Arizona Daily Wildcat — March 31, 2010 WildLife

7
B section INSIDE dailywildcat.com/wildlife B3 B5 B2 wednesday, march , Steven Kwan Arts Editor 520•621•3106 [email protected] l ife Wild Comic books are a versatile medium. They are also one of the least filtered ways to tell a story. More often than not, you get the story that the writer and artist had in mind. Here is but a small selection of comics from best- selling authors and newcomers, from major publishers to the self-published. The Guild, issue 1 The popular online sitcom series has now reached a new level of geekdom: having its own comic book. Written by Guild cast member Felicia Day and illustrated by Jim Rugg, the first issue of “The Guild”looks at the origin of Cyd Sherman as she travels the awkward road to becoming her online alter ego Codex. Cyd is painfully inept at social interac- tion, lacks self-confidence and performs at the local symphony orchestra with little hope of being first chair. She has a narcissistic boyfriend who doesn’t listen. (Actually, he does hear Cyd, but only as it concerns his new band.) Her therapist prescribes antidepressants rather than giving advice. While posting flyers for her boyfriend’s band, Cyd comes across an online game and becomes enamored with the idea of becoming a completely new person. Given that this is the first issue, Guild fans should not expect the same snappy pace as the online series. But Day does a wonderful job of filling in Cyd’s background story, which has only been alluded to in the episodes. Rugg brings clean linework to Cyd’s “real world,” reminiscent of Daniel Clowes and Charles Burns, and brings a dynamic layout to the story. As promising a start as a new avatar. Grade: B+ American Vampire, issue 1 Scott Snyder and Stephen King split writing duties on this new take on vampires. And yes, this is the same Stephen King who wrote“The Shining,” “Pet Semetary”and “Salem’s Lot.” “American Vampire”marks King’s first comic book work. As with most beginnings, Snyder and King are laying the groundwork for this ongoing series. Snyder leads with the main story while King covers backstory, and they handle them well. They still suffer from the novice tendency to pack most pages with dialogue and captions, but artist Rafael Albuquerque can convey their stories with clarity. It will be interesting to see Snyder and King develop as writers in an unfamiliar medium. Grade: B Horrible Little People Tucson’s Dave Baker & Eric M. Esquivel craft a tale of socially awkward people with imperfect lives. These characters bounce around obscure pop culture references, sling jokes that teeter between cruelty and farce and make bad decisions. Sure, they wear dinosaur and animal costumes, yet it all somehow makes sense. If you’re looking for a story with an uplifting ending or moral, you should look elsewhere. If you’re looking for a story filled with grim humor and pitiful characters trying to know themselves, each other and their fishbowl world, keep reading. Grade: B Beneath the clamor of a decade of comic books being converted into summer movie blockbusters and packed onto chain bookstore shelves, the creators of minicomics have labored quietly and steadily in their own world. Some, like Jeffrey Brown’s work for Top Shelf Productions, breach the conscious- ness of the comic book audience and reach beyond its limited confines. For most creators, however, success is determined not in how many distributors they can sell to, but how many non-family and friends are willing to look at their work, let alone buy it. Yet what is so attractive about a mini- comic is that it can be personal in story and presentation. Corinne Mucha’s “My Every Single Thought: What I Think About Being Single” is crudely drawn. However, it reads as if you’re spending time with a good friend who sees the world a little differently and has a great sense of humor, especially about being newly single. Each one- or two-page anecdote and stream-of-conscious episode works well alone and as a whole, much like a TV series. Worth reading for the second or 32nd time. Grade: A Jarod Rosello’s “The Well-dressed Bear Will Develop Intimacy Issues Later in Life” addresses the same anxiety of being lonely and single as Mucha’s minicomic. But instead of flights of fancy and thematic episodes, Rosello approaches the topic through an allegorical tale of an urbanized and urbane bear who believes that improving his wardrobe and taking of his dry paws will help his self-esteem, and thus his relationships with women. The empty spaces that surround the simple pattern of a text page followed by an illustration page gives greater impact to each insight and realization. Rosello does a great job of inviting our sympathy with his simple, effective illustrations. Grade: A- Inspired by a brief stint as a model, Monica Gallagher’s “Boobage” delves into Gallagher’s battles with low self-esteem stemming from her small breasts. Of the three minicomics, “Boobage”is the most polished and stylized, and it resembles what we would expect from a more mainstream comic book in terms of presentation and layout, which isn’t surprising given that Gallagher works as a graphic designer. With such a topic, Gallagher wisely avoids veer- ing into a rant. She makes her point with concise anecdotes and lovely brushwork as personal as her story. Grade: B+ To realize you are so deeply in love with someone is one of the most exhilarating — and frightening — feelings in the world.You begin to record every detail of your love: the gentle lilt in her voice as she speaks, the fragrance that lingers after she leaves, the exact hue and tone of her cheeks whenever she blushes. And if you are Edward Cullen, you also know that such feelings tempt you to completely devour her within a heartbeat. If you’ve read the novel or seen the movie, then you already know the story of “Twilight: The Graphic Novel.”In this first volume we are introduced to Bella Swan and Edward Cullen in the overcast town of Forks, Wa., as they reluctantly reach the conclusion that they are in love with each other. Of course, a few facts stand in the way of their love: He’s a vampire, albeit an atypical one who feeds on bears and doesn’t burn when exposed to sunlight; she’s a human being who feels socially awkward, despite the numerous friends she gains once she arrives at Forks. Korean artist Young Kim breathes life anew to Stephenie Meyer’s“Twilight” with her comic book adaptation. Instead of having to slog through clunky prose or stiff acting, Kim treats us to a subtler vision of the budding relationship be- tween Bella and Edward. After admitting to being a vampire, Edward asks Bella, “What’s your favorite gemstone?” “Topaz.” “Why?” “…” Bella exhales a small balloon of breath. Short pen strokes drawn across her cheek reveal her to be blushing.“It’s the color of your eyes today.” The color of the blood red topaz from a previous panel spills and fades into Edward’s hair and collar. “I suppose if you ask me in two weeks I’d say onyx,”Bella says. Next to this dialogue balloon, Kim zooms in on Edward’s face to reveal his yellow eyes as he looks directly at us. This scene also shows Kim’s wise use of color for emotional effect. Most of the story is rendered in black and white, which can be a turnoff initially, but our patience is rewarded, especially when Bella sees Edward in full sunlight. However, not everything translates well into the comic book form. Many of the conversations remain intact from the novel, for better or worse, and it can be difficult to know who is saying what since the dialogue balloons are sometimes placed awkwardly. Kim can also pack too much detail into a panel or a page. Some backgrounds are little more than a photograph placed through a Photoshop filter, which can be distracting. It’s difficult to tell if these shortcomings are due to Meyer’s close supervision or to Kim’s attempt to render the world of“Twi- light”as realistically as possible. They may also be due to her inexperience. While she has a painting degree and has worked in animation and illustration, “Twilight”is Kim’s first comic book project. Like the initial rush and subsequent re- lief you feel once you admit you’re in love, the first volume of“Twilight: The Graphic Novel”shows a promising start to Meyer’s juggernaut of a franchise. As with any relationship, however, long- term success will depend on the next step. Young Kim Twilight: The Graphic Novel Volume 1 Yen Press Hardcover released March 16, 2010 ‘Twilight: The Graphic Novel’ promising By Steven Kwan Arizona Daily Wildcat B+ BEFORE YOU GRADUATE The Guild, issue 1 Felicia Day & Jim Rugg Dark Horse Comics American Vampire, issue 1 Scott Snyder, Rafael Albuquerque & Stephen King Vertigo Comics Horrible Little People Dave Baker & Eric M. Esquivel Modern Mythology Press The Well-Dressed Bear Will Develop Intimacy Issues Later in Life Jarod Rosello Self-published www.jarodrosello.com My Every Single Thought: What I Think About Being Single Corinne Mucha Self-published maidenhousefly.com LET’S GET TEXTUAL It’s getting warmer and your creativity might be lacking. Swimming, sunbathing, homework, school — but you need something fun to break up the drab. Here are some suggestions for some random yet fun times to be had. Ghost busting Hotel Congress may be a hot spot for drinks and concerts, but did you know that it’s haunted? The hotel was built in 1919 and burned down in 1934. It’s been restored but some old spirits still haunt the place. Room 242 in particular is said to be haunted by a woman who shot herself in the bathroom. People have reportedly seen the ghosts, heard strange noises and had nightmares while staying in the hotel. Make a reservation, grab a few friends and see what happens — it will definitely make for an adventure no matter what happens. Think of it as your own version of Disney’s “The Tower of Terror,” only a little bit darker and with fewer floors to plummet down. Hotel Congress, 311 E. Congress St. 622-8848 www.hotelcongress.com Keep on rolling Maybe something more up your alley is some good, old-fashioned skating. “The No. 1 and only skating rink in Tucson Arizona,” aka Skate Country, is good, cheap fun. Every Monday night is $1 admission, coffee is free and it’s great exercise. Have fun listening to some old-school tunes and request some of your favorites. They even have games and host lock- in nights. Dress up like an ’80s roller diva and make it a fun group activity. Skate Country, 7980 E. 22nd St. 298-4409 www.skatecountry.com Ignore the Top 40 It seems that everyone gets stuck in the radio norms. With all the venues Tucson has to offer, The Rialto Theatre, Club Congress, The Rock, Solar Culture, Plush and others, there’s bound to be some new music that you’re into. Even Malibu Yogurt and Espresso Art host their very own open-mic nights. Pick a night when you have nothing to do and stop by one of them. You never know who you’ll discover — they could even be the next “thing.” Expand your music library and enjoy something loud and different. Get out of that comfort zone! The best caffeine out there Do you still have yet to find the best cup of coffee? Will all those late nights you’ll put in before graduation the perfect cup of coffee really could make a difference. Explore Tucson’s local coffee shops — there are plenty around town. They’re sure to be leaps and bounds better than the average Starbucks and they’re probably cheaper too. There’s just something about those hole-in-the-wall places that makes them better than the rest. Plus you’ll have bragging rights and the claim to fame for discovering Tucson’s best coffee. Check out: Raging Sage, Caffé Luce, Coffee XChange, Epic Cafe, Espresso Art, Revolutionary Grounds, Bentley’s — Emily Moore COMMENTARY BY Steven Kwan Arts editor Comics Corner revue Vampires, loving or vicious; Big stories in tiny sheaves

