Former New York Yankees pitcher David Wells wrote of pitching in Yankee Stadium, "I can't begin to adequately tell you how thrilled I am just standing here on this little clay hill, knowing that I'm once again a small part of this incredible tradition."
The film's opening tone is typical for a Disney film about animals. The screen fills with majestic aerial views of desert dunes, birds swarming over lush forests and dolphins bursting from the sea. Instrumental music blares, highlighting the subtle movements of the wondrous creatures that frolic across the screen. As the sun careens over the smooth curve of our planet and the trademark of the famed nature television series, "Planet Earth," it is clear that the audience is about to witness something extraordinary.
The band called Sex! won last Tuesday's Rockus Battle of the Bands final round, held at the Paradise Rock Club in Boston. Sex! represented the Berklee College of Music in this intercollegiate competition, which also featured bands from Boston College, Boston University, Emerson College, Harvard University, Massachusetts Institute of Technology (MIT) and Tufts. The Rockus competition
NBC has a new addition to its Thursday night comedy lineup: "Parks and Recreation," from creators Greg Daniels and Michael Schur. As executive producers of the American version of "The Office," Daniels and Schur are no strangers to "Comedy Night Done Right," and the influences of "The Office" are certainly noticeable in "Parks" — from the mockumentary filming style to the oblivious boss — but the new show seems to be heading in its own creative direction to avoid being a mere carbon copy. In "Parks," the oblivious boss is Leslie Knope, deputy director of the Pawnee, Indiana Parks and Recreation Department. Played by Amy Poehler (who recently ended a seven-year run on "Saturday Night Live"), Knope is delightfully cheerful and passionate but hopelessly unaware that nobody else shares her passion. Knope has high political aspirations and compares herself to Nancy Pelosi and Hillary Clinton, whose pictures can be seen on her cabinet during the confessional shots. She also remains continually optimistic, describing people yelling at her during town meetings as "people caring loudly at [her]." Knope's work team is filled out by Tom Haverford (Aziz Ansari); boss Ron Swanson (Nick Offerman) who hates everything government; college intern April (Aubrey Plaza) and city planner and one-time fling Mark Brendanawicz (Paul Schneider). None of these supporting characters has been developed so far, save for the sleazy Haverford. He is shown accepting gifts under-the-table and provides some laughs when he shamelessly flirts with a woman in the middle of a town meeting. That woman is local nurse Ann Perkins (Rashida Jones, an "Office" alum), whose presence provides the premise for the episode and presumably the rest of the six-episode first season. Her deadbeat musician boyfriend fell into a large pit on an abandoned neighborhood lot, and she wants the city to fill it in. Knope has bigger ideas, though, to turn the lot into a new park. Knope's determination to have Swanson establish a park sub-committee for her is played with so much excitement and enthusiasm by Poehler that it is hard not to root for her, even though everyone around her thinks it is a bad idea. When Swanson tells her he'll definitely think about it, Leslie replies, "I like the sound of that ‘definitely!'" as she runs out of the room grinning. Poehler is perfect at playing Knope's naiveté with charm. She has spent years perfecting that wide-eyed grin on "SNL," and now, she will finally have the chance to fully develop a character rather than play multiple characters in short sketches. But unlike her "Office" counterpart (Steve Carell's Michael Scott), Knope doesn't want to succeed just for herself. She aims high because she truly believes she can help people through her job. The show has used a simple premise thus far to showcase the humor in the bureaucratic workings of small-town government. Knope's excitement about any small responsibility she gets (like the town meeting she runs, which no one else wants to help with) is funny enough itself, but her coworkers' mocking her behind her back adds even more of a punch. Where "The Office" draws much of its appeal from the relatable and awkward "I've been there" workplace situations, "Parks and Recreation" takes the audience to a new and unfamiliar setting. At a time when the proper scope of government is being hotly debated, "Parks" could provide the perfect comic send-up of a public servant who wants so much, but whose goals may ultimately prove to be too lofty. "Parks and Recreation" isn't perfect. It currently relies too heavily on Poehler's image and comedic aptitude but luckily has a talented supporting cast to develop into more fully formed characters. And just as "The Office" took a few episodes to find its footing, "Parks" should be able to get past the stylistic similarities and firmly establish itself as another great Thursday night comedy — some of the only quality programming NBC has left.
