macweeklyarts

VOGUE|TRASH 2012

Mon, 17 Sep 2012 20:46:35 -0400

VOGUE|TRASH: Costume Fashion Ball
A Patrick’s Cabaret Benefit Show
Saturday, October 20th 2012 at 7pm

http://www.facebook.com/events/316707545091663

Christmas has its perks, and the Fourth of July awakens the rabid pyromaniac in all of us, but there’s no holiday I love more than Halloween. It’s simply the creative mind’s time to shine: a chance to step into another character, be somebody else entirely, whomever you want. Plenty of folks hastily throw together a costume from whatever they can find in their closet, but there are also plenty of diehards who pour their heart and soul into a costume and, if just for one night, become the life of the party.

SEXY! FREAKY! LOUD! Join us this fall at our 3rd annual VOGUE|TRASH: Costume Fashion Ball! Experience local avant-garde fashion and performance art while supporting local non-profit arts organization, Patrick’s Cabaret, as we prepare for our upcoming season. Twin Cities artists and performers will be strutting their wildest, craziest, most innovative costumes on our unique runway - you won’t be able to see this anywhere else! Attendees are also encouraged to wear something crazy to flaunt for the cameras.

The benefit will feature a silent auction, the fashion show, and an open dance party with local breakers and funkstylists throwin’ down to live, in-house DJs dropping dirty electro and house beats. Bring your dancing shoes in order to keep up!

Sneak peek: http://www.youtube.com/watch?v=pnrgJvdr6vY

General admission tickets are $10 at the door (cash or check only) while VIP tickets will be available in advance online ASAP for $20, which includes a free drink ticket and the best seats in the house. (Limited availability).

For more information, photos or an interview, please contact Sara Jo Lehrer at 612-724-6273, orsarajo@patrickscabaret.org

Common Good Books invites Tolkien fans to lead a celebration of J.R.R. Tolkien’s The Hobbit on Saturday, Sept. 22, at 3 P.M.

Mon, 17 Sep 2012 20:46:08 -0400

Seventy-five years ago, J.R.R. Tolkien published his classic children’s fantasy novel, The Hobbit. Instantly acclaimed by the critics, it was also taken into the nurseries and hearts of children and their parents everywhere. Although it later received a better-known adult sequel, The Lord of the Rings, The Hobbit has always had its own quieter appeal. Through many editions, in most major languages, many illustrators, dramatic presentations—including at the Minneapolis Children’s Theatre—The Hobbit will receive a new major motion picture series, directed by Peter Jackson, coming this December.

Now is a time to remember the book behind the hubbub—before it’s swept up in the Hollywood spectacle—in all of its evolutions and in its loving reception by millions of readers and fans. Common Good Books has invited the Rivendell
Group of the Mythopoeic Society, along with the Minnesota Tolkien Society, to lead an observance of this 75th anniversary, and of the Birthdays celebrated by the main characters of Tolkien’s stories on Sept. 22, Bilbo and Frodo Baggins, the titular Hobbits. We invite all readers to come and share in the displays of Tolkien editions and memorabilia, costumes, and testimonials. The long-time fans of the Rivendell and Tolkien groups will provide an informational and fun program about the Hobbit, and testimonials to its positive influences in their lives and inspirations to their creativity. We’ll also sing “happy birthday” to the Hobbits and their Book, and eat some birthday cake. Speakers will include Rhysling Award poet-novelist & scholar Ruth Berman, PhD, (author of the recent novel, Bradamant’s Quest), musician David Emerson, and Mikeal Smith.

Common Good Books is at 38 So. Snelling Ave., St. Paul. The displays will be ready at 3 PM, with the formal program beginning a bit later.

FFI: David d-lena@umn.edu 651-292-8887

Check it Out: Speed Sisters

Tue, 24 Jul 2012 17:04:00 -0400

Go watch the trailer for Speed Sisters, which follows Middle Eastern all-female race car drivers as they compete to win both races and respect. Info here: http://www.speedsisters.tv/#

Senior Art Show: Specs

Tue, 24 Jul 2012 16:57:00 -0400

By Sophia Nikitas

The Senior art show is a compilation of senior art theses. Each senior has to install and host their own exhibit. The show will be on display in Macalester’s temporary art gallery— a two-story house across from the Russian House. “This is a very non-traditional exhibit space,” says Greg Fitz, Macalester’s in-house curator for the gallery. Setting the exhibition in a house presented a challenge that added an interesting dimension to the students’ work. What were formerly bedrooms and dining rooms are now canvases for the installations, while some students have decided to set up their pieces on the facade of the house. Although the students are not bound by a pre-determined, overarching theme, Fitz has observed common threads running through their diverse works.

