Cars are parked along the slushy sides of Summer Street, surrounding an overpass with graffiti bordering its edges. As darkness envelops this corner of Boston, partially hiding the grime of the metal support system and the broken glass scattered on the sidewalk, the streetlights flicker on. So does another set of lights — 4,800 of them.
Sarah Silverman is an actress, comedian, writer and singer who produces and stars in "The Sarah Silverman Program" on Comedy Central, Thursdays at 10:30 p.m. Known for her outrageous humor that satirizes various aspects of American society, Silverman combines silliness with perversity and keeps viewers in a constant state of amusement. The Daily got the chance to talk with this eccentric comedienne. Question: Would you say your show has any risky or possibly offensive humor? Sarah Silverman: Well that's really not for me to say. We're not looking to offend anybody, but we want to put stuff out there that makes us laugh. Once we put something out there, and it's in the air, that's for the audience to decide what it means. It doesn't make sense in comedy to try to not offend somebody, because you never know what will offend people.
We at the Daily Arts Department are totally excited about the Winter Olympics. Even though we don't cover anything athletically related, we've been tuning in every night to watch the many varied events currently being held in Vancouver, especially our favorites: the men's and women's figure skating short programs. There's nothing we like more than sequins, skates, ice and fussy judges. But, frankly, we've been disappointed by the musical choices so far, and we'd like to humbly submit our top ten suggestions for songs for short programs. 10) "I Try:" So this song may be slow and awkward, but we mostly like it because its lyrics "try to walk away and I stumble" would be so appropriate for that skater who gets unintentionally up close and personal with the ice during a routine. We're not saying that a fall would be pretty, but at least with the lyrics of this song, it wouldn't be completely out of the blue. 9) "Enter Sandman:" This song's loud heavy metal would give every figure skater the chance to head bang during a routine, which, we all know, they've been dying to try. It's been pent up in there somewhere. 8) "Cotton-Eyed Joe:" We all did this one during every middle school dance we attended. Bring it to the rink, add sequined overalls and you'll send ice a-flying. Yee-haw! 7) "Here I Go Again:" This one starts slow, cheesy and synthy, like all good short forms, but it gets headbangingly awesome pretty quickly. Plus, who doesn't want to pretend to be Tawny Kitaen on the hood of that car ... on ice? 6) "MmmBop:" Don't pretend you hate this song. You love this song. This is your favorite song. You've danced to it in your room every day since 1997. We're going to take that infectious energy all the way to the Olympics. 5) "You Make My Dreams:" With feathered locks of silky hair, scrumptious falsettos and intense sexual tension, Hall & Oates was one of the greatest duos of all time. So why not channel their essence on the ice with a skating partner and make your Olympic dreams come true? 4) "Jump On It:" First, find the "Fresh Prince of Bel-Air" (1990-1996) version of this dance on YouTube.com (if you haven't seen it already). Then, imagine that instead of being tossed off the stage, Carlton does a triple lutz followed by a lunge. Now that's jumping on it. 3) "Eye of the Tiger:" Imagine Sylvester Stallone. Now imagine ice skates. This song is all about the new Rocky, figure skating style. 2) "Bad Romance:" "Rah-rah-ah-ah-ahh." Honestly, the costume alone for this routine would win you a gold. What could be hotter than a triple axel to Lady Gaga? 1) "Party in the USA:" For starters, Miley's song is just overflowing with ideas for a killer routine: "So I put my hands up … noddin' my head like yeah/ Movin' my hips like yeah." And if an American figure skater were to win a gold, it really would be a "Party in the USA." How appropriate.
At what point does a band's sound become more of a trap than a trademark? Bristol's Massive Attack has been in the business of making dark albums since "Mezzanine" (1998), and their latest "Heligoland" is no exception. Some critics have accused Massive Attack of redundancy since "Mezzanine," but these accusations hardly acknowledge how adeptly this group conjures the varying shades of gloom and brooding that have come to typify their music. Even though Massive Attack's latest LP does little to shift this critical perception, it affirms the band's keen atmospheric sensibilities and reinforces its reputation as a challenging, if not sonically limited, outfit.
Dear Black Eyed Peas (but mostly Fergie), We in the Daily Arts Department, have some problems with your new music video. We know you liked "Transformers: Revenge of the Fallen" (2009), but your new 10-minute-long extravaganza for "Imma Be Rocking That Body" is balls-out insane.
Good people of Tufts University, I would like to tell you why I'm wary of what I've read in the recent debate about the reality television show "Jersey Shore" (based on The Tufts Daily's Feb. 2 article, "New Jerseyans sound off on the traits of ‘Jersey Shore'"). Why has this particular show achieved such astonishing national popularity? And what does it have to do with the way the Tufts community, at least as documented in that article, has responded to the particular demographic that "Jersey Shore" defines and targets?
Director Chris Columbus' new film "Percy Jackson and the Olympians: The Lightning Thief" suffers from an unfortunate affliction: It's a fantasy story made in the 21st century. As such, there are really only two movie franchises to which it will eternally be compared — "The Lord of the Rings" and "Harry Potter" — and "Percy Jackson" simply can't keep up. Where "Potter" and "Rings" had characters with depth, stunning sceneries and intriguing plots, "Percy Jackson" has only characters who are more like cartoons and settings like Las Vegas, the Empire State Building and Hollywood that are as inconsequential as they are clichéd.
