Arts

Arts

Artsy Nugget | Colbert addresses #CancelColbert with trademark satire

April 2

Earlier this week, Stephen Colbert responded to the outrage that erupted after an out-of-context quote from his program was tweeted from Viacom's promotional Twitter account for "The Colbert Report" (2005-present). Using his trademark irony to mock his critics and distance himself from the tweet, which Colbert asserted was not approved by him, the host presented himself as in control of an issue blown out of proportion by blogs and broadcast news. The topic surfaced when the hashtag #CancelColbert gained momentum on Twitter last Thursday. A so-called hashtag activist named Suey Park attempted to frame Colbert as a racist following the tweet, which mocked the owner of the Washington Redskins and the football team's racist moniker. In a segment called "Who's Attacking Me Now?" Colbert responded to critics by sharing various news clips and listing all of the websites and magazines that helped #CancelColbert gain traction. Lampooning the idea of trying to cancel a television show for just a few out of context words, Colbert, identifying himself as an Irish-American, sarcastically urged his viewers to #CancelSwift - a reference to author Jonathon Swift's satirical essay "A Modest Proposal" (1729), which suggested that the poor in Ireland might ease their economic woes by selling their babies as food. "The dark forces trying to silence my message of core conservative principles mixed with youth-friendly product placement have been thwarted," Colbert declared to cheers from the audience as he sipped a Bud Lite Lime. Despite the uproar, it certainly looks like Colbert has, once again, silenced his detractors with his characteristic good humor and irony.

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Arts

Top Ten | Things found in every Wes Anderson movie

April 2

Wes Anderson's most recent release, "The Grand Budapest Hotel" has been lauded as his masterpiece, so, naturally, he is more topical and hip than ever. But what makes a Wes Anderson movie so great? With this question in mind, the Daily Arts Department proudly presents: "One Gazette's Quintessential Bulletin of Wesley Wales Anderson," narrated by Alec Baldwin. 10) A vaguely ethnic unknown: Preferably under 17, with interesting teeth and a bizarre and compelling backstory. Oh, and they should probably be able to act, too. 9) Meticulous fonts: You'll never be able to look at Futura without seeing it plastered on the side of a rose colored two-story school bus or projected, perfectly centered, on a grimy but charming apartment building. 8) Jokes that aren't jokes: It's okay if you don't get them. No one does, really. Just look over at the kid with the handlebar mustache or the girl rocking serious bangs in the theater and laugh when they do. 7) A precocious adolescent with an unrequited love: They say heady things that adults don't understand, make tiny lists, have bizarre after-school business ventures, make unlikely friendships with crotchety and wounded adults and, ultimately, lust after somebody they will never get. 6) Timeless fashion: We don't mean figuratively. Like, literally, it's impossible to tell whether that coat is from 1920 or if it was featured in Prada's 2014 spring collection. 5) Book within a book within a movie within a song within a cross-stitch embroidery: Christopher Nolan totally stole the idea for "Inception" (2010) from "The Life Aquatic with Steve Zissou" (2004). 4) Corduroy record player: You know, so you can play your Rolling Stones records on it to impress your immortal beloved: your boyfriend's boyfriend's dad's biographer. 3) Thinly veiled real-world settings: Listen, Wes, we all know that "The Royal Tenenbaums" (2001) is set in Manhattan! You can't just change all the names of the buildings and streets and expect us to be impressed. 2) Apathetic toddler: This little tike will secretly smoke off-brand cigarettes and contemplate oblivion all while being changed by Angelica Houston. 1) Bill Murray: In Pabst Blue Ribbon shorts. Playing golf. Humming a French pop song. Drinking whiskey. Smoking a hand-rolled cigarette.