The discovery of the Lascaux Cave paintings in France during World War II changed how we view art and its importance to us as human beings. The loose line drawings from the Paleolithic Era are in earthen colors and cover the entire inside of the cave. These drawings were not just part of a ritual; their artistic value is obvious in the color, the style and the groupings of the paintings. They express a clear artistic voice and a connection between the artist and the work. The Lascaux Cave paintings reassert an innate human need to reproduce and to create art. David Burtner's exhibit, "Journey from Lascaux: From Nature to Man," on display at Tufts' Slater Concourse Gallery, examines this natural connection between man and art. The show is presented by the artist's daughter, Jennifer Burtner, whose comments note how her father's earth-toned, abstract pieces reflect the landscape of her childhood home in El Paso, Texas. Burtner found special meaning in the El Paso scenery, a landscape that was of great importance to the indigenous peoples who lived there. Drawn to the connection between the landscape and the people, his art reflects this relationship. Burtner mainly produces abstract works, but there are some recognizable images in the form of loose line drawings very reminiscent of those at Lascaux. The colors are bright but not artificial, consisting of reds, greens, yellows and browns. Divided into three main groups, the paintings focus on the desert landscape, figures in motion and running horses. Burtner's choice to stick to a natural subject matter reflects his continued interest and connection to the paintings at Lascaux. The images all reflect the oldest theme in art, a need to reproduce one's surroundings. One example is Burtner's painting entitled "Flight" (2005). On a background of blues, pale yellow and burnt sienna, two human figures stretch across the canvas, viewed from the bottom as if in flight. The shapes of various birds that fly around them mirror the figures, barely noticeable and blending into the background. The same colors found in the background play across the figures, integrating them into their surroundings. The people's faces are not visible; instead, they stretch their heads up to the sky. The painting suggests a connection between the people, their surroundings and the birds. The fact that they are all in the same color field clearly links them. The flight seems to be a metaphorical one with heads lifted toward the sky, which is made of the same fabric as the landscape and the birds. The image is dreamlike and suggests the ongoing journey that humans as a species have made from our natural origins. "Black Canyon on the Gunnison #1" (2005) is a more direct examination of the land. Bold line drawings describe an undulating canyon, clearly shaped by a river that is represented by a thick path of blue, bubbling water winding diagonally across the canvas. The abstract, curved lines that go across the entire surface are made even more energetic by an intense splattering of paint across the canvas in reds, greens and yellows. The composition's abstract forms posses an energy that reflects the changing face of the depicted landscape. The image's combination of the abstract and concrete leaves space for the viewer's imagination to roam while simultaneously giving direction to the viewer's thoughts. This idea of energy expressed through simple forms harkens back to the Lascaux cave paintings. Burtner continues to return to the early roots of art in a way that suggests he is trying to return to a more natural way of representing the world around him. Burtner's paintings reflect a deep tie to the desert landscape and a personal connection to the people who originally lived there. His paintings are not just duplicates of early cave paintings; they are explorations of the motivations of those earlier artists. With their loose, natural imagery, the paintings reflect a desire to return to human roots and seek to find a place for art that is integrated into natural existence.
As many major newspapers in the country sound the death rattle, some are probably wondering whether print journalism holds any real importance in today's world. Fortunately, films like "State of Play" serve to remind the public that journalism is still important to the dissemination of information. Kevin Macdonald, best known for directing Forest Whitaker to Oscar gold in "The Last King of Scotland" (2006), directs "State of Play," a suspense film about the intersection of politics and journalism. Based on the critically acclaimed BBC series of the same name, the film successfully condenses a six-hour mini-series into a two-hour movie. Russell Crowe plays Cal McAffrey, a weathered print journalist with nearly two decades of experience at The Washington Globe. The newspaper, struggling to stay afloat, has recently been bought by a huge corporation only concerned with turning a profit. Cal's interest in the obtaining the truth does not fit well with this change. While Cal is working on a story involving a dead drug runner and an innocent bystander in a coma, a seemingly unrelated incident occurs. A legal researcher is killed in an "accident" in the metro station. But when the dead woman turns out to have had an affair with a popular congressman and an old friend of Cal's, Stephen Collins (played by Ben Affleck), Cal decides to uncover the truth. Cal, however, has to deal with Della Frye (Rachel McAdams), a cub reporter who prefers blogging to actual reporting. The running joke in the film is that Della never has a pen on her when she needs one, highlighting the