“The students have used their shared interests, and taken them in different directions,” he said. “There is a really wide range of work methods, styles and goals.”

Students are greatly encouraged to visit the gallery, which will display the senior work beginning tonight with an evening reception, and running through commencement.

Senior Art majors
Rachel Adler
Lizzie Boyle
Julia Dahle
Mike Fausz
Sylvia Ferguson
Andrew Flynn
Hillary Frey
Larsen Husby
Mabel Kessler
Antonio Sanchez
Taylor Tinkham

To read our profiles on all of the senior visual art majors, visit http://www.themacweekly.com/arts, where they are listed.

Marketing Tragedy: Race and the Hunger Games

Tue, 24 Jul 2012 16:55:21 -0400

By Sophia Nikitas

Jennifer Lawrence has a history of playing self-sufficient, survival-instinct-driven young women. Among several other similar roles, she gained critical acclaim, as well as an Oscar nod, for last year’s Winter’s Bone, in which she played a young woman struggling to support her family in the poverty-stricken, meth-riddled Ozarks. Considering her history, she seemed the perfect choice to play Katniss Everdeen in the film adaptation of The Hunger Games. There was one catch, though: Lawrence is naturally blonde, blue-eyed, and fair-skinned, while the book specifically describes Katniss as “olive-skinned” with “straight black hair” and “gray eyes”. Many therefore imagined her as, at least partly, non-white. To remedy this, she dyed her hair dark brown and got a spray tan. While her performance in the film is outstanding, many are questioning why producers shied away from casting an actress of color, in a role that was clearly open to one.

Considering the reactions of some fans to the casting of black actors in the movie, the answer becomes more obvious. All over Twitter, fans of the series posted hateful messages, particularly condemning the decision to cast a black actress to play Rue, a twelve-year-old supporting protagonist who helps Katniss survive. Several admitted that they were “not as sad when she died”, while others asked why it was a “n******” or “some ugly little black girl with nappy…hair” who had one the part. “Awkward moment when Rue is some black girl and not the little blonde innocent girl you picture,” one girl said.

These quotes make it abundantly clear that, for some fans, Rue’s racial makeup makes her impossible to root for. The ideal protagonist, rather, is fair-skinned. What many of these critics did not seem to understand (beyond the concept of human decency) was that Collins clearly described Rue as “dark-skinned” with “dark eyes”. It was this specific description which inspired producers to cast an actress of color.

However, when faced with Katniss’ racial ambiguity, it seems that producers were afraid to do the same. None of the actresses even considered for her part— including Hailee Steinfeld (True Grit) and Saoirse Ronan (Hanna, Atonement)— were anything but white. The widespread racial criticism demonstrates a reluctance on the part of American audiences to sympathize with non-white actors. More people than we would like to admit equate only white features with innocence. While many fans have argued that Katniss’s description implies that she may be Native American, it is likely that the same people who objected to Rue’s race would not have wanted to see the movie where the heroine was not white.

As the International Business Times noted, “If casting black actors in minor roles (even if they are an icon like Lenny Kravitz) is so disturbing to the public, it’s safe to assume that had Katniss been played by a black actress, it would not have been as successful a film. It would have likely grossed closer to $50 million during its opening weekend (the average opening gross of a Tyler Perry movie) [instead of the $152.5 million that it actually made].”

Whoever cast Lawrence understood that she could provide both the strong, determined character, and the fair-skinned beauty that an American audience can get behind.

Considering the series’ massive following, the movie was sure to make a sizable profit. What is less clear is whether it would have had the third largest opening weekend without a white lead. The series is already an unlikely success, both due to its horrifying premise, and its female-driven nature. It is possible that producers considered the casting of a woman of color as Katniss to be one too many risks in such a risky venture. Should critics of this decision be satisfied with the fact that this is the largest and most empowering female-led franchise in Hollywood history? Or should Hollywood be taken to task for its unwillingness to take the risk of casting an actress of color where it easily could have? Hollywood has the power to set new standards for society. It needs to use it.

IGC MURAL//

Tue, 24 Jul 2012 16:53:00 -0400

By Rye Carlson

Markim Hall, you know, that fancy building next to Kagin with the temple-like copper façade - also known as the Institute for Global Citizenship? It’s about to become a bit more inviting for students.

In line with its title, and perhaps tempering its cool, metallic exterior, the third floor will soon be home to a mural depicting global citizenship. It’s being painted by one of the Twin Cities’ premier visual artists and social activists – Ta-Coumba Aiken of St. Paul.

