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The Setonian
Arts

Paranormal' director discusses smash hit

                What goes on while you're asleep? "Paranormal Activity" gives us the terrifying answer. The film centers on a young couple who hear strange noises in their house at night and decide to set up a handheld camera in their bedroom to see what goes on while they sleep. What begins as a series of seemingly forgettable coincidences soon becomes a nightmare.     The movie was written, produced and directed four years ago by first-time filmmaker Oren Peli using only a handheld camera and $15,000 from his pocket.     After years of trying to get the film distributed, Paramount finally agreed to support the film. Hundreds of sold-out screenings in select cities later, the film is being released nationwide this weekend. The Daily got a chance to speak with Peli about his remarkable success story and ridiculously scary film. Question: The film was a spawn of your own personal experiences. Did you ever have any aspirations to be a filmmaker beforehand? Oren Peli: To some degree yes. I mean everyone loves movies, but I loved movies in a way of like, when I watch a movie, I dissect it and try to figure out why a shot was done this way and wondering, ‘Could I have done it differently?' So I always felt, in the back of my mind, it would be fun to make movies. I didn't really think it would ever become something practical until after I saw movies like "[The] Blair Witch [Project]" (1999) and "Open Water" (2003) which showed that even with virtually no budget and just a video camera, if you have a good idea, you can just shoot a movie on your own, and hopefully it turns out good. Q: The film draws a lot of comparisons to "The Blair Witch Project" stylistically. Was that your biggest influence? OP: It was definitely an influence. "Blair Witch" is the most successful movie that employed this kind of style, the [cinema-vérité] mockumentary style, but I've been a fan of that even before, since "Spinal Tap" (1984). "Blair Witch" definitely showed that if it's done right, with good acting and good writing and good editing, that type of movie can actually be very commercially successful. So that was definitely an influence. Q: Everyone I speak to says that [the movie is] scaring them to the point that they can't even sleep. While you were making it, did you know that it was going to be that scary, and was that a concern of yours? OP: It wasn't a concern. It was something I was hoping would happen. But I had no idea that it would get the kind of reaction that it did, so it definitely exceeded my expectations. I knew that by placing the setting in their bedroom, that's the one thing that you can't really escape. After people watched "The Blair Witch Project," people said, "I'm never going to go camping again." After "Jaws" (1975), people said, "I'm never going to go swim in the ocean." But if you set up the setting for all the horrific things in someone's bedroom, then that's what you're going to be thinking about when you're lying in bed trying to fall asleep. Q: Did you expect the film to grow as exponentially popular as it has in the recent months? OP: I thought that it would probably do well because we'd seen in previous screenings that it gets really good word of mouth. But I don't think anyone predicted it was going to do this well. We didn't know that the fans were going to embrace it to the level that they did, which now has put it in a whole new category as far as the studio is concerned. And we're seeing the movie expanding from one weekend to the other, and that's all thanks to the word of mouth being spread by the fans. Q: I understand that there's a little bit of controversy surrounding different endings that were shot for the film. I know you shot an original ending but then a new ending was shot for the new theatrical release. Do you have any comments on whose decision that was and whether or not you'd rather have the original ending? OP: I liked the original ending personally. A lot of people liked it, but we also had a lot of people that didn't dig it at all. So we knew it's a sticking point and we decided to experiment with a couple of different endings. One of the endings that we experimented with was the one suggested by Spielberg, and interestingly enough, he knows a thing or two about movies, and that's the ending that went so well in test screenings. People loved it, and every time when I see the movie with an audience, it gets a huge reaction. After that there was no question about which ending we were going to use. Q: I just want to know, aside from fan response and the praises that your film is receiving right now, what is your ultimate goal for this movie? OP: For now I'm just happy that the fans are getting a chance to watch the movie and that they're enjoying it. And as the movie continues to get good word of mouth and keeps expanding in more theaters, I just hope that everyone that wants to see the movie gets a chance, and hopefully they'll enjoy it and tell a friend.