inability of online journalists to live in the moment the way a print journalist must. As Della and Cal delve into the deaths and political scandal, a greater conspiracy emerges in which everyone involved is implicated. As a suspense film, "State of Play" excels. There is never a moment of boredom. To its credit, the film raises many interesting questions. To its disadvantage, though, there just isn't enough time to thoroughly answer all of them. Similarly, the film touches upon many subjects, such as the current economic climate in journalism, the Internet's role in spreading information, the necessity of making money off of a news story and the importance of remaining objective, but never fully explores them. Throw in political corruption and the deep-seated intersection of politicians and the media, and the viewer feels bombarded with information. It takes a while for the film to settle into a cohesive storyline during the first twenty minutes, but once everything is laid out, the plot becomes quite simple — almost predictable. What keeps the story interesting is the viewer's desire to know what lies underneath outward appearances and who is keeping the biggest secret. As Cal and Della explore each and every possible avenue towards uncovering the truth, the viewer is as compelled as the reporters, unable to stop watching until the complete story is brought to a conclusion. The cast performs relatively well, but compared to some of Crowe's past work, he does only a mediocre job. McAdams doesn't have a lot to work with, but she is an excellent actress. The relationship between Crowe and McAdams provides a refreshing break from the typical Hollywood love story; it definitely is not the typical sexual or romantic chemistry. The supporting cast often outshines the leads. Ben Affleck as the tricky, manipulative senator holds his own next to Crowe. Helen Mirren does an accomplished job as Cameron, the editor-in-chief, a go-between for the greedy corporate heads and the journalists putting in the work. Jason Bateman appears for a short cameo as a drugged-out, fast-talking public relations guy, the missing link in the story. For the fifteen minutes Bateman is on screen, he completely steals the show. "State of Play" relies heavily on dialogue to carry the action and create suspense, going along with the movie's theme of the importance of words. The thriller aspect shines through during chase scenes and shootings, which are equally effective. Macdonald's filming technique also elevates "State of Play" above a typical suspense film. He heightens suspense by shooting from afar or above or below and zooming in for close-ups. The film's cinematography is beautiful, demonstrating Macdonald's ability to create a thriller with some thought behind it. Above all, "State of Play" makes the viewer think about the impact journalism has had in the world. As the final credits roll and Cal's final story goes to the presses, one can't help but admire the effort, love and dedication that goes into one simple article.
Comedian Bob Saget, best known for his role as uptight patriarch Danny Tanner on all eight seasons of "Full House," has become something of a myth in the past decade. Thanks to his scene-stealing turn in "The Aristocrats" (2005) and his 2008 Comedy Central roast, people have started to ask their friends, "Hey, did you know that Bob Saget is actually funny? And that his jokes are filthy?" It's true that Saget's stand-up often refers to sex, drugs and unsavory facts about the Olsen twins, but any comedy in his act hasn't translated to his newest sitcom attempt, "Surviving Suburbia." Unlike Saget's other current project, CBS's "How I Met Your Mother," "Suburbia" revels in its sitcom conventions rather than defying them. Steve Patterson (played by Saget) is a lying, drinking schlub who seems to genuinely hate his own life. He and his wife Anne (Cynthia Stevenson) live with their two children in an anonymous suburban neighborhood that's full of gossip and competition between parents. The Pattersons' neighbors include Onno (ex-MTV VJ Dan Cortese), a strip club owner, and Dr. Jim (Jere Burns), an off-color dentist. The plots of the first two episodes, not even worth detailing here, are taken straight from the sitcom-writing handbook. Out-of-hand lies, wacky misunderstandings and grade-school drama are all present. However, the show never seems to have a happy ending. The show never reassures the audience that the Pattersons, despite their complaining, are actually happy with their lives. Moreover, the curmudgeonly characters never truly receive their comeuppance. Steve's big lie in the pilot episode is only exposed to his wife, not to his daughter or neighbors. Daughter Courtney's problematic bad grade is changed because she lies and tells her teacher that her parents are having marital problems. The show is overly conventional in its writing, and the cast is a group of misfits. Saget plays it loose and seems to be uncommitted to every joke he delivers. Steve's disdain for his American-dream lifestyle hints at a more interesting dimension — how he found himself in his suburban hell — but the writers have thus far ignored this question. Meanwhile, Stevenson, whose inherent somber cynicism fit in splendidly on the Showtime black comedy "Dead Like Me," is incongruous with the aggressively sitcom tone of "Suburbia." Anne holds such contempt for Steve's faults and poor decisions that one wonders how the two have stayed married for two decades. The two children who round out the cast are more fitting for a cut-rate sitcom of this type. Jared Kusnitz as teenaged son