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Arts

Tufts Art Gallery brings contemporary pieces to Boston art scene

April 2

Public art generally does not aim to incite controversy — after all, these sorts of open-area murals and sculptures are usually installed to visually enhance their surroundings and engage the community. However, recently pieces on least two Boston-area campuses, including Tufts, have accomplished just that. At Wellesley College, a statue of a nearly naked sleepwalking man — part of an exhibit at the school’s Davis Museum — frightened and angered students, some of whom even signed a petition calling for its removal. Here at Tufts, the rather infamous ostrich sculpture, or “Autruche II,” was recently removed due to incidents of vandalism that may have permanently damaged the piece.    While these events have certainly garnered significant buzz, they speak to only one aspect of visual art and gallery space at both Tufts and other Boston-area schools. Indeed, the Tufts University Art Gallery is rather multifaceted in scope, endeavoring to make art at Tufts interdisciplinary and accessible to the entire Tufts community. With a unexpectedly impressive permanent collection, a staff dedicated to pursing innovative goals and a unique position in the Boston art scene, Tufts’ art gallery offers the university a surprisingly diverse cultural experience that goes beyond a single attention-grabbing sculpture.Logistical balancing act    To casual observers it may appear that new exhibitions simply materialize in the gallery every few months, but these smooth transitions mask the lengthy and labor-intensive curatorial process required to bring a show to campus.    “At any point, we’re looking at planning two years worth of exhibitions,” Amy Schlegel, the director of galleries and collections, said.    Part of Schlegel’s responsibilities includes thinking about the big picture plan for the gallery.    “Amy will find the exhibitions, and once she finds an exhibition and locks it in, the rest of us have ... to actually bring it here and get it up in the gallery,” Lissa Cramer, the exhibitions coordinator of the gallery, said.    As such, the gallery’s exhibitions reflect the work of not just Schlegel, but her whole department and oftentimes outside collaborators, such as Tufts professors and guest curators. This coordination, though, can involve more than just negotiating and cooperating with the curators themselves.    “We worked with the artist or the artist’s representative to work out conditions that we have to [comply with],” said Cramer the of current exhibit on display in the gallery, “Seeing Glacial Time: Climate Change in the Arctic.” “Is there a loan fee? How [do] we get it shipped here? [And] we have to work within a budget.”    Fitting together all of these moving parts is not an easy assignment, according to Cramer, so during the planning process Cramer, who acts as the project manager for this process, has a complex and tricky role.    “She is the point of communication between us and the artist, or us and the lender or us and the printer,” said Schlegel. “There’s a lot of back and forth.”    It’s easy to understand why the gallery plans shows so far in advance. Coordinating with artists, lenders and owners can take months at a time, according to Cramer.    The various stipulations and complications do not stop once the pieces arrive at Tufts. Gallery staff is still tasked with, among other things, designing the plan for the exhibition, generating label and wall text, finding just the right Plexiglas cover for particular pieces and perfecting the lighting. With all of these different elements in play at once, the whole process of bringing an exhibition to campus can feel like one long balancing act.    “We have all of these considerations [to work out],” said Schlegel. “We’re constantly [in the process] of doing this.”An interdisciplinary approach    Once an exhibition is open, the gallery staff also collaborates with professors and students. Perhaps somewhat surprisingly, art history faculty and majors do not necessarily top this list. Several professors from an assortment of departments choose to bring their classes to the gallery, utilizing artwork in new and varied ways.    Generally, Schlegel and Cramer find that classes tend to visit the gallery when the exhibit has a direct tie to course material. Contemporary art classes, for example, are frequent visitors due to the high amount of contemporary art featured in shows. But what is rather unexpected about the Tufts Art Gallery is the interdisciplinary nature of these academic ties. Humanities classes are not the only ones that consider exhibitions to be a useful resource.    “This particular exhibition has been great to make connections with climate change environmental studies [courses] and with earth and ocean sciences ... [and] with an environmental chemistry course,” Schlegel said.    Although the connections to science or other fields of study might not be the most obvious, Schlegel views them as an important part of the gallery’s role in the Tufts community.    “This is all about cultivating relationships with these faculty ... knowing what courses they tend to teach,” said Schlegel. “The tricky part is developing the exhibition idea ... without necessarily knowing yet what those faculty will be teaching when that exhibition is on view, so our timelines are a little out of synch.”    The gallery is committed to this interdisciplinary approach to visual art because of what Schlegel sees as its significant educational boon.    “There’s also an incredible educational power that art can play,” said Schlegel. “I think forming ... a different knowledge about the world through vision and becoming more informed and a better critical thinker by understanding that images convey meaning — that they are coded — [is important]. There are skills that can be taught and learned in deciphering these meanings.”12

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Arts

Concert Review | How To Dress Well delights with angelic set

April 1

Those familiar with musician How To Dress Well know that his music tends to be very intimate — the perfect soundtrack for a melancholy bedtime diary session or a solitary walk through city streets late at night. One might wonder how well this atmosphere would transfer over to a live show: will that intimacy be lost among a crowd of people? Yet last Thursday night at T.T. the Bear’s Place in Cambridge, How To Dress Well captured that aura perfectly, adding a number of new dance-influenced songs to his repertoire. The artist demonstrated he is capable of more than just somber ballads.

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Arts

‘Cesar Chavez’ fails to convey passion of title character

April 1

C?sar Ch?vez is perhaps the most famous Mexican-American civil rights activist in American history, but, sadly, many Americans know little about him. Ch?vez’s movement to organize farm laborers in California during the 1960s and 1970s is an often-overlooked facet of American history. The activist’s story, however, hits the big screen with new film “Cesar Chavez,” directed by Diego Luna. The Mexican actor-turned-director — known for his roles in “Y Tu Mam? Tambi?n” (2001) and “Milk” (2008) — has unfortunately fallen short in his directorial debut. This biopic, the first English-language film he has directed, ultimately disappoints. “Cesar Chavez” fails to muster the same charisma and passion the civil rights activist so clearly possessed.

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Arts

Interview: Diego Luna | Director of ‘Cesar Chavez’ talks newest project

April 1

While promoting his new film, “Cesar Chavez,” director Diego Luna met with the Daily for a roundtable interview to discuss the new biopic, which premiered on March 28. The film tells the story of Cesar Chavez, a labor leader, advocate for agricultural workers and founder of the National Farm Workers Association in 1962.

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Arts

Shakira delights fans, newcomers in new self-titled album

March 30

When a seasoned musician releases his or her first self-titled album, it is usually a hint that the album is a statement about the artist's career and style. In the case of Colombian songstress Shakira, who has commanded serious respect in the pop arena for years, her self-titled album is a perfect snapshot of who she used to be, who is she is and, ultimately, who she hopes to be.

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Arts

Film adaptation of ‘Need for Speed’ video-game franchise tame, uninspired

March 28

The bridge between video games and films is a tough one to cross. There have been few successful attempts to adapt the fun of a video game into the complete storyline of a movie with (both figurative and literal) three-dimensional characters and “Need for Speed” is no exception.

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Arts

Film adaptation of 'Need for Speed' video-game franchise tame, uninspired

March 28

The bridge between video games and films is a tough one to cross. There have been few successful attempts to adapt the fun of a video game into the complete storyline of a movie with (both figurative and literal) three-dimensional characters and "Need for Speed" is no exception.

