MOVE 03.08.13 VOLUME 11 ISSUE 21
THE KEY TO YOUR ENTERTAINMENT
welcome
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ON STAGE: 'CONNECTIVITY' MEET TWO DANCERS PERFORMING THIS WEEKEND AT THE MISSOURI THEATRE FILM STUDIES 101 HOW TO RECREATE THE MOST ICONIC MOVIE SCENES OF STUDENTHOOD
Local band Mary and The Giant presents a rather huge debut
to now
Loud Minded WILL SCHMITT
on Frank Ocean's surprising ascent to stardom
'Connectivity' promises edge and elegance sara higginbotham | staff writer
Neo-soul, ULTRA It has been more than a decade since the heyday of Britney Spears, the Backstreet Boys and *NSYNC — an era of perfectly coiffed, impeccably presented pop stars composed in some studio for public enjoyment. Even recently, Onika Maraj transformed from ordinary New York rapper to the hyperactive, bipolar entertainer with technicolored weave and fructose vocals now known as Nicki Minaj. Somewhere in between, T-Pain took front stage with his patented brand of singing some sweet nothings about women, wine and weed into a computer only to have it spat back out over a bastardized Jazze Pha beat with a feature from a Ludacris wanna-be. With so much precedent from processing music like we’re eating McNuggets, it’s both astonishing and refreshing that Frank Ocean has become so influential. Granted, he wrote songs for the likes of Beyoncé and John Legend and made a name for himself with his work with Kanye West on Watch the Throne, but he came up to fame with a group of radical teenage hip-hopping maniac skate punks. I don’t know exactly how the New Orleans native managed to connect with Odd Future Wolf Gang Kill Them All, but the neo-soul singer has meshed well with the members of the L.A.-based rap collective. After making his imprint through songwriting, he released the mixtape “Nostalgia, ULTRA,” which includes hits like “Novacane” and “Swim Good.” I smile thinking about this now – he released his first record after I had decided to give John Legend and D’Angelo repeated listens, and then he moved back in time to giants like Sam Cooke, Curtis Mayfield and Marvin Gaye. Suddenly there was a new face on the scene, and, as his buzz built, his rep got taller. Now, I can walk into The Shack on a weeknight and hear a student’s rendition of “Thinking Bout You.” Even for our generation, Ocean has become famous incredibly quickly. Much of his fame stems directly from his most recent album, the Grammy-winning Channel ORANGE. This album got a boost from a letter Ocean posted on Tumblr announcing his bisexuality. This wouldn’t be exceptionally fascinating if it weren’t for his musical context; the hip-hop scene has long dealt with an Achilles heel of homophobia. Oh, the album itself? Phenomenal. I don’t see the Grammys as particularly fair or representative of anything significant, but I’m glad he won. Not because he further exposed Chris Brown as an oblivious knucklehead but because it was a rare case of credit going precisely where credit is due. Notable tracks include “Super Rich Kids,” which features Earl Sweatshirt, a fellow member of OFWGKTA and an absolute monster of a rapper. Immediately after this comes “Pilot Jones,” one of the best instances of song structure on the album. Ocean is becoming famous for his voice, his personality and his penchant for musical exploration in terms of composition and adventures in chordal quality. I’m sure he’ll release more music in the near future and ride his wave to Hawaii before heading back to L.A. and eventually to a much cleaner version of the New Orleans he probably remembers. He gives fascinating interviews and is entertaining on Twitter. I found him at the perfect time for my musical tastes, and though you may not be in the same headspace I was when I first gave him a listen, I bet you’ll like him. Thanks for reading.
