A life within a play within a film:How Charlie Kaufman created a parallel universe and got lost inside

Slifka Scholars contemplate coexistence

End Note, page 11

The Beatles have decided to allow their songs to be used in a Rock Band like video game.

V o l u m e I I I , N u m b e r I X C e l e b r a t i n g t h e P r e C i o u s h u m a n t a P e s t r y o C t o b e r 3 1 , 2 0 0 8

IN THISISSUE:

Celebrities rap to the tune of Obama

Voices, page 9

DID YOU KNOW?

I’m jealous of Charlie Kaufman. What other writer has the power to pen thor-oughly demented stories and receive mas-sive budgets as well as extraordinary actors to bring them to life?

The author of Eternal Sunshine of the Spotless Mind and Being John Malkovich has always received surprising support from major studios who’d normally rather produce a star-studded sequel than an artsy, intellectual exploration. He usually does so, however, with other directors like Michel Gondry or Spike Jonze at the helm. For his latest work, entitled Synecdoche, New York, Kaufman finally takes his seat in the director’s chair with predictably unpre-dictable results.

The film chronicles the life of Caden Cotard (Phillip Seymour Hoffman), a hap-less, frustrated regional theater director whose demise seems to lurk around every corner. After his successful artist wife, Adele Lack (Catherine Keener), abandons him with their daughter to pursue a career in Germany, Cotard’s fragile existence begins to go crumble. As his bodily func-tions gradually shut down due to some

BY MAXWELL PRICEEditor

mysterious illness, the struggling director tries to construct a gargantuan theater piece to mimic his real life and network of relationships.

It’s hard not to see Kaufman in Cotard’s character, especially since Kaufman has made a career out of collapsing such dis-tinctions. Cotard inhabits an uncomfort-able middle ground between Heidegger’s Being-Unto-Death and the existentially fraught Charlie Brown. The director seems to possess terrible luck as his body deterio-rates and his relationships end in abandon-ment such that by the finale the audience can’t help but exclaim, “good grief!”

A Kaufman film viewer always expects his brain waves to play hopscotch as he navigates intersecting planes of reality, but the heart rarely gets as much consideration. The unbelievable and unbelievably large cast gets credit for lifting the production above intellectual mind games and into the realms of human emotion.

Hoffman deserves a lifetime achieve-ment award for exploring every facet of suffering with grace and compassion in the fictional lifespan of the film’s protagonist. He manages to pull more genuine feeling out of every scene than most actors muster in an entire film.

Samantha Morton, who plays Cotard’s

lifetime companion, Hazel, makes a vapid, doting woman seem lovable. And Catherine Keener injects enough humanity into Adele that the otherwise steely artiste seems multidimensional.

The film’s other miracle is the theater set, which acts as Cotard’s mental universe and a collage of New York streets. It manages to display the feeble-ness of the protagonist’s psyche just as it manifests the resilience of his imagination.

The film’s one major flaw is its dogged insistence on hammer-ing the oppressiveness of mor-tality into the viewer’s mind. While it’s hard to soft pedal a trope like the inevitability of death, the directors’ (Cotard and his creators) obsession often make the tone feel mono-chromatic.

In the end it remains the viewer’s challenge to decide what takes place within Cotard’s mind and what is occurring in objective reality. It is this solip-sistic murkiness that gives the film intellectual heft.

But no matter what you

decide is going on in Cotard’s head, you’ll never forget in whose head the whole laby-rinthine world of Synecdoche, New York originated.

Review: Saturday Night worth a Saturday night?

One of the things I like about seeing shows in college is the opportunity to watch the same actors in a variety of per-formances and roles. This really allows them to display their talents and versatility as masters of their craft and in general, this is a very enjoyable aspect to college theater. The down side to this, however, is that once you see these people perform, you begin to understand and appreciate their ability; this becomes negative when the actors are presented with work that does not allow them to make full use of their own abilities. You feel let down and cheated because you understand the poten-tial of what might have been. This was my experience with Saturday Night, a play put on by the Brandeis Theatre Company.