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Arizona Daily Wildcat — March 31, 2010 WildLife

Transcript of Arizona Daily Wildcat — March 31, 2010 WildLife

Page 1: Arizona Daily Wildcat — March 31, 2010 WildLife

B section

INSIDE

dailywildcat.com/wildlife

B3

B5 B2

wednesday, march ,

Steven KwanArts Editor520•621•[email protected] l ifeWild

Comic books are a versatile medium. They are also one of the least fi ltered ways to tell a story. More often than not, you get the story that the writer and artist had in mind. Here is but a small selection of comics from best-selling authors and newcomers, from major publishers to the self-published.

The Guild, issue 1The popular online sitcom series has

now reached a new level of geekdom: having its own comic book. Written by Guild cast member Felicia Day and illustrated by Jim Rugg, the fi rst issue of “The Guild” looks at the origin of Cyd Sherman as she travels the awkward road to becoming her online alter ego Codex.

Cyd is painfully inept at social interac-tion, lacks self-confi dence and performs at the local symphony orchestra with little hope of being fi rst chair. She has a narcissistic boyfriend who doesn’t listen. (Actually, he does hear Cyd, but only as it concerns his new band.) Her therapist prescribes antidepressants rather than giving advice. While posting fl yers for her boyfriend’s band, Cyd comes across an online game and becomes enamored with the idea of becoming a completely new person.

Given that this is the fi rst issue, Guild fans should not expect the same snappy pace as the online series. But Day does a wonderful job of fi lling in Cyd’s background story, which has only been alluded to in the episodes. Rugg brings clean linework to Cyd’s “real world,” reminiscent of Daniel Clowes and Charles Burns, and brings a dynamic layout to the story. As promising a start as a new avatar. Grade: B+

American Vampire, issue 1Scott Snyder and Stephen King split

writing duties on this new take on vampires. And yes, this is the same Stephen King who wrote “The Shining,” “Pet Semetary” and “Salem’s Lot.” “American Vampire” marks King’s fi rst comic book work. As with most beginnings, Snyder and King are laying the groundwork for this ongoing series. Snyder leads with the main story while King covers backstory, and they handle them well. They still suffer from the novice tendency to pack most pages with dialogue and captions, but artist Rafael Albuquerque can convey their stories with clarity. It will be interesting to see Snyder and King develop as writers in an unfamiliar medium.

Grade: B

Horrible Little PeopleTucson’s Dave Baker & Eric M. Esquivel

craft a tale of socially awkward people with imperfect lives. These characters bounce around obscure pop culture references, sling jokes that teeter between cruelty and farce and make bad decisions. Sure, they wear dinosaur and animal costumes, yet it all somehow makes sense. If you’re looking for a story with an uplifting ending or moral, you should look elsewhere. If you’re looking for a story fi lled with grim humor and pitiful characters trying to know themselves, each other and their fi shbowl world, keep reading. Grade: B

Beneath the clamor of a decade of comic books being converted into summer movie blockbusters and packed onto chain bookstore shelves, the creators of minicomics have labored quietly and steadily in their own world. Some, like Jeffrey Brown’s work for

Top Shelf Productions, breach the conscious-ness of the comic book audience and reach beyond its limited confi nes. For most creators, however, success is determined not in how many distributors they can sell to, but how many non-family and friends are willing to look at their work, let alone buy it.

Yet what is so attractive about a mini-comic is that it can be personal in story and presentation.

Corinne Mucha’s “My Every Single Thought: What I Think About Being Single” is crudely drawn. However, it reads as if you’re spending time with a good friend who sees the world a little differently and has a great sense of humor, especially about being newly single. Each one- or two-page anecdote and stream-of-conscious episode works well alone and as a whole, much like a TV series. Worth reading for the second or 32nd time. Grade: A

Jarod Rosello’s “The Well-dressed Bear Will Develop Intimacy Issues Later in Life” addresses the same anxiety of being lonely and single as Mucha’s minicomic. But instead of fl ights of fancy and thematic episodes, Rosello approaches the topic through an allegorical tale of an urbanized and urbane bear who believes that improving his wardrobe and taking of his dry paws will help his self-esteem, and thus his relationships with women. The empty spaces that surround the simple pattern of a text page followed by an illustration page gives greater impact to each insight and realization. Rosello does a great job

of inviting our sympathy with his simple, effective illustrations. Grade: A-

Inspired by a brief stint as a model, Monica Gallagher’s “Boobage” delves into Gallagher’s battles with low self-esteem stemming from her small breasts. Of the three minicomics, “Boobage” is the most polished and stylized, and it resembles what we would expect from a more mainstream comic book in terms of presentation and layout, which isn’t surprising given that Gallagher works as a graphic designer. With such a topic, Gallagher wisely avoids veer-ing into a rant. She makes her point with concise anecdotes and lovely brushwork as personal as her story. Grade: B+

To realize you are so deeply in love with someone is one of the most exhilarating — and frightening — feelings in the world. You begin to record every detail of your love: the gentle lilt in her voice as she speaks, the fragrance that lingers after she leaves, the exact hue and tone of her cheeks whenever she blushes. And if you are Edward Cullen , you also know that such feelings tempt you to completely devour her within a heartbeat.

If you’ve read the novel or seen the movie, then you already know the story of “Twilight: The Graphic Novel .” In this fi rst volume we are introduced to Bella Swan and Edward Cullen in the overcast town of Forks, Wa., as they reluctantly reach the conclusion that they are in love with each other. Of course, a few facts stand in the way of their love: He’s a vampire, albeit an atypical one who feeds on bears and doesn’t burn when exposed to sunlight; she’s a human being who feels socially awkward, despite the numerous friends she gains once she arrives at Forks.

Korean artist Young Kim breathes life anew to Stephenie Meyer’s “Twilight” with her comic book adaptation. Instead of having to slog through clunky prose or stiff acting, Kim treats us to a subtler vision of the budding relationship be-tween Bella and Edward. After admitting to being a vampire, Edward asks Bella, “What’s your favorite gemstone?”

“Topaz.”“Why?”“…” Bella exhales a small balloon of

breath. Short pen strokes drawn across her cheek reveal her to be blushing. “It’s the color of your eyes today.”

The color of the blood red topaz from a previous panel spills and fades into Edward’s hair and collar.

“I suppose if you ask me in two weeks I’d say onyx,” Bella says. Next to this dialogue balloon, Kim zooms in on Edward’s face to reveal his yellow eyes

as he looks directly at us.This scene also shows Kim’s wise use

of color for emotional effect. Most of the story is rendered in black and white, which can be a turnoff initially, but our patience is rewarded, especially when Bella sees Edward in full sunlight.

However, not everything translates well into the comic book form. Many of

the conversations remain intact from the novel, for better or worse, and it can be diffi cult to know who is saying what since the dialogue balloons are sometimes placed awkwardly.

Kim can also pack too much detail into a panel or a page. Some backgrounds are little more than

a photograph placed through a

Photoshop fi lter, which can be distracting. It’s diffi cult to tell if these shortcomings are due to Meyer’s close supervision or to Kim’s attempt to render the world of “Twi-light” as realistically as possible. They may also be due to her inexperience. While she has a painting degree and has worked in animation and illustration, “Twilight” is Kim’s fi rst comic book project.