Henry is bland rather than charming. Seven-year-old Courtney is cloying instead of cute. Oftentimes, her too-adult dialogue is disconcerting coming from the young girl's mouth. Except for piecemeal references to Zac Efron and emailing, most of "Suburbia" seems like it could have been made by anyone at any time. The more current, edgy jokes seem not only out of place but downright inappropriate. In the first episode, the viewer unnecessarily learns that Steve "has a three-hour turnaround" for having sex with his wife. In the second episode, the show introduces Rhonda (Alexandra Krosney), Henry's friend, who not only has a child but is pregnant with another. Rhonda and Henry share a tense, laugh-free scene discussing the identity of the child's father. The tone and subject matter seem better suited for "The Secret Life of the American Teenager" than a show like this one. A couple jokes are shoehorned in, but the laugh track comes off as out of place and even insensitive. It's a shame that Saget doesn't seem to be making any effort to break new ground with his latest project. True, Steve Patterson is no Danny Tanner, but Saget's dry wit and quiet bitterness don't quite fit into the "According to Jim" mold of a sitcom hero. The show had been picked up for the CW's spring schedule before it was unceremoniously dropped at the last minute. One questions ABC's motivations for being the savior of "Suburbia."
One genre of film we have yet to touch on can induce intense laughter, gregariousness and the strange desire for Funyuns, Ding Dongs, Jolly Ranchers, Hot Pockets, Chipwiches, Hawaiian pizza, Rice Krispies Treats, Harvest Cheddar SunChips and chamomile tea. You won't see many movies of this genre winning Oscars, but we want to recognize some of these films for their unique achievements. So, in honor of yesterday's Patriot's Day, we are proud to present our top five stoner films of all time. Kicking off our countdown at number five is "Harold & Kumar Go to White Castle" (2004), a film about two potheads searching for the perfect "munchies" meal. We also considered Dave Chappelle's "Half Baked" (1998), but Neil Patrick Harris' role tipped the scales in favor of "Harold & Kumar." In the film, John Cho and Kal Penn's search for White Castle is sidetracked by racist cops, extreme skateboard punks, a cheetah, a good Samaritan with hideous boils and a psychotic raccoon. Even Nicole Richie would order some sliders and fries after watching this stoner epic. Originally financed by a church group, our number four pick, "Reefer Madness" (1936) (originally titled "Tell Your Children"), attempts to warn viewers of the dangers of "marihuana." There's only one problem: The movie is unintentionally hilarious. This cautionary tale has worse acting than "Speed 2: Cruise Control" (1997) and lower production value than a made-for-TV movie on the Sci-Fi channel. According to the movie, marijuana leads to hallucinations, murder and rape. The scenes are so over-the-top that even the most stolid Bible thumpers have to crack smiles. A stoner/action movie may sound paradoxical, but Judd Apatow's gang pulled it off with "Pineapple Express" (2008), coming in at number three on our list. Much like "Hot Fuzz" (2007), the movie's strength lies in its lampoons of action movie clichés. After all, what's funnier than watching a grown man force-feed another man kitty litter? The adorable friendship between the tubby Seth Rogen and headband-wearing James Franco is equally effective. These Jewish jokesters prove the point that it's always better to use the buddy system. Our most cliché choice, "Dazed and Confused" (1993), holds the number two spot. Combining drug influences, sexuality, a psychedelic soundtrack and a young Ben Affleck spanking defenseless freshmen with a wooden paddle, this film epitomizes the '70s coming-of-age story. As a bonus, it stars a young Matthew McConaughey before he sold his soul to the romantic comedy devil. The real and rebellious characters in this film have helped it garner cult classic status. Like many stoner flicks, the plot of our number one choice, "The Big Lebowski" (1998), doesn't revolve around marijuana. Movies that rely too heavily on ganja jokes often go up in smoke themselves. If you have to be high to find a movie humorous, that movie is low-class. The Coen Brothers crafted "Lebowski" with all the trimmings of a film noir and a crime drama core. This dark comedy is driven by characters like John Turturro's pedophilic bowler, Jesus, John Goodman's volatile Vietnam vet, Walter, and Sam Elliott's mustachioed, baritone narrator, The Stranger. And beneath all the White Russians, Creedence Clearwater Revival and nihilists is the guy who put the "bud" in "Buddha," Jeff Bridges as The Dude. We do not condone drug use, but we do condone films that condone drug use because they are oftentimes enjoyable. For those active citizens who oppose drug usage in the media, we are not trying to make a statement on the moral status of drugs; we're merely saying that they can be very entertaining. And we might chuckle the next time your children or younger relatives watch Disney's "Alice In Wonderland" (1951). --
With a romance set in Naples, Italy, one might expect poetic language, elaborate costumes and heartbreakingly beautiful heroes and heroines. There might be some obstacles in the way of the lovers, but they will only turn these moments into opportunities to recite impassioned meditations on love. In David Grimm's "The Miracle at Naples," however, these tortured soliloquies are along the lines of "Who do you have to f--k to find some love in this world?!"