The Setonian
Arts

Top Ten | zombie celebrities

    The Tufts Daily Arts Department loves it when celebrities are still celebrities even after their careers have kicked the bucket. These peeps are still making appearances in the news — or tabloids — but are dead to us. Watch out: They're always lurking around the corner waiting to suck talent from the lively and youthful. 10. Flava Flav: Just how high were you when you signed the papers to do "Flavor of Love?" Because we're pretty sure there's no way any sane person would subject himself to that. Also, what's with the clock necklace? Couldn't afford real bling? 9. Winona Ryder: Remember kids, shoplifting is a crime. And sometimes it leads to the end of your acting career. 8. Tara Reid: You disgust us. How you ever had somewhat of a film career is beyond us. Why don't you go flash some more people and snort some cocaine off of Lindsay Lohan's dashboard? 7. Jessica Simpson: This would be the ideal space to bring up food confusion after all these years, but that wouldn't be fair. You faded away. At least you still have that TV show. Oh ... Wait ... 6. Rosie O'Donnell: You used to be so fun-loving. Those Koosh balls, those spin pops, your TV show. It was all just so fun. But now you're angry. Please chill out. 5. Meg Ryan: You thought getting naked would revive your career. It didn't. Yeah, you were sweet and adorable in your younger days, but now no one cares about you and your silly, curly blonde hair. 4. Joaquin Phoenix: You had a promising film career, but decided you wanted to be a rapper. Not the smartest idea but, okay, follow your dreams. Just don't look like an actual zombie when you go on Letterman to promote the crazy flip-flop. 3. Steve Urkel: See, we don't even know your real name. Or if you still exist. You could be dead, and none of us would care, as long as "Family Matters" is still showing in re-runs. 2. M. Night Shyamalan: "The Sixth Sense" (1999) was ground-breaking and mind-blowing. You were the next big thing. But then you made "Lady in the Water" (2006) and "The Happening" (2008). You'd better step it up, or Haley Joel Osment will be the only one able to see you. 1. Carrot Top: Your recent appearance in Burger King commercials revealed to the world just how haggard and creepy you look these days. You might have been awarded Funniest Male Stand-Up Comic at the American Comedy Awards in 1994, but that was 15 years ago. News flash: Nobody cares about prop comedy anymore.


The Setonian
Arts

From the Office of the Tufts Daily

Dear Nick Jonas,     This is it, huh?     You're going to Beyoncé your brothers, is that it? Way to totally ditch out on the love. We don't want an album by your so-called new band, Nick Jonas and the Administration. We want more Jonas Brothers.     OK, so, honestly, we don't want any more Jonas Brothers either, but if the three of you can't agree to quietly leave the limelight and sink into the anonymity you deserve, we at least ask that you don't try to soar above the rest. You have no need for artistic expression outside the world of Disney.     It must be tough to be one of the JoBros. We fully understand that a group of young people cannot, regardless of what Power Rangers may have taught us, function as one cohesive unit, whether it be to fight crime or fight the pop charts and the premarital sex epidemic.     But don't go chasing your hopes and your dreams, because when push comes to shove, the Jonas Brothers is still more important than anything, including your own happiness. It's all for the greater good, Nick. For the greater good.     Also for us. Please, please, don't do it.     Don't Beyoncé us, Nick. Love, The Daily Arts Department


The Setonian
Arts

Citizen' turns protagonist into villain

The typical vengeance movie adheres to the mantra "an eye for an eye," and this adage takes a turn for the graphic in "Law Abiding Citizen." The film, directed by F. Gary Gray, follows the vigilante hero Clyde Shelton (Gerard Butler) as he exacts his calculated and gruesome revenge in a "Saw" (2004) meets "Se7en" (1995) action-thriller.


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Arts

New book investigates fictional crime in Boston

Editor and contributor Dennis Lehane attempts to answer the question, "What is noir?" in his introduction to Boston Noir, a collection of contemporary short stories. As he describes it, noir is darkness, but with shades of light. Noir is mystery, but with conclusions. Noir is tragedy, but with heroes who do not start at greatness. As Lehane writes, "in Shakespeare, tragic heroes fall from mountaintops; in noir, they fall from curbs."


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Arts

Caryn Horowitz | The Cultural Culinarian

Before I dive into this week's topic, I would like to hold a moment of silence for Gourmet magazine. I mentioned three weeks ago that the magazine was closing, but now it officially has the announcement on its Web site. Subscribers will receive Bon Appétit magazine for the remainder of their subscription, but it's just not the same. There's a reason I don't subscribe to Bon Appétit: They are much more focused on recipes than actual food journalism. I feel like the reporting in Gourmet was completely unique. The magazine often focused on how food plays a role in current political and social issues; we will be hard-pressed to find another publication that lives up to the standards Gourmet set during its 68-year history.