Like the initial rush and subsequent re-lief you feel once you admit you’re in love, the fi rst volume of “Twilight: The Graphic Novel” shows a promising start to Meyer’s juggernaut of a franchise. As with any relationship, however, long-term success will depend on the next step.

Young KimTwilight: The Graphic Novel

Volume 1Yen Press

Hardcover released March 16, 2010

‘Twilight: The Graphic Novel’ promisingBy Steven Kwan

Arizona Daily Wildcat

B+

BEFORE YOU GRADUATE

The Guild, issue 1Felicia Day & Jim RuggDark Horse Comics

American Vampire, issue 1Scott Snyder, Rafael Albuquerque & Stephen KingVertigo Comics

Horrible Little PeopleDave Baker & Eric M. EsquivelModern Mythology Press

The Well-Dressed Bear Will Develop Intimacy Issues Later in Life

Jarod RoselloSelf-publishedwww.jarodrosello.com

My Every Single Thought: What I Think About Being Single

Corinne MuchaSelf-publishedmaidenhouse� y.com

LET’S GET TEXTUAL

It’s getting warmer and your creativity might be lacking. Swimming, sunbathing, homework, school — but you need something fun to break up the drab. Here are some suggestions for some random yet fun times to be had.

Ghost bustingHotel Congress may be a hot spot for drinks and concerts, but did you know that it’s haunted? The hotel was built in 1919 and burned down in 1934. It’s been restored but some old spirits still haunt the place. Room 242 in particular is said to be haunted by a woman who shot herself in the bathroom. People have reportedly seen the ghosts, heard strange noises and had nightmares while staying in the hotel. Make a reservation, grab a few friends and see what happens — it will definitely make for an adventure no matter what happens. Think of it as your own version of Disney’s “The Tower of Terror,” only a little bit darker and with fewer floors to plummet down.

Hotel Congress, 311 E. Congress St.622-8848www.hotelcongress.com

Keep on rollingMaybe something more up your alley is some good, old-fashioned skating. “The No. 1 and only skating rink in Tucson Arizona,” aka Skate Country, is good, cheap fun. Every Monday night is $1 admission, coffee is free and it’s great exercise. Have fun listening to some old-school tunes and request some of your favorites. They even have games and host lock-in nights. Dress up like an ’80s roller diva and make it a fun group activity.

Skate Country, 7980 E. 22nd St.298-4409www.skatecountry.com

Ignore the Top 40It seems that everyone gets stuck in the radio norms. With all the venues Tucson has to offer, The Rialto Theatre, Club Congress, The Rock, Solar Culture, Plush and others, there’s bound to be some new music that you’re into. Even Malibu Yogurt and Espresso Art host their very own open-mic nights. Pick a night when you have nothing to do and stop by one of them. You never know who you’ll discover — they could even be the next “thing.” Expand your music library and enjoy something loud and different. Get out of that comfort zone!

The best caffeine out thereDo you still have yet to find the best cup of coffee? Will all those late nights you’ll put in before graduation the perfect cup of coffee really could make a difference. Explore Tucson’s local coffee shops — there are plenty around town. They’re sure to be leaps and bounds better than the average Starbucks and they’re probably cheaper too. There’s just something about those hole-in-the-wall places that makes them better than the rest. Plus you’ll have bragging rights and the claim to fame for discovering Tucson’s best coffee.

Check out:Raging Sage, Caffé Luce, Coffee XChange, Epic Cafe, Espresso Art, Revolutionary Grounds, Bentley’s

— Emily Moore

COMMENTARY BY

Steven KwanArts editor

Comics Corner revue Vampires, loving or vicious;Big stories in tiny sheaves

Page 2: Arizona Daily Wildcat — March 31, 2010 WildLife

B2 • wednesday, march 31, 2010 • arizona daily wildcat

University Branch 801 E. Speedway Blvd.520.298.7882 or 800.888.7882

Vwestcu.org

Referral forms can be picked up at any Vantage West branch, or found online at Vwestcu.org. Referrer must be a Vantage West member and cannot be affiliated with the referring account. Employees not eligible. Both parties will forfeit the $20 if form is not turned in by new member when he/she joins the credit union. Loans and credit cards are subject to approval. Licensed dealerships are not eligible for referral rewards. Super Saver Club for Kids accounts are not eligible. Certain restrictions may apply.

Do you know someone who can also benefit from the quality services you receive at Vantage West? Tell them about us. Each time one of your relatives, friends or co-workers joins Vantage West and turns in our referral form with your name listed on it, we’ll give you both $20.

There's no limit to the number of people you can refer!

local scene To-Do List

OUR PICKWEDNESDAY, MARCH 31

U-Melt performs at Plush, 340 E. Sixth St. Recommended for those who enjoy Phish, Tea Leaf Green and Hot Tuna. Call 798-1298 or go to plushtucson.com for more information. 10 p.m. $7. 21+.

The UA’s School of Earth and Environmental Sciences presents “Sizzle: A Global Warming Comedy” with director Randy Olson appearing in person at The Loft Cinema, 3233 E. Speedway Blvd. Admission is $5 for students and Loft members. 7 p.m. Call 322-5638 or visit www.loftcinema.com for more information.

THURSDAY, APRIL 1The Gaslight Theater, 7010 E. Broadway

Blvd., presents “The Son of the Sheik,” a family-friendly musical melodrama spoof about a sheik’s battle to save his fair lady. 7 p.m. $15.95 for students. Call 886-9428 for more information.

Oprah Winfrey visits Tucson and goes door to door giving out free cars and free health care. Featuring special guests, Suri Cruise and April Fools.

FRIDAY, APRIL 2The 28th Annual Tucson Poetry

Festival is presented by Ocotillo Literary Endeavors. The festival includes poetry readings, workshops, open mic sessions and a poetry slam all at Club Congress, 311 E. Congress St. and Casa Libre, 228 N. Fourth Ave. Admission is $10 for readings, $5 for workshops or $25 for a festival pass. Visit tucsonpoetryfestival.org for more information.

First Friday Shorts at The Loft Cinema, 3233 E. Speedway Blvd., features short fi lms submitted by daring Tucsonans. Shorts get three minutes before becoming “gongable.” Winner grabs a grand prize of $200. $5. 9 p.m. Call 322-5638 or visit www.loftcinema.com for more information.

SATURDAY, APRIL 3The Tubac Rotary Club presents A

Taste of Tubac. The evening includes fine dining and entertainment featuring local restaurants at the Tubac Golf Resort & Spa. 5 p.m - 8 p.m. $35 per ticket. Tickets sold in advance. Call 398-9525 for more information.

The Tucson Symphony Orchestra presents a musical journey, Just for Kids Concert: From Dawn to Dusk in the Sonoran Desert, accompanied by a watercolor slideshow from Virginia Wright-Frierson’s “A Desert Scrapbook.” 2175 N. Sixth Ave. 10 a.m. - 11:15 a.m. Free. Donations appreciated. Call 882-8585 or visit tucsonsymphony.org for more information.

SUNDAY, APRIL 4Tucson’s Bike Fest 2010 holds

a downtown bike ride at Maynards Market, 400 N. Toole Ave. The entry-level ride will be 10-20 miles with the option to leave early. 8 a.m. - 11 a.m. Free. Visit dot.ci.tucson.az.us/bikefest for more information.

MONDAY, APRIL 5Tucson’s Annie Hawkins performs at

Plush, 340 E. Sixth St. The Tucson Weekly TAMMIE winning singer-songwriter plays folk rock. Visit www.anniehawkins.com to hear more. 9:30 p.m. Free.

TUESDAY, APRIL 6The Arizona Theatre Company presents

“The Second City Does Arizona, or Close But No Saguaro” at the Temple of Music and Arts, 330 S. Scott Ave. April 6 at 7:30 p.m. is “Ten Dollar Tuesday.” Balcony seats are available for a suggested $10 donation. Tickets are fi rst come, fi rst served and available starting at 11 a.m. on April 6 at the Arizona Theatre Company box offi ce. Call 622-2823 or visit www.arizonatheatre.org for more information. The show runs from April 3 - 24.

Tucson Homebrew Club meets at Boondocks Lounge, 3306 N. First Ave., to taste beer and share recipes. The club promotes the tradition of brewing beer and intends to improve its members’ knowledge on the brewer’s craft. It is open to “novices, experts and anyone in between.” 7 p.m. Free. 21+. Contact Brian Skerven at [email protected] for more information.

— Katie Gault

Poetry Festival Ignites Tucson VoicesThe longest-running poetry festival in the Southwest

returns Friday and Saturday. The Tucson Poetry Festival celebrates its 28th year with the theme “Poetry Where You Are.” This year’s festival combines readings, workshops and the biggest poetry slam ever to hit Tucson.