The play itself is a very early, very obscure work of the now famous Stephen Sondheim and has all the tell-tale signs of such. The songs are simple, the harmonies safe, and the story line is fairly predictable. The main character gets into trouble and then gets into more trouble trying to get out of trouble; he gets saved at the last minute and, in doing so, erases a major character flaw, and everyone is happy.

In short, there’s a reason no one has heard of this play. It’s not bad, but it’s not

all that spectacular either.That being said, I did manage to enjoy

myself. I admit, this was partly because I was immensely amused by watching peo-ple I know bounce around the stage, wav-ing their arms around, performing dance moves that I’m sure have names but for the life of me couldn’t tell you. On the other hand, I probably would have been less amused and more confused had the dancers NOT been acquaintances of mine. On a more serious note, although I was disappointed with the show I was heart-ened to see how the actors responded in their attempts to revive a flat-lined show. Every actor really put in their all to make this performance their own, and it showed. The energy that exuded from the stage was enough to make anyone smile.

The two leads, played by Robert St. Laurence ‘11 and Olivia Mell ‘09, had as much chemistry as their parts allowed. They played each dimension of their multi-faceted characters flawlessly. Two other performances of note were those of Ashley Sauerhof ‘09 and Gavi Young ‘09. The equa-tion worked like this: they spoke, I laughed. They both truly embraced their

roles and made the most of what they had to work with, with resounding success.

The one qualm I would say I had with the performances was the way that the actors used accents. While there were some who uttered every last syllable like a native Brooklynite, many others in the cast would slip in and out of the dialect, especially during musical numbers. This is not, by far, the worst thing that could happen, but if they went through the trouble of using the accents, slipping out of them momen-tarily shattered the illusion they worked so hard to create.

Overall, I would say the actors should be very proud of their accomplishments. Not every show can change the world and not every audience will leave enlightened. I had fun. Plain and simple. However, as this play shows us, our Saturday nights are pre-cious and should be treated as such. Would I spend one of mine at this show? Probably not. Any other time? Yeah I got a few hours to spare…

BY ANDREW LITWINSpecial to Diverse City

PHOTO COURTESY OF Deirdre McCabe

Every actor really put in their all to make this performance their own, and it showed. The energy that exuded from the stage was enough to make anyone smile.

October 31, 2008 Diverse City 9

VOICES

By the time you read this, election day will be only 4 days away. As it approaches, I’m becoming both more excited and far more nervous. My absentee ballot has, of course, been mailed long ago, and I’ve been looking back over the campaigns. One of the things I find most interesting about the Obama campaign is the tremendous response of the art world. There’s the ubiq-uitous “HOPE” poster designed by Shepard Fairey, which features a stylized image of Obama in white, red, and blue. But this election season has also marked the rebirth of the political campaign song.

Almost a year ago on Lil’ Wayne’s Da Drought 3 mixtape, Juelz Santana stumped, “young Barack Obama, I’m all for it” on “Black Republicans.” And just two days ago, M.I.A.’s How Many Votes Fix EP included Jay-Z’s remix of “Boyz.” Jay implores, in a staccato voice over that “Boyz” tribal beat, “Gotta get Bush out of the chair/Give Obama the floor” and instructing us, “politicians don’t give a s***/The hustler getting ignored.” Most potently, Jay pleads, “American dream don’t last through the night/American pie, can I get a bite?” Even Jay, “the hood’s Barack,” with “A Billi” echoes the nation’s anxiety in the wake of this economic crisis.

Nas strikes a different note for Obama in the track “Black President.” The chorus samples Tupac Shakur’s “Changes”; “And though it seems heaven-sent/We ain’t ready to have a black president” and follows it with John Legend echoing the Obama campaign’s message: “Yes we can/Change the world.” Nas addresses the concerns of an assassination of a black president and a surge in white supremacist activity, as well as the issues of economic strife in black urban communities. But then Nas contin-ues, “I think Obama provides hope/And challenges minds or all races and colours/To erase hate, and try to love one another/So many political snakes/We in need of a

break/I’m thinking I can trust this brother.” The song begins with an excerpt from Obama’s speech and concludes, “It is my distinct honor and privilege to introduce to you the next president of the United States, Barack Obama.”