The Setonian
Arts

Jukebox the Ghost asserts merits of little formal training

Piano rockers Jukebox the Ghost played with Wheat and The Motion Sick at the Middle East Downstairs last Saturday night. The Daily had a chance to sit down with Ben Thornewill (keyboards, vocals) and Jesse Kristin (drums) before the show to talk about their new album, musical influences and the Book of Revelations: Josh Zeidel: Last year, you released "Let Live and Let Ghosts" (2008) which came off sounding remarkably polished for an indie debut album. And yet you recorded it in only eight days. Looking back on it, were there things you wish you could have done in the studio that you didn't have time to do? Ben Thornewill: Absolutely. It's funny because the record did sound pretty good … recorded in eight [days] and mixed in five or six. There's lots we wish we had done, but it's hard to look back and say, "We should have done this or that," because we're so used to the recording. But we're working on a record now; we've got a lot more time for experimentation. JZ: And how's that process coming along? What will the new album sound like? BT: The process is going great, we are four weeks in and we have two weeks to go. We're working with a producer named Peter Katis, who's worked on Interpol, The National, the latest Mates of State [album] … We're in Tarquin Studios, which is a beautiful studio. It's going to sound awesome and classic and big and more mature than our first record. And we have no idea when it'll come out, probably sometime in the spring. JZ: A lot of your songs seem preoccupied with the apocalypse, and sometimes reference hypothetical, direct dialogues with God. Do you consider yourselves to be religious or particularly inspired by faith, or is it more a philosophical preoccupation? BT: None of us are religious people, but Tommy [Siegel, guitar and vocals] spent a lot of time reading the Book of Revelations. Jesse Kristin: Yeah, I think he was mainly reacting to the imagery in it, he wasn't mocking it or criticizing it, but he also wasn't so much inspired by it, as really interested in it. BT: It's a tongue-in-cheek reaction to the Book of Revelations, which, taken out of context, has some pretty ridiculous things in it. But no, I'd say none of us are particularly religious at all. JZ: What are your musical backgrounds like? Have you received formal musical education, and how has that affected your sound? BT: I'm the only one with real formal musical education; I went to [George Washington University] on a classical scholarship, studying jazz and classical composition. Tommy in high school had his own band, played jam-band-type stuff. Jesse was a drummer in punk bands, and I led him away from that dark, dark path. JK: And how has that affected my drumming style? I think it's made me much better, actually, not having a formal education. BT: Because you end up writing more creative parts … you know a studio drummer when you hear one. I mean, Berklee [School of Music], right, there's a bit of a Berklee sound that a lot of the musicians coming out of that school have. They're very technically proficient, but often you can sort of predict what they're going to play in a given situation. JK: For example, Apollo Sunshine is a band we really like a lot, and you can sort of hear their formal music education in their playing style. JZ: Speaking of bands you like, who are your biggest influences? And what music have you been listening to recently? BT: I've been really influenced lately by Harry Nilsson and Randy Newman both as songwriters and performers. Jesse's been digging a lot of The Avett Brothers. JK: Yeah, and Tommy's been into Deerhoof. We kinda fuse punk, jam bands and classical and jazz piano.


The Setonian
Arts

Thurman deserves time out for overacting in 'Motherhood'

Uma Thurman's career hit its high point in 2004. Fresh off the release of "Kill Bill: Vol. 2" (2004), the actress received widespread acclaim from critics. In the five years since then, Thurman has fallen from the spotlight, sputtering in romantic and comedic flops such as "My Super Ex-Girlfriend" (2006). Unfortunately, Thurman's latest acting effort in "Motherhood" (2009) continues her downward spiral.


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Arts

Ears Open | Musical midterm motivation

If you go to Tufts, I feel that I can safely assume you've had a pretty crappy week. For most of us, last week was marked by punishing hours of coffee, late night study room sessions and get-to-know-yous with previously unopened textbooks. And guess what? We get to do it all over again this week!


The Setonian
Arts

30 Rock' continues its reign of glory in its fourth season

"30 Rock" might just be the funniest show on TV. When the NBC comedy premiered three years ago, it was up against some stiff competition. The very same season it debuted, NBC was premiering Aaron Sorkin's "Studio 60 on the Sunset Strip," another program about the behind-the-scenes action of a "Saturday Night Live"-type show, but with a higher pedigree and bigger-name stars.