Dear Woody Harrelson, We heard that last week you punched a photographer in the face because you mistook him for a zombie. Let's break this down: "Last week you punched a photographer in the face..." okay that's understandable. Photographers are annoying and were put on God's green earth to be punched in the face. Fair enough. "...because you mistook him for a zombie." Okay, so you actually thought this guy was a zombie. You just finished filming "Zombieland" (2009), in which, apparently, you play "the most frightened person on Earth." It is unclear from the IMDB.com description if there are actual zombies involved or if you're just a person who's always scared. One of these answers makes it a horror movie, one makes it ridiculous. Also, let us for a moment assume that this photographer had actually been a zombie. Punching him in the face would not be a good strategy for protecting yourself. A punch would just enrage the zombie and/or get your hand eaten. If this was the case, this letter would be addressed to Zombie Woody Harrelson. It is a blessing, however, that you are so uneducated in the art of zombie massacring. It is well-known that the best way to re-kill a zombie is by removing the head or destroying the brain. Let's repeat that: by removing the head or destroying the brain. Let's imagine you did that, Mr. Harrelson. This is how the current letter would have started had you known that: "Last week, you decapitated a TMZ photographer at New York's LaGuardia Airport because you mistook him for a zombie. Nicely done, sir. We commend you for your heroism and action in the face of danger." We'll chalk this one up to some serious method acting, and we predict "Zombieland" to sweep this year's Academy Awards for the dedication you have shown to your craft. Please get some help. Sincerely, The Daily Arts Department
At a recent Los Angeles Lakers game, Leonardo DiCaprio shared some sage wisdom with his lover... err... new-found BFF Zac Efron. What advice did Leo have for the 21-year-old star? According to Efron, Leo said, "There's one way that you can really f--k this all up. Just do heroin." While celebrities' careers can take a big hit from heroin, we at the Daily believe that Hollywood is akin to Jesus in its ability to be all-forgiving. You can do a lot and still be famous. Heck, you might even be famous-er if you eff up your life enough. Case in point: Britney Spears. In that vein, the Daily Arts Department has compiled the top 10 ways for stars to eff up their careers, even if they don't put an end to them. 10. The Crack Diet: Mmm, the sweet, sweet taste of crack. This is one way to slim up that's easier than the Atkins or South Beach diets. Unfortunately, some take it too far (Lindsay Lohan). The idea of having unlimited energy to party it up all night may be enticing, but no. Just no. In the words of Grandmaster Flash, "Don't do it" because "pound for pound it costs more than gold ... Rang dang diggedy dang di-dang." 9. Punching out the paparazzi: You can be as violent on screen as you like, but in the real world, there are consequences for hitting people. Besides, as annoying as those pesky photo-poppers are, for the most part they make celebrities' careers. Without them, people would never see Matthew McConaughey shopping at the grocery store. 8. Scientology: Worshiping a sci-fi novel is straight-up weird and doesn't do much to encourage star worship. Err... celebrity worship, that is. 7. Bad plastic surgery: Generally, if you want to be famous, you're going to want people to be able to look at you. If your nose is falling off, your ratings probably will, too. 6. Molesting little boys: While some celebrities have gotten away with getting jiggy with little girls (though that's still not okay), little boys remain squarely in the no-go territory. Just ask Jack-O. From "King of Pop" to "King of Gross" in one easy step. 5. Getting killed (in some cases): Death sucks, and usually, one's career is buried along with one's coffin. Though there are a few cases in which stars continue their careers from six feet under -- like Tupac and Elvis. 4. Being a child star: You know the saying: "Once a child star, always a child star." Well, it's true. Ain't no way we can picture Macaulay Culkin in anything other than "Home Alone" (1990). 3. Doing a movie with J-Lo: That's right, Ben Affleck, we're talking about you. After "Gigli" (2003), we have to say that your career's taken a turn for the worse. The on-screen "Bennifer" phenomenon certainly didn't benefit your career, and we think it may have actually been fatal. 2. Flashing people: While many have fantasized about seeing women like Britney Spears or Tara Reid naked, the actual reality of a drunken, naked clothing malfunction is far from attractive. When people are more interested in seeing blurry pictures of your genitals than listening to your music, your career is seriously messed up. 1. Pissing Paris Hilton off: Nicole Richie is, like, SO not Paris Hilton's BFF anymore, and look what that's done to her career. She went from "The Simple Life" to a simple life. So, beware, you privileged acquaintances of Ms. Hilton. Do not irritate her, or not only will she publicly disown you, but she'll start a television show to find your replacement. Then you'll have no BFF and nowhere to stay... --