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Arts

Artsy Nugget | Major twist on ‘The Good Wife’ shocks fans

March 26

Plot twists may abound on television these days, but rarely do they make waves in the way a recent shocker on “The Good Wife” (2009-present) has done. (Beware, spoilers ahead!) The CBS legal drama’s latest episode sent fans reeling when it killed off the show’s male lead, Will Gardner, played by the ever-charismatic Josh Charles. While on trial, Will’s client (Hunter Parrish), a man accused of murdering a college student, got hold of a policeman’s gun and promptly embarked on a shooting spree that left his lawyer dead. “The Good Wife” has already proven it is not afraid to shake things up, but this turn of events was wholly unexpected, packing a serious punch. In the wake of the episode, fans and critics alike have argued the merits of the decision — was it a cheap move or a legitimate creative choice? While the debate rages on, viewers are left wondering where the show will go from here. Many had assumed that writers would eventually pair off — for good — Will and Alicia (Julianna Margulies), whose professional and romantic relationship has been a core tenant of the show. With Will’s murder this is, of course, impossible, and some are concerned that the show’s dynamic will be drastically different now that the compelling chemistry between the former colleagues has vanished. Still others are upset with the meaninglessness of the character’s death and the less-than-loving note on which Will and Alicia’s relationship ended. These discussions have lit up Twitter and entertainment sites across the Internet, and series creators Robert and Michelle King have even reached out to fans in a letter explaining why they chose to kill off Will. Ultimately, the decision was made because Charles wished to leave the critically adored drama, and the show’s creative team felt that this was the most powerful and effective way to send off the fan-favorite character. Whatever the controversy, the episode will certainly go down in television history as one of the most shocking twists of all time.

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Arts

Cartoon Hangover delivers compelling programming

March 26

It’s hard to imagine that in this day and age there are things that cannot be aired on television. However, as content becomes more bizarre and contentious, particularly in the world of cartoons, writers and directors have been forced to find an outlet that gives them exposure along with freedom, something not always available on traditional television networks. With the wide availability of open-source video sharing sites like YouTube, content is now as strange and niche as show creators want it to be. One of the more successful companies doing this work is called Cartoon Hangover. With just over one million subscribers on their YouTube channel, Cartoon Hangover has successfully produced a slew of animated shorts by artists from all over the world and the successful cartoon series “Bravest Warriors” (2012-present). Not only that, the channel has seen its first Kickstarter campaign-funded series called “Bee and Puppycat,” a show that premiered in 2013 as a short and gained a cult following seemingly overnight. The fanfare surrounding these shows and Cartoon Hangover itself speaks to the growing trend of series that are independently produced and promoted on Internet platforms. Though the channel and its spinoffs maintain intellectual and creative freedom, it’s easy to see the hand of larger corporations when looking back into the origins of Cartoon Hangover. Indeed, the impetus for the formation of the channel was the YouTube Original Channel Initiative. Through this program, Google, which owns the video sharing site, sought to subsidize the creation of original content and programming on YouTube, with the intention of building a base for Google TV, which today is all but inevitable. This program has brought countless celebrities and creative types to YouTube to deliver their ideas, collaborations and video projects directly to viewers. Cartoon Hangover is simply another cog in this massive matrix of innovators. What’s more, it seems that this grassroots movement has truly given artists and writers unhindered creative space to produce unique, intriguing work. Cartoon Hangover is, truly, a prime example of the benefits of open-source programming. The channel is able to gauge directly how their shows and shorts are faring with audiences, and they use this data to tailor their content to the desires of these viewers — not network suits. And what’s even more encouraging? The shows are actually good. With fairly unambiguous ties to its older brother Cartoon Network, Cartoon Hangover showcases the work of their current rock star Pendleton Ward, creator of “Adventure Time” (2010-present). “Bravest Warriors,” Cartoon Hangover’s most developed and beloved series, is Ward’s brainchild, and his influence isn’t hard to see. Much like “Adventure Time,” “Bravest Warriors” tells the story of best friends hanging out in a futuristic world with silly but enviable technology. Though the show focuses on four heroes and their exploits throughout the vast galaxy, the real center of “Bravest Warriors” are the characters’ goofy but ultimately heartfelt interactions. Ward, an escapist at heart, consistently develops universes where viewers watch their favorite characters enjoy the spoils of lighthearted fun. But on a deeper level, these characters deal with complex, unresolved and heart-wrenching subplots to which viewers can connect. “Bee and Puppycat,” though stylistically unique, is another holdover from the “Adventure Time” universe. It is created and written by Natasha Allegri, the mastermind behind the gender-bending episodes of “Adventure Time” that feature characters Fiona and Cake. Allegri’s show tells the story of a quirky, downtrodden young woman named Bee who teams up with a puppy-cat hybrid, traversing dimensions on supernatural missions. The similarities between Ward’s and Allegri’s work aren’t hard to see, but, each series offers viewers a different perspective, a distinct kind of humor and a unique journey in their respective realms. What’s more, “Bee and Puppycat” is undeniably more accessible for female viewers. Through the show, Allegri unabashedly strives to bring cool and weird girls to a larger audience — validating the humor, heart and relevance of young women. Ultimately, Cartoon Hangover is a new and exciting place for cartoon programming. Granting independent artists the freedom to express their silliest ideas seems to be a rising trend, not only for animated content, but also for television across the board. If you haven’t already taken notice, now is the time — great things are happening on Cartoon Hangover, so tune in!

