5B - Thursday,.September 4, 2008
The Michigan Daily - michigandaily.com
5B - Thursday, September 4, 2008 The Michigan Daily - michigandailycom
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ALBUMS
The Unicorns: Who Will Cut Our Hair
When We're Gone?
Bubblegum pop is a vastly over-
used descriptor in music. But you
could probably call The Unicorns's
Who Will Cut Our Hair When We're
Gone? bubblegum pop. On acid. If
the blips and the blops, the seeming-
ly peppy and childlike energy and
cheery album cover don't grab you,
maybe the tracks like "Ready to Die"
will slap you across the face. The
juxtapositions between the thoughts
on death and the lyrics about being
born a unicorn play off each other in
a way that shouldn't work, but the
intricacies in the guitar
riffs and the key-
board bounces
ground the
album
in an
unprec-
edented
way.
The party
heavy blast-
ers like "Les Os"
and "Sea Ghost" slam
against the gritty guitar grinders of
"Jellybones" and "Tuff Ghost." The
album's up. The album's down. You
feel like ecstasy. You feel like death.
Get ready for a lot of that in the next
few years.
Wilco:Yankee Hotel Foxtrot
If you ever plan on going to Ash-
ley's on State St., you should know
Wilco's Yankee Hotel Foxtrot better
than you know any course at the
university. It's a jukebox staple, and
for due reason. With reverberating
notes and background crash hyster-
ics that compliment Jeff Tweedy's
rusty vocals, Wilco plods along on
an album that turns out to be more
affecting and engaging than any
other album in recent memory. Fox-
trot is an instant fallback album for
any situation, whether you're in the
mood for jollier fare ("Heavy Metal
Drummer") or darker breakdowns
("I Am Trying to Break Your Heart"
and "Jesus, etc."). Either way, you're
looking at an album that has the
staying power that your parents say
doesn't exist in albums anymore.
Pavement: Crooked Rain, Crooked
Rain
The debate over which Pavement
album is best may rage forever. And
the discussion over which is cooler
won't end much sooner. But if you
want to ingratiate yourself with
the college cult surrounding indie
rock's greatest band, startby learn-
ing Crooked Rain, Crooked Rain.
Once you too have succumbed to its
evasive seductions, abuse its emo-
tional capital to make friends. Admit
to them that it may well not be your
favorite now, but cite it as your first
true love. Wax nostalgic about how
the ending of "Stop Breathin"' made-
you cry over a girl in high school;
how you neverrememberhowmuch
youlike"Heaven's aTruck"untilyou
hear it again; or how the guitar intro
to "Silence Kit" is the shortest min-
ute in the history of rock. If all goes
according to plan, savvy Crooked
Rain talk will have you sharing
drunken hugs with your new best
indie pals in no time.
FILMS
"The Big Lebowski"
Have you ever cov-
ered a 69-cent gro-
cery store tab with.
a check? Cursed
the existence
of the fucking
Eagles? Had a
marmot tossed
into your
bathtub? Well,
the Dude has.
And although
he's not a college
student, he's prob-
ably a better one than
you are. In the 10 years
since the Coen Brothers' post-
"Fargo" black comedy was released,
"The Big Lebowski" has gone from
a critically neglected stoner film to
a near-classic... among stoners. But
"Lebowski" isn't just a stoner film.
It's also a movie about rugs, and
bowling, and nihilists, and firearms
and all kinds of crazy shit. Plus, it's a
quintessential dorm room DVD: The
Dude abides. Do you?
"Office Space"
Everything we've learned about
the working world came from Mike
Judge - and that's probably why we
work at The Daily and notcthe Michi-
gan Telefund. Judge's "Office Space"
becomes better/scarier as you move
through your college career and
remains eminently re-watchable no
matter how frequently it pops up on
Comedy Central. The film features
Ron Livingston's most inspired per-
formance as one of cinema's least
inspired humans - a guy we wish
we didn't admire as much as we do.
And although it might take a soul-
crushing internship for the film's
genius to set in, soon enough it will.
Those TPS Reports are coming -
don't say we didn't warn you.
delusionthatthey're unique individ-
uals with acquired tastes unlike any-
one else's. The truth is that most of
the time they're easier to read than
the football team's M Club banner.