The Daily recently spoke with Ali Larter from NBC's "Heroes" about her upcoming film "Obsessed," co-starring Idris Elba and Beyoncé Knowles and directed by Steve Shill. The thriller, which will be released on April 24, follows a successful asset manager, Derek (played by Elba), who has just received a big promotion and is blissfully married to Sharon (Knowles). However, a beautiful temp, Lisa, played by Larter, falls head-over-heels in love with Derek and takes her feelings a little too far. Driven by her obsession, Lisa becomes willing to do anything necessary to be with Derek.
In today's unpredictable world of contemporary art, it is always refreshing to see an artist who can convey themes of fantasy and the old world that still retain a modern-day essence. The latest show from Norma Bessouet, entitled "Visions," simultaneously explores the worlds of old and new and is now on display at the Arden Gallery on Newbury Street.
Jay Leno is retiring in a little over a month, and I suspect his memoirs will include something along the lines of "Michael Jackson's fall from grace was the best thing that ever happened to me." That whole circus, with its accessibility, crude physical humor and generally broad appeal, is the kind of material that mainstream comedians pray for at least once a day, because it's easy to joke about and everyone likes to laugh at the rich. That's why, for two years, every Jay Leno joke went out of its way to reference moonwalking -- not because it was funny, but because it was easy.
As the child of a Beatles member, all Dhani Harrison wants is for his work to speak for itself. Unfortunately, "comp-Harrisons" are easy, but he wishes people wouldn't go there. Along with Oliver Hecks, Harrison co-founded thenewno2 as a "faceless company" that produces art of all mediums. This unique moniker is a reference to the 1960s television show "The Prisoner," on which Prisoner No. 2 was a role played by many faces.
The vast variety of the work on display in the MFA Thesis show at the Tisch and Koppelman Galleries is breathtaking. A Christmas tree made out of fur is displayed directly opposite huge self-portraits in gaudy, neon colors. Farther into the show, a clock powered by wind and a turquoise room decorated with deer heads and old furniture are on display. These works represent different artists drawing on very different ideas and influences. The MFA Thesis show features nine artists who are candidates for the completion of Tufts and the School of the Museum of Fine Arts' joint graduate program. Set up so that each artist has an individual space, the galleries seem to hold a number of shows rather than one coherent exhibit. Instead of bombarding the viewer with many different types of work, each "cubicle," as one artist humorously called his space, allows the viewer to focus on just that artist's work. The variety of the pieces in the exhibit cannot be overemphasized. It's as if the concentrated art environment of the graduate program forced the artists to think about a way to distinguish themselves in a competitive environment. Patty Adams chose to paint over huge digital collages. Ashley Billingsley focused on the nature of sight with her paintings of suburbia, while Lana Citowsky used video clips to act out popular sayings like, "barking up the wrong tree." Kelli Elise Thompson's huge portraits used unrealistically bright colors to create a disturbingly detailed image. Artist Ollie Wagner's recreated a living room, mixing violent and domestic imagery to get viewers to think about violence in everyday life and how humans perceive foreign violence. Huge canvases splattered with black and white paint and random objects fill Cullen Washingtons Jr.'s space, an exploration of the hero in the urban landscape. Ursula Zeigler's performance work, "Guided City Hikes," involves people walking from the SMFA to the Tufts University Art Gallery, where Zeigler has set up a site — with a table, a fountain, a tree and a little lean-to or cairn — designated for thought about the meaning of the hike. Another artist showing at the gallery is Robert Hernandez, who works with ink and paint on sheets of plywood. His work is loaded with imagery, filled with line drawings of people, soldiers and recognizable images from pop culture. The repetition of image after image creates a sense of confusion and forces the viewer's eye to move without rest. The constant movement of the human eye from image to image was a specific goal of Hernandez's work, replicating the inability of the human mind to grasp any of the visual imagery thrown at us by the news, the media, the government or other people, he said at the gallery opening. The pictures' restless nature mimics the restlessness of a modern mind with an inability to focus profoundly on any one thing. The final artist in the show has a completely different goal for his work. A self-described "philosophizer" and "toy-maker," William Whited brings a refreshingly inquisitive, almost child-like feel