4B - Thursday, November 9, 2006
the b-sideT
The Michigan Daily - michigandaily.com
Cigs are
so much
better
fresh
DAILY ARTS TELLS
YOU HOW TO ROLL
YOUR OWN
By LLOYD H. CARGO AND
ANDREW SARGUS KLEIN
Daily Arts Editors
Rolling your own cigarettes: It's
an art, it saves significant money
and gives you an overall aura of
badassness (the whole "smok-
ing is inordinately unhealthy"
thing notwithstanding). At Mai-
son Edwards, the tobacconist in
Nickels Arcade, a pouch of roll-
ing tobacco costs you under seven
bucks, a sack of 200 filters around
three bucks. Rolling papers range
from $1 to $2.50, depending on
your level of connoisseurship.
And what's that saying? "Once
you go to real tobacco going back to
packs makes you a wacko"? Some-
thing like that. Seriously, though,
once you make the switch to addi-
tive-free, real, fresh, delicious
tobacco, smoking a manufactured
cigarette is wholly unsatisfying.
If this was an analogy it'd be that
rolling tobacco is to meat and pota-
toes as packs of cigarettes are to
candy. That, and they're just way
cooler. Oh, and did we mention
they're cheaper? Save your money
for that other substance you can
roll up with your Norwegian Shag.
1. Supplies: tobacco, rolling
papers and filters (or not, if you're
a serious badass).
2. Getting started: Fold your
paper over about two-thirds of the
way down, so your filter is nestled
nice and cozy.
3. Setting up your roll: Using
coordinated thumb and forefinger
acrobatics, shape your tobacco
into a tight cylindrical mass.
4. Rolling: Curl the bottom end
around the tobacco, ensuring well-
directed airflow. Roll until only
the adhesive strip is visible.
Important: Be patient. While it
Raising the score with classics
By BLAKE GOBLE
Daily Arts Writer
How often do you hear this con-
versation?
"Dude! I just got the 'Garden
State' soundtrack - it's awesome!"
"Oh yeah, well 'The Life Aquatic'
soundtrack is totally better."
Pretty often. But what about the
following.
"Alexandre Desplat's scores for
'Syriana' and 'The Queen' were the
shit."
"No way - nothing beats neo-
classic John Williams like 'Munich'
and 'Memoirs Of A Geisha."'
Complain all you want about
the strengths and weaknesses of
the "Trainspotting" and "Marie
Antoinette" soundtracks: noth-
ing beats good old-fashioned film
compositions. So why do we all
fight when there's so much more
polished music to be found in the
movie score?
The original film score is an
underappreciated art form. What
many don't take into consideration
is the fact that it's tailor-made to fit
into a movie, and it sounds argu-
ably more professional and cohe-
siev than most contemporary pop
music. They're specific in their
context, precise and unforgettable
when related to their respective
movies. It's hard not to think of
being stabbed in a shower listen-
ing to Bernard Hermann's violin
shrieks in "Psycho."
Current film scores and com-
posers are going unnoticed every
day, in favor of better publicized
musical craftsmen. For every well-
recognized producer such as The
Neptune
Eno, the
Powell ("
Thomas
shank R
Santaoal
tain").
While
den" and
the pods
of equal1
unnotice
the bestr
their mo
added an
A
m
s, Jon Brion and Brian move us beyond anything we actu-
re goes an unnoticed John ally see.
"X-Men: The Last Stand"), When "Superman Returns"
Newman ("The Shaw- opened this summer, it was a
edemption") and Gustavo highly anticipated revival of epic
la ("Brokeback Moun- proportions. But what excited
some purists the most was the
thousands of "angst-rid- re-utilization of John Williams's
"involved" songs pervade classic "Superman" march. In a
of popular music, scores nod to the 1978 film, the new film
bombast and intensity go opened with the original music,
d. The Fray has received with full DTS sound, enveloping
reviews of their career for the theater with its grace and maj-
st recent album. The band esty. Grand memories from youth
orchestra to deepen their flooded, nostalgia of having loved
the movie and the music, and a
tear hit my eye (much to the cha-
look at the grin of my older sister). It was stir-
. th ring and moving, and had the film
[USiCof the simply stopped with the music, it
. would have been a classic.
moves. Themes from the movie "Jaws"
or "The Good, The Bad & The
Ugly" and even "Brokeback Moun-
Vell, why not just get rid of tain" are heard and remembered
sky words, but stay deep? by everyone. Even though the com-
e emotional response can posers may not be well known,
ed from the strings and there's not one person around who
an old-fashioned James won't connect acoustic guitar to
"Braveheart") or Mychael the memories of "Brokeback."