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Calling all fans of contemporary ballet, creative movement and emotional brilliance: the Missouri Contemporary Ballet will inspire you this weekend at Missouri Theatre. WHEN: 8 P.M. TONIGHT 2 P.M. & 8 P.M. SATURDAY WHERE: MISSOURI THEATRE TICKETS: $19-20 ADULTS, $14 STUDENTS, $12 KIDS 12 AND UNDER, STUDENT TICKETS 75 PERCENT OFF FRIDAY Dance fans and creative minds alike should flock to Missouri Theatre this weekend to see Columbia’s own contemporary dance company perform. The Missouri Contemporary Ballet is partnering with the Island Moving Company of Newport, R.I., for a stellar show that goes by the name “Connectivity.” You might not be able to touch your toes or execute an arabesque, but you can watch professionals do those things and so much more. MCB will perform three pieces from their repertoire, in addition to one fan favorite called “Twisted.” The topics of each piece range from a dancer’s deterioration to the concept of fitting in with the world. These dancers will stretch their limits and artistic lines as they relay stories to the audience through their movements. The Island Moving Company will perform four works this weekend, presenting two in each show. The topics of the pieces include the delicate human life, vulnerability and the natural actions and feelings people display toward one PHOTO COURTESY OF JEFF BASSINSON another in daily life. TWO MINI DANCER PROFILES MCB dancers Elise Eslick and Fernando Rodriguez took a few minutes out of their crazy rehearsal schedules to talk with MOVE about the upcoming performances.
Elise Eslick Company dancer
Eslick, 25, has been dancing since she was 10. “I started dance because I was a hyper kid,” Eslick says. “I was bad at sports and hated gym class. I was always the one running the wrong way with the ball during a game.” Eslick started dancing after a year in gymnastics and has been in love with the art ever since. This is her third season with MCB, and she says she is very grateful of her position with the company and excited for the show this weekend. “My favorite piece is probably ‘Falling Apart,’” Eslick says. “It focuses on how we fall apart as dancers, both psychologically and physically, and the struggles we experience. It’s kind of a funky, quirky piece.” She says her favorite aspect of contemporary ballet is hard to put a finger on. “I am classically trained, but there’s something more emotional about contemporary ballet,” she says. “There’s more freedom and a broader spectrum. The music is different, so it brings out different emotions.” When asked about her goals as a dancer, Eslick reflected on her personal dreams. “My goal is to push harder than I did the day before,” she says. “As ballet is an art form, someone will always be better than you. Even when I’m sore and tired from a day of hard rehearsals, I always go back to dance again because I love it. I’m also very grateful to have a position with MCB, because jobs in performing arts are limited.” She says that dance has shaped her personality and has made her feel more “cultured” in respect to exposition of the arts. “Dance is my life,” she says. “It’s definitely hard to separate my life from dance, because it’s what I do.”
Fernando Rodriguez Choreographer & company danseur Rodriguez, 25, began his dance career at the age of 18 after years of experience in musical theater. Though he loved theater, he had not previously taken dance. He started dancing when he was asked to audition for a role in “The Nutcracker” and fell in love with ballet. This weekend’s show will be Rodriguez’s debut as a choreographer. His piece, “Catch’Up,” focuses on fitting in. “It’s about exploring the idea of a person who is trying to have what everyone else has in life: what they do, what they own,” he says. “The person isn’t experiencing their own life or doing what they want. It’s about picking up the missing pieces from that.” Rodriguez says he draws inspiration from a variety of ballet dancers, like Fernando Bujones, an American danseur of Cuban descent. Rodriquez says Bujones inspired him with the masculinity of his dancing and artistry. He is also inspired by Mikhail Baryshnikov, who is regarded as one of the greatest danseurs in history. Among the many lessons dance has taught him, Rodriguez says he believes the most important is to be authentic. “Be true to who you are and what you are doing, whether that is in dance or not,” he says. “You can’t fake anything in dance — not the technique, not the performance — because it’s a live art. I learned to accept who I am and go full-heartedly in what I believe in.” Rodriguez has been with MCB for four seasons and says he plans to dance until his body can dance no more. Even after that, he wants to continue choreographing and stay involved in the arts. SEPARATE SIDE NOTE MCB is currently raising funds and collecting donations for their first international tour to Suncheon Bay, South Korea. The company has been invited to perform at the International Garden Exposition 2013. The Kickstarter campaign began March 1 and runs through April 15.