If you want to fit in with Michigan's
most pretentious elite, rule one is to
start worshipping the ground that
director Wes Anderson walks on.
His best work is his 1998 gem about
an overly ambitious private school
student (Jason Schwartzman) who
tries to strike up a romance with an
elementary school teacher even as
his extracurricular schedule lands
him on academic probation. "Rush-
more" is a quirky and sentimental
comedy that's as viable for its schol-
arly overtones as it is for the instant
alterna-cred you'll gain.
BOOKS
"Waiting for Godot," by Samuel
Beckett
In Beckett's landmark two-act
play "Waiting for Godot," a pair
of peasants named Vladimir and
Estragon spend two days in the
woods -sitting around and reciting
similar phrases and dialogue. They
are unable to continue with their
lives until they meet with a mysteri-
ous figure named Godot, who will
supposedly bring instruction and
purpose into their lives. Of course,
the play's cruel irony - no doubt
already beaten into your head by a
high school English teacher - is that
Godot never arrives, and the charac-
ters never take the opportunity to go
out ontheir own. Read this as a par-
able for your own journey through
college. Will you have the courage
and the independence necessary to
take control of your life when the
time comes, or will you simply bum
around waiting for your own Godot.
"Nine Stories"byiJ.D.Salinger
While "The Catcher in the Rye"
was crucial to high school lit cours-
es, Salinger's collection of previously
published short stories - aptly titled
"Nine Stories" - is the perfect addi-
tion to all college students' book-
shelves. The book is a quick read for
students who are already familiar
with Salinger's cynical outlook on
life. The opening story, "A Perfect
Day for Bananafish," tells the tale
of a depressed vacationer and his
materialistic wife, complete with
an explosive ending. This particu-
lar story put Salinger on the literary
map when it was first published in
The NewYorker in 1948. Most of the
remaining works deal with anxious
or similarly deranged characters in
the years during or following the
Second World War. "Nine Stories" is
classic Salinger and the perfect read
for newly-stressed college freshmen
looking for a quick-fix break from
their work.
writer for college-aged students,
then "Cat's Cradle" is the essential
work for this same demographic.
The book earned Vonnegut a Mas-
ters degree in Anthropology from
the University of Chicago. The work
also happens to be one of the most
illustrious - and prophetic - books
released in the 20th century. "Cat's
Cradle" makes a powerful, if satiri-
cal, statement about the intersection
betweenreligionand scientific devel-
opment. The novel argues that the
"untruths" of religion are less harm-
ful to the world than the destructive
forces of science, particularly in the
wake of the Manhattan Project and
the advancement of nuclear prolifer-
ation. Vonnegut paints these contro-
versialthemes with a comical brush,
allowing his readers to ease into the
topics and open their minds to previ-
ously foreign opinions.
FINE ARTS
The San Francisco Symphony
In an age when many large
ensembles are struggling to stay
afloat,some areusinginnovationand
newfound mass appeal to draw audi-
ences. The San Francisco Symphony
is (or should be) America's flagship
symphony, a position reached largely
through the work of Michael Tilson
Thomas, its charismatic and ener-
getic conductor. Under his direction,
the Symphony has moved closer
to traditional greats like The New
York Philharmonic, both the oldest
American symphony and another
standard-bearer of21st century clas-
sical.
CAID
Art can be loud, pro-
vocative, political
... and it can get
you arrested.
Well, at
least that
was the
case this
sum-
mer at
the Con-'
tempo-
rary Art
Institute
of Detroit
(CAID).l
During a late-
night dance party
set to the tune of rare
funk 45s, the SWAT team
raided the institute and ticketed
everyone in attendance. So why go
now? Because the CAID is pushing
Detroit forward, providing a space
for the movers and the shakers of
the city, for the musicians and paint- James Franco ("Pineapple Express),
ers, and also for those who just want Busy Philipps ("Made of Honor")
to enjoy a funky dance every and Jason Segel ("Forgetting
once in a while. Sara Marshall"). Luckily,
you can still find it on
AA Galleries DVD.