Aiken began painting Monday on the third floor’s circular wall created by the dome rising from Davis Court. Chances are you can’t picture the location, but the idea is to change those odds with the invitation of an inspiring, artistic environment and more space for studying and lounging.

Aiken, who recently received the Sally Award for Vision, presented by the Ordway Center for the Performing Arts, has been creating public works of art since 1970 for schools, neighborhood organizations, city planning and development organizations, and hospitals. Most notably, he has been the hand behind the Gillette Children’s Hospital mural in St. Paul, the Minneapolis Central Library’s tile fireplace and the North Side’s Pilot City murals project in Minneapolis.

Ta-Coumba’s style is striking. Synesthesia of rhythm, color, and lines communicate what he calls “rhythm patterns.” As he works, the original, thematic images become situated in the complex beat of his sense-confounding visual rhythm. He creates layers upon layers that lose and project the original form simultaneously. It may sound abstract, but it’s an abstraction that works. It all comes together in an explosive melody of color intended to honor ancestries, heal, and inspire the communities he works with.

“Ta-Coumba works in an inclusive style and sees his work as a visual voice for communities and a vehicle for enlightenment and change,” says Karin Trail-Johnson, Associate Dean of the IGC.

As is often his approach, he is drawing from the community’s consciousness for inspiration and direction. He has gathered students’ conceptions of global citizenship over the past week, and has synthesized them into “spirit lines,” or some of the first, and most basic forms to build from.

“I feel like it would be presumptuous of me to not ask for input,” says Aiken. “I need the spirit of the campus community to give it your visual voice.”

Ta-Coumba will be painting next week from 9 a.m. – 5 p.m. on Monday and Wednesday, and 9 a.m. to noon on Thursday. Students are invited to view the murals progress, talk with Ta-Coumba, and share your ideas. He hopes to be done with the project by finals week.

The creating isn’t meant to stop with the mural, though.

“I think this project is another way of encouraging people to think through what global citizenship means,” says Trail-Johnson.

”Global citizenship is in a sense personal — you have to own it and enact it yourself,” she notes. “We tend to only examine things in a linear, verbal way at Macalester and this offers an opportunity to push yourself to express your understanding and wisdom in a nonverbal, visual way. I think that is a very valid and often challenging form of expression.”

Bringing greater breadth of perspective, inspiration and subjective reality to a discourse so central to our community’s purpose seems a worthy endeavor.

We are in a bubble in more ways than one.

“It’s easy to critique from an armchair,” says Trail-Johnson.

“We’re taught to break things down through critique, but it’s another thing to use those pieces to create something.”

The mural is meant to be a step in that direction – enacting, refining, and expressing global citizenship on the public and personal level. It’s also hoped that color and meaning will attract students and make the Markim feel more like home and less like our copper temple to global citizenship.

COME AND BRING YO FRENZ

Tue, 21 Feb 2012 11:11:20 -0500

COME AND BRING YO FRENZ

mweising@macalester.edu send in something that describes your...

Tue, 21 Feb 2012 01:18:11 -0500

mweising@macalester.edu

send in something that describes your taste in music, theatre, film, dance, or any other form of creation, expression, or fanaticism

WMCN//

Sun, 19 Feb 2012 18:28:06 -0500

News of the Weird

By: Sophie Nikitas
Associate Arts Editor

“If we are your main source of news, then you probably have a warped sense of the world,” Simona Zappas ‘15 says into the mic in the WMCN studio. Zappas, along with Parker Field ‘15, have just begun their second semester of freshman year, and with it, their second semester of co-hosting their WMCN show, “News of the Weird”.

The show is centered around bizarre news stories of the week. They turn to websites such as The Huffington Post, NPR and the Star Tribune, to get the latest in the weird. “Our main critique is that we laugh too much,” admits Simona, while Parker concedes, “We need to work on our banter.”

But considering the topics they discuss, and the fact that they find them on the spot (in order to get “fresh reactions”), it’s not a surprise that they can’t help cracking up every so often. Nor does it inhibit them from coming up short of hilarious things to say. In fact, the stories are only the beginning of what has turned out to be one of the most entertaining shows in WMCN. A show starts off with, for example, a story about the extreme lengths one man will go to in order to find his beloved cow, Yvonne, and may end with a debate over the pronunciation of Reese’s, involving several guest speakers and online sources.

