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The Setonian
Arts

Derek Schlom | I Blame Pop Culture

A band called The Selmanaires was the opening act at a concert I attended not long ago. I was intrigued not by the compulsive dance-ability of their songs, nor their impressive meshing of post-punk influences with the trends of modern indie rock, nor the intense sweating of the lead guitarist. I wondered instead about their college majors, or if they even went to college, and if they ever considered giving up and getting day jobs. I wondered how long they'd been traversing the country, searching for … what? Mass appeal? A major-label signing? Neither is particularly likely, so what was the point of the effort they exerted in entertaining a packed, overheated crowd that wasn't even there to see them? Art for art's sake? Could it be?


The Setonian
Arts

Stale themes, tired rhymes make 50 Cent's latest album 'Self-Destruct'

50 Cent enters the second decade of the new century as an artist who lacks his former commercial appeal. Fans' shopping behavior indicates that his newest CD, "Before I Self Destruct," will sell a little over 100,000 copies. Sales don't necessarily correlate to the quality of an artist's music, but as rapper Jay-Z famously said, "Men lie, women lie, numbers don't." Numbers certainly have a lot to say about the trajectory of popular hip hop as we know it, and are particularly telling in the case of "Before I Self-Destruct." 50 Cent returns to his roots with a ferocious and fiery album, hoping to reignite his wayward career, only to find that people are no longer interested in his art — even when it's in top tier form.


The Setonian
Arts

The Simpsons' still going strong after over 20 years

There's something very wrong with America's favorite family. The father suffers from obesity, alcoholism, sub-standard IQ and anger management issues. The mother is a doting homemaker barely able to control her children. The son routinely commits acts of juvenile delinquency stemming from his severe ADD and limited parental attention. The oft-overlooked, idealistic middle daughter has stunted her growth due to a vegetarian diet of her own design, setting herself up for disappointment at every stage of life. The youngest daughter is criminally endangered and quite possibly mentally disabled. The whole family displays symptoms of extreme jaundice.


The Setonian
Arts

At ICA, war becomes a virtual reality

The war in Iraq hits close to home for many people in this country. But the experience of living in the United States during the war has undoubtedly been very different from that of fighting in Iraq. Polish artist Krzysztof Wodiczko intends to bridge this gap through his piece "…Out of Here: The Veterans Project," now on view at the Institute of Contemporary Art in Boston (ICA).   


The Setonian
Arts

Charles Laubacher | Ears Open

As frightening as many of us undoubtedly find the idea, the first decade of the 21st century is coming to a close. A whole lot has changed since the end of 1999. Technology has advanced with exponential speed. Our nation weathered and survived eight difficult years of Dick and George. MTV and VH1 left behind music and video hits in favor of 60-minute segments about the carpooling trials of Rev. Run.   




The Setonian
Arts

Mediocre music for Mayer is still easy listening

The good thing about "Battle Studies," John Mayer's new album, is that fans will instantly love it. The bad thing? If his previous album "Continuum" (2006) failed to convert any remaining skeptics, "Battle Studies" won't get the job done either.



The Setonian
Arts

Precious' is bleak, but rewarding

It's nearly impossible to accept the idea that people live like the characters in "Precious" do, and even harder to do so knowing that they're just a subway ride away from the bright lights of Times Square and Neiman Marcus.


The Setonian
Arts

Without Out' explores the distinction between art and architecture

The boundaries between architecture and art are often unclear, and though architecture has a more practical use, many buildings are akin to large-scale artwork. What actually distinguishes the two? Is it aesthetics? Is it function? Tobias Putrih explores the fine line between architecture and art in his current exhibit at the MIT List Visual Arts Center, "Without Out."


The Setonian
Arts

Charles Laubacher | Ears Open

I have a confession to make: I have, on occasion, not infrequently, checked the Twitter.com page of one John C. Mayer. Unhappy though I am with his most recent release, I remain a big John Mayer fan. Several years ago, I would never have admitted this. It started with the viewing of a few YouTube.com videos of his guitar solos and ended with a full-blown obsession. I think John is not only a brilliant guitar player but also a wise and gifted songwriter and musician.




The Setonian
Arts

Exploring new ground, band loses footing

For nearly a decade, Dashboard Confessional frontman Chris Carrabba has managed to keep his emo lyrics and singing interesting and relatively fresh. Dashboard's new album, "Alter the Ending," finds Carrabba's old emo style, packed with his signature whiny tone and occasional screaming, alive and well. While the vocals may not be soft on the ears, Carrabba's voice is emotional and raw.


The Setonian
Arts

McDonell's latest falls short

Nick McDonell's latest novel, "An Expensive Education," weaves together several tales as the most recent entry into the spy-thriller genre. McDonell has been critically acclaimed ever since he released his first novel, "Twelve" (2002), at age 17. Now, though, he seems unable to live up to his past work. "An Expensive Education" is simply not worth its cost.   



The Setonian
Arts

The Imaginary Invalid' pulls humor and irony together

"The Imaginary Invalid," the last of French playwright Moliere's works, is being performed by Tufts' very own Pen, Paint, and Pretzels (3Ps). Starting Thursday, the show is directed by senior Sarah Ullman and produced by sophomore Lina Stolyar. The talented actors keep the audience engaged throughout with near-constant humor and do not let any part of the Balch Arena Theatre go to waste.   


The Setonian
Arts

Holy Cannoli!