This semester, Tufts' Department of Drama and Dance tackles a dramatic classic as it stages "Hedda Gabler."
Society has taught us that there are only two possibilities when it comes to the issue of gender: Everyone in the world is either a man or a woman. There are certain guidelines that dictate how people are supposed to fulfill their designated role. However, there are some people who feel that they do not fit neatly into either of these categories.
Have you ever met a tough guy? We're talking about a guy with huge muscles, a black leather jacket, a short fuse and speaking skills equivalent to The Situation's after a couple of drinks. These men are everywhere, and they've been lionized in the WWE, professional (real) sports and the film industry. But lately the movie biz has used these hulk−like figures in a new manner: for comedy.
"Police, Adjective" (2009) is a sparse, slow−moving, socially critical comedic drama. While "comedy" may not generally be associated with those words, "Police, Adjective" astutely combines extreme deadpan with elements of a detective film to tell the story of a young police officer assigned to gather evidence to arrest a hash−smoking high school student.
Joe Johnston's "The Wolfman," a remake of the classic 1941 horror film of the same name, is a movie that acknowledges its limitations. By accepting its status as a remade, unapologetically B−grade flick, "The Wolfman" eschews the prestige it might have obtained as an innovative or psychological thriller. The result is a dark, gory and visually decadent film that promises to heartily entertain audiences before being banished to the realm of televised Halloween movie marathons.
Hot Chip's new album, "One Life Stand," progresses from its previously more upbeat, stimulating music. One might think it would be difficult to distinguish Hot Chip from the multitudes of electropop bands, such as Cut Copy and LCD Soundsystem, clogging the airwaves at the moment. Hot Chip, however, differentiates itself through a distinct style and front man Alexis Taylor's unique voice.
Thirty minutes after its show was supposed to start, Yes still hadn't taken the stage. As the audience waited in the House of Blues on Tuesday, the classical music that had been playing for the past 15 minutes began to crescendo. One might not expect Yes to keep its audience waiting for the most dramatic moment to appear, but, in hindsight, it isn't all that surprising. As the audience quickly learned, the prog rockers' taste for flamboyant showmanship has hardly diminished in the 42 years since the group formed.
Faces full of emotion, scenes filled with violence and views of dramatic landscapes are scattered throughout the photographs currently on display in the Tisch Gallery in the Aidekman Arts Center. These moving images of war, hunger, corruption and power are a collection of the work of 16 journalists from VII Photo Agency. VII, founded in 2001, is a group of concerned photographers. Not only do they take amazing photographs, but these men and women also photograph with the hope of bringing awareness and change to some of the most pressing matters the world is facing.
Now on its fourth season, Steve Frank's "Psych," broadcast on USA at 10 p.m. on Wednesdays, has become to crime shows what "Scrubs" is to the medical drama genre.
A soldier in the U.S. Army has certain responsibilities: a duty to his or her country, a commitment to a squad, a mission in a battle. But sometimes love becomes the real battle and the only thing worth fighting for. This question of a soldier choosing between his country and his woman is at the heart of "Dear John."
Want to make your weekend artsy? Check out these events! Dreamgirls: Buy tickets at the Colonial Theater this weekend for one last chance to catch this famous musical. What better way to spend Valentine's Day than listening to heart-breaking hit songs such as "One Night Only" and "And I Am Telling You I'm Not Going?" Beyoncé might not be there, but this is one show still worth seeing. (Performances daily, ending Feb. 14, at the Colonial Theatre. Tickets $25+.) Tufts Film Series' Schizophrenic Valentine's Weekend: Feeling lonely? Get over it the healthy way with a double feature of "Breakfast at Tiffany's" (1961) and "American Psycho" (2000). ("Breakfast At Tiffany's": Feb. 12 at 7 p.m., 13 at 9:30 p.m., 14 at 7 p.m. and 15 at 8 p.m. "American Psycho": Feb. 12 at 9:30 p.m., Feb. 13 at 7 p.m. and Feb. 14 at 9:30 p.m. Films shown in Barnum 008.) Total Eclipse of the Heart — ‘80s Love Song Sing-Along: Got the Valentine's Day blues? Why not sing your heart out with the likes of Pat Benatar and other classic ‘80s love songs? (Feb. 13. at 11:55 p.m, Coolidge Corner Theatre. Tickets $10.) Spotlight Talk: Luis Melendez — Master of the Spanish Still Life: Curatorial Research Assistant Claire Whitner delivers a 15-minute spotlight talk, going in depth on a few select works of art. (Feb. 14 at 1, 2 and 3 p.m., Torf Gallery at the Museum of Fine Art. Talk is free with museum admission.) Barefoot Truth with The Sweet Remains: Fans of acoustic rock will enjoy the music of Connecticut-based Barefoot Truth, who will be celebrating the release of their fifth studio album, "Threadless." The Sweet Remains open. (Feb. 12 and 13 at 8 p.m. Tickets $15.)
Nearly every tabletop in Smoki Bacon and Dick Concannon's elegant living room is filled with autographed pictures of the couple with authors, actors, politicians, poets and other famed literati. As the images suggest, the couple is well acquainted with some of New England's most cultured individuals. But, for Bacon and Concannon, these acquaintances extend beyond the Beacon Hill social circuit, of which they are legendary members.