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Arts

Fans 'Carried Away' with inventive rhymes

Since 1997, rap group People Under the Stairs (PUTS) has made its living swimming against the hip-hop current. Members Thes One and Double K have always been known for their creative, vintage-sounding, laid-back production style, which blends perfectly with the rhythm of their rhymes and their general message: Make and love music for music's sake. Though it has yet to score chart-topping success, the duo has developed a large and loyal fan base, as well as a reputation for engaging live performances. Earlier in 2009, SPIN magazine said of their set at Bonnaroo, "The Best … Period."


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Arts

Cirque du Freak' is no show-stopper

"Cirque du Freak: The Vampire's Assistant" is evidence that Hollywood is willing to go to any length to keep the vampire fad alive just a little bit longer.


The Setonian
Arts

Check out of Hotel Chelsea

    The Hotel Chelsea is a well-known hangout and residence for artists, film-makers, musicians and writers in the Chelsea neighborhood of New York City. Celebrities — Janis Joplin, Bob Dylan and Dylan Thomas among them — lived in the hotel for extended periods of time, and Arthur C. Clarke wrote "2001: A Space Odyssey" (1968) while staying in the hotel. The Chelsea's walls have been decorated with art by painters who passed through.     The documentary "Chelsea on the Rocks" explores the hotel's bohemian history. Although individual scenes are powerful, the overall message of the documentary is unclear and ambiguous. As a result, the audience is not sure what to take away from the film — is it simply a description of the hedonistic lifestyle in Hotel Chelsea, or is there a deeper message? If the film is trying to convey some profound significance, it is obscured by seemingly irreverent interviews and confusing direction.     In the film, director Abel Ferrara interviews a collection of  individuals about their experiences in the Hotel Chelsea. He uses unorthodox interviewing methods, and his voice is often heard off-screen during the interviews, inserting strings of curses and exclamations. The camera crew is constantly stepping in and out of shots, and none of the interviewees are identified, leaving the viewer to guess who was speaking merely by the context. For those who grew up in the '60s and '70s, this guessing game might be a manageable task. For college students less familiar with the time period, it's next to impossible.     Some of the interviewees appear high, drunk or both. They ramble on and on, with pauses and hesitations, and what they say ultimately doesn't amount to much. None of it is cohesive, and ultimately this lack of connection combines with the absence of any substantial statements to make the film's focus very difficult to care about.     One woman talks about getting high and listening to the same song for four whole days. "Things weren't connecting," she says of an inability to articulate her thoughts while under the influence. Another man describes having a brain hemorrhage while lifting weights. "[I could hear] the sounds of my brain burning down," he remembers. He collapsed on the floor and stayed there for three days.     A colorful old woman talks about string theory and the 5th dimension, but no one takes her seriously in the hotel. Some of the stories that the interviewees tell are excessive and unbelievable. One man recounts that Sid Vicious drank a quart of vodka, shot up heroin and became unconcious.     The documentary makes use of unsteady shots on hotel room numbers and hallways, and with its aimless interviews and disjointed episodes, it feels like a home video. The movie goes from a strange reenactment of the death of Nancy Spungen (Sid Vicious' girlfriend) to an interview with an old man who reminisces about smoking joints and passing out. The film seems as disconnected as the experiences of the drugged residents themselves.     About 20 minutes into the documentary, Ferrara attempts to bring in the supernatural. An entire scene is devoted to residents' stories of creaking floors and strange presences at night. All the while, ghost dogs run around on screen. The effect of this scene is more strange and confusing than scary or poignant.     One interviewee said, "People don't check in; they float in." Floating accurately describes "Chelsea on the Rocks," since it never clearly follows one path. The film is unformed, nostalgic and rough, and it would only work if it had some sort of underlying message.