Nas’s circumspect endorsement is so powerful precisely because it artfully flips that Tupac sample. “Changes” addresses the sometimes hopeless situation faced by underprivileged urban minorities, includ-ing racism and drug use. Tupac pleads, “We got to make a change,” but concludes, “That’s just the way it is...some things never change” and while Nas sounds simi-lar notes of realism, he also introduces a cautious optimism. Barack Obama’s presi-dency, Nas argues, could be an oppor-

tunity for improvement in the poorest and most violent sectors of the United States. More importantly, though, Nas is not viewing Obama himself as the sole source for change. Rather, it is the idea of energizing youth to be politically active with the Obama presidency that will also provoke change on a local level: “We ain’t got no governors coming through to help/Anything we need, we gotta do for self.”

The most controversial hip-hop men-tion of Obama’s candidacy has of course been by Ludacris, whose track “Obama Is Here” was quickly seized by commentators as an example of vulgar and offensive rap lyrics. Ludacris takes a swipe at various politicians: “McCain don’t belong in any chair unless he’s paralyzed/Yeah I said it,

A different kind of campaign

BY DANIELLE GEWURZEditor

With the Presidential election just four days away, political campaigners are show-ing no signs of slowing down in the race to ensure that their preferred candidate wins.

After all, “it isn’t over until the fat lady sings,” or until you garner the public sup-port of a few big-name celebrities as many campaigns and voting drives have shown.

Barack Obama’s campaign brought out former Sopranos star Edie Falco yesterday in Greensboro, NC, to encourage people to volunteer for the campaign, even though the road to the election is rapidly shrink-ing.

Falco is just the beginning of a long list of celebrities who have leant their public persona to the cause of their favorite politi-cian. From actor Robert DeNiro to media mogul Oprah Winfrey to rapper 50 Cent to NASCAR legend Junior Johnson, celebri-ties of every type, have been coming out to show their support for Senator Obama.

While the entertainment industry tends to be overwhelmingly liberal, there are a few celebrities who have expressed their right wing leanings in spite of peer pressure to the contrary. Actors Sylvester Stallone, Tom Selleck, and Rip Torn have all voiced their support for McCain. However, these

celebrity names hardly lend the same glam-orous air to the candidate as those endorse-ments garnered by the Obama campaign.

One endorsement of McCain that does stand out in particular and took many by surprise is that of reggaeton singer Daddy Yankee.

Announcing his endorsement in a sur-prise appearance with Senator McCain at a Phoenix high school, Daddy Yankee said, “I believe in his ideals and his proposals. He’s been a fighter for the Hispanic com-munity. He’s been a fighter for the immi-gration issue.”

Perhaps the most comical celebrity endorsement of a Republican candidate was Chuck Norris’s endorsement of Mike Huckabee. The candidate even went so far as to film videos with the celebrity that utilized “Chuck Norris facts”— satiri-cal statements about Norris that typically hyperbolize his manliness, strength and virility. One Huckabee-approved campaign ad features the governor and Norris relay-ing facts about each other back and forth. While Huckabee states that “when Chuck Norris does a push-up, he isn’t lifting him-self up; he’s pushing the earth down,” Norris replies, “Mike is a principled, authentic conservative.”

However, Republican vice presiden-tial nominee Sarah Palin has admitted to

the difficulty the right has experienced in securing celebrity endorsements. At a fundraiser last month, Palin said, “We were making a list of who are some celebrity singers who could come out and help us and, gosh, for the life of us, the pickings were slim there. Who’s quasi-conservative out there in the celebrity land?”

However, some celebrities have decided to remain removed from partisan politics and simply encourage people to get out to the polls Tuesday. British singer, Joss Stone, will be teaming up with the non-partisan organization, HeadCount, to register vot-ers and encourage them to vote.

Declare Yourself, another non-partisan organization with the goal of bringing out the youth vote, has released a series of

popular viral videos featuring a slew of top Hollywood actors, ranging from Harrison Ford to Shia LeBeouf, that uses reverse psychology to get out the vote.

Whether it’s simply popping up in a photograph beside a candidate or person-ally writing a New York Times column lauding the candidate’s platform (as Bruce Springsteen did four years ago in support of Democratic presidential nominee John Kerry) or becoming a YouTube star in their own right, it seems that celebrities are becoming a integral component of any political campaign. We’ll just have to wait for Tuesday’s results to see if this compo-nent has a value greater than increased publicity and is capable of actually swaying political beliefs.

because Bush is mentally handicapped.” The swift response of media attention led Obama, who stated that he did have some Ludacris songs on his iPod, to repudiate the lyrics and publicly disassociate himself from the track.