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Arts

The Artsy Jumbo | Sophie Maki puts culinary skills to test with vegan baking

March 26

Freshman Sophie Maki has a rather unique hobby: She runs a blog on Tumblr on vegan baking. When it comes to animal rights Maki isn’t particularly political; she instead prefers culinary expertise to activism. “I’m not very confrontational,” Maki said. “I don’t have to comment on these other people who are like, ‘Bacon is the only way, vegans suck.’” Despite her diplomatic disposition, Maki claims that it was her desire to challenge herself that led her to becoming a vegan. A vegetarian since middle school, Maki says that choosing to adopt veganism was not a sudden decision, but rather a gradual transition as she cut out more and more animal-product foods from her diet. “Once vegetarianism wasn’t even a challenge anymore, I ... [thought], ‘Well, I could easily do more,’” she said. According to the amateur chef, it is difficult to bake anything while living in a dorm; as many Tufts students know, dorm kitchens aren’t exactly equipped with Food Network-worthy appliances. But despite this difficulty, she has still managed to post some new recipes. In any case, for Maki, it’s the thrill of creating food from unconventional ingredients that really inspires her. Recently, she’s moved on to gluten-free recipes and enjoys having friends guess what ingredients have been replaced for seemingly typical food items. Her brownies, for example, feature black beans; her blondies boast chickpeas. “I feel like [that element of baking is] kind of hard, because you follow the recipe more exactly,” she said. “You’re always using weird substitutes ... Some people are using mashed bananas, some people are using flax seed.”

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Arts

Artsy Nugget | Major twist on 'The Good Wife' shocks fans

March 26

Plot twists may abound on television these days, but rarely do they make waves in the way a recent shocker on "The Good Wife" (2009-present) has done. (Beware, spoilers ahead!) The CBS legal drama's latest episode sent fans reeling when it killed off the show's male lead, Will Gardner, played by the ever-charismatic Josh Charles. While on trial, Will's client (Hunter Parrish), a man accused of murdering a college student, got hold of a policeman's gun and promptly embarked on a shooting spree that left his lawyer dead. "The Good Wife" has already proven it is not afraid to shake things up, but this turn of events was wholly unexpected, packing a serious punch. In the wake of the episode, fans and critics alike have argued the merits of the decision - was it a cheap move or a legitimate creative choice? While the debate rages on, viewers are left wondering where the show will go from here. Many had assumed that writers would eventually pair off - for good - Will and Alicia (Julianna Margulies), whose professional and romantic relationship has been a core tenant of the show. With Will's murder this is, of course, impossible, and some are concerned that the show's dynamic will be drastically different now that the compelling chemistry between the former colleagues has vanished. Still others are upset with the meaninglessness of the character's death and the less-than-loving note on which Will and Alicia's relationship ended. These discussions have lit up Twitter and entertainment sites across the Internet, and series creators Robert and Michelle King have even reached out to fans in a letter explaining why they chose to kill off Will. Ultimately, the decision was made because Charles wished to leave the critically adored drama, and the show's creative team felt that this was the most powerful and effective way to send off the fan-favorite character. Whatever the controversy, the episode will certainly go down in television history as one of the most shocking twists of all time.

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Arts

Michael Maggiore opens up about his budding career as ‘CheddaSK’

March 26

Thinking of Tufts’ music scene will typically bring to mind images of casual alt-rock bands, guitarists or the occasional party DJ. Most other genres, though present, may seem underrepresented on a campus in which few students aim to pursue their art as a full-time career. That’s why senior Michael Maggiore stands out in the crowd, going where very few Jumbos have gone before: head first into the hip-hop game. Maggiore, otherwise known as CheddaSK, is making a name for himself as a rapper both on and off campus. With his new album “Forever Changed” out this week and a tour lined up post-graduation, Maggiore hopes to carve a new path in the hip-hop industry as both a businessman and artist.So, who is CheddaSK? Maggiore wants to make one thing clear: He does not subscribe to a specific genre of music. For him, originality is paramount. “I hate being stereotyped into one category, and I don’t need a genre tag,” he said. “I am interested in doing this for longevity, to make something new and do my own thing.” His influences are certainly in line with this mentality, spanning a broad, cross-genre spectrum that includes Drake, A Tribe Called Quest, Miles Davis and Dashboard Confessional, to name a few. “I have a ton of jazz artists I look to for inspiration, and, believe it or not, I like hardcore rock, too — even on the verge of screamo,” he explained. “Anything from African tribal music to Taylor Swift. I don’t rule anything out.” His inspirations are not the only unique part of his creative process. The themes Maggiore explores in his own music set him apart from many peers in the hip-hop world. “What I believe in above all else is putting out a vibe of positive energy and hopefulness,” he said. The fledgling artist formally started crafting his sound during his sophomore year, when he met his best friend, Brooklyn-based music producer Mike Irish. But music has been a passion for Maggiore since his high school days. “I went to boarding school, and my roommate was a huge hip-hop head,” he said. “That stayed with me through college, when I made mixtapes on GarageBand and started freestyling at parties. People kept saying, ‘You should do this for real!’ and that’s when it just ... clicked.” Maggiore has been all in ever since, diving into the industry with unrelenting zeal.Getting mixed up, for better or worse Maggiore’s experience at Tufts is certainly a unique one and is what he cites as the primary influence for his body of work. Stemming from a near-death incident that occurred while studying abroad in Buenos Aires, Maggiore’s now-positive brand and outlook are products of a darker time in his life. “I was walking home one night alone, [and] I got totally lost in a bad area,” he said. “I was [attacked] by three guys with a very anti-American sentiment ... From that moment on, I had a changed perspective on everything.” Maggiore recalled being beaten, held up at gunpoint and robbed on the street as he struggled to escape to his host family’s home. For the next year, his internalization of the resulting pervasive fear he felt took a toll on his friendships, relationships and schoolwork. With an unsatisfying stint coaching lacrosse and a sudden inability to express his emotional state, he found himself struggling to stay afloat. “When I came back to school, everything and everyone was the same, but I was so different,” Maggiore said, expressing his frustration with his lack of a fulfilling outlet. “It was all too raw and too real.”Light at the end of the tunnel What ultimately helped Maggiore get back on his feet and develop his identity as a musician was a fresh start in a new place. “I had taken a year off [from] making music, but over the next summer I went to Brooklyn for an internship and started working on my new CD,” he said. “I was rediscovering myself in a place where no one knew me. I felt reborn, channeling my emotions through music, [both] sonically and lyrically.” Feeling inspired, Maggiore was able to shed his insecurity and share his story with producer and friend Irish. “I broke down and told him everything that happened to me and where I was mentally,” he said. “It was all way too much for me to handle on my own. I always wanted that support system, that rock. He was the one who gave me that through music.” 12