A poetry slam is a live performance of poetry by multiple artists. Before you turn your nose up at the idea of a poetry night, recognize that slam poetry is not your grandma’s poetry — unless your grandma is really hardcore. Slam poetry is performance art, so the vocalization and intonation used in delivery is just as important as the written content. Styles range from hip-hop vocalizations to dub rhythmic hymns to

erratic tonal changes.It’s poetry for a rougher generation.The festival boasts an expansive schedule, as well as four

nationally known guest poets. The festival opens Friday with readings at Club Congress at 7 p.m. Scheduled to read are the winner of the High School Poetry Contest and guest poets Manuel Paul Lopez and Gypsee Yo. Later that night, round one of the Poetry Grand Slam begins at 8:30. Presented by Ocotillo Literary Endeavors, the Grand Slam o� ers its victor a cash prize of $1000.

Day two of the festival begins with readings from the High School Poetry Contest in Tucson High’s library at 11 a.m. The festival moves to Fourth Avenue’s Casa Libre at 2:30 p.m. for

three hours of poetry workshops. The � rst hour is with Lopez and Yo, while the second is with guest poets Linda Russo and Sonya Renee. The � nal hour consists of a panel discussion moderated by Paul Fisher.

The festival returns to Club Congress at 7 p.m. for readings from the Statewide Poetry Contest winner, Linda Russo and Sonya Renee. The Grand Slam � nals begin at 8:30 p.m.

Tickets for readings are $10, readings are $5 and the high school readings are free. A pass good for the entire weekend is $25. All tickets are available at the venue on the day of the events. There is no presale.

— Zachary Smith

The Arizona Daily Wildcat had the opportunity to conduct an e-mail interview with poet Manuel Paul Lopez. He was born and raised in the U.S.-Mexico border region of El Centro, Calif., and received degrees from Imperial Valley College, the University of California, San Diego and San Francisco State University. His work has been published in Bilingual Review/La Revista Bilingue, ZYZZYVA, Hanging Loose and Rattle, among others, and anthologized in “Roque Dalton Redux.” He will bring his unique voice to the Tucson Poetry Festival on Friday and Saturday.

What types of poetry do you write? What is your main focus?

I tend to gravitate toward the narrative, because I enjoy story, character and voice so much, I guess. But don’t get me wrong, I respect form, I love form, and I especially like playing with form, experimenting with existing forms, I mean.

How long have you been writing? What drew you to poetry?

I’ve been writing since I was a little mocoso. I also

loved to read as a kid, so the whole excitement with creating my own characters and plot lines followed closely behind. I was one of those kids participating in the summer book clubs at our local library. As far as what drew me to poetry, man, the stuff is infectious. It’s one art form, for me at least, that engages all of my

senses, all of them participating at once. It’s great, great, great stuff! I believe like Roque Dalton “Que la poesia is como el pan de todos.” That poetry, like bread, is for everyone.

What is most important about poetry to you?

Its ability to transcend time, culture, injustice and long-standing oppression.

What do you think attracts other artists to poetry as opposed to other expressive styles?

I think it’s different for everyone, but for me, it’s the music, it’s the deep probing, it’s

the illumination, it’s the silliness. A favorite quote about poetry is one that the poet Li Young Lee has stated, “It’s the dying breath articulated.” Heavy, no?

What brings you to the Grand Slam next week?The excitement. What better way to kick off

National Poetry Month.Fortunately, I was invited by some really great

people associated with the festival, namely Lindsay

Miller, the festival’s executive director. I’m also excited to be part of the statewide high school poetry contest, which is a very important part of the festival.

What material will you be sharing at the event?Some new work, I hope, as well as some

excerpts from my new chapbook called “1984.” And of course, a few from my book “Death of a Mexican and other Poems.”

Why are festivals such as this one important for the artistic community and the uninitiated?

It’s one of the ways to put a fi nger on the current pulse of contemporary American poetry. It’s a way to celebrate its diversity and its myriad ways.

How does the growing hip-hop/rap culture affect the poetry community?

Besides growing, I think the hip-hop/rap culture is constantly evolving, though keeping close to its center the best of what its predecessors had done. I mean, damn, I can’t tell you how many times I’ve said to myself, “This is it. Now I’ve heard it all. Nothing can surpass this.” Then what happens, boom, a new track. As a high school teacher, I read the infl uence in my students’ work all of the time. It’s in the beat, the wordplay, the rapid-fi re allusions, and of course, the rhyme. What’s amazing to me is that I don’t give a shit where you go in the U.S., or even in many parts of the world, you’ll read and hear the infl uence.

Festival guest to share poetry ‘like bread’By Zachary Smith

Arizona Daily Wildcat

Manuel Paul Lopez

From Sheriff Joe Arpaio to Scottsdale snobbery, there’s a lot to make fun of in Arizona.

Luckily, the Second City, Chicago’s premier improv comedy company — and former stomping ground of stars like Tina Fey, Stephen Colbert and Steve Carell — is up for the job. The troupe will perform “The Second City Does Arizona, or Close But No Saguaro,” an original sketch comedy show that runs from Friday to April 24 at the Temple of Music and Art, 330 S. Scott Ave. The show promises a hilarious send-up of all the odd, wonderful and not-so-wonderful aspects of our fair state.

The Second City has traveled to places such as Atlanta, Ga., Washington, D.C. and Philadelphia, Pa. to make fun of the regional idiosyncrasies for home audiences. At least 10 more such shows are currently in the works, said Matthew Loren Cohen, the show’s musical director.

For the Arizona version, writers Ed Furman and Tom Flanigan spent a whirlwind fi ve days in Tucson and Phoenix, soaking up the local culture. They ate Sonoran hot dogs, hobnobbed with politicians and even toured Sheriff Joe’s infamous Tent City Jail. Armed with plenty of material, Furman and Flanigan, along with a handful of other writers and the show’s six performers, composed “Close but No Saguaro.”

Cohen calls the show “a blast.” He wrote two of the fi ve songs, including one about Sen. John McCain. Other Arizona characters featured will include Sheriff Joe, Gov. Jan Brewer, snowbirds and Scottsdalites.

“And yes,” Cohen said, “Alice Cooper does make an appearance.”

The performances will consist of Arizona-specifi c and archive sketch comedy material, musical numbers and improv games. Cohen promises ample opportunity for audience participation. Some performances will also be followed by a free half hour “Improv After Hours” performance from the actors.

The performers are all Second City veterans who promise to be sharp and entertaining. The troupe is excited to visit Arizona and see fi rsthand the raw material that shaped their comedy. “There’s a lot to make fun of, but we’re totally excited to go there,” Cohen said.

Cohen says the writers and performers are aware of a certain amount of rivalry between the two cities in which they’ll perform — the show moves to the Herberger Theater Center in Phoenix after its Tucson run. Because of the semi-improvisational nature of their comedy, the actors will work that rivalry into their material in each city.

“When we’re in one town, we’re going to make the other town look stupider,” Cohen said.

For all those who love Arizona, or love to hate it, this musical comedy is a must-see. Nothing, from illegal immigration to the “dry heat,” escapes the Second City performers and writers’ sharp wit.

Cohen summed up the troupe’s attitude toward the state: “(Arizona is) ripe for skewering.”

Second City’s ‘Close but No Saguaro’ show to needle AZ

By Heather Price-WrightArizona Daily Wildcat

IF YOU GO“Close but

No Saguaro”Temple of Music and Art

330 S. Scott Ave.622-2823

Tickets start at $26

Page 3: Arizona Daily Wildcat — March 31, 2010 WildLife

B3 arizona daily wildcat • wednesday, march 31, 2010 •

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Frozen yogurt, or fro-yo, is all the rage. And for good reason — it’s delicious. The problem with fro-yo is the short lifespan its purveyors seem to have. With the downfall of Penguins and Zwirl, which most people didn’t know existed in Penguins’ spot, it seemed fro-yo would never have a permanent home on University Boulevard. But there is hope. Malibu Yogurt & Ice Cream has opened its doors and seems to have staying power. Well known in the real Malibu, Calif., this chilly-treat shop comes with a solid reputation behind it.

The yogurt shop has a lot to offer. First off, its fro-yo isn’t ice-crystal filled like that of BTO. It is creamy, smooth and enjoyable from start to finish. On top of that, you’ll pay only about $5.50 for a serving of fro-yo with three scoops of toppings — a price

tag lower than the by-the-ounce deal competitors offer.