BEST/WORST OF EARLY 2013
The Good
The Bad WOLF’S LAW BY THE JOY FORMIDABLE Genre: Alternative rock Released: Jan. 18 Label: Atlantic Records
Ritzy Bryan can really play the guitar, you guys. When listening to “Cholla," head banging is honestly the only sensible option. Not to mention the band members are Welsh, which means that your playlist will appear eclectically superior to your friends'.
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HUMMINGBIRD BY LOCAL NATIVES Genre: Indie/pop Released: Jan. 29 Label: Frenchkiss Records This quirky foursome deserves more credit than they get. Tracks like “Ceilings” and “Heavy Feet” pick up right where their last album left off. Also, their grooves are comparable to Vampire Weekend. Do you really need any more information?
REBORN BY TRAPT Genre: Hard rock Released: Jan. 18 Label: EMI Music Remember the good old days when you would rock out to “Headstrong” to get super jazzed before recreational sporting events? Shamefully, so do I. Can you name any other song by this unfortunate spelling mistake of a band? I really doubt it. You’re irrelevant, Trapt. Sorry.
The Viewing Room HANNAH BEDENKOP
on the latest fairy tale revamp
turn up the magic
Jack, the giant letdown
The local colonial-pop band closes a 2-year chapter next Friday at The Bridge.
SHANNON ELLIOTT | SENIOR STAFF PHOTOGRAPHER
Not long after, the band’s lead singer at the time faced an ultimatum The guys of Mary and the Giant aren’t 10-foot tall, 2-ton monsters, but they might as well be when they attempt to squeeze into their closet-sized, from his girlfriend. Obviously, he chose the girl over the band, otherwise barely-lit practice room. It’s basically a soundproof basement cave where this wouldn’t be a story about Mary and the Giant riding the struggle-band van. they can jam all night long. The rest of the band’s reaction? They all got angry drunk after receivThe giants will emerge from their musical cave at The Bridge on March 15 to celebrate their new debut record titled Welcome Back To Now that has ing the news. So with a completely recorded but unmixed album and no lead singer, been almost two years in the making. “I think it’s where it needs to be now, and we’re very excited to have it no one was quite sure how to keep Mary and The Giant alive. “We just had a time when we were trying to figure what to do with out and excited to move past the idea of doing this album,” lead vocalist Mary and the Giant as far as a sound,” guitarist Jason Koch says. “The best Justin Mayfield says. thing we came up with was to finish the album. We needed The self-proclaimed colonial-pop group brings a to represent the changes that had happened through the blend of roots, Americana and bluegrass to the table. music and stop trying to be the old Mary and the Giant.” Heavy pop that verges on rock completes the sound It was a very Looking back, Mayfield says he wishes the group unique to Mary and The Giant. Mayfield says he often strange reality could be here today without having to go through the gets the comment that the group has a very “middle of entire struggle. the United States” sound. Fitting for a group of Midwest check to have “It was a very strange reality check to have something guys, right? It’s a sound that band members Justin something you’ve you’ve been working on for five years pulled out from Mayfield, Jason Koch, John Marino, Michael Schembre been working under you,” Marino says. “None of us had ever really had and Junior Garr are proud of producing. on for five years back-up plans. We kind of committed. Coming out of it, One of the band’s favorite recording stories is the tale pulled out from we’re a lot stronger as a group. We all kind of got our shit of how the track “Star Town” came to be. After recordtogether before we started