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Arts

‘Veronica Mars’ fans rewarded for patience, loyalty

March 26

Seven years after the cancellation of the short-lived, beloved cult show “Veronica Mars” (2004-2007) and a year after 90,000 fans donated $5.7 million in a groundbreaking Kickstarter campaign to fund a film version, “Veronica Mars” hit select theaters earlier this month. While fans of the series will be thrilled with the result, how newcomers will take to the film is unclear. The first few minutes of the movie offer a refresher on the show: Veronica Mars (Kristen Bell), a sassy, quick-witted teenage detective, once navigated her hostile high school and star-crossed relationships while tackling mysteries, murder and corruption in her town of Neptune, Calif. The film finds Veronica, 10 years later, living in New York, about to begin a promising law career and restarting a relationship with her third season flame Piz (Chris Lowell). She claims to have put Neptune and the private investigation business behind her. Cue the murder: a pop star is found dead in her bathtub and the woman’s boyfriend, who happens to be Veronica’s tormented ex Logan Echolls (Jason Dohring), is the primary suspect. Veronica flies back to Neptune to help clear Logan’s name — and quickly gets roped into attending a conveniently-timed Neptune High reunion. (Go Pirates!) The entire film, in fact, acts as a reunion for the show’s best characters. Writer, director and producer Rob Thomas has permitted each character to grow appropriately. Veronica’s best friend Wallace (Percy Daggs III) is now a teacher and basketball coach at Neptune High, computer genius Mac (Tina Majorino) works for Kane Software and former motorcycle gang leader and bad-boy Weevil (Francis Capra) is settled down with a wife and a daughter. Well, maybe not every character has changed — Logan’s best friend Dick Casablancas (Ryan Hansen) is still as hilarious and ridiculous as always, and the Regina George of Neptune High, Madison Sinclair (Amanda Noret), remains the epitome of unabashed privilege. The most interesting evolution, however, is that of Logan. On the show he was angsty, jealous and frequently violent. Since breaking up with Veronica, he has become a Navy officer, and the military has transformed him into a serious, disciplined individual. (Fear not, Logan fans: the quips and smirks are generally intact.) He remains dark and edgy, and still prefers to settle conflicts with a punch, but in many ways he is more open, caring and grateful. In other words, Logan is now someone who could conceivably have a healthy relationship with Veronica. (Their relationship on the show, while passionate, was always tumultuous and controversial.) Bell, as ever, is a fabulous, fierce lead and a joy to watch. Celebrity appearances from James Franco, Justin Long, Max Greenfield, Jamie Lee Curtis, Ira Glass and Bell’s husband Dax Shepard are also used to hilarious effect. The overarching theme is one of addiction: Just as the fans have been unable to let Veronica and company go, Veronica recognizes that she is a junkie who cannot get Neptune, Logan and the thrill of detective work out of her system. Can she do this one last job without getting hooked again? Can she accept a position at a law firm and the normalcy that it offers? The central plot of the film is hardly the mystery-to-end-all-mysteries, and it feels better suited to an hour of television than to a film. Its greatest triumph may be in allowing Veronica to finally save herself: On the show, although she solved the mysteries, she usually needed her father (Enrico Colantoni) or Logan to save her in critical moment. Here, she is entirely self-sufficient. The subplots all deserve greater development, particularly the corruption in the Neptune Sheriff’s department and Weevil’s wavering on the edge of reentry into gang life. Several additional movies would be needed to do any sort of justice to storylines lost in the seven years’ absence. The film also shies away from quite the same level of social commentary that made the show a standout; the series’ articulate handling of dark topics like rape, grief and abuse, as well as its attention to class tensions (though less so to race), set it apart from other teen shows of the same era. Ultimately, those who contributed to the Kickstarter campaign will receive exactly what they paid for: the chance to simply see these characters’ interactions, which were always the real highlight of the show. “Veronica Mars” is fantastically fun for fans, and it might even be enjoyable to newcomers to the series — but novices would be wise to watch at least some of the first season before checking out the film, as a full understanding of the references and relationships can make for a higher level experience.