You can buy a plane ticket to Italy for several hundred dollars, or you can take the T. The North End's small streets are lined with bakeries, specialty shops and quaint restaurants similar to those that populate Italian cities. The inviting smell of fresh bread and rich ricotta wafts from shops like Bova's and Maria's, transporting passersby to a cultural oasis where crumbling frescoes replace bright billboards.


The Setonian
Arts

Brief Interviews' lacks direction and cohesive plot

Sundance films are always hit or miss. With the exception of a few cult-classics and box-office phenomena like "Little Miss Sunshine" (2006) and "500 Days of Summer" (2009), most of these indie films are rejected by the mainstream masses and doomed to obscurity. Based on the novel by David Foster Wallace, "Brief Interviews with Hideous Men" is another Sundance disappointment marked by its fragmented, pretentious and uninspiring exploration of the male psyche.


The Setonian
Arts

First-time director Krasinski speaks about 'Brief Interviews'

The Daily got a chance to interview actor and director John Krasinski over the phone about his new independent film based on David Foster Wallace's novel "Brief Interviews with Hideous Men" (1999). Krasinski touched on what inspired him to write the screenplay, what it was like being behind the camera for the first time and what he hopes audiences will take away from the film. Question: So the film is based on the book by David Foster Wallace. What was the inspiration behind adapting the novel into a screenplay? John Krasinski: I actually did a stage reading of the book in college. And without being overly sentimental, it was actually the moment I decided to be an actor. Getting to be a part of something so emotional and so powerful, it basically was the reason why I've been trying to do it ever since, just so I can give other people the opportunity to feel what I felt that night, which was pretty powerful. It's a very provocative book and it makes people talk. And so that's the number one thing that I hope for this movie: that it just gets people talking. Q: In Wallace's collection of stories, we never actually know who is conducting the interviews. Why did you choose to give the interviewer an identity in the form of Sara Quinn? And what was the significance of making her a woman? JK: I don't know why, but it always rang true from the moment I read the book that she was a woman. When I actually spoke to David Foster Wallace, he basically said that he figured she'd be a woman that was doing her dissertation at some Ivy League school and she's interviewing these guys or something. And then I said, "Hold up, that's exactly the screenplay that we wrote." It was definitely one of the best moments of my career to hear that we were not only on the right path, but seemingly heading right down the way that he wanted to. Q: Unfortunately David Foster Wallace passed away last fall. How did you feel about releasing this film after the death of the author? JK: We had finished the movie before he had passed away. To lose the potential to read more words that he would write is devastating. I mean he is by far one of the greatest writers we've ever had. This movie has and always will be a fraction of the imagination inspired by his work when you read him. This is just a doorway to hopefully get more people to read his work. But again, it's scary when this is the only David Foster Wallace movie out there thus far and it definitely has added pressures. But at the same time, I hope that I just did the book justice. Q: Why did you decide to play the character of Ryan instead of another one of the other hideous men in the movie? Was he the one you'd read in Brown during your stage reading? JK: I actually wasn't supposed to be in the movie at all. I actually was envisioning just writing it and directing it because we had such great actors. And we had somebody fall out unfortunately two weeks before we were supposed to shoot the part. And it's such a big part. So the only thing that I had was that I had read the book 150 times, so because I was a book nerd for this book, the producers thought that I understood the tone and how the movie needed to end, and [could] get all of that dialogue in my head fast enough. So that was it, there were no other reasons. Q: This is your directorial debut and of course you're popularly known as the character of Jim from "The Office". What was it like being behind the camera for the first time? Do you find one job to be more challenging than the other? JK: Directing's real tough. It's also extremely thrilling. I've never been the actor who's always wanted to be a director. In fact, this could be [the only movie I direct], you never know. But I was surrounded by a team of people that not only do I think are the greatest, but they actually are the greatest. The guy who shot the movie for me, [cinematographer] John Bailey is probably one of the top people ever to be in his field. He's such a phenomenal friend, such a phenomenal talent, and he really guided me the whole way. I basically was a glorified cheerleader coming in very excited every day to be there, getting the actors excited and the crew excited. But when it came back to focusing and making big camera choices, he was right there helping me the whole time, and I could never thank him enough for it. Q: What kind of response were you hoping to get from the audience with this film, and do you expect the response to be very different from men than from women, or is it just basically getting a dialogue like you mentioned earlier? JK: I think it's just a dialogue. You know when we did the reading at Brown, it was very polarizing. It's a very provocative thing I think. Some people are really totally blown away and moved by it; other people found it frustrating. Whether or not you like the movie, David Foster Wallace has the ability to write such great stuff that I just hope that you take it in, and I hope that you take in the movie and let it percolate for a while. Then whatever decision you make, the greatest compliment you can give to anyone is that you actually took the time to ingest the movie and the experience and make a decision. Q: The film has quite an impressive cast. What was it like having to direct so many different actors? JK: I was basically a glorified audience member. I got to sit behind a little, tiny TV with earphones and basically get my own free show. These guys were so incredibly talented that I think that it was like an acting clinic. When I was writing the script I actually had most of those people in mind, because at the time I was still waiting tables. And when I was writing, I was going to the theater and going to see indie films, and so all those people [I cast] were the people who were inspiring me while I wrote it. They all immediately signed on and knew exactly what we were trying to do with the movie, that it would be a very different movie than people were used to. In representing themselves as these men, it would only pose to represent different factions of the male psyche and the vulnerabilities and insecurities. No one guy was actually a real person or somebody that we could all adhere to completely, but basically when you add them all up there's definitely a lot of truth to what they're saying.


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