Not only does Malibu serve fro-yo, but they also offer shaved ices, Caffé Luce coffee and espresso, muffins, cookies, sundaes, shakes, smoothies and a wide variety of regular ice cream. With plenty of flavors of frozen yogurt and a plethora of toppings, there has to be something you love at Malibu. While I am a fro-yo purist, and I stick to my vanilla, there is tart, chocolate, berry flavors, mocha and more. Toppings include mochi, strawberries, raspberries, chocolate chips, Oreo and Gummi Bears to name a few. Malibu offers a true create-your-own experience.

But bikini season is on the way — how can I eat all those sweets? Fear not! Fro-yo is a healthy alternative to traditional ice cream. Each serving offers about a quarter of the calories of ice cream, more protein, less sugar and no fat. If you stick to fruit as your topping and eat your Malibu in

moderation, you’ll still look great in that bikini this summer.

The décor of Malibu is welcoming, fun and summery. The bright colors, surf theme and comfy couches and chairs are perfect to relax on while munching your dessert. The fireplace outside means you can still sit outside on chillier winter nights. And if you use the Zonabucks system, you’ll be happy to know that they are accepted. Malibu is open weekdays until 11 p.m. and weekends until midnight, meaning your late night fro-yo cravings now have a new home. All in all, Malibu has my vote for Tucson’s best fro-yo. It is a must-try on University Boulevard.

As soon as my mom flew in from Chicago, rented a white Chevy Malibu and met me at her sketchy South Tucson hotel, she immediately requested Mexican food. Thinking that Nico’s Taco Shop was the place to take her — but that we’d wait on the super nachos — I got us to the closest Yelp-verified location: East Fort Lowell Road and North Campbell Avenue. Nico’s, we discovered later, had moved down the block, but before us lay Rosa’s Mexican Food, the legendary epitome of Mexican food, nestled between Blockbuster and parking spaces of the strip mall. Hungry and curious, we entered.

Apparently, everyone else did the same just minutes before; it was packed, complete with a table of 15 or so travelers. But the crowd made us hopeful, and the number of options on the menu had us reading for a solid 10 minutes. Upon ordering chicken quesadillas and Rosita’s specialty, we settled in and observed the scene.

The place was plain. Our plastic-topped table was clean but wet and, except for the painted metal roses welded to the seatbacks, the décor was minimal. Beside our table was an Arizona softball poster and several Rosa’s calendars — sold by the month — with a painfully old-school portrait of, presumably, Rosa, surrounded by ads and bordered on the bottom by “Feliz Navidad/Prospero Año” in script. The pamphlet version of the menu touted the restaurant’s founding in 1970 and its 1999, 2000 and 2005 Best of Tucson awards since then. It looked like the reason for the nominations

might have been based on how little the place had changed with the times.

The chips and salsa arrived immediately, followed by a saucer of guacamole — which cost an unnecessary $3.50 and tasted just like the packet-plus-one-avocado kind — and perfect-strength iced tea.

Our food came within 15 minutes, looking plain as the place. The chicken quesadilla ($9) was crispy, its meat the texture of pulled pork, but the sour cream had to be ordered on the side ($1.75) and arrived looking squeezed through a tube like frozen yogurt. Images of Taco Bell whirred through my head. Rosita’s specialty ($10.75) included a tamale, an enchilada and a taco. The taco was unspectacular and the tamale and enchilada were plain but hot and fresh. The sampling, however, would have been better without the “plate” designation, which drowned the items in a soupy mess of cheesy beans.

Adding $1.75 for each iced tea, we spent just more than $30, before the tip; too much for lunch and what my mom continuously called “standard fare.” You have to wonder about a place which has guacamole that tastes whipped and sour cream that bears telltale signs of emerging from a spigot. Especially when the lunch bill is $15 apiece.

All told, Rosa’s has its moments.But we should’ve looked

harder for Nico’s.

I scream, you scream for yogurt

Award-winning Rosa’s just plain plain

By Ali Freedman Arizona Daily Wildcat

By Christy Delehanty Arizona Daily Wildcat

Malibu Yogurt & Ice Cream825 E. University Blvd.

903-2340

Chicken quesadilla $9Side of sour cream $1.75Side of guacamole $3.50Rosita’s specialty $10.75

Iced tea $1.75

1750 E. Fort Lowell Rd.325-0362

11 a.m. - 10 p.m. daily

Lisa Beth Earle/Arizona Daily WildcatRosita’s Special at Rosa’s Mexican Food on the southwest corner of North Campbell Avenue and East Fort Lowell Road.

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Page 4: Arizona Daily Wildcat — March 31, 2010 WildLife

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Are the ’80s fi nally over? Can we now move on to this shiny new decade waiting ahead of us? Goldfrapp’s latest album, Head First , serves as the perfect capstone to all the bands that mined the 1980s for inspiration.

With their 2008 album Seventh Tree , Goldfrapp captured and reinvigorated a strain of folk-inspired ambient music that was coursing through Britain at the time. The duo, comprised of singer Alison Goldfrapp and producer Will Gregory , have returned this time with another change in their musical style. But rather than looking toward post-punk and New Wave mainstays like Gang of Four, Wire and Talking Heads for inspiration, Goldfrapp draws their stylish fl airs from airy synths, italo disco, Giorgio Moroder and pink jumpsuits.

The fi rst single, “Rocket,” leads the album with a sassy start. Goldfrapp sings of sending a former lover off into space against choruses that sparkle like Roman candles thrown across the sky. “Believer ” picks up the pace with even bigger choruses. “Alive” continues the poppy rush with its sugary lyrics and shimmering washes of synth.

What’s remarkable about Head First is its seeming sincerity. The duo sounds as if they truly love the dance-friendly soft rock of the ’80s. The brooding undercurrent of previous albums is mostly missing here, and has been replaced with shiny optimism. “I Wanna Life” brings on episodes of déjà vu of Olivia Newton-John’s “Physical” — a song that

was covered in 2007 by Goldfrapp.

“Hunt” is a notable exception to this rainbow-bright album with lyrics such as: “Every night, every day

/ Making plans for your escape / All you love you destroy / Everyone is your toy.” Another exception is “Shiny and Warm ,” which radiates a dark sultriness that recalls Supernature .

If you’re seeking songs with substance from Goldfrapp, Head First is not the best place to start. But it is perfect for one last spin on the dance fl oor before moving on to the next decade.

I caught Beulah on what turned out to be the San Francisco band’s fi nal tour. The six members, fronted by Miles Kurosky , were playing in Little Brother’s, a bar in Cleveland that was only a few steps above being a dive. It had an elevated stage that gave everyone a good view of the band. Not that getting a good view was a problem: There were only about 35 people, including the bartenders and the soundboard guy.

Here was a band that fans, myself included, touted to friends as “the best band you’ve never heard,” a band which created atypical pop songs that infect

your brain with their music and lyrics. Here was a band that has performed for Conan O’Brien, been interviewed by Rolling Stone magazine, and even took to the stage at my alma mater, Oberlin College, on its fi rst tour. Here was a band that, despite their meticulously crafted songs, was performing with fun abandon, as if their livelihoods depended on it.

It has been six years since that show. Little Brother’s closed its doors in 2007, a victim of the economy and high rent hikes. Beulah called it a day in 2004 due to the members’ personal circumstances. Kurosky continued on, posting his fi rst song as a solo artist, “An Apple for An

Apple,” on his MySpace page in 2008. His debut, The Desert of Shallow Effects, was just released after years of delays due to medical problems and living a life with his wife, whom he met on Beulah’s fi nal tour.

Marriage and the passing years have not dulled Kurosky’s songwriting skills or his voice. Shallow Effects is even more orchestrated than a Beulah album: 29 people performed on nearly

twice that number of instruments. Given the array of players and sounds, the album maintains a surprisingly coherent sound from track to track, thanks to the layered arrangements. (It’s even more surprising after reading about the three-

year ordeal to record the album.)The biggest surprise on Shallow Effects

is that the chorus is often lost amidst the storytelling. As with the music, Shallow Effects is stuffed with lyrics:

Oh it’s true, how I fell in love with things I couldn’t see and germs I couldn’t treat / I fell hard for disease, because it made me feel alive / If God’s always fair then why’s his cupboard always bare? (“An Apple for An Apple”)

Poisoned lips, box offi ce slips, we’re a fl op / Brazen crimes, a heist for you, the captions read we’re through / Please send me to the moon. (“She Was My Dresden”)

Without a hook to hang

onto in each song, the album can intimidate those who have never heard of Kurosky or Beulah. However, for Beulah fans, Shallow Effects represents a welcome return and a promise of more music to come. While he isn’t making the best music you’ve never heard yet, Kurosky is blazing new trails for himself. Here’s hoping that on his next outing Kurosky will attract more than just the converted.

Ladies and gentlemen, for your consideration, courtesy of the Oxford English Dictionary: Twee (twi), a. (and n.): 1. Originally: ‘sweet,’ dainty, chic. Now only in depreciatory use: affectedly dainty or quaint; over-nice, over-refi ned, precious, mawkish.