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Arts

Rebecca Goldberg | Abroadway

When I was a kid, I was introduced to more than my share of celebrities, mostly musicians, because of my dad's job. This was around the same time I was going through puberty, and the cold-water shock of seeing famous people combined with a host of teenage insecurities taught me an important lesson: never act like a fan.     At some point, somebody told me that celebrities hear the same stuff from their fans all the time, so impassioned devotion doesn't really affect them. I never expected them to give me a second thought anyway. Besides, most of my celebrity run-ins were during backstage meet-and-greets or radio appearances. That's work for those people. I'll never forget being backstage at the China Club in New York City, watching the guitarist from Matchbox Twenty solemnly listen to his iPod, and thinking (years before Star Magazine did), "Wow, he's just like me."     So I learned quickly to play it cool, blasé, aloof. I complained to my dad about being forced to attend these events, awkwardly posing for pictures that I still cringe at today. I would never, ever beg for an autograph. For me, the souvenir — the reward — isn't some material token of proof. It's the opportunity to see famous people in their natural habitats, to observe them when they're not looking.     If that sounds creepy, that's because it probably is. But I think of it as a kind of cultural anthropology.     My internship on "How I Met Your Mother" posed an interesting problem for me. The show is probably my favorite right now. I've seen many episodes multiple times, and I infected (approximately) dozens of my friends with "HIMYM" fever. We've even stolen elements from the show for our own lives; I've served as Slap Bet Commissioner twice, and on my birthday this year, we held an "intervention" for my friend who unnecessarily combines words.     When I told Craig Thomas, one of the show's creators, that I was responsible for "half of Tufts" becoming fans of "HIMYM," he acknowledged my hyperbole but genuinely thanked me as if he didn't really believe people would watch the show on their own. But I would never tell him the stories of the intervention or the slap bets, because that "be cool" lesson is still ingrained in me so deeply. I think revealing the depth of my fandom would make me vulnerable, and in my most insecure moments, I fear that it would discredit me.     So I bit my tongue when three of the writers had a debate on set about their show's most ridiculous episode. (My vote is for the sublime "The Bracket.") I showed one of the production assistants a "Let's Go to the Mall" T-shirt available online and failed to mention that I own one. I managed to teach writer Kourtney Kang how to use Twitter without squealing that her "Slap Bet" is my all-time favorite episode.     The actors are the hardest. Admittedly, I have much less direct interaction with the cast than I do with the production staff and writers. But on my first day on set, as Jason Segel retreated to the couch in Ted's apartment to noodle around on his ukulele, I flashed back to that Matchbox Twenty concert, except this experience was exponentially more intense.     The weekend prior, I somehow thought it would be a good idea to marathon episodes of the late, lamented "Freaks & Geeks," starring an embryonic Segel as sensitive stoner Nick Andopolis. And I thought I was screwing myself over, that I would only see the real Segel as Nick or Marshall, his "HIMYM" character — but I was wrong. He wasn't either of them; he was Jason, and he was a real dude. We actually had a conversation about sandwiches.     The same goes for Neil Patrick Harris, whom I now mentally refer to as Neil, if only to differentiate him from his mythical persona, "NPH." Neil seems like a normal, if somewhat intense, guy who vaguely knows who I am and who once jumped into a conversation I was having about a plot point during a shoot. And then there's Alyson Hannigan, who I literally studied in my freshman explorations class, which was centered on "Buffy the Vampire Slayer," but here she's just Aly, and she's constantly running out to visit her baby in the makeshift nursery.     The lesson I learned as a pre-teen from the Matchbox Twenty guitarist was that celebrities are really just normal people. The lesson I'm learning now is that real people are celebrities. Maybe it's this particular cast, or maybe it's just because I'm a huge fan, but I find myself mentally separating them from their personae, if not just for my own frenzied state of mind.     I'm constantly convincing myself that the office is boring, that my tasks are mundane, that this is just my day-to-day life. Seeing the cast with their guard down helps me there; not even NPH is glamorous on set. He's actually pretty boring, since he's adopted Ted's desk as his own in order to spend his downtime answering emails on his laptop.     When they're performing, I usually watch on the monitors with the director, and it's almost like watching them on TV. When Josh Radnor (Ted) or Chuck Tatham (the writer of this week's "Duel Citizenship") greets me by name, it's almost like they're my coworkers. And as long as they don't know how I think of them — as people who give me joy in weekly doses of 22 minutes — they don't have to think of me as just another fan.     Even if they'd be right.