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Arts

Michael Maggiore opens up about his budding career as 'CheddaSK'

March 26

Thinking of Tufts' music scene will typically bring to mind images of casual alt-rock bands, guitarists or the occasional party DJ. Most other genres, though present, may seem underrepresented on a campus in which few students aim to pursue their art as a full-time career. That's why senior Michael Maggiore stands out in the crowd, going where very few Jumbos have gone before: head first into the hip-hop game. Maggiore, otherwise known as CheddaSK, is making a name for himself as a rapper both on and off campus. With his new album "Forever Changed" out this week and a tour lined up post-graduation, Maggiore hopes to carve a new path in the hip-hop industry as both a businessman and artist.So, who is CheddaSK? Maggiore wants to make one thing clear: He does not subscribe to a specific genre of music. For him, originality is paramount. "I hate being stereotyped into one category, and I don't need a genre tag," he said. "I am interested in doing this for longevity, to make something new and do my own thing." His influences are certainly in line with this mentality, spanning a broad, cross-genre spectrum that includes Drake, A Tribe Called Quest, Miles Davis and Dashboard Confessional, to name a few. "I have a ton of jazz artists I look to for inspiration, and, believe it or not, I like hardcore rock, too - even on the verge of screamo," he explained. "Anything from African tribal music to Taylor Swift. I don't rule anything out." His inspirations are not the only unique part of his creative process. The themes Maggiore explores in his own music set him apart from many peers in the hip-hop world. "What I believe in above all else is putting out a vibe of positive energy and hopefulness," he said. The fledgling artist formally started crafting his sound during his sophomore year, when he met his best friend, Brooklyn-based music producer Mike Irish. But music has been a passion for Maggiore since his high school days. "I went to boarding school, and my roommate was a huge hip-hop head," he said. "That stayed with me through college, when I made mixtapes on GarageBand and started freestyling at parties. People kept saying, 'You should do this for real!' and that's when it just ... clicked." Maggiore has been all in ever since, diving into the industry with unrelenting zeal.Getting mixed up, for better or worse Maggiore's experience at Tufts is certainly a unique one and is what he cites as the primary influence for his body of work. Stemming from a near-death incident that occurred while studying abroad in Buenos Aires, Maggiore's now-positive brand and outlook are products of a darker time in his life. "I was walking home one night alone, [and] I got totally lost in a bad area," he said. "I was [attacked] by three guys with a very anti-American sentiment ... From that moment on, I had a changed perspective on everything." Maggiore recalled being beaten, held up at gunpoint and robbed on the street as he struggled to escape to his host family's home. For the next year, his internalization of the resulting pervasive fear he felt took a toll on his friendships, relationships and schoolwork. With an unsatisfying stint coaching lacrosse and a sudden inability to express his emotional state, he found himself struggling to stay afloat. "When I came back to school, everything and everyone was the same, but I was so different," Maggiore said, expressing his frustration with his lack of a fulfilling outlet. "It was all too raw and too real."Light at the end of the tunnel What ultimately helped Maggiore get back on his feet and develop his identity as a musician was a fresh start in a new place. "I had taken a year off [from] making music, but over the next summer I went to Brooklyn for an internship and started working on my new CD," he said. "I was rediscovering myself in a place where no one knew me. I felt reborn, channeling my emotions through music, [both] sonically and lyrically." Feeling inspired, Maggiore was able to shed his insecurity and share his story with producer and friend Irish. "I broke down and told him everything that happened to me and where I was mentally," he said. "It was all way too much for me to handle on my own. I always wanted that support system, that rock. He was the one who gave me that through music." 12

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Arts

‘The Lunchbox’ offers poignant food for thought

March 25

Food has been a cross-cultural symbol of togetherness since, at least, the time of the first Chinese New Year or the Last Supper. Many may recall the old clich? that the fastest way to a man’s heart is through his stomach. Ritesh Batra’s “The Lunchbox” breathes new life into this concept with its intriguing love story, emphasizing the bonding power of food amid a life of isolation and the importance of second chances. And as a potential side effect, audience members may crave Indian cuisine after viewing this artistic and emotional, if perhaps somewhat unsatisfying, romantic drama. The film tells the story of lonely housewife Ila (Nimrat Kaur) who tries to regain the affection of her distant husband (Nakul Vaid) with a special homemade meal. After discovering that the lunchbox she makes was accidentally delivered to Saajan (Irrfan Khan), an aging widower on the verge of retirement, Ila decides to write a note to accompany the following day’s meal, beginning a secret correspondence that rekindles the characters’ dreams and passion for life. Slowly, Ila and Saajan are motivated to become better people and to seize opportunities to improve their lives. If nothing else, the film is a beautiful, though sad, portrayal of urban Indian life. Candid shots of workers bustling through their daily lives bookend the movie and provide a real-life context. A persistent drum beat score keeps time with the fast-paced life of city laborers as the camera follows the lunchbox’s fateful journey through Mumbai’s elaborate lunch delivery system. The viewer understands the characters’ struggles to stay hopeful in such a mind-numbing and often melancholy environment. The film also succeeds in its many artistic moments. Scenes consistently cut back and forth between Ila and Saajan’s lives to show parallels and emphasize their mutual loneliness — simultaneously staring at the phone, reading each other’s notes in quiet, dressing for the day. In a particularly striking scene, Ila speaks with her husband about having another child in hopes of revitalizing their marriage. A mirror reflects her alone as she speaks to her aloof spouse, illuminating the sad reality of her situation. Ila is speaking to no one; the man she married is gone. Engaging characters are another strength of “The Lunchbox.” Even small contributions from Nawazuddin Siddiqui, as Shaikh, and Bharati Achrekar, as the unseen “Auntie,” add depth and humor to the film. Both Kaur and Khan as the main characters bring great skill and subtlety to their performances. Kaur proves a formidable actress in her debut role as a courageous and frustrated middle class mother. Khan, a Bollywood actor known in the United States for his starring roles in “Life of Pi” (2012) and “Slumdog Millionaire” (2008), expertly portrays a character that is gruff, yet compassionate and relatable. Frequent long shots capture both actors’ subdued moments of joy and loneliness, making their stories seem far more real and urgent than the typical romantic drama. Unfortunately, while often moving, these numerous drawn-out scenes cause the film to drag on for what feels a lot longer than its 104-minute running time, and many viewers may leave feeling unsatisfied with the story’s open ending. Moreover, “The Lunchbox” never seems to fully rise above its initial plot device. The idea of a love affair built on delicious food and anonymous notes passed through a lunchbox is intriguing, but filmmakers seemed to struggle to close the film in an unpredictable and pleasing way. An expertly crafted, family-friendly film, “The Lunchbox” is poignant and full of memorable characters. While some movie-goers are likely to feel a little disappointed at the film’s conclusion, it also deserves praise for its delicate and moving performances as well as its artistic form.