playing again. There was a lot ing Mayfield’s vocals for the song, the studio’s computer under you." of good that came out of all the hardships.” crashed. The band members had nicknamed two of the John Marino Inspired to give back to the community after triumphstudio dummy knobs “suck” and “magic,” and they joke Bassist ing over its obstacles, Mary and the Giant teamed up with that the magic must have been turned up too high. David Kemper from the band MoonRunner, and the The original backstory of “Startown” is equally crazy. After a concert one night, the band members were heading to an after Columbia Missouri Music Scene Facebook page to start The Columbia party and stopped at a liquor store, running into a fan who offered to pay Revival, which recently released a compilation album featuring local bands. for their whiskey. A few hours later, the members realized that bassist John The idea was to turn Columbia into Missouri’s own Austin, Texas. The Marino, who was supposed to stay somewhat sober to drive Mayfield to the group also lends its practice cave to local bands seeking a space to grow and airport the following morning, was missing. The guys finally found Marino some famous Mayfield advice. “We’re looking at a combination of 50 or so years of musical experipassed out with his face in a flower pot post-whiskey-chugging contest at 4:30 a.m. Miraculously, Mayfield ended up finding himself on the right train ence with all the people combined in this room,” Mayfield says. “There’s a lot of musical history in this room.” to get to the airport. He says even though Mary and the Giant might be a group of immaAnd that’s only a taste of the outrageous times that Mary and the Giant has had touring. Other stories include incidences of Marino braiding ture people, the members are all mature musicians. Musical backgrounds a houseguest’s hair and the band members hiding from wild roommates in the group range from playing in church to taking bluegrass lessons on (they stay in random houses on tour). But the group insists it’s simply a the fiddle. No matter what the background, each member has been playing band of Midwest guys out to play some serious music, drink some beer since they were young. “We’ve all had these opportunities over the past years to hone in on and have some fun. Chill as that sounds, the road to Welcome Back To Now our sound and to do something that’s bigger than the sum of its parts,” hasn’t been smooth. True to their name, though, Mary and the Giant has faced some giants Mayfield says. “That’s really what Mary and the Giant is internally. It’s something that’s really pushed us all a lot because of the varying backgrounds of their own. “We did absolutely everything wrong with this album other than the and having to bring them all together to make them something coherent and listenable. It leads to a very unique sound and helps us all to grow as recording of it,” Mayfield says. After deciding to record, the band hired a manager. The group then musicians.” Mayfield says Mary and the Giant is excited to see everyone at the did a Kickstarter campaign to raise funds. Then, miscommunication happened, and the band’s manager promptly wired $3,500 to a shifty studio in album release party. And who knows, if you’re lucky, Marino might drink some whiskey and braid your hair. Los Angles. lauren rutherford | staff writer
best/worst of early 2013
TWO LANES OF FREEDOM BY TIM MCGRAW Genre: Country Released: Feb. 5 Label: McGraw Music I wanted to appreciate this, Tim, because you’ve had some quality jams before, but I couldn’t do it. While your lyrics have never exactly channeled Shakespeare, the hooks are usually catchy. Not this time! I can only hope that the “Two Lanes of Freedom” you speak of lead to never having to hear this album again.