OK, so
you don't "It's Always
have a car, Sunny in Phila-
or maybe delpia"
Detroit
scares "It's
you, or Always
your Sunny in
parents Philadelphia"
told you is our genera-
to never tion's"Seinfeld"
ever to go - justnot enough
there, but you people know it
still want your fill yet. Moreover, if the
of the art world. You "Seinfeld" gang deserved
happen to be in luck (and to be imprisoned at the end of its
in the right place). Ann Arbor has a run, these characters should get the
flourishing artist community that electric chair. Never before has there
frequently displays work at galler- been a collection of greedier, lazier,
ies such as WORK on State Street, more ignorant, more prejudiced, and
the Gallery Project on Fourth Street more self-serving characters than
and the Slusser Gallery in the School on "Sunny."And this - coupled with
of Art and Design. Students, profes- the characters' constant attempts
sors and professionals display work to one-up each other - is why the
side by side in these galleries, testi- show triggers previbusly unknown
fying to the talent we have here in levels of disdain for humanity and
Ann Arbor. It may be hard to get to uncontrollable laughter. It's easy to
Detroit for every exhibit opening, simply embrace the show's perpet-
but State Street is always just a few ual raciness, and even easier to fall
blocks away. in love with its quirky charm and
spot-on vision of human behavior: If
TV SHOWS you watch "Sunny," prepare to spend
each Thursday keeling over in laugh-
"Freaks and Geeks" ter so intense it canbe painful.
Before Judd Apatow cranked
out ten films a year and when Seth
Rogen was stillfunny, the two wrote
and co-starred, respectively, in the
television show "Freaks and Geeks."
The show follows siblings
Sam and Lindsay,
(John Francis
Daley, "Bones"
and Linda
Cardel-
lini, "ER")
in their
hilarious
attempts
to survive
the trials
and tribu-
lations of
young love,
social situa-
tions and fitting-
in in high school.
It's a shame the show
onlylasted oneseasonbecause
it perfectly captured the awkward-
ness of adolescence in a relatable
andwitty way. Not only was it funny,
but "Freaks and Geeks" had early
yet memorable performances from
"Mad Men"
The phrase "the good old days" is
often thrown around by those who
express reproach for the present day
while yearning for a simpler time
when people were clean-cut and
cheerful. Whoever loves "the good
old days" has obviously never seen
"Mad Men."
Set in an early '60s Madison Ave-
nue advertising agency, AMC's "Mad
Men" may appear sharp and whole-
some at first glance, but after the cig-
arette haze clears, the deceitful air of
the show's charactersbecomes more
apparent. Everyone is out to make it
up the ladder- professional or social
- and Don Draper (Jon Hamm,
"The Division"), the firm's creative
director, is no exception. While its
historically accurate dress and slang
are unlike anything else on TV right
now, its deceptively-complex char-
acter dynamics and perfect story
plotting keep the show engaging on
a week-to-week basis. Fans of $BQ's
late, great dramas no longer need
premium cable to catch television's
best - AMC has them covered.
"Rushmore"
College hipsters, especially Ann "Cat's Cradle" by Kurt Vonnegut
Arborites, like to operate under the If Kurt Vonnegut is the essential
ARTS IN BRIEF
Fine Arts Preview
UMS stays on top
with its upcoming
roster of 2008-
2009 events
"Fine artsy"things often remind
us of old dudes in tuxes and ladies
in long, red gowns eating shrimp
cocktails out of brandy tumblers.
However, the University Musi-
cal Society (UMS), U-M's premier
performing arts organizer and
presenter, has a different vision
for the fine arts, and sees the year's
lineup as a new way of introducing
students to aspects of contempo-
rary music, dance and theatre that
are a far cry from the "excitement"
of being penguin-garbed and eat-
ing shellfish.
One highlight of the year is the
continuation of the Ford Hon-
ors Program,which involves the
partnership between UMS and
the Royal Shakespeare Company.
Last year's residency involved
actor Patrick Stewart ("X-Men:
The Last Stand"), who claimed
the lead roles in two Shakespeare
plays produced by the RSC, and
this year the company will return
in January to continue its innova-
tive, cutting-edge set and costume
design to the bard's plays.