The Setonian
Arts

Gone Too Far' a sobering look at young drug addicts

    On Aug. 28, 2009, Adam "DJ AM" Goldstein was found dead in his apartment with a bag of crack cocaine and drug paraphernalia beside him.     But that's the end of the story. Time to go back to the beginning.     During the winter of 2009, DJ AM set out to film an eight-part miniseries called "Gone Too Far" for MTV, wherein he helps young addicts break their addictions. After Goldstein's drug overdose, his family decided to air the show in tribute to him. In each episode, Goldstein speaks to an addict and that person's family, stages interventions and, with any luck, sends them to rehab centers to get clean.     The first episode features Amy, a 23-year-old heroin addict from Philadelphia, Goldstein's hometown. The second centers on Gina, a 20-year-old heroin and angel dust addict from Hartford, Conn.     Each episode follows the same structure but presents Goldstein with its own set of problems. Amy, for example, constantly steals from her family members to support her addiction, angering them and driving them away from her. Gina, on the other hand, receives money from her family members to fund the drugs, their rationale being that they would rather fund her than have her out on the streets. Both families opt not to turn in their addicts or force them into rehab, effectively enabling them and exacerbating already sticky situations.     Both of the first two episodes have been eye-openers, in part because they focus on young female addicts who do not fit the normative "drug addict" stereotype. The message here is that addiction can, and does, strike everyone.     There is love in the families of the addicts profiled on "Gone Too Far," and though it doesn't seem as though the families are intervening for TV fame, there's still a grey area. Regardless, if the only way that these young people could get help is to appear on DJ AM's high-profile MTV rehabilitation show, that's better than nothing.     It's easy to be turned off or overwhelmed by the sensitive content of "Gone Too Far," but the show succeeds in its portrayal of the events. "Gone Too Far" feels far less exploitive than its VH1 and A&E counterparts, "Celebrity Rehab with Dr. Drew" and "Intervention," respectively. Segments before and after commercial breaks advertise an MTV substance abuse-awareness Web site, substanceabuse.mtv.com, and indeed the show's purpose can often seem to be education more than entertainment.     It's hard to reconcile this show with the fact that Goldstein himself died of a drug overdose this past August. Goldstein, though only in his mid-30s at the time the show was filmed, looks much older. It's clear that his own drug use had taken a toll: His face is paunchy, wrinkled and scarred, and the way he talks to the addicts and their families shows that he understands firsthand the trauma that they are experiencing.     When Gina, the heroin addict from the second episode, leaves rehab and relapses, Goldstein seems genuinely upset, but he seems more surprised than disappointed. Personal experience with drug addiction seems to have given Goldstein the heart and understanding to try to make a change, but being around addicts couldn't have been good for him — and quite possibly had a hand in his relapse. As he doles out advice to the addicts and their families, Goldstein seems fully heartfelt and honest, but the specter of his personal tragedy-to-come looms over everything he says.     The series is short, but the eight hour-long episodes will live on long after they've aired on MTV, as educational tools and warnings for addicts and their loved ones. While the show isn't entertaining in any typical sense of the word, it is eye-opening and well produced.     It's hard to recommend "Gone Too Far," but impossible to ignore it. I've chosen not to give "Gone Too Far" the Daily's usual star rating. It would be a fairly high rating, but that would make it out to be entertainment, and "Gone Too Far" is not a flipping-channels-for-fun show.     Programs such as these raise serious ethical issues, but it is ultimately important to be aware of the troubling stories behind them. The real tragedy of this show is Goldstein's fate: While he could help these young adults, no one could help him, even with 11 years of sobriety under his belt.     Maybe that's the ultimate lesson: no one is impervious to the dangers of addiction.


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Arts

Voices from the Mountain' descend on the Hill

    The Hill may not rival the peaks of Appalachia, but Tufts' campus will get a taste of traditional Appalachian folk music when Revels Repertory Company presents "Voices from the Mountain" this Saturday night in Cohen Auditorium.     "Voices from the Mountain" tells the story of Olive Dame Campbell, a notable and influential collector of folk music who was born in Medford, Mass. in 1882 and graduated from Tufts University in 1903. The Boston area premiere of the musical theater performance is thus appropriately brought to the Aidekman Arts Center on campus by the Tufts University Office of Alumni Relations.     Campbell was originally inspired to explore folk music after she journeyed to Appalachia with her husband, missionary John C. Campbell. After hearing a young girl sing "Barbara Allen" in the mountainside landscape, Campbell was immediately captivated and began conducting interviews with Appalachian residents to study folk culture. Olive Campbell's collection of songs, entitled "English Folk Songs from the Southern Appalachians," was published in 1917 with the help of colleague Cecil Sharp, and played an essential role in the American folk song revival of the 1960s. The Campbells eventually established the John C. Campbell School of Folk Arts, located today in Brasstown, N.C.     The production of "Voices from the Mountain" is family-friendly and interactive, a mixture of ballads, stories, dances and games that celebrate folk culture and sound. The cast — made up of Revels Repertory Company's 40-member ensemble — includes both adults and children.     "Voices from the Mountain" begins at 7:30 p.m. on Saturday and will be prefaced at 7 p.m. by a free pre-performance talk by Kay Dunlap, the director of Revels Repertory Company. Tickets are $15 for adults and $10 for Tufts students and can be purchased online through www.revels.org.