This is the one word that wholly describes The Bird and The Bee’s new album Interpreting the Masters Vol. 1: A Tribute to Daryl Hall and John Oates. There’s a lot of people who will love this album … and all of them love, or embody, twee. Examples: 10-year-old girls. Soccer moms. Fluffy bunnies. I can see this music on the set of a photoshoot for Limited Too. Or part of a soundtrack for the next big children’s feature fi lm.

But then, let’s just get it out on the table. I don’t like twee that much. Or at least … not to this level. It’s bubblegum, it’s poppy, but it’s overly saccharine. So, I’ll put aside my desire to staple my ears shut for a moment and listen at this

album seriously — or at least fairly. The fi rst track, “Heard it on the Radio,”

is actually a really catchy song. It’s the only original on the album, the rest being covers of Hall and Oates, one of the most popular bands from the 1970s with notable hits such as “Rich Girl,” “Sarah Smiles” and “Maneater,” all of which are on the album along with fi ve tracks from the band.

“Heard it On the Radio” appropriates everything from Hall and Oates’ oeuvre that The Bird and The Bee fi nd useful: heavy, driving baselines, instrumental interludes, and power-chord vocal refrains. Vocalist Inara George croons, “When we � rst kissed / it

made it to my list / And I couldn’t stop myself, / think of nothing else,” as we journey with her into the happy, unstoppable bebop of a new love. It’s catchy and delightful, like a juicy bite of watermelon on a summer day — it’s super sweet, and you can’t help but want more.

The rest of album takes a similarly poppy and synth-laden approach to the

hits. Compared to the originals, several tracks sound strangely vacuous, such as “Sarah Smiles.” George has a great voice, but the vibe is completely changed. But then, it’s a tribute album, not a direct reproduction.

“Maneater” is an interesting track. What was once obviously a cautionary tune has turned into something more poppy and bubbly than anything else. It almost sounds Cyndi Lauper-esque. Well, I guess it’s fun.

I’m not sure how Hall and Oates feel about this album, but their music defi nitely has been injected with a new kind of energy, to say the least. This album isn’t for me. But for those who like the poppiest of pop, they’ll probably fi nd themselves bouncing against the walls in saccharine glee.

By Steven KwanArizona Daily Wildcat

Miles Kurosky The Desert of Shallow Eff ects Majordomo Records Released March 16, 2010

B

Photo courtesy of mileskurosky.com

Ex-Beulah frontman blazes new trails

Local Natives’ album Gorilla Manor is a fiery debut for the Silver Lake, Calif., musicians. With a strong vocal resemblance to folk-crooners Fleet Foxes, as well as heavy, driving percussion and ethereal, plucky guitar, this recently formed band has pinpointed and expanded upon the strengths of some of today’s most popular indie bands.

The opening track, “Wide Eyes,” introduces listeners to the Local Natives’ aesthetic. Heavy percussion mixed with reverberating guitar and breezy vocal harmony plants listeners in what sounds like a tribal trek through a rain-drenched forest — one that is suddenly interrupted by an explosion of synth-

laden chords. It’s mysterious and oddly charming, to say the least.

The next track, “Airplanes,” expands on this playful aesthetic, with oddly ad-libbed guttural yelling included in the beginning of the track. It’s almost too raw — something that sometimes hampers the success of Gorilla Manor; the next track, “Sun Hands,” also devolves into rabid screaming that is somewhat out of genre.

Local Natives smother such moments of rabid passion between plush vocals and structured percussion which almost wipe the listener’s memory of any earlier aggression with velvety loveliness.

Other notable tracks include “Cards & Quarters,” a slow, percussive track that somehow manages to sound fresh despite an almost overpowering

bassline. Heavy basslines are

Local Natives’ specialty, as “Who Knows Who Cares” belts to its listeners. Using strings, horns, glossy guitar, piano and expressive vocal harmonies, the track is a refreshing experience, with shaky cymbals splashing uneasily

throughout.“Who Knows Who Cares”

is smooth like water, tinged with just enough melancholy to leave us a little

uneasy: “Is my life about to change? / Who knows? Who cares?” Suddenly, we’re back in a teenage wasteland of apathy, and it’s cleaner and more beautifully

dissonant than we ever could fashion ourselves. With Gorilla Manor, Local Natives have made a powerful splash on the indie scene.

IF YOU GOLocal Natives

Solar Culture31 E. Toole Ave.April 20, 2010

9 p.m.$8 for all ages

Local Natives debut powerful, passionateBy Kellie Mejdrich

Arizona Daily Wildcat Local NativesGorilla ManorFrenchkiss Records Released Feb. 16, 2010

B+

The Bird and The BeeInterpreting the Masters Vol. 1Blue Note RecordsReleased March 23, 2010

By Kellie MejdrichArizona Daily Wildcat

Twee lords The Bird and The Bee muddle a classic

C+

What is the purpose of a live rock album anymore? In an age of digital disc jockeying, the creation of that perfect playlist no longer involves holding a tape recorder up to the stereo. YouTube can provide instantaneous footage of any concert ever performed — even that rare Zeppelin show from inside Mordor. You probably even have some sort of concert footage locked up as microscopic datum in your cell phone right now.

Whether as a consolation for listeners unable to make it out to a live show or as some source of immediacy that confi rms a band’s existence in the real world, the live album is a staple of rock culture. Metallica recorded themselves with the San Francisco Symphony

Orchestra and literally made baroque rock. The Who made, recorded and sold copies of every live show performed on their last whirlwind tour, making each unique performance a permanent,

tangible rock fi xture. Now, Jack and Meg White provide a live chronicle of their 2007 pan-Canadian odyssey.

Under Great White Northern Lights is a CD/DVD combo assembled from The White Stripes’ comprehensive tour of every province and territory in Canada following their release of Icky Thump in 2007. In an unconventional excursion that landed Jack and Meg gigs at a daycare center, in a moving bus and on a fi shing boat among other exotic Canadian locales, the Stripes solidifi ed their status among the most iconic rock bands of the last decade. Without the DVD footage of their unusual tour, though, how does the CD set itself apart from other live albums?

Unfortunately, it doesn’t — nor do the scratchy, punkish recordings set themselves apart from the Stripes’ already legendary studio efforts.

That’s not to say the mix is unsatisfying.

Northern Lights showcases an impressive diversity of tracks from the band’s career. It opens with the garage-rock explosion “Let’s Shake Hands,” the band’s debut single, charges through the old (“Blue Orchid,” “Black Math”) and the new (“Icky Thump,” “300 M.P.H. Torrential Outpour Blues”), and fi nally ends with the standards “Fell in Love with a Girl” and “We’re Going to Be Friends.” The variety of material does not disappoint; what they do with it — or don’t do with it — more often does.

Bands are sometimes criticized in live performances for sounding nothing like their recordings. Northern Lights often suffers from the opposite condition: Songs provide absolutely no variety from album versions. They just sound more abrasive on noise-cancelling headphones.

There are exceptions, for better and worse. “Ball and Biscuit,” one of the Stripes’ quintessential freak-out blues numbers is reduced from the marathon seven-minute album version to a cursory three-minute jam that scarcely maintains the feel of the original. The potential to launch into an incendiary blues guitar solo seems overlooked.

“Fell in Love with a Girl,” on the other hand, is performed at a reduced tempo, transforming it into a soulful R&B groove that gets the entire theater moaning along to the chorus.

A seven-minute version of “Seven Nation Army” looks promising as the encore, but actually does not deviate from the album version, and fi lls in the excess time with trilling synthesizer riffs and a bagpipe coda.

Grievances aside, a live album does not need to alter every track to be successful. What makes Northern Lights a worthy contender for your attention is the same thing that makes each White Stripes album a bestseller: Jack White.

Jack’s voice warbles and cracks like a lo-fi speaker in the ballad “Jolene,” and his mastery of the quick, catchy guitar lead explodes out of “I’m Slowly Turning Into You.” Jack is no less

badass in these live cuts than in the studio. But he is no more badass either, and that is where the album loses points.

So, given the ability of any listener to assemble a White Stripes playlist comprised of higher-quality versions of all the material off of Northern Lights, what’s the appeal? The same appeal associated with any live album: an escape, if but for 90 minutes, into a musical moment in history. Just do yourselves one favor, White Stripes fans: Make sure you get the DVD too.