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Arts

Music Review | Tokyo Police Club reemerges after four years with new album ‘Forcefield’

March 25

In their first musical statement since 2011, Canadian alt-rockers Tokyo Police Club have just released a studio album, “Forcefield.” Having all but vanished from the zeitgeist of the indie music world, this — the band’s fourth studio album — is a highly anticipated release. For a group that has been absent for nearly four years, the challenge for Tokyo Police Club is to find a new relevant niche in today’s music scene. After gaining a small but loyal following with their abrasive but endearing 2008 debut “Elephant Shell,” and really coming into their own in their sophomore attempt “Champ” in 2010, the self-inflicted hiatus of the would-be indie wonder has proven particularly damaging. For fans of their previous work, “Forcefield” will feel like an alien production — an album with no clear origin or purpose. Tokyo Police Club seem to have jettisoned their boyish charms in order to seamlessly fit into the prevailing contemporary indie-pop genre. Unfortunately, this meant leaving behind most of the band’s personality and allure. “Champ,” the band’s second studio album, was full of personality and fun. The album drew listeners because of its lo-fi sonic aesthetic and fearless acceptance of the pop-punk genre. Songs like “Favourite Colour” and “Bambi” were weird, interesting and seemed to emanate directly from the four boys who were making the music. The sounds on both “Elephant Shell” and “Champ” were nostalgic — the songs were like the ones that your high school boyfriend’s band played, only better. After releasing “Champ,” Tokyo Police Club seemed poised to gain widespread recognition and explode onto the indie-punk scene with their slightly different, energetic musical style. However, after that album, the band stopped producing music — all but forcing fans to forget about their work. “Forcefield” represents a clear departure from the band’s old image. Most bizarrely, lead singer David Monks has lost his signature twang. Known for his gruff voice and interesting pronunciation, a possible relic of his Canadian roots, Monks has, on “Forcefield,” assumed a much more accessible and generic sound. In fact, subtle changes seem to have happened to every member of Tokyo Police Club. While their first two albums were littered with heavily distorted riffs, glaring synth and powerful pounding percussion, their latest release seems docile and unambitious in comparison. However, “Forcefield” is not a failure of an album. Indeed, many of the tracks are fun and easy listens. Songs like “Through the Wire” and “Feel the Effect” are perfectly suited for today’s sonic landscape; they are light and uncomplicated, not bogged down with any heady notions or grand attempts. The opening track, “Argentina (Parts I, II, III)” is a delight. Running just over eight minutes long, “Argentina” is effortless, twisting and turning sweetly and simply. Unfortunately, these songs, though written well and produced nicely, showcase nothing in the way of personality, creativity or vision. For a band that was absent for so long, the goal with “Forcefield” should have been to create one concise and unique sonic statement. Instead, Tokyo Police Club has produced a supremely generic album bereft of endearing lyrics and brazen musical elements. This attempt will be a highly disappointing listen for old fans of Tokyo Police Club and will hardly make a blip on the radar of those who are unfamiliar with the band’s work. Ultimately, “Forcefield” was a missed opportunity for Tokyo Police Club and, with any hope, the band will make a swift return to their origins, creating music that’s their own — endearing and pretty weird.