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Bad luck in a desultory world

Dreams can quickly turn into nightmares. In "A Serious Man" (2009) this realization dawns slowly and painfully on Larry Gopnik (Michael Stuhlbarg), a physics professor whose life has taken a turn for the worse. The film, set in 1960s Minnesota, is more aware of how easily pleasant fantasy can change to frightening phantasm than any of its characters. It is constantly tiptoeing along the line between comedy and horror.


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Coen Bros' new star finds humor, depth on set

"A Serious Man," the new film from the Coen Brothers, tells the story of a college professor at a Minnesota University who experiences a stroke of bad luck that amplifies to near-Biblical proportions. Michael Stuhlbarg, the film's lead actor, sat down with The Daily to discuss his first big Hollywood role, where he finds inspiration and what it is like to work with the Coens. Question: Can you tell us a little bit about how you came to the project, when you got the script? Michael Stuhlbarg: Well, I got a call from my agent that Joel and Ethan wanted to see me for the part of Velvel, the husband in the Yiddish parable at the beginning of the movie. It was entirely in Yiddish, so I found a Yiddish tutor and learned the whole scene in Yiddish and brought it back to Joel and Ethan. They laughed a lot and that made me very happy.   


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Arts

Top Ten | Feuds

In an effort to promote world peace (exercising our "active citizens" within) the Daily Arts Department has decided to call out the worst battles of all time. In the words of the band War, "Why can't we be friends? Why can't we be friends? Why can't we be friends? Why can't we be friends?" 10. Carly Simon vs. Mick Jagger: You're so vain, you probably think this Top Ten is about you. Though it's not known for sure whether Mick Jagger (or one of a whole host of other egotistical fellas) is the target of Simon's hit song, the sheer musical power of this feud is undeniable. 9. Lobsters vs. Men: In the style of "Deadliest Catch," the Discovery Channel brings viewers "Lobstermen" this year, and it's a boatload of man drama if there ever was one. The only thing more epic than a fisherman battling a small crustacean is a fisherman battling a slightly larger crustacean. 8. Rosie O'Donnell vs. Donald Trump: They're both so ugly that they could only feud with each other because no one else would touch them. Plus, is it a feud if what each person says is true? Isn't that just good banter? Maybe they're secretly lovers ... 7. Tom vs. Jerry: Cats and mice might hate each other, but there's something fishy between Tom and Jerry. Why doesn't Tom just eat Jerry? Why doesn't Jerry just leave the house and go somewhere else? Another case of secret lovers? 6. Family Feud: What was always disturbing about this show is that it was supposed to be a feud, but the famlies were always so happy — even when they lost! There should be a new show where two families just take each other on in a massive physical battle, in the vein of "American Gladiator." 5. Nickelback vs. Your Ears: These "nu-metal" Canadian dirtbags are probably the worst aural assault your ears can encounter. Seriously, they're just awful. We wish they'd just stop what they're doing to rock and roll, give up, and go back to Canada. 4. Vader vs. Skywalker: So many hands were cut off in this battle between Sith father and Jedi son that they couldn't shake to make up if they wanted to. Vader may be Luke's father, but they'll never have a thumb war again. 3. Feudalism: Peasants and jousting and bubonic plague, oh my! We're not entirely sure what put the "feud" in "feudalism," but it was probably something to do with the landed gentry brutally repressing the serfs and exploiting them for larger annual tithes. Now that's just begging for a bloody revolution! 2. Montagues vs. Capulets: "What is in a name?" Well, if you're a Montague or a Capulet, just about everything. The Montagues versus the Capulets is undeniably the worst family feud in literary history, resulting in the tragic deaths of everyone's favorite star-crossed lovers, Romeo and Juliet. 1. The Feud Network: We don't get the name, but we love all the cooking shows! "Essence of Emeril," "Good Eats," "Iron Chef" and "Chopped." We don't know who they're fighting with, but our stomachs want in!  — compiled by the Daily Arts Department