Capote") track. Few realize just how power-
nderstand the work ethic fully instrumental music can reso-
atmospheric calm such nate. Frankly, it's sometimes more
f Martinez ("Solaris") or memorable than most contempo-
ham ("Crash") score can rary work. Now, to be fair, I am
e rah-rah gusto of a heroic biased. I honestly can't remember
re from Jerry Goldsmith the last "hit single" I hummed to
and Randy Newman on the street. OK, it was probably
atural") can push anyone Nelly Furtado's "Promiscuous,"but
petition. Some will even only due to repeat ear-slammings.
laugh. Just listen to Mark Favoritism aside, movie scores have
baugh's "Ping Island" better shelf life. They're timeless.
he Life Aquatic" and try Everyone laughs at the Village
irk. Some scores can even People. Nobody laughs at John
ate for a whole movie and Williams.
sound. WV
those pe
The sam
be elicit
brass of
Horner
Danna ("
Few u
that an
as a Clif
Mark Isl
bring. Th
film scor
("Rudy")
("The No
into com
make you
Motherst
from "TI
not to sm
compens
Ovations: Why you shouldn't stand
FROM TOP: Your tools, ypur process, your
can be frustrating at times, smok-
ing a crumbly, half-assed cigarette
will ultimately piss you off more.
5. The lick: Don't overdo it,
sparky. Try a little tenderness. Try
not to slobber all over yourself.
6. Fuergo.
There you have it.
Remember that rolling your
own cigarettes will draw odd
By SARAH SCHWARTZ
Daily Arts Writer
A few weeks ago, I went to see
TREVOR CAMPBELL/Daily Paul Simon in concert. My mother
product. Fuergo! wanted to go for her birthday and,
although I am not a devoted Paul
glances and awkward questions to Simon fan, how could I turn down
the effect of "Hey, can I get a hit of family bonding and a free ticket?
that?" The answer is a steely, Jack Simon sported a Tigers cap and
Nicholson-esque glare and a stern played to an eager crowd, favoring
"you can't handle a hit of this." his well-known hits like "You Can
But really, offer to roll them their Call Me Al" and "Diamonds on the
own. You can finally afford to bum Souls of Her Shoes"; the show went
cigarettes and you have a bona fide on for more than two hours. With
excuse not to give one to asinine the crowd still on its feet and clap-
freeloaders on the Diag. ping, Simon and his band left the
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Your future never looked brighter.
stage. My mother turned to gather
her belongings.
"Wait, Mom," I said. "There's
goingto be an encore."
I was wrong. There were four.
Now I'm not dissing the songs.
His encores were some of his more
celebrated songs ("Bridge over
Troubled Water," to name one)
- classic Paul Simon. He played a
single song from latest release Sur-
prise, "Wartime Prayers," a soulful,
subtly anti-war ballad. He played
the rest in his usual a capella. Simon
makes it a habit to end his shows on
a more stripped-down level and
this was no exception. But where
does an encore stop and a second
set begin?
What's the point of an encore at
all? The Oxford English Dictionary
says it's "usedbyspectators oraudi-
tors to demand the repetition of a
song, piece of music or other per-
formance that has pleased them."
From an audience's perspective,
the request for an encore shows
we want more, that we loved the
performance so much we want an
extension. But at what point does it
become a self-indulgent act by the
performers? Do they stand in the
wings, listening to the cheers and
only come out to play again after
they've had their fill? They hold us
in their hands and we let them.
This isn't to say that the per-
formers don't deserve the acco-
lades heaped upon them. Simon
was excellent. Anyone who can
get 60 year olds out of their seats
and dancing in the aisles is doing
something right. But encores have
become so routine that they're an
expectation instead of a reward
- we almost feel insulted when the
performer doesn't come back on
stage for another set.
Same thing goes for the standing
ovation. Go to anylive performance
in America today and you'll find the
majority of the audience on its feet
by the end of the show. Were all
of them so affected by the perfor-
mance that they were moved to get
to their feet? Probably not. But the
standing ovation is now a standard
of American performances. Go to
London, and the only ones standing
are the American tourists.
Are Londoners not as moved?
I don't think so. But perhaps they
realize better than us the special
meaning a standing ovation should
connote. It's not meant as a mere
show of support, as in its current
diluted form. Look at the State of
the Union Address: The standing
It's an encore
because you have
to work for it.
ovations are a form of agreement
and support for what the president
just said. Cut them out and the
entire address is just 15 minutes.
We forget how a standing ovation
is an honor bestowed on the per-
former,justas an encore is anhonor
bestowed on the audience.
What right do we have to expect
an encore or a standing ovation?
It's almost as if the encore is simply
an acknowledgement for applause.
The performers thank us for thank-
ing them. This cycle continues for
too long and becomes an annoy-
ance. My family and I left after the
fourth encore, even though there
might have been more. We began
to get fed up with his continuation
of the concert-after-the-concert.
I don't think Simon wanted us to
walk out of his show ready to make
a break for it.
I'm not commanding us to stop
standing up at the end of every
performance in protest (something
I did when I saw "Billy Elliot" in
London and then couldn't see the
stage over the Americans in front
of me). Instead, let us leave want-
ing more from a performance so
we will be more inclined to see
it again. Entertainers shouldn't
become complacent, thinking
a standing ovation means their
shows are perfect. There's always
room for improvement like there is
always room for another good song.
And those always deserve a round
of applause.
U
I
TMI Cupigqt SnpakcsrI
"At Toyota: Growth Through Localization"
Yasuhiko Ichihashi
President, Toyota Technical Center
Friday, November 10, 2006
1:00 pm - 3:00 pm
0750 Wyly Hall, Ross School of Business
Hosted by the Tauber Manufacturing Institute (TMI)
for Global Operations Excellence
www.tmi.umich.edu
I