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Arts

Restaurant Review | Istanbul'lu offers quality food, fine dining experience

March 25

Teele Square's Istanbul'lu is by now a familiar sight to many Tufts students, whether they realize it or not. Joey riders pass the Turkish restaurant on the drive returning from Davis Square, but as eyes glaze over and the shuttle bus moves by the cluster of eateries that line the small intersection, how many wonder what lies behind the sunny yellow storefront and unassuming black door? The familiarity of the image puts passersby at risk of overlooking this small, but colorful local gem. Istanbul'lu is - in the best possible way - a classic hole-in-the-wall restaurant. Immediately upon crossing the threshold, a surprisingly intimate and bright interior greets patrons. Tiny tables and cramped, cushioned seats are perfect for small dining parties. On a Sunday evening, nearly every one is occupied. Obviously a favorite among Somerville residents, the place is friendly, with a unique flair. Above the cheerful chatter that fills Istanbul'lu, a radio plays loud pop tunes, a little at odds with the more serious aspects of the restaurant. Despite its small size and eclectic decoration, Istanbul'lu provides a quality dining experience. The menu boasts traditional Turkish fare bound to impress even the pickiest customers. Both vegetarians and meat-eaters have a wide selection from which to choose, and filling staples like yogurt, eggplant and vegetables make it unlikely that anyone will leave hungry. Best of all, these moderately healthy ingredients are crisp and flavorful, never bland or boring. The tapas selection should also not be overlooked. Divided on the menu between hot and cold plates, these small dishes are more substantial than your typical appetizer, and could suffice for a light meal. Among these, the Imam bayildi, baked baby eggplant stuffed with fresh peppers, onions and tomatoes, is a wonderful choice. Just the right touch of spice brightens the earthy flavor of the vegetables, combining familiarity and surprise to make for unexpected comfort food. The salads, too, are fresh and filling - two trademarks of the Istanbul'lu experience. No matter what you order for dinner, though, make sure not to miss the dessert. A freshly baked pastry, dripping with honey and dusted with crushed pistachios, is served warm. One downfall of the otherwise impressive menu is the occasionally steep prices. For instance, dinner entrees range from $14.50 to $19.50, though most hover between $16 and $18. While these prices are short of exorbitant, they might stretch the wallet of typical college student looking for a quick or simple bite to eat. For those who remain undiscouraged, however, it is best to visit Istanbul'lu with a friend and an adventurous spirit. Consider ordering one to two tapas and an entr?e or sharing several plates with friends, as many of the dishes go wonderfully together. The intimate atmosphere, too, makes Istanbul'lu perfect for a casual date. Conveniently, Istanbul'lu will also make orders to go, and delivers to Tufts students. While it might be habit to stroll past Istanbul'lu without a second glance on your next walk through Teele Square, this restaurant is worth a try for anyone looking for a fulfilling and flavorful meal. While prices might be a bit high for the average student, this local favorite offers unassuming charisma and quality food, two things that have charmed the handful of Tufts students and Somerville residents who have already discovered this local treasure. Istanbul'lu is located at 237 Holland Street and is open Tuesday through Wednesday from 5 p.m. to 10 p.m. Thursday through Sunday the restaurant is also open for brunch, opening at 11 a.m. They are closed Monday.

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Arts

Restaurant Review | Istanbul’lu offers quality food, fine dining experience

March 25

Teele Square’s Istanbul’lu is by now a familiar sight to many Tufts students, whether they realize it or not. Joey riders pass the Turkish restaurant on the drive returning from Davis Square, but as eyes glaze over and the shuttle bus moves by the cluster of eateries that line the small intersection, how many wonder what lies behind the sunny yellow storefront and unassuming black door? The familiarity of the image puts passersby at risk of overlooking this small, but colorful local gem. Istanbul’lu is — in the best possible way — a classic hole-in-the-wall restaurant. Immediately upon crossing the threshold, a surprisingly intimate and bright interior greets patrons. Tiny tables and cramped, cushioned seats are perfect for small dining parties. On a Sunday evening, nearly every one is occupied. Obviously a favorite among Somerville residents, the place is friendly, with a unique flair. Above the cheerful chatter that fills Istanbul’lu, a radio plays loud pop tunes, a little at odds with the more serious aspects of the restaurant. Despite its small size and eclectic decoration, Istanbul’lu provides a quality dining experience. The menu boasts traditional Turkish fare bound to impress even the pickiest customers. Both vegetarians and meat-eaters have a wide selection from which to choose, and filling staples like yogurt, eggplant and vegetables make it unlikely that anyone will leave hungry. Best of all, these moderately healthy ingredients are crisp and flavorful, never bland or boring. The tapas selection should also not be overlooked. Divided on the menu between hot and cold plates, these small dishes are more substantial than your typical appetizer, and could suffice for a light meal. Among these, the Imam bayildi, baked baby eggplant stuffed with fresh peppers, onions and tomatoes, is a wonderful choice. Just the right touch of spice brightens the earthy flavor of the vegetables, combining familiarity and surprise to make for unexpected comfort food. The salads, too, are fresh and filling — two trademarks of the Istanbul’lu experience. No matter what you order for dinner, though, make sure not to miss the dessert. A freshly baked pastry, dripping with honey and dusted with crushed pistachios, is served warm. One downfall of the otherwise impressive menu is the occasionally steep prices. For instance, dinner entrees range from $14.50 to $19.50, though most hover between $16 and $18. While these prices are short of exorbitant, they might stretch the wallet of typical college student looking for a quick or simple bite to eat. For those who remain undiscouraged, however, it is best to visit Istanbul’lu with a friend and an adventurous spirit. Consider ordering one to two tapas and an entr?e or sharing several plates with friends, as many of the dishes go wonderfully together. The intimate atmosphere, too, makes Istanbul’lu perfect for a casual date. Conveniently, Istanbul’lu will also make orders to go, and delivers to Tufts students. While it might be habit to stroll past Istanbul’lu without a second glance on your next walk through Teele Square, this restaurant is worth a try for anyone looking for a fulfilling and flavorful meal. While prices might be a bit high for the average student, this local favorite offers unassuming charisma and quality food, two things that have charmed the handful of Tufts students and Somerville residents who have already discovered this local treasure. Istanbul’lu is located at 237 Holland Street and is open Tuesday through Wednesday from 5 p.m. to 10 p.m. Thursday through Sunday the restaurant is also open for brunch, opening at 11 a.m. They are closed Monday.

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