It would seem that Hollywood’s most popular trend of late is taking children’s stories and attempting to dramatize and darken them. It’s been done to “Snow White,” “Hansel and Gretel” and now “Jack and the Beanstalk.” At this point, it’s really only a matter of time before we get a sinister Goldilocks revamp or a dark reimagination of “Chicken Little.” Honestly, I don’t know why this formula is so popular because it has yet to actually produce a good film. “Jack the Giant Slayer” is no exception. I didn’t hate the movie with a burning passion or anything, but it was just so frighteningly dull. It was about freaking giants, and it still bored me out of my mind. Anyways, the story follows the tale of farm boy Jack (Nicholas Hoult) and his accidental planting of some magic beans. That much hasn’t changed. But the screenwriters added a Jets-and-Sharks-like feud between the giants and humans, so the beanstalk that sprouts underneath Jack’s house, bridging the gap between the two worlds, is pretty bad news. Not to mention the local princess (Eleanor Tomlinson) is in Jack’s house when the beanstalk goes up, trapping her in the giants’ world. The king (Ian McShane, what are you doing in this movie?) is understandably put out about that. So a rescue mission commences, headed by Jack, a rather dashing knight (Ewan McGregor) and the princess’ betrothed (Stanley Tucci), who has nefarious plans to take control of the giants via magical crown and use them to conquer the kingdom. Despite being so very boring, “Jack the Giant Slayer” actually has some pretty good acting in it. Nicholas Hoult is quickly becoming a Hollywood favorite, and rightly so. He is a capable actor, and he is so cute that I’m going to move on to the other actors now before I start ranting about how attractive he is. McGregor and Tucci were absolute hams, but it worked because they’re both so genuine. Eleanor Tomlinson wasn’t given much to work with, but I think she did a good job regardless. And I still don’t understand why Ian McShane was in this, but he was solid, as usual. So basically I don’t know why any of these actors agreed to their parts because they’re all rather impressive, and this movie is anything but impressive. I really can’t decide how I feel about the special effects. The giants were really detailed, but there was something about them that was quite cheesy and borderline garish. Also, there seemed to be a bit of a lag between the animation and the sound when they spoke, so that threw me off a bit. In addition, the movie was about 30 minutes too long. It seemed like every time the storyline was about to exhaust itself, one of the characters found another freaking magic bean to grow another freaking beanstalk, and the story marched merrily on. They could have easily cut the last quarter of the movie when the giants finally reached the ground and a battle raged outside the castle walls, and I would have had no complaints about it. An obscene amount of people get crushed and/or eaten by giants throughout the story. Seriously, there are so many deaths that it felt like a running gag. Let me do a quick calculation here … yep, 50 percent of the main characters go up against a giant and fail miserably. Those are dismal, “Game of Thrones”-level odds. I think this movie is geared toward children, but I can understand why it would be scary for them, what with all the people getting smashed into jelly. But older kids are way too cool for this story (myself excluded), so I’m not exactly sure who the intended audience is supposed to be. I mean, I really only saw it because I am terrified of exorcism movies thanks to an unfortunate encounter with “The Exorcist” at the tender age of 13. And while I don’t feel like I’ve lost brain cells from seeing “Jack the Giant Slayer,” I didn’t get anything from it either. It’s not the worst fairy tale adaptation I’ve seen, but it still only gets two out of five magic beans. Maybe gritty “Chicken Little” will be better.
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The Ugly NOTES FROM THE UNDERGROUND BY HOLLYWOOD UNDEAD Genre: Rap rock Released: Jan. 8 Label: A&M/Octone Records Now listen, I understand that they’re ‘undead,’ but “Kill Everyone”? That’s just bad taste. If zombies playing instruments is becoming a thing, I’m going to need “The Walking Dead” cast to step it up a notch, because even they would most likely sound better than this cacophony.
WRETCHED AND DIVINE: THE STORY OF THE WILD ONES BY BLACK VEIL BRIDES Genre: Metal Released: Jan. 8 Label: Universal Republic Records Unless you’re still in your atrocious middle school scene phase, I would recommend ignoring the fact that Black Veil Brides still exist. With album artwork that evokes visions of a bad “Donnie Darko” apocalypse and brilliantly titled songs like “Shadows Die,” this album is not only u-g-l-y, but it probably doesn’t have an alibi, either. alex leininger | staff writer 03.08.13• MOV E
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If Mizzou were a movie… Make this semester cinematic by taking cues from the best movies about student life. julia bush | senior staff writer/senior staff photographer
The Breakup: "The Social Network" Featuring Carleigh Cavender and Emily Dias If you need to end it with your computer nerd significant other, head to The Heidelberg like Zuckerberg and his girlfriend in "The Social Network" to cut it off. The beer, toasted ravioli and a soft pretzel with an obscene amount of gooey cheese stuff will soften the blow. Plus, appetizers are half price at happy hour!