to his work and to the show. Whited uses scientific concepts such as Einstein's theory of special relativity for inspiration. One piece, the "Wind Clock," seeks to illustrate Einstein's theory that the way humans perceive time is not how time actually unfolds, by creating a clock that is powered by the wind. This means that the little hands on the clock go fast when the wind blows fast and slow when there is just a breeze. Whited said at the opening that one of his goals is to live by wind-clock time, thinking of time as a changeable, malleable thing. He uses unconventional forms of art to raise questions about our relation to the world around us and time, themes which are ever-present in society and in art. The MFA thesis show provides gives visitors a glimpse of just a microcosm of the contemporary art world. Each artist's style is incredibly different, and seeing all of their work in one gallery space is not only an enjoyable way to pass a few hours but also makes one give deeper consideration to each individual piece. Artists take inspiration from many different sources, but it is in situations like this that it is easiest to see the themes that connect all of the pieces, as well as themes that are unique to each artist. These comparisons end up highlighting things about the works that might otherwise go unnoticed.
"Anyone who doesn't think rock and roll can save you has never been to a Hold Steady show," a fan said on the documentary DVD that accompanies "A Positive Rage," The Hold Steady's live album recorded during the 2006 Boys and Girls in America Tour. The combination of the album and the documentary tries to capture the essence of the band's live set during an era when its music was first gaining a widespread following and its performances were graduating from smaller bars to larger clubs.
CBS, often considered the weakest of the major networks, may have found a way to attract more than the reality TV-loving crowd with its newest show, "Harper's Island." Though the show relies on cheesy characters and inane dialogue, this new murder mystery/horror series is undeniably irresistible.
"ER" ended just two Thursdays ago, but executive producer John Wells wasted no time moving on to his next project: the gritty new police drama "Southland." Set in Los Angeles, the series portrays the tough, crime-ridden streets of the city instead of the glamorous, star-studded side that viewers may be used to seeing on other shows. This setting, along with a strong cast and multiple storylines, gives the series a feeling of authenticity as it follows LAPD beat cops and detectives through their daily routines. One of those cops is fresh-out-of-the-academy Ben Sherman, played by Benjamin McKenzie, whose last major television role was Ryan Atwood on "The O.C." In that series, McKenzie's character was a troubled teen coming from an impoverished life to live with the upper-class elite of Orange County. Here, he plays quite the opposite: a young man from apparently wealthy roots who joins the police force and begins working at the bottom of the totem pole for unknown reasons. Sherman's background is sure to be fleshed out in later episodes but currently lends him an air of mystery. Sherman's training officer is veteran cop John Cooper, played by Michael Cudlitz, who is no stranger to LAPD cop roles as he also played Ana-Lucia Cortez's partner on "Lost." Officer Cooper is tough, arrogant and knowledgeable — something he doesn't let Sherman forget. Cooper constantly makes fun of Sherman (apparently part of the rookie hazing ritual) and reminds him what it means to be a "real cop." The rest of the cast is rounded out, most notably by Regina King as Detective Lydia Adams, Tom Everett Scott as Detective Russell Clarke and Shawn Hatosy as Detective Sammy Bryant. Although these characters are not fleshed out much in the pilot episode, they give viewers a good look at the detective side of police work and offer a nice contrast to the patrol work of Officers Cooper and Sherman. The show's pilot episode opens at a crime scene with Officer Sherman crouching next to a body, looking lost and dazed. A flashback then takes the audience back 18 hours, documenting the events of Sherman's first day that led to this shooting. Interspersed with his and Cooper's day on patrol — which includes responding to an apartment with a bad smell and finding his first dead body — are two other storylines involving the detectives. Adams and Clarke investigate the disappearance of a young girl, while Bryant and his partner Detective Moretta probe the shooting of a young boy by a group of gangbangers. Although the patrol cops (specifically Sherman) are at the center of the episode, the storyline involving Bryant and Moretta packs the biggest emotional punch. The victim is a young boy who fearfully announces "I don't bang" when a trio of gangsters pulls up next to him. The gangsters proceed to riddle him with bullets. When Detectives Bryant and Moretta bring three young girls who witnessed the shooting in for questioning, they are afraid to talk because they don't want to have to testify in court. When one girl's mother arrives, she