In spite of that controversy, though, Barack Obama did not come off the same way Bill Clinton did in denouncing Sister Souljah in 1992. Clinton and his advisors saw drastic losses of moderate votes due to his association with her, leading him to sharply distance himself from her. While Obama did take action with Reverend Wright, he has not repudiated rappers in a forceful way, instead reaching out to both Kanye West and Jay-Z.

Nor is the outpouring of support based exclusively on race. Jay-Z and Nas invoke the idea of the “other” as those ignored and shunted off to the side though in greatest need of help, most notably in Nas’s refer-ence to “Changes.” Obama appeals to that viewpoint, in my mind, in two distinct ways. First, Obama himself, as not only the first black candidate for president on a major party ticket, but as “the skinny kid with a funny name who believes that America has a place for him too” appeals to the same sense of “otherness.”

Second, on an ideological basis Obama has made a point of trying to overcome divisions between discrete groups in the electorate. The campaign has been reach-ing out to groups historically underrepre-sented, and this year, looks to have record numbers of black and first time voters. That’s why this year’s flurry of songs have been so encouraging. In a year where voter turnout may actually top this nation’s record high from 1960, it is hard to believe that is not in part due to political involve-ment from those who have not spoken out nearly as much, if at all, in previous years.

And if “Black President” turns out to be YouTube’s answer to “Tippecanoe, and Tyler Too,” well, if it works as well as it did for Harrison, then that would be just fine with me.

A good-rap: Song writers praise Obama’s candidacy

Obama’s celebrity support strong with four days to goBY SRI KUEHNLENZ

Editor

10 Diverse City

CHORUSOctober 31, 2008

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This is not a personal advertisement. I write this dis-claimer because what follows may seem as though it is ripped from some sad singles website or the classified section of the Sunday newspaper. I promise that despite what it seems like, this is not a desperate attempt to elicit phone numbers from the opposite sex (although I could see where one could get that from). Thus, I will continue.

The truth of the matter is that I like to think of myself as a pretty cool person. Before I extend to the reader as to why I have narcissistically decided that I am “pretty cool” I will first lay down some facts about myself. It is important to remember that these are all proven facts and not just my vivid imagination building myself up as something I am not (although I could also see where one could get that from). Firstly, I’m a pop culture savvy person. Seriously, if Who Wants to be a Millionaire ever becomes popular again don’t hesitate to call me if you’re having a problem deciphering the name of the actress who now appears on CW’s Privileged, was on a youth talent competition (American Juniors), and will soon be starring in a movie alongside Hillary Duff ’s sister Haylie Duff. (Her name is Lucy Hale by the way. Cool how I knew that, right?)

Secondly, when the mood is right, I can bust a mean freestyle rap (forgive the usage of the word mean, that was not cool). Finally, if you’re looking for the more classic cool (think James Dean), of the two fights I’ve had in my life (both of which took place with my own friend), I’m pretty sure that I was the consensus winner in at least one of them.

So I’m at least sort of cool, right? (I’m just going to pre-tend we agree). So then you can understand why I was so astounded when I realized that my parents are in fact far cooler than I am.

This is also not a personal advertisement for my parents (they are very happy, thank you). The fact of the matter is that when it came to the important things in life (such as what television show one watches) I always thought I had my parents beat. My parents watch three shows consis-tently. They treat themselves to Lost, Fringe, and Battlestar Galatica. All critically acclaimed shows, however, arguably all middle of the road when it comes to television trendi-ness. So when my parents informed me that the Tivo had broken and that they were unsure of when they would be able to watch 30 Rock my jaw dropped (as much as it could early in the morning on a Sunday).

For some it would be hard to write a preview for a show they’ve never seen. However, I’ve heard from enough sources (namely members of my family) that 30 Rock is simply a show that demands to be watched. From the few clips I’ve seen as well as the in depth lectures that I’ve received about it, I know that the writing is always spec-tacularly witty and on point. How could it not be, with Tina Fey as the creator.