Bunny Tech: "Legally Blonde" Featuring Shelby Mann and Matthew Ingram Fancy yourself the next Elle Woods? Throw on your favorite pair of bunny ears and head to TigerTech. Who knows, maybe you’ll meet your Emmett in line!
The Golden Egg: "Harry Potter and the Goblet of Fire" Featuring Colette Rector and Matthew Ingram
Toga: "Animal House" Featuring Carleigh Cavender
The Triwizard Tournament is still a few years away, but if you need to do some last-minute cramming, head to the library like Harry and Hermione. You don’t even need an invisibility cloak to explore the stacks in the middle of the night (although you might want to bring a friend or two — it gets creepy up there in Ellis).
It’s easy to recreate the famous Animal House toga party anywhere on East Campus. The wood paneling and houses with a few hundred years of use provide the perfect setting, so you’ll just need some bed sheets and a ribbon or two to make togas.
Tongue in chic MADISON FELLER
on combining fashion with cycling
Gear up for spring, literally Last semester, I had the unfortunate luck of having an 8 a.m. every day, all the way across campus (damn you, economics). Although walking the 20 minutes from my dorm to class every morning was surely an option, I decided, instead, to invest in something a little more practical to make my mornings run a bit smoother. I bought a bike. And while it’s not a snazzy beach-cruiser with a wicker basket and horn-bell-whistle contraption, it’s still one of my most prized possessions here at MU. Though riding a bike through campus can be efficient and fun (that is, when I’m not almost being hit by cars), it posed a bit of a problem. In terms of my own personal clothing choices, I will almost always pick a dress or a skirt over anything else I have in my closet. But after my first unsuccessful attempt at riding around in one of my favorite dresses, I realized that unless I figured something out, my wardrobe of dresses and skirts was going to have to take a backseat. Determined to stop that from happening, I hopped onto the computer and googled “how to ride a bike in a dress.” And, truth be told, it actually worked. Since spring is slowly but surely coming around, I have decided to share my top tips for staying classy and fashionable during all your bike travels. This way, when the sun starts shining and melting all this snow, you’ll be ready to hit your two-wheeler and take the road – while looking absolutely adorable. First things first: getting on the bike. The easiest (and most demure) way I’ve found to mount my bike in a dress is to get on slightly higher ground. This way the act of throwing your leg over the seat isn’t as, um, revealing, since you’re already pretty level with your bike. Sliding on sideways is also always a good option. Oh, and did I mention the importance of wearing bike shorts under your dress? ‘Cause honestly, the weather here changes so much, you never know when a windstorm will suddenly take over Columbia. The ride: Instead of riding around with both legs bent, try for the most part to keep at least one leg straight, especially when you’re cruising. This technique will almost guarantee you a smooth ride and that your dress or skirt stays in place. Also, bike shorts. Though it’s pretty obvious that you could always just opt for pants or jeans, sometimes your inner skirt-wearing girly-girl just has to be set free. And who says your transportation methods should limit that? As for the fellas, you’re in good luck. While you probably don’t run into the same problems girls do when riding your bikes, it still can’t always be comfortable to roll around in skinny jeans and button-ups. Don’t worry, though, because H&M and East London cycling experts, Brick Lane Bikes, have teamed up to create a clothing collection specifically designed for cyclers. The idea was to create a line that was equal parts stylish and functional, according to GQ. The team even put the clothes to the test, wearing them through various weather conditions. By including items such as chino shorts, plaid shirts and even a blazer, the designers behind this collection made sure to create pieces that could easily assimilate into any man’s normal wardrobe. The collection launched March 7, and here’s hoping they decide to make one for women, as well. Just because some of us need to trek around campus on our Schwinns doesn’t mean we should have to limit our wardrobe. As spring starts to creep around the corner, I urge you all to channel your inner Rachel McAdams or Ryan Gosling a la “The Notebook,” and ride your bike around in sweet, sweet style. Think you can handle it?
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