tells Bryant that he won't understand the situation until he lives in her inner-city neighborhood himself. "We're fighting our own war on terror right here," she proclaims, perfectly summing up the disconnect between the white, middle-class detectives and the lower-class urban citizens they have vowed to protect. The show toes a fine line between giving a realistic portrayal of street life in Los Angeles and simply playing into racial, gender and other stereotypes. A female patrol cop is ridiculed for her desire to become a SWAT member and Sherman is mockingly called Canadian when he doesn't react to others' jokes. It is also subtly revealed that Cooper is gay, which could be a good opportunity for the show to break away from stereotypes, as producer Wells has said in a teleconference that Cooper's sexual orientation will "simply be a fact of his life." While it is not quite in the league of now-defunct cable cop dramas "The Shield" or "The Wire" (which is made glaringly evident through the show's bleeping of swears, "Arrested Development"-style), "Southland" brings a fresh take on the network police series to television and refrains from feeling like just another "Law and Order" franchise entry. Unlike some of the more lofty new dramas, "Southland" deals with a familiar and tested genre, but brings an exciting style that viewers should enjoy.
Four singers' energy captivates audiences in an abstract musical called "Songs for a New World." Junior Samantha Tempchin, senior Caitlin Felsman and sophomores Doug Cohen and Jared Trudeau star in this song cycle produced by Torn Ticket II. Each plays a distinct character that experiences a certain change and resulting crisis in his or her life. Since there is no dialogue, the characters' songs bring out the show's story, using music to communicate with the audience. Felsman sings a mother's part, representing the lives of women with children who are distraught and dealing with anger, pain and betrayal. She said her experience with the production has been "interesting and intimate." Felsman is primarily a singer and not an actress but said the combination of narrating and singing feels natural. "It is a lot of what I do through singing, projecting my own story onto the song," she said. Creative interpretation on both the part of the cast and the audience is a key aspect of this production. The play itself has neither a script nor a plot but consists of a continuum of songs that are connected through the theme of change. Each character experiences his or her own personal change, like the man trapped in a relationship or the political prisoner. Even though the props and costumes use a blue-and-red color scheme, obviously trying to present an American angle, ultimately the show's message is universal. The show's director, freshman Joshua Glenn-Kayden, noted the universality of change. "We all experience it, are afraid of it, and with support we can overcome it," he said. The importance of community and having friends to help one through crises of personal change is emphasized constantly throughout the production. Even during the show's soliloquies, other characters remain on the stage, participating through their gestures. Usually, these gestures seem like a reaction to what the character is going through, and the majority of them can be seen as representing support for the person singing. "It's important to know that everyone's involved," Glenn-Kayden said. Glenn-Kayden uses the same music, composed by Jason Robert Brown, that the original off-Broadway production used in the first performance of "Songs for a New World" in 1995. He fondly described the music as something that is accessible and will definitely appeal to the audience. Though there is no script, the story comes out clearly through the lyrics of these songs. It is still ultimately up to the individual singer, however, to interpret the play on his or her own. Performers are given all of the music and are left open as to how to communicate the storyline to the audience. As a freshman, Glenn-Kayden handles his first major production impressively. "I have been an assistant director for productions in high school," he said. "[This show has] been a great learning experience for me." Glenn-Kayden also expressed immense appreciation for the support of his team and the music producer Mike Pfitzer, a senior. As the heart-wrenching stories of characters facing turning points in their lives unfold, the audience sees each one confront their crisis through song. Lyrics, the singers' intonations and the actors' gestures are what bring the characters' stories to life. There is such a wide variety of situations and experiences that the characters face that almost everyone can find at least one story to relate to. As college students, each of us can, on some level, identify with one of these characters as they are on the brink of a new life and as they are about to live these new lives in a "new world." Students will certainly find this play interesting and worth their time. "Songs for a New World" runs tonight and tomorrow night, with both performances at 8 p.m., in Barnum 008. Admission is free.