UMS's theme this year is "music
and dance of the Arab world,"
showcasing a group of six per-
formances that exhibit aspects
of contemporary and traditional
Arab culture. The shows range
from a musical presentation by
Munir Bashir, who specializes in
playingthe oud, an Arabic lute-like
instrument, to an Arab adaptation
of Shakespeare's play, Richard II,
which has been commissioned to
be performed by the RSC.
Other performances include
shows by the Mark Morris Dance
Group, one of the premier modern
dance groups in the world, and the
UMS debut of Rubberbandance
Group, which draws inspiration
from contemporary and urban
hip-hop influences to create a new,
dynamic dance and movement. In
terms of music, the Wayne Shorter
Quartet and the Imani Winds will
be performing soulful jazz music,
and the New York Philharmonic
will be joining the season, among
many others.
If any performances catch your
interest, UMS is holding a limited-
time half-off ticket sale for stu-
dents that begins on September 7
and ends September 10. You can
visit UMS.org for details.
WHITNEYPOW
t t t t
A voice
of reason
sines in.
comedy
By JOHN DAAVETILLA
Daily Arts Writer
In the last 10 or so years, a collective deci-
sion was made by the American public at large to
reject stereotype comedy. To poke fun of someone
based on outward appearances now seems boor-
ish, uncalled-for and offensive. It seems America
has been caught in a constricting vice of hyper-
sensitivity, and Ann Arbor is far from an excep-
tion.
But there remains one voice of reason - and
vehemently insulting jokes: Lisa Lampanelli.
The 47-year-old comedienne's stand-up specials
on "Comedy Central" have earned her the title
"Queen of Mean," and with good justification. Not
your typical "female comic," Lampanelli has used
this newfound theme of political correctness to
her advantage by shocking audiences around the
Lampanelli shows
audiences how to laugh
at themselves, to better
understand each other.
United States, including Ann Arbor last fall at the
Michigan Theater.
Lampanelli's act is nothing if not interactive,
as she spends up to two hours heckling and talk-
ing to the audience. Stereotypes aren't shunned
or tabooed, but embraced and used in a way that
allows the audience to relate to whatever she says.
Her quick, brash style keeps everyone on their
toes, whether it's a gerbil joke aimed at an effemi-
nate man or the word "whores" assigned to a cou-
ple of busty blondes in the front row. And yet there
are no gasps of shock - only laughter. There's no
group left out, no stone left unturned or not ridi-
"I look Grimacey, oh so Grimacey."
culed. one feels a sense of unity after leaving a
Lampanelli performance - a sensation felt only
after accepting quirks about yourself, instead of
hiding them.
The attraction ofLampanelli's workis its intense
severity, which is over the top and impossible to
take seriously. When confronted with such awful
insults and jabs, the only thing to do is laugh it off
and wait for your turn to end.
A regular on "The Howard Stern Show," Lam-
panelli's real fame took off with the addition of the
"Comedy Central" roasts, which ranged from Wil-
liam Shatner to Pamela Anderson. Her roasting
skills became so popular she was forced to become
the powerhouse caboose of every roast.
"I have to close it every time now because
everybody bitches that they have to follow Lisa
Lampanelli. Pussies," she told Penn Jillette on his
radio show. Being the closer means creating more
fresh material, but she handles it with ease and
has the crowd helpless with laughter in a.matter
of seconds.
We live in a culture of fear; treading on eggshells
and avoiding beingmisinterpreted has become the
social norm. But when entering a Lisa Lampanelli
performance, all thoughts ofbeinglabeled a preju-
diced ignoramus vanish, and everyone shares in
the traits of others.
Instead of waiting to jump at the first offense,
audiences learn to accept their flaws in a way that
both humbles and frees. Lampanelli deserves rec-
ognition for speaking her mind and bringing view-
ers together with the common bond of well-known
stereotypes.
While she may only be known for her cutthroat
style, one visit from the Queen of Mean will cement
her as the comic who taught you to loosen up. Ann
Arbor won't be honored with a performance this
year (although she is planning on an appearance
in Joliet, Illinois later on), but college students
around would be wise to watch and enjoythis fiery
comedienne when they have the chance.