By Steven KwanArizona Daily Wildcat

Goldfrapp’s newest a peppy ’80s throwback

GoldfrappHead FirstMute Records Released March 23, 2010

B+

By Brandon SpecktorArizona Daily Wildcat

B

Photo courtesy of Bitterwallet.com

Live White Stripes stay inside the lines

The White StripesUnder Great White Northern LightsThird Man Records Released March 16, 2010

cd reviews

Page 5: Arizona Daily Wildcat — March 31, 2010 WildLife

B6 • wednesday, march 31, 2010 • arizona daily wildcat

Ads for “Greenberg” promise a Ben Stiller you’ve never seen before. That’s not entirely true. Stiller’s stint as 40-year-old, newly discharged mental patient Roger Greenberg brims with the self-centeredness of Derek Zoolander, the social gracelessness of Gaylord Focker and the misguided ambitions of “Arrested Development” illusionist Tony Wonder. Most of all, though, like widower Chas from “The Royal Tenenbaums,” Roger is damaged.

The fi lm from Noah Baumbach, director of “The Squid and the Whale” and Wes Anderson’s co-writer on

“Fantastic Mr. Fox,” is nothing short of awkward. An awkward man pursues an awkward girl in the awkward metropolis of Los Angeles. Generation gaps, arbitrary social customs and a dog with an autoimmune disease all complicate the courtship.

After 15 minutes of exposition that introduces Florence (Greta Gerwig) , a 24-year-old professional assistant to the wealthy Greenberg family, the awkward romance begins. Roger is fresh out of an asylum, and is a guest in the lavish home of his brother’s family while they gallivant through Vietnam. Florence walks the family’s German shepherd, Mahler, and takes care of Roger’s shopping

lists, populated in an early scene exclusively by ice cream sandwiches and whiskey.

Their chemistry is strained from their fi rst meeting, where Roger references a dated song by The Trammps that Florence apparently has not committed to her CD library. Their fi rst (abrupt) sexual encounter a few days later is about as embarrassing as a Holocaust joke. That two so vastly unlike individuals begin falling in love with each other is a bit unbelievable but nevertheless

drives the narrative through a snarky gauntlet of psychodrama and daily heartbreaks before reaching the romantic end.

Transplanting an actor known for his comedic roles into a serious role is a big risk, but when done right

it can pay dividends (see Jim Carrey in “Eternal Sunshine of the Spotless Mind.” ) As Roger Greenberg, Stiller is a master of appearing as either a tragically sympathetic lonely-heart or a contemptible jackass, depending on the scene.

We hate him for verbally assaulting Florence for telling a juvenile story. We love him for verbally assaulting Starbucks and American Airlines with scathing complaint letters. We hate him for toying with Florence’s heart. We love him for exposing his own in an endearing, coke-induced voicemail.

Just as indispensible as Stiller’s performance, though, is Gerwig’s. The young talent most recently known for her tortured role in “The House of the Devil” beautifully counterbalances Roger’s inconsistency. As Florence, she is sincere, open and a little on the nerdy side (“I’m wearing kind of an ugly bra,” she confesses sheepishly upon fi rst fondling with Roger). Whether dancing drunk in nylon tights, giving Roger secondhand children’s marionettes for his birthday or nursing an ailing Mahler back to health, Florence

is irresistibly adorable and charmingly childish. The biggest mistake of the fi lm is neglecting her for a good 20-minute segment toward the end.

Ultimately, what binds Roger and Florence is their mutual terror of aging. Roger never stops questioning where the hell his life has gone; Florence never stops worrying where the hell her life is going. Though the initial attraction between Roger and Florence is scarcely explained and audiences are doomed to watch Roger repeat the same misanthropic mistakes over and over, “Greenberg” is endearing, smartly written and superbly casted. This untraditional romantic comedy is essential viewing for Baumbach fans, confused post-grads and anyone who has ever gone crazy or been in love. It may not be a unique role for Ben Stiller, but it is easily one of his best.

Dragons are, without a doubt, one of the cutest pets you could have. Sure, feeding is a bit trying and apartments are defi nitely a no-go for living arrangement, but there are perks. For instance, if you have a date, you can say, “No sweat. I’ve got a dragon.” Nothing says romance like soaring above the clouds. Plus, you have easy transportation and automatic win status in the “my dog’s bigger than your dog” contest.

Unfortunately, owning a pet dragon is a wee bit diffi cult for Hiccup . Why? Because he’s a Viking teenager. And what do Vikings do? Kill dragons.

With anatomy closer to that of a praying mantis than the beefy physique of his Norse kin, Hiccup (Jay Baruchel) has it rough. His closed-minded father (Gerard Butler ), with a huge red beard and thick Scottish brogue, is the village chief and doesn’t understand his son at all. Hiccup has equal bad

luck with his fellow adolescents — a bunch of memorable oddballs supported by a stellar voice cast (Jonah Hill, America Ferrera, Christopher Mintz-Plasse and Kristen Wiig to name a few).

When Hiccup brings down a dragon, he is thrilled to fi nally get a chance to show the village he can be just as adrenaline-seeking, testosterone-fi lled and fi ercely stupid as the rest of them. The only problem is that he just can’t plunge his knife into the frightened dragon. Instead, the two bond and cuteness abounds.

The confl ict of “How to Train Your Dragon” stems from the tension between a rising reputation in dragon training and Hiccup’s loyalty to his newfound friend. When

the source of the dragon’s constant raiding of the village is discovered by Hiccup, our scrawny protagonist goes out to show everyone that dragons are not quite the evil creatures everyone thought them to be.

It’s evident that the art department had a lot of fun when creating the movie. The dragons are particularly amazing; from bulbous dragons

to serpentine fi ends, the attention to detail shines through every scale and fl ame. Hiccup’s dragon, Toothless , is completely

adorable. The wider the eyes, the faster your heart will melt.

Why see it in 3-D? Same reason why you donned the oh-so-trendy glasses to watch “Avatar” : the fl ying. Whirling among peachy

clouds to witness fi ery aerial battle sequences or dreamy evening fl ights are some of the best moments in the movie.

It’s fair to assume some moral heavy-handedness when watching a kid’s movie. But, by Odin’s beard, does this fi lm really push it. First, Hiccup is his father’s son. Then he isn’t — he’s just a disappointment. Now he’s the apparent village hero. Oops, he’s disowned. Boohoo, nobody understands him, yet he’ll “be himself” and everyone will eventually love him. Really guys? That’s original.

While it is a decent animated children’s movie, college students are clearly not the intended audience. “How to Train Your Dragon” lacks the relatable humor of “Kung Fu Panda” and the amazing writing from “Up.” A lack of emotional tendrils beyond generic teenage angst might isolate young adults. In the end, while having a dragon as a pet may be awesome, the movie certainly isn’t.

Despite its large aspirations, “Un Prophète” is really a humble fi lm. There are no large-scale shootouts, no enormous production value and no exotic locales. The moral of the story is time-honored, and the acting is understated. Compared to Mafi oso classics like “The Godfather” and “Goodfellas,” “Un Prophète” seems reserved and simple.

It also happens to be on par with both of those fi lms.

“Un Prophète” is unlike any previous Mafi oso fi lm. It focuses on the rise of one man within a sect of the Corsican mob. The twist is that the man is a French-Arab prisoner named Malik El Djebena (Tahar Rahim) who has no desire to enter the Mafi a. Forced into the role of assassin by the Mafi a’s leader, Malik coyly rises through the ranks over the course of his prison sentence.

Set almost entirely in a French prison, the fi lm does so much with a paper-thin plot. One man’s ascension through the ranks is not cutting-edge material, but director Jacques Audiard squeezes limitless tension from powerful acting and a foreboding atmosphere.

The confi nements of the

prison setting give Audiard a lot to work with in terms of pacing and mood. He alternates between slick montages and looming set pieces, presenting prison life as a perverse

routine that caroms across the fi bers of time with unscheduled alterations. The result is a fi lm

of epic scope, presented in a deeply personal manner.

Rahim’s performance as Malik is the cornerstone of the fi lm. Thrust into a situation far

beyond his comprehension, Malik has no business with the Corsicans. Uncomfortable being their lapdog, Malik manipulates the entire prison through his

race relations and unforeseen guile. Rahim’s performance is mesmerizing, as his chameleonic transformation carries so much dramatic inertia that it becomes nearly incomparable.

Malik’s trajectory is horrifying, riveting and satisfying. As a character, Malik is tremendously likable. His desires are genuine

and his morality resonates as sympathetic and paradigmatic of a prisoner. Malik is not a saint, but his initial acts of violence are not out of evil. The complexity of his character’s actions defi nes the fi lm’s rich source of heart.

Malik’s nearly prophetic abilities lend the fi lm its title. He speaks to the dead and suffers bizarre night terrors. The prophetic angle is unabashedly creative and occasionally heightens the fi lm’s brooding morality. Malik grows as both a disturbed and enlightened character, capable of performing extreme brutalities and magnanimous acts. The prophecies are sometimes pretentious, with the sole purpose of adding artistic fl ourishes to the fi lm.

