The Michigan Daily - Tuesday, November 9, 2004 - 9
to Nanny 911'
By Amanda McAllister
Daily Arts Writer
'Paradise' evolves the graphic novel
By Bernie Nguyen
Daily Arts Writer
Over the last few years, the once
strictly cult following of the graph-
ic novel has blossomed into a more
mainstream popularity. Enter Terry
What do you do when your children are so out of control
that running away from home looks like the only escape? Call
a nanny! Although previews make it look like a boot camp
for unruly children, "Nanny 911" is actually a harsh critic and
reformer of bad parenting. While the advice offered by the
nannies is effective, it's also completely
common sense, which makes the show Nanny 911
frustrating and boring.
The premise of the series is simple: Par- Tuesdays at 9 p.m.
ents overwhelmed by their own incompe- FOX
tence make a video of their obnoxious
children and send it to the nannies. Head nanny Lilian, along
with her staff of nannies, views the tape and selects one of her
four staffers based on their area of expertise. The chosen nanny
then spends a week with the family, helping the parents gain
control of the situation and, hopefully, the children.
Disappointingly, the nannies are much friendlier than they
appear. The premiere introduced nanny Deb, who, although
she has the appearance of a prison guard, is perfectly nice. She
has no patience with stupidity though, an invaluable asset con-
sidering the inaugural parents were as clueless as they come.
Throughout the show, the children transform from the cast
of "The Omen" to perfectly obedient little darlings based on
advice from the nannies like "Don't give in to every tantrum,"
and "You are the adults in this relationship." Wow. Parents are
the adults? Really?
It's this aspect of the show that doesn't bode well for its
future; it's likely that every family is going to have similar
ers in Paradise,"
a graphic novel
around the lives
and loves of two
and the difficult
struggles they go
By Terry Moore
Courtesy of FOX
You're risking a network's life!
problems, and therefore, every week will be the same. While
this repetitiveness is somewhat allowable for similar reality
shows, like "Queer Eye for the Straight Guy," it's sure to get
worn out quickly in "Nanny 911," which doesn't have the lux-
ury of the silliness and humor that carry "Queer Eye" and the
like through the formulaic process of a makeover.
In the end, "Nanny 911" is just too boring to watch once,
let alone weekly. Watching kids scream for 45 minutes and
then stop by the time an hour is up isn't very interesting.
Watching their parents fail to understand what a parent is
supposedto do is even less entertaining, and extraordinari-
ly frustrating. The advice, seemingly taken from Dr. Phil,
doesn't help the cause much either. Don't bother calling 911;
nothing can save this show.
through as they try to find themselves
in a dangerous world.
The "Treasury Edition" of "SiP"
- as it is affectionately known - is
a collection of Moore's series up to
the present day. It includes scenes
from the first 60 issues in chronologi-
cal order and a' never-published first
edition. Moore also ties everything
together with running commentary,
including his ideas and aspirations
for the series. The "Treasury Edi-
tion" shows readers the very begin-
ning of "SiP," from Moore's original
ideas and how Francine and Katchoo
got their start.
"SiP" is beautifully drawn, with a
compelling storyline and characters
that feel so real that emotions virtu-
ally leap off the page. The "Treasury
Edition" is both a good place to begin
for those unfamiliar with "SiP" and
a resource for fans to enrich their
knowledge of the series.
"SiP" is not an average romantic
comedy. Its main characters, Katchoo
and Francine, are as different as night
and day, but are very close. Katchoo
makes no secret that she has feelings
for Francine, a lovable neurotic who
struggles with her weight and dreams
of the perfect man. Francine loves
Katchoo despite the volatility and
rebelliousness of her nature, though
she is uncomfortable with the fact that
Katchoo is romantically interested in
her. The third character in this mess
is David, a young man uncomfortably
in love with Katchoo. This triangle is
complicated even further when it is
revealed that Katchoo has a dark past,
one that has followed her and endan-
gers both her life and Francine's.
The "Treasury Edition" does an
excellent job of teasing the slight
nuances of the comic and turning
them into strong ideas. The history
behind "SiP" and the perspective of
the author make the "Treasury Edi-
tion" something that most fans will
greatly enjoy, especially since it dis-
cusses and explains the origins of
the series and addresses its possible
Moore's created "SiP" after bad
experiences developing comic strips.
His title was adapted from the Tony
Bennett song "Stranger in Paradise."