Music also helps fill the extended time slot that the show received, going from one hour last semester to its current two-hour time slot. The Austin Powers’ theme song serves as the opener for News of the Weird, while Parker and Simona dance around the studio (unfortunately invisible to their audience). They then punctuate their stories with individual songs— a combination of music that they love and music that they mock. Parker proudly claims ownership of every Now (That’s What We Call Music!) CD, which they often put to good use. Mariah Carey is a favorite.

listen//

91.7fm

macalester.edu/wmcn

Wednesdays

noon-2pm

THEATRE//

Sun, 19 Feb 2012 18:26:37 -0500

By: Alana Horton
Contributing Writer

Have you heard about Stop Kiss? It’s the Macalester Theatre Department’s Winter production, and it opens this Friday. The play, written by Diana Son, focuses mainly on the relationship that develops between two young women living in New York: savvy, cynical Callie, and Midwestern idealist, Sara. That relationship is seriously affected by a horrific assault provoked by the couple’s first kiss that leaves Sara seriously damaged, and Callie struggling to make up her mind about her life, identity and love. The play continually flips in time from before to after the accident, providing the audience a unique window in which to understand the lives of the characters.

Despite its serious themes of trauma and hate crimes, humor and humanity shine though throughout the play. One notable aspect of Stop Kiss is that it is a recent play, set in the 1990’s, and its dialogue is performed in a naturalistic style. As Rob Gelberg, ‘14, who plays the character of George puts it, “This is the first time [at Macalester] that I’m playing a “normal” person, and it’s also the first time in my memory that Macalester has done a play about normal people acting normally saying normal things. But this play is anything but normal. It’s a very powerful, funny, poignant play.”

Stop Kiss is part of the Theatre Department’s season theme of “Voices of the Silenced,” which aims to give voice to “displaced persons, the poor, targets of hate crimes, and citizens struggling with trauma – in many instances showing how humor and solidarity are crucial strategies in giving voice and refusing silence.” Gelberg sees Stop Kiss as an important production in relation to this theme, noting “It’s about a homophobic hate crime, and we certainly don’t live in a society where homophobia is a thing of the past. People are still being discriminated against or even hurt and killed for who they are.”

Stop Kiss, Rob says, is “funny, and really sad at parts, but it’s the kind of play you’re going to be immediately drawn into. You’ll be drawn by the characters, by the story, by the way these people evolve.” His only qualm? “It’s set in the 90’s, so the only thing that might not translate well is some of the music. But that’s not even true. Ginuwine, TLC… people still listen to 90’s music.

mark yo’ Agendas//

Friday 17th @7:30 PM

February 18th @7.30 PM

February 19th @2.00 PM

(+ talkback)

February 23th @7.30 PM

February 24th @7.30 PM

February 25th @7.30 Pm

$5 for students

tix: 651.696.6359

CONCERT REVIEW//

Sun, 19 Feb 2012 18:22:47 -0500

Turquoise Jeep

By: Sam Baker
Contributing Writer

Flynt Flossy, Pretty Raheem, Watchyamacallit, and Yung Humma took to the stage Thursday, February 9th at the Triple Rock Social Club above a crowd of young Twin Cities fans decked out in turquoise and in love with their group, Turquoise Jeep.

A YouTube sensation, Turquoise Jeep is a group of self-proclaimed “existing musical beings.” With songs such as “Shuyamouf,” “Fried or Fertilized,” and “Can He Move It Like This?” the Jeep does not take itself too seriously, but is always serious about the quality of their performance.

At Thursday night’s show, the Jeep came onstage one by one beginning with Raheem as they sang “Cavities.” They were sporting their own t-shirts, which many of the attending Macalester students were donning as well.

Tommy Symmes ‘13 said, “My opinion on the concert is perhaps best summed up in a Yung Humma quote: ‘mmmmmmmmmmmmmmmmmmmmmm’.”

Their fans, known as Jeep Riders, put most fan bases to shame on Thursday, knowing every lyric, dance move, and trying to touch the hands of Jeep members in order to come in contact with a little of that turquoise swag.

The group’s dancing was even better in person than in their hysterical music videos. The moves of dance master Flossy particularly awed fans, though Humma and Whatchyamacallit were spectacular as well.

Ellen Coble ‘13 described the group as “a well oiled machine.” Coble enjoyed Flossy’s dance moves, as she said, “his facial hair and pelvic thrusts… just…wow.”

When the Jeep introduced a new, unreleased song, “Do You Want To Touch It?,” the crowd really got involved. For the song,the Jeep asked the crowd, well, “Do you want to touch it?” which was followed by the female Jeep Riders answering “Yes, I do,” and the male Riders replying “Put your hands on it then.”

Sophomore Tanur Badgley was a fan of the new song, saying, “I liked how involved everyone was with this song and found the overtly sexual content pretty funny.”

Though one might want to call the group a satirical internet success, the Jeep feels otherwise. Flossy explains on their website, “Everything is not meant to be understood. You feel me baby? We don’t want to be categorized. We don’t want to be defined.”