It almost felt as though Audiard was injecting the fi lm with unnecessary artistic angles to escape the drab prison setting. These moments felt disingenuous, as the fi lm’s rote setting does nothing to detract from the audience’s enjoyment or the fi lm’s poignancy.

These are minor quibbles with a major fi lm. A lot of people are going to miss this one because it’s foreign and in art houses. Do not be one of those people. This is a crime fi lm of the highest order — one that achieves greatness through expert storytelling and remarkable acting.

(In French, Arabic and Italian with English subtitles)

Photo courtesy of focusfeatures.com

Photo courtesy of Paramount Pictures

Photo courtesy of Outnow.ch

Smart cast defi nes awkward ‘Greenberg’

‘A Prophet’ worth following

‘How to Train Your Dragon’ doesn’t soarChris Sanders and Dean DeBloisHow to Train Your DragonDream Works AnimationReleased March 26, 2010

Noah BaumbachGreenbergFocus FeaturesReleased March 26, 2010

Jacques AudiardUn ProphèteSony Pictures ClassicsReleased March 26, 2010

C+

B+

A-

By Kathleen RoosaArizona Daily Wildcat

By Brandon SpecktorArizona Daily Wildcat

By Zachary SmithArizona Daily Wildcat

Page 6: Arizona Daily Wildcat — March 31, 2010 WildLife

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B8 • wednesday, march 31, 2010 • arizona daily wildcat

Jeff Goldblatt is probably not a name you know, but you may have called his phone number before. I know I have. Creator of the Rejection Hotline, Goldblatt operates Humor Hotlines, a business dedicated to the creation and dissemination of phony phone numbers. He is responsible for many crushed suitors who have been denied access to a fair maiden’s cell number.

Goldblatt’s career trajectory is a bit of a cosmic prank. In a phone interview, he said, “I put up the rejection hotline as a joke. My friends thought it was funny and told their friends, and they thought it was funny. Next thing we knew, it was getting thousands of calls a day. It just took off virally. I’ve always been a little bit of a wise-ass, and I kind of just turned that into my profession.”

After a few years, Goldblatt created more funny hotlines for the newly minted company Humor Hotlines. Now they have about 100 hotlines and receive 59 million calls a year. With hotlines ranging from How to Keep an Idiot Occupied to the Outsource a Friendship to India hotline, the company reaches a large cross-section of humor styles.

Naturally, April Fool’s Day is one of the company’s strongest showings. Goldblatt has even created a number specifi cally for the day.

“Last year, we put up the offi cial April Fool’s Day Assistant hotline, which is just a number that anybody can use. It’s more of a broad number that, no matter what they were told to call the number for, they realize they were the victim of a prank,” he said.

The company continues to grow, launching three new humor hotlines every month. It notifi es its fanbase with a text message, alerting the deviant

youth of the world that new numbers are available for their twisted means.

The growth of social media has provided pranksters with new opportunities. Goldblatt related such a story: “We had one random Thursday in December of last year where somebody

made a post on Twitter that Best Buy was giving away $500 gift cards to the fi rst 5,000 people who called the number. They posted the number to our How to Keep an Idiot Occupied hotline and people kept retweeting it. It got retweeted like 3,000 times. We ended up getting 1.8 million calls that day.”

Perhaps Goldblatt’s greatest prank is the propagation of his company through its basic premise. When someone gives

out one of Humor Hotlines’ numbers, they are providing not only business but advertisement. It is business if the victim of the prank calls the number. But if that victim likes the joke and chooses to pass it on, the original act was one of advertising.

Despite creating such an insidious company, Goldblatt said he does not even pull that many pranks. “It’s been a while since I actually pulled a prank on somebody. I usually just provide the outlet for other people to prank someone,” he said.

Be wary tomorrow. Goldblatt’s work is everywhere, whether he admits it or not.

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It happens to the best of us. It’s two in the morning on a Wednesday and that paper is looking oh-so unappealing. You’re prowling the Web and end up on YouTube, the repository for all things funny and stupid. Naturally.

Next time, watch some literal music videos, one of the best video trends in recent years. The first of its kind — Dustin McLean’s redub of “Take on Me” by A-ha — appeared on the scene in late 2008. Within months, dozens of other users created their own literal adaptations.

In a literal music video, the original lyrics are replaced with lyrics that actually express the video’s visuals, often describing the setting and characters’ actions. So, that random guy in the angel outfi t that keeps popping up for no reason … yeah, they’ll make fun of that.

There are three “must-sees” in the literal music video world. As the fi rst of the movement, “Take on Me,” set a high bar for followers. The female protagonist falls in love with a comic book character, later plunging into a sketched world. Talk about some amazing (not really) animation.

With almost seven million views, perhaps the best is David A. Scott’s redub of Bonnie Tyler’s “Total Eclipse of the Heart.” The music video’s visually symbolic acrobatics make absolutely no sense, making it a prime target for a literal music video. It’s a montage of random characters (dancing ninjas, toasting yuppies and choir boys with glowing eyes) and blatant motifs (fl ying doves and red cloths fl oating in the breeze).

There’s also a pretty funny version of Tears for Fears’ “Head over Heels.” The singer’s voice is strong, perfecting the husky and soaring falsettos. The new lyrics are hilarious, deliberately focusing on the odd images: “What’s happening with that monkey? / What is with this gas

mask? / This is a strange library.” ’80s and ’90s music videos are

fantastic subjects for satire. As they became the industry norm, artists fi rst had the opportunity to transform their songs into a visual format. The result: a smorgasbord of bad metaphors that nobody understands.

There are rules to making a good literal music video. First, pick something with a lot of illogical imagery or lots of action. A truly atrocious version of “You’re Beautiful,” consisting of a tedious discussion of James Blunt’s facial movements is a good example of what not to do.

There is also the singing, often the make-or-break point. A good literal music video must mimic the tone and infl ections of the original song. A whiny teenager with a voice like shattering glass, regardless of editing skill, is not worth a view.

Unfortunately, copyright claims from a variety of music groups have shut down most of the videos on the Web, which doesn’t make much sense. How many 30-year-old music videos do people watch these days anyway? It seems like leaving the

literal music videos on the Web site would actually increase views of the original, if anything.

Literal videos are increasing their scope from music videos and onto other subjects. A fantastic example is titled “Academy Award Winning Movie Trailer,” created by a duo of young men called BriTANicK . After only three weeks on YouTube, the trailer already has 1.3 million views. Not only is the fi lm editing amazing, but the actors play their generic parts with fl air. It is hilarious, pointing out the clichés of trailers, such as including the “inspiring fi nal lines of a speech that douchebags will quote in their Facebook profi les.” It’s defi nitely worth a view. The Onion also has satirized news reports. Again, very funny.

Now you’re equipped with another weapon when one-upping your friends in the who-knows-the-funniest-video contest. Literal music videos are awkward, comical and just so appropriate. It’s just a shame there aren’t more current videos on the net. Imagine a literal video version to Lady Gaga. Really, any of her music videos would do. That would be epic. Think about it.

SURREAL SUR REAL

Lisa Beth Earle/Arizona Daily WildcatSur Real, the Latin-inspired restaurant located on North Campbell Avenue and East Skyline Drive, is full of bar-goers on Saturday. Sur Real hosts its Late Night Lounge from 10 p.m. to 2 a.m. on Fridays with ’70s and ’80s music, Saturdays with live salsa music and Sundays with a DJ.

Literal music videos truly funny Prankster pro� ts from dirty deeds

By Zachary SmithArizona Daily Wildcat

By Kathleen RoosaArizona Daily Wildcat

A screen capture from David A. Scott’s redub of Bonnie Tyler’s ‘Total Eclipse of the Heart.’Jeff GoldblattCreator of the

Rejection Hotline

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ARIZONA STUDENT MEDIA THE DAILY WILDCAT · 2019-04-25 · WHO WE ARE. T. The Daily Wildcat is more daily than ever. UATV Channel 3 & KAMP Student Radio. ARIZONA STUDENT MEDIA. Arizona

ARIZONA STUDENT MEDIA THE DAILY WILDCAT · 2019-04-25 · WHO WE ARE. T. The Daily Wildcat is more daily than ever. UATV Channel 3 & KAMP Student Radio. ARIZONA STUDENT MEDIA. Arizona

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Pointe Parkway atilUUUlUUUIU'U Wildcat Springs Oasis Wave ......Pointe Parkway atilUUUlUUUIU'U Wildcat Springs Oasis Wave Pool & Oasis Bar Caliente Springs Slide Canyon Tower Arizona

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Arizona Wildlife · The Arizona Wildlife Federation welcomes stories, art and photographic contributions. We will consider, but assume no responsibility for unsolicited proposals,

Arizona Wildlife · The Arizona Wildlife Federation welcomes stories, art and photographic contributions. We will consider, but assume no responsibility for unsolicited proposals,