Moore writes of the title, "It's not
your typical comic book title, but
it fit the theme of my story: people
stumbling through relationships like
awkward guests in a pretty place."
His commentary throughout the
"Treasury Edition" is intimate and
comfortable, allowing the reader to
see both into his mind and into his
series. This book is a strong addi-
tion to his already popular series
- a glimpse into the creative psyche
of Moore as not only an artist and a
writer, but as a person.
Exhibit looks back on African culture
By Emily Maletic
For the Daily
Funk troupe Colour unearth 'CBGB'
FINE Aus PREVIEW
In 200 years, what items will
future generations look back on from
our lives today? Will it be our tele-
vision sets, furniture or . our large
By Garrick Kobylarz
Daily Arts Writer
During a time of heightening awareness
for rap and hip-hop, Living Colour's 1988
debut of Vivid, laden with a furious com-
bination of rock, funk, blues and social
consciousness, completely shattered the
expectation of four
black men from
New York City.
Vivid would rise
to No. 6 on the
charts, backed by
Live from CBGB
years prior refining their style.
Despite a lackluster recording qual-
ity, Live at CBGB showcases the intense
energy with which Living Colour per-
formed their songs, both good and bad.
The musical ability of Corey Glover (lead
vocals), Vernon Reid (guitars, vocals),
Muzz Skillings (bass, vocals) and Wil-
liam Calhoun (percussion, vocals) is
immensely clear, but tunes such as the
uninspiring "Someone Like You" and
punk influenced "Sailin' On" ache for
Glover and Reid's respective abilities to
be put to better use.
Throughout the recording, Skillings
and Calhoun create a relentless musical
force that drives every song and lays a
solid foundation for the guitar and vocals.
Calhoun's exhibition of drumming apti-
tude is exceptional, squeezing so much
into the smallest spaces that it feels like
he may not make it to the next beat, but
somehow manages to at the very last sec-
ond. A song such as "Information Over-
load" really affords the bass and drums an
opportunity to open up and play around
with the rampant, fiery syncopation they
consistently give to each tune.
The bombastic guitar talent of Reid -
reminiscent of Eddie Van Halen or even
Jimi Hendrix - is most prominently
displayed in his solos. Sometimes how-
ever, in songs like "Fight the Fight" or
"Soldier's Blues," it takes far too long to
get to the fat, meaty sections of the tracks.
Other times, Glover's heavily chromatic
vocal lines seem to overshadow Reid's, as
well as the rest of the band's playing.
When the band is running on all cyl-
inders, they are capable of a potent range
of intriguing, diversified jams that would
guarantee them as classics. Live at CBGB
offers a fine palate of Living Colour's
musical styling, but the studio albums
such as Vivid, or even the more recent
Collideoscope, are more refined.
cell phones? The
new art exhibit
at the Univer-
sity of Michigan
Museum of Art
gives visitors the
chance to look at
a collective peo-
ple's artifacts and
about its culture
The Art of the
The Art of
January 16, 2005
At the University of
Michigan Museum of Art
rights and were arranged in order of
importance. Most of the objects are
small enough to hold in one hand.
These wereused for teaching, or
they were carried around and used
for either protection or identification.
By the end of the exhibit, the viewer
has the knowledge to interpret the
artifacts on their own, and before the
end, the viewer is given this oppor-
tunity. The last room contains vari-
ous artifacts without explanations,
allowing the visitor to draw their own
conclusions using the newly obtained
knowledge of the Lega people.
But worry not, the exhibit will
not leave you unprepared for mak-
ing these interpretations. Carole
McNamara, the assistant director for
Collections and Exhibitions at the
museum of, said, "It would be easy
to get the feeling of the objects being
cherry-picked without seeing how
they were used, but with this exhibit
you not only see how they were used,
but also see how they were experi-
enced in initiation rights."
Just as one day someone will look
back at a plasma-screen television in
the Grammy-award winning, Top 20 hit
"Cult of Personality," and secure Living
Colour a place in rock 'n' roll history.
On Dec. 19, 1989, the band brought its
powerful sound back to NYC's famous
CBGB nightclub, where they had spent
Lega: Meaning and Metaphor in Cen-I
tral Africa, begins with photographs
and history about the Lega and pro-1
ceeds to artifacts, including sculp-
tures, masks and small ivory pieces.
The artifacts were used in initiation1
a museum somewhere, the art of the
Lega lets visitors look back on a cul-
ture and its traditions.