Drew Mintz ‘14 said of the group, “Turquoise Jeep has become the standard to which all youtube comedy/music acts should aspire.”

Turquoise Jeep has certainly made its impact on the Macalester community, inspiring Symmes, Bo Scarim ‘13 and Freddy Kamps ‘13 to perform Slick Mahoney’s single Go Grab My Belt at last year’s Relay for Life (Mahoney was unfortunately absent at Thursday’s concert).

Flossy’s decision to end the concert with “Did I Mention I Like To Dance,” took the crowd’s dance enthusiasm to another level completely.

If you made it to the Dodos show last year during Springfest, you may remember a shout out from frontman Meric Long, who said, “Lemme smang it, girl,” in reference to Humma’s song, “Lemme Smang It.” Apparently, even the Dodos are fans.

AS SEEN ON TV//

Sun, 19 Feb 2012 18:18:30 -0500

By: Noah Koch
Contributing Writer

One of the smartest things I’ve seen ABC do since renewing “Happy Endings” is pull the steaming pile of hate/trash, “Work It,” off the air after two short, reductive episodes. The basic idea behind the show is that men can’t get jobs because women dominate the work force (hmmm). Two men consequently decide to dress up like women to get jobs as pharmaceutical sales reps (HMMMMMMMMM). Turns out that LGBTQ groups, along with anyone who doesn’t hate women, found the show offensive. While I, like anyone else with a soul, celebrated the premature death of this Mayan-Apocalypse-turned-primetime-show, I was secretly bummed for one reason; the show is a goldmine for a drinking game. After two episodes here’s what I had compiled:

Every time the “ladies” try to use lines from “S**t Girls Say”: “A minute on the lips, a lifetime on the hips.” This is the type of quality coming out of this show. While I’m sure ladies have said this before, it’s still pretty base, even for ABC comedy. Take a shot.

Every time the ladies try to use lines from “S***t Girls Say”: Now here’s where this gets offensive. At least with the guys I could pretend that their lines were commentary on how oblivious the modern man is about how women think. When the actual women in the show are just as caricature-y as the men pretending to be women, I’m going to take issue. Women in “Work It” are just as poorly constructed as their “women” coworkers. They’re catty, they’re manic, and they only ever eat sushi or salad. I guess the reason nobody can tell they’re men is because they’re all crazily stereotyped (what a great lead-in to my next point). Chug it down.

Every time it makes no sense that nobody can tell they’re men: I have nothing else to say. Drink.

Every time they assume all women use sex to succeed in life: As all Disney princesses have taught us, the best way to get what you want as a woman is through seduction. Lee, our dashing protagonist, is taught this by his wife who casually informs him that when she wants a raise she doesn’t wear a bra and cranks down the temperature in the hospital where she works to blast her nips. Hopefully all the young girls who watched this were inspired to drop out of school, since they can get anywhere, providing they wear a thong and bend over a bit during the interview. GLUGGLUGLUGLUGLUG

Every time jokes are made at the expense of effeminacy: What’s the only thing that can make a show about men pretending to be women funnier? Apparently, a show about girly men pretending to be a woman. Poor Angel really takes the brunt of these tasteful bouts of whit, with his lavish gestures and questions about feminine upkeep while still in male form (since men never care about things like their weight or appearance). Ugg it.

Every time you laugh: Drink a lot. You should be punishing your liver for such a foul reaction to this show.

OSCARZ POLL

Sun, 19 Feb 2012 18:14:30 -0500

OSCARZ POLL:

AS SEEN ON TV//

Thu, 02 Feb 2012 01:27:24 -0500

By: Noah Koch
Contributing Writer

A Few Passive-Aggressive Questions for “Two Broke Girls”

It isn’t the 90’s anymore, so why are you filmed like it is?:

Call me a snob, but at this point I don’t think that any shows should be filmed in multicam. For those of you who don’t breathe television, what this means is that the show’s set only has three walls, and a bunch of cameras are set up where the fourth wall would be to film from multiple angles at once. This gives actors the ability to run through a scene without having to pause every time the director wants a new shot. Basically it’s way simpler, but it also is way lower quality. The sets look like sets, actors ham up every line to cue the studio audience to laugh (even though most shows use a laugh track), and there’s way less room for artistic license. I’m pretty sure shows filmed like this are what my parents were thinking about when they told me television would rot my brain.

