replicas” just, well, it sucks to be honest. And before you think this is just some kind of rant on fake Louis Vuitton bags, think again. I say this constantly, but it is so true: We are college students, i.e. broke. Always. As such, we take our deals where we can find them. Do I want an Add Sheet? No I really don’t, but why the hell not? Voilà, free coffee at Vida. Would I rather go downtown on Saturday night? Of course, but hey, a fraternity party is free. Similarly, when it comes to our closets and their relationship to our wallets (chic ones of course), we tend to take the easy way out. At least I know I personally have made peace with Forever 21 and stores at the mall for the next four years until that all-important and everelusive job can pay my ModCloth/Saks/J. Crew bills. But somewhere within this need to save, a gray area arises that has raised eyebrows in the fashion industry and, in some cases, has resulted in many suits (and I’m not talking those of a Chanel variety in this case). When it comes right down to it, where is the line when it comes to fakes or buying replicated clothing? And when does saving become more like stealing? I think the most relevant place to start is in our own closets. Pushing my treasured pieces aside reveals trendy pieces that were bought cheaply at mass fashion retailer Forever 21, a mecca of sorts for fashionable girls to try out the more outrageous, seasonal fashions without having to purchase an expensive version. I mention Forever 21 specifically because it has come under fire for the past couple of years for replicating patterns and complete designs from labels such as Diane von Furstenberg, Trovata and Anna Sui. And those are just
Oasis & Coldplay
“It was the best because it was a smaller venue, so it was pretty intimate. And when you know all the songs, it makes the concert so much more enjoyable.” –Amanda Wiele, sophomore education major
»
"Shit ___ Say" videos take over the Internet.
MOVE asks, “What’s the best concert you’ve ever been to?”
»
Modest Mouse
Shit MOVE Says: Enough! »
“Both of them were in Austin, Texas, at Austin City Limits Music Festival. They both are big, legendary bands, so it’s cool to see them live. And the atmosphere, too — it’s an outdoor music fest.” – Lauren Delaney, senior Spanish and journalism major
»
Edward Sharpe and the Magnetic Zeros
“I liked it because it’s a good venue. There were no seats so everyone was dancing. And Edward Sharpe is pretty cool. It’s good music.” – Sarah Harmening, freshman pre-journalism major
»
clare ngai | reporter
the ones people have noticed. Basically it all comes down to money. Sound familiar? The labels above took legal action as early as 2007 when they noticed that Forever 21 was mass producing dresses, blouses and prints that aren’t just similar — they are damn near identical. The Council of Fashion Designers of America — an organization von Furstenberg heads — stated the following back in 2009 in regard to stores such as Top Shop, H&M and Forever 21, “These designers do have a right to be angry. Too often their designs will barely float off the runway before a copycat version is sold at the local mall.” Lawsuits and legal jargon aside (Forever 21 has settled all of these cases out of court and the United States. does not currently copyright silhouettes or fashion designs), it is ultimately the consumer that is left with a dilemma. As shoppers and consumers of fashion, we logically care about the industry. I don’t know about you, but when I see my favorite line struggling, it is just as intense to me as it is to some people whose sports teams are losing tons of games — or even their franchise. I want to support my lines and see the business succeed, but when we are all struggling so much to pay our own bills and tuition (especially now that both are on the increase here in CoMo), it is not financially feasible. Thus the rush to Zara, H&M and replica websites from which those disputed works came. By wearing the styles made by these brands (but purchasing them cheaper), we feel as if we are supporting the brands, but the truth is we may be hurting them more than we originally thought. As the debate continues among businesses and Congress as they work on enacting laws, we are left to decide: stealing or saving? And as I sit in my outfit equal parts boutique and mass market, I say the jury is still out.