This summer I even thought seriously about going to Fey’s film, Baby Mama, for the sole purpose of seeing her in a lead role. I also know that Tracy Morgan and Jack McBrayer star in the show, both of whom I have thorough-ly enjoyed in other roles (McBrayer in Forgetting Sarah Marshall and Morgan on Saturday Night Live).

However, the true reason that I now know my parents are trendier than I am when it comes to television is because of their love for Alec Baldwin. Unless I’ve heard wrong, he is their favorite thing about 30 Rock. Baldwin is at his best not when he is the lead, but rather when he plays characters you would never want to be around in real life. Jack Donaghy is exactly that type of a character. He is a pot shot at conservative big wigs who care more about what their cologne smells like than actual people. In other words, Donaghy is the perfect character for Baldwin to play, and as my parents put it, he’s simply “great.”

The fact that my parents have decided to make 30 Rock part of their weekly ritual of television before I have proves that they are far more trendy than I am. There is every indication that this is a show that I will like. I could use the excuse that I’m in college and I don’t have the time to get invested in another television show (but that would just be an excuse). I could say that I have better things to watch during that time (I don’t). 30 Rock premieres October 30 on NBC at 9:30, and because of my parents (I know my Dad is shaking his head right now), I’ll be watching. If you want to be cool, you will be, too.

This is nota personal

advertisementBY MATT FOWLER

Staff

BACk PAgES BOOkS: Bookstore Event Schedule

Wednesday, November 5 @ 7:30 PM

Andre Dubus III, The Garden of Last Days, Tickets $5 can be redeemed with purchase of a book. For tickets e-mail tickets@backpagesbooks.com or call (781) 788-9988.

Tuesday, November 11@ 7:30 PM

Justin Locke, Principles of Applied Stupidity

Thursday, November 13@ 7:30 PM

In-Store Open Mic

Monday, November 17 @ 7:30 PMSteven Pinker and Yael

goldstein Love discuss linguistics and narrative fiction. Tickets

are $5 and can be redeemed with purchase of a book.

For tickets, e-mail tickets@backpagesbooks.com

or call (781) 788-9988.

Tuesday, November 18 @ 7:00 PM

Howard Zinn, The People’s History of the United States of America, Tickets $12, e-mail

tickets@backpagesbooks.com or call (781) 788-9988

Fri. Sat. Mon. and thru Sun. Thur.

(1:10) (1:10) (2:20)(4:00) 4:00 5:106:50 6:50 7:509:40 9:40

(1:40) (1:40) (2:50)(4:30) 4:30 (5:10)7:20 7:20 8:309:45 9:45

(2:00) (2:00) (2:00)(5:00) 5:00 (5:00)8:00 8:00 8:00

(12:45) (12:45) (2:00)(3:40) 3:40 (4:50)6:40 6:40 7:409:30 9:30

Note: only viewing on Monday is at (2:00)

(1:30) (1:30) (2:40)(4:20) 4:20 (5:00)7:10 7:10 8:209:35 9:35

(1:20) (1:20) (2:30)(4:10) 4:10 (4:50)7:00 7:00 8:109:30 9:30

Showtimesfor

EmbassyCinema16 Pine Street, Waltham, MA

Telephone:(781) 891-0911

PrideandGlory (R)

Religulous (R)

Zach and Miri make a Porno (R)

W. (PG-13)

Changeling (R)

Rachel Getting Married (R)

END NOTEOctober 31, 2008 The Hoot 11

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Exhibit displays photo essay on graduated Slifka Scholars

CONTEMPLATING COEXISTENCE: Naomi Safron-Hon ‘08 (right) displays a photo essay of graduated Slifka Scholars in the Shapiro Student Center Art gallery. The exhibit, which is presented in English, Hebrew, and Arabic, shares the stories of Israeli students who received full scholarships to Brandeis. Pictured above are current Slifka Scholars (from the top, left to right) Mohammad kundas ‘10, Noam Shouster ‘11, Feya Hillel ‘10, Ashraf Hussein ‘12, Lisa Hanania ‘11, Renana gal ‘12.

PHOTOS BY Max Shay/The Hoot