So people who aren’t white or American must me sassy/lecherous/dumb/ignorant, right?:

The trend in television these days is to look back on a simpler time. “Two Broke Girls” follows that pattern by fondly recalling racial stereotypes. First there’s Han “Bryce” Lee, the Korean immigrant owner of the diner. Han’s whole shtick is that he is trying really hard to assimilate into American culture, but can’t because he’s not from here (HAHA). And if that didn’t make you piss yourself with laughter, his accent’s so heavy that he speaks like Mickey Rooney did in Breakfast at Tiffany’s (HAHAHAHAHAHAHAHAHA). There’s also Earl, the Black cashier who’s always ready with something sassy to say like “that girl is working harder than Stephen Hawking putting on a pair of cufflinks.” Oh Earl… Lastly there’s Oleg the Ukrainian cook, who only speaks to sexually harass the girls, like all Ukrainians do.

Are rape jokes funny these days? No? So why do you keep making them?:

As Vulture kindly pointed out, rape jokes were all the rage this fall on television and ff all the shows out there, “Two Broke Girls” was definitely the worst offender. The first joke premiered in the pilot when sheltered Caroline gets startled on the subway by, and subsequently tases, Max. Caroline then defends herself by saying “I’m sorry, I didn’t know it was you. I thought I was being raped.” Max responds with the zinger “That’s not what rape feels like,” cue laugh track. Apparently rich girls can’t be raped. Who knew? Other than this the rest of the rape jokes are made mainly by Max, who’s sexually liberated spirit allows her to constantly joke about vaginas and masturbation. Rape jokes tie into that theme nicely, right? Don’t let my sarcastic tone confuse you. I actually find this quite disgusting.

In conclusion, what the hell?:

Seriously though, “Two Broke Girls.” This may be the ramblings of a self-involved television fanatic who thinks people want to hear what he has to say, but at least I’m saying it- You’re goddamn offensive.

MIX TAPE//

Thu, 02 Feb 2012 01:21:39 -0500

By: Sophie Nikitas
Contributing Writer

Patrick Schmidt is a Political Science professor at Macalester, who was kind enough to share a playlist of his favorites with us. To alleviate the stress that this semester has already brought, listen to this playlist to enter a moment that is not here or now.

The Moody Blues

“Isn’t Life Strange”

I played this constantly in Bigelow Hall when I was at Macalester’s debate camp for high school students during the summer of 1987.

Sugar

“If I Can’t Change Your Mind”

I already liked this song when I learned of the Mac connection with Bob Mould.

Supertramp

“From Now On”

I love songs with anthemic aspirations, and prog rock has some of the best.

The Grateful Dead

“Going Down the Road Feeling Bad”

For the best road trip song ever, get an epic 13-minute live recording of this Woody Guthrie song.

Frank Turner

“Photosynthesis”

Credit a student, Tim Erkel (‘11), for introducing me to Frank Turner. I haven’t been the same since.

Unknown Prophets

“Summer Heat”

A great track, both clever and catchy, from the Minneapolis-based hip hop artists.

The Sex Pistols

“Anarchy in the U.K.”

When you really need a shot of punk, go old school.

Howard Goodall

“Psalm 23”

Commonly recognized as the theme song from the BBC’s Vicar of Dibley, it’s a jewel of contemporary choral music.

Eric Clapton

“Autumn Leaves”

As much as “Layla” deserves a spot on this list, Clapton’s recent take on this classic offers both an electric and an acoustic solo, both of which are transcendent.

The Divine Comedy

“A Lady of a Certain Age”

Lyric-writing at Neil Hannon’s masterful best.

Spring Awakening (Broadway Cast)

“Totally Fucked”

The best, hopefully ironic song when you have a big paper due tomorrow but haven’t started it yet.

The Rocky Horror Picture Show

“I’m Going Home”

Any track from Rocky Horror could make this list, but this just beats out “Touch-a,

Touch-a, Touch Me”.

Billy Bragg

“Waiting for the Great Leap Forwards”

My favorite song ever. But then, I’m into politics.

ALBUM REVIEW//

Thu, 02 Feb 2012 00:54:00 -0500

Maya A. Weisinger
Sharon Van Etten//Tramp

With the release of Tramp, Sharon Van Etten brings to our palette a diverse set of characters, introducing us to a femme fatale and then taking us home to lie in the bed of a sleepyheaded chickadee.

Van Etten has been nesting in the recent scene, not only by letting us hear her unique voice ring once again on this second album, but by teaming up with the likes of Matt Barrick, Thomas Bartlett (aka Doveman), Zach Condon, Jenn Wasner, Julianna Barwick, and Aaron Dessner.

Perhaps this powerful collaboration lead to the great mix of acoustics with the occasional rocky punch (listen: Magic Chords), definitely showcasing Van Etten’s range of musical abilities. Songs like We Are Fine, featuring Zach Condon from Beirut, proved even further that perhaps she could use an extra dose of collaboration juice. On her own, we get a comfortable, worn-in feeling. But with the few songs that feature the vocal backing of Condon the fullness that immediately hits the ear makes me realize that introducing another voice or even another medium to the mix would enhance the listening experience of this album by at least 75%.

Though the lovely Van Etten takes us through what appears to be a tense night time adventure into the bleak hours of the morning, it seems as though she paints an intangible dreamscape; something only truly understandable to the one experiencing the dream, only a faint description of something great to someone else. This album is easy to fall into, easy to get lost in, easy to forget. I feel a spirit like Van Etten wasn’t meant to be treated as such. The rockier songs on the album prove she is more than someone who takes no for an answer.

Which is why the most appreciated thing about this album is that she delivers a truly honest performance. The fact that it sounds nothing like she was trying too hard to appeal to us makes it a precious listen. I see a stronger, more corporeal Sharon Van Etten heading towards us in the future, leaving this album as a striking promise.

TMW IS BACK IN BIDNESS

Wed, 01 Feb 2012 22:29:41 -0500

TMW IS BACK IN BIDNESS

CONCERT REVIEW//

Thu, 08 Dec 2011 23:11:10 -0500

By: Patricia Wright
Contributing Writer

If there is a god, they must have spent a little more time making Andrew Bird. At his concert this past Saturday at First Avenue, there was a palpable notion of being in the presence of some kind of otherworldly genius. When the lanky, suit-and-tied frame of Mr. Bird took the stage, his unassuming presence was immediately overshadowed by the quick, crisp notes flowing out of his violin.

I was very familiar with most of the songs from his albums, but the beauty of hearing him live was awe-inspiring. He started with “Plasticities,” one of my personal favorites. After he started out alone on stage, expertly looping his violin and whistling, the rest of his band came on stage. His drummer was Martin Dosh, Macalester professor Paul Dosh’s musician brother, which was exciting in terms of Minnesota musical representation. Andrew Bird’s stage presence was both charming and slightly eccentric, mostly because of his funny conducting gestures with his xylophone-specific drumstick.

The show was sold out but it was the most calm, evenly spaced concert crowd I’ve ever experienced at First Ave. This may have been due to the type of music Andrew Bird plays, ie., indie rock with classical influences and intellectual lyrics. The fact that it was standing only detracted from the overall enjoyment I had because I was too focused on the ache in my lower back rather than the music. Seating would have been greatly appreciated.

Aside from that, every song Andrew Bird and co. played was complex and aurally gorgeous. He also did a precious cover of Kermit the Frog’s “It’s Not Easy Being Green,” to go along with the recent Muppet movie fervor.

The end of the concert was unique in that it had two encores. The first was comprised of several folk songs with singing accompaniment from the opener, Haley Bonar, his guitarist, and an older woman who looked like a folk-singer version of The Incredibles’ Edna Mode. The second encore was shorter but more intense and ended with his most popular song “Heretics.”

As the other calm concert-goers dispersed, my show mate, Maya Weisinger, and I managed to mill around long enough at the coat check and the restroom to notice Mr. Bird himself chatting backstage away from the tiny crowd waiting for a chance to be photographed and autographed.

When we got our turn to meet him he accepted our praise quietly and gave a small smile for the picture I took with his arm around my awe-struck shoulder.

If any of you are into Andrew Bird, I highly recommend going to see him. We all need to experience a true musical genius at some point in our lives.

CONCERT REVIEW//

Thu, 08 Dec 2011 23:09:54 -0500

By: Dustin Studelska
Contributing Writer

San Diego metalcore saviors, As I Lay Dying, are celebrating its ten year anniversary with the “Decade of Destruction Tour” and a new release titled “Decas,” which contains three new original tracks, four covers, and five remixes of previously released songs.

I could talk about the other bands on this tour and go into detail about AILD’s performance, but I’d rather take the time to share some conversations I had with the band before their show at First Ave. Lead vocalist Tim Lambesis didn’t believe ten years ago that his band would be where they are now.

“I imagined we would be playing music,” Lambesis said, “but not at this level.”

Drummer Jordan Mancino, the only other founding member left in the band other than Lambesis, remarked that he can’t possibly pick a favorite song because he is so proud of everything As I Lay Dying has done.

As I Lay Dying is definitely a rising star in the metal world, but life is not always so glamorous. Guitarist Phil Sgrosso claims that at times touring can be extremely boring.

“It’s definitely fun when the venue is in a cool part of the city and you can go out to a bar or do something, but there is a lot of down time.” Sgrosso was also quick to say that it was for this reason that touring in America was better than in Europe. I guess Phil’s not a fan of medieval history.

One of the reasons I was drawn to As I Lay Dying was their profound lyrics. I inquired how As I Lay Dying was able to keep its lyrics and inspiration fresh after having been around for a decade.

“Personal experience is my biggest source of inspiration,” answered Lambesis.

“I’m always having new experiences to write about.” Perhaps surprisingly, Lambesis is also a fan of philosophy and incorporates some philosophical ideas into his lyrics. A religious studies major, Lambesis listed his favorite philosophers as Kierkegaard, Nietzsche, Kant, and Descartes, even if he doesn’t agree with all of them.

LOCAL//

Thu, 08 Dec 2011 23:08:00 -0500

By: Patrick Murphy
Managing Editor

Growing up in the Twin Cities, I always heard people talk about Prince, but I didn’t really get it. Why was this fruity looking guy such a legend? In 2003, I saw the Chappelle’s Show skit where Prince takes Charlie Murphy to town on the hardwood, uttering things like “Computer Blue,” “Darling Nikki”, and “Why don’t you go purify yourself in the waters of Lake Minnetonka?” after each ankle-breaking crossover and authoritative flush. The skit was hilarious, but I had to ask myself, “What does this all mean?” I was certain that someone couldn’t actually be this bizarre in reality…. Or could they? I knew that there was only one way to find out. I had to become the biggest Prince fan in the world for no apparent reason.

As I began to familiarize myself with Prince, I started to realize what all the hype was about. Living proof that big things come in small packages, the 5’2” Minneapolis native, born Prince Rogers Nelson, is truly larger than life. Well known in the inner circles of the Minneapolis music scene as a teenager in the late 70s, Prince gained national recognition in the early 80s and cemented his position as one of the top musicians of his era with the 1984 cult classic theatrical masterpiece, Purple Rain. The film put Prince on the map and made First Avenue in Minneapolis the legendary music venue that it is today.

Legendary for changing his name into an unpronounceable symbol, known only as “Love Symbol #2” in 1993 during a legal battle over artistic control with Warner Bros., Prince is both bizarre and badass. Often seen by ignorant individuals as something of a joke, Prince is a phenomenally talented musician and one of the biggest advocates for musicians’ rights there is.

When I came to Macalester, my obsession with Prince only continued to grow. Sophomore year, I constructed my Prince shrine with a rainbow Prince mosaic that I purchased via eBay from a chap in England surrounded by pictures of Prince throughout his career (in chronological order) that I cut out of my big, furry, purple Book of Prince. I was pretty pleased with my Prince fandom at this point, but still, one thing was missing. I had never actually seen the legend perform. He doesn’t perform nearly as much as he did in his 80s heyday, so I wasn’t sure when I’d get the chance.

One Saturday that fall, I awoke to a text from my sister that read, “Prince is having a surprise concert at his house. You have to go.” I had no idea where Prince lived, let alone if the concert was actually happening or how to get in, but I knew I had to try. I did as much sketchy Prince fan site research as I could. The only thing I could find was one post from “EyeAmThePurple1” that instructed the diehards to venture to a bus stop in the middle of nowhere in Chanhassen (30 miles West of Macalester) that afternoon. With a good friend from high school, I made the trek Westward much like Lewis and Clark had done 200 years before. But instead of the Pacific Ocean, we were in search of a flamboyant, purple man with a penchant for lace, fat bass lines and fine women.

After getting badly lost on the way, we finally arrived at the bus stop, but it looked bleak. There were only 40 or 50 other fans at the stop. We waited for over two hours with no sign of Prince, but just as some of the fans decided to turn back, we saw three coach buses approaching in the distance. Purple coach buses.

The buses took the crowd of 40 year-olds and me and my friend to the gates of a compound, which I later realized was Paisley Park–the home of Prince. A crowd of just under 400 people waited for another two hours in the cold rain before being let in. We weren’t allowed to bring any cameras inside because Prince believes that cameras will devour his third eye chakra. I made that up, but it’s probably true. Prince’s house (or at least what I saw of it) was what I imagine the International Space Station would look like if Liberace decorated it. Per tradition, Prince didn’t go on stage until 1 am. Not because he was busy, but because he’s Prince, and he was probably feeding a baby polar bear named Mortimer grapes before deciding to go on stage. The three-hour jam-tastic set that included George Clinton and Larry Graham was unlike anything I have ever seen. Prince’s unmatched stage presence coupled with his superior musicianship made for a concert that I’ll never forget.

After years of being asked why I like Prince so much, it’s still difficult to convey his true appeal to the non-believers. But I don’t really care anymore because I partied with Prince. At his house.