The Michigan Daily - michigandaily.com Wednesday, November 3, 2010 - 7A The Michigan Daily - michigandailycom Wednesday, November 3, 2010 - 7A Big stimulus needed I for Freakonomics By PHILIP CONKLIN Daily Arts Writerb A laughable gallery 'What's So Funny' The tagline for "Freakonomics," adapted from the best-selling book of the same name, is "Six Rogue Filmmakers Explore the Hidden Side of Every- thing." The film is split into chapters, Freakonomics each done by a different AttheMichigan director, but Magnolia each segment feels like a separate film rather than part of a unified whole. The film begins with the book's authors, economist Steven Levitt and journalist Stephen Dubner, giving a side-by-side interview. Their friendly banter, while sometimes amusing, ultimately doesn't add much to the movie. However, they are both captivat- ing people, especially Levitt, and their presence is the only consis- tency present in the film. The first of four chapters, "A Roshanda by Any Other Name," directed and narrated by Morgan Spurlock ("Super Size Me"), ana- lyzes the effect one's name has on success. Chiefly, it examines the divide between names white par- ents give their children and the names black parents give theirs. Does a girl named Sarah have an advantage over a girl named Yolanda? The episode contains some amusing anecdotes (the divergent, unexpected paths of two brothers named Winner and Loser, among others) and is imag- inatively done with man-on-the- street interviews and creative animation, but ultimately carries little emotional weight. it's clear from the opening sequence that the filmmakers are trying to make "Freakonomics" accessible. The film is rife with whimsical animation and fea- tures a playful score during the interview portions. The movie does succeed in lucidly explain- ing its points, and entertains you along the way. "Pure Corruption," an analysis of cheating in traditional Japa- nese Sumo Wrestling by director Fruits w Alex G Side")i turous and fai meanie to com matche Ponzi feeling vant. A it gets story a the res Fo Si COURTESY OF MAGNOLIA ithin fruits are too unstable. ibney ("Taxi to the Dark statistically supported theory is is the most visually adven- that the legalization of abortion segment, but it's cluttered led to the decline. This segment, is to effectively convey its which is exceptionally animated, ng. At one point it attempts fits into the theme of the film bet- spare the fixing of Sumo ter than the others. es to Bernie Madoff's giant The final chapter, "Can a Ninth scheme, which ends up Grader Be Bribed to Succeed?," jumbled and not very rele- directed by Heidi Ewing ("Jesus .nd, like the other chapters, Camp"), is about a high school too caught up in its own that begins paying its students nd loses its connection to for good grades. It follows two t of the film; it digresses freshmen, one of whom succeeds in raising his grades while the other's grades decline. The film deftly creates empathy for the ur segments, two kids, and it almost seems xdirectors, like a truncated full-length docu- X mentary, but this short version n clleaves the audience feeling short- no clue. changed. The chapters are connected by awkward transitions featur- critique of the Japanese ing Levitt and Dubner, which system and a commen- don't unify the segments very n the cultural differences well. And the ending, like the rest n Japan and the United of the movie, doesn't make the film's message clear. It seems to ene Jarecki ("Why We be wrapping up some large idea, directs the episode "It's but it's not clear what the idea is. lways a Wonderful Life," "Freakonomics" is really a film by analyzes the causes of the six rogue filmmakers who turned sed crime rate in the early out to not be making the same Levitt's controversial but film. merges memes and art in Ann Arbor ByERIN STEELE DailyArts Writer Mark Twain once said "Humor is mankind's greatest blessing." Gloria Pritschet and Rocco DePi- W So etro, founding directors of The Funny Gallery Project, Through share this senti- Nog2 Nov. 28 ment, examin- ing humor from Gallery Projet many angles in their latest exhibit, "What's So Funny." The jokes told by each piece in "What's So Funny" range from simple wordplay, like Todd Frahm's bowling pin structure with a carved rabbit (titled Hare Pin) and Tom McMillen-Oakley's long metal line with multiple pro- truding fists (Punchline), to heavi- er commentaries on hot-button topics like animal rights in Sue Coe's Turnabout is Fair Play, a pic- ture of a pig working in a human meat factory. "Sometimes people call us a cutting-edge gallery, (but) I think we never try to be cutting-edge or not," said Pritschet, adding that she firmly stands by the gallery's commitment to acknowledging all points of view on any given topic, regardless of what visitors may think. "There have been a couple of times (when) people suggested that we mightlosepatrons and it doesn't matter, because we would totally fail ourselves if we backed down because there was something that came into the gallery that had a strong voice for the theme we chose and we turned it down because we were cowards," she said. Many of the pieces, however, tackle less controversial sub- ject matter. Detroit-based artist Teresa Petersen creates kitschy assemblages and collages that address the societal expectations of women, among other topics. Some of her collages play with the idea of Mother Nature by depict- ing housewives cooking for wood- land creatures in the mountains or forest. "I start with a background from the thrift store, like a bad begin- ner's painting, and build a story on COURTESY OFGALLERYPROJECT 'What's So Funny' embraces a controversial brand of humor. top of it. They usually end up being kind of funny," she explained. "(When people say) 'Women's nat- ural role is to cook' it's like, OK, if it's so natural there's a stove in the woods and ladies run around in the woods cooking." Ryan Standfest, another Detroit artist, uses gag comic strips expressing humor as a defense mechanism and, he says, "the con- cept of the absurd or folly, some- thing that's doomed to fail." "It's not the subject that usually screams out humor, but I think a lot of humor actually comes from failure and people's attempt to deal with that failure by making a joke out of it," he explained. While Standfest thinks some- one with a darker sense of humor will most appreciate his work, he said "everyone can relate to fail- ure, and everybody can relate to this absurd idea that we make jokes in order to get through the day and to get through difficult situations." Some of Pritschet's work is also featured in the exhibit, including a photograph titled Ursus Ther- mometerus globus calafacio, in which a thermometer is placed on a white wall that she believes uncannily resembles the face of a polar bear, similar to likenesses of Jesus found on toast. "I was just taking other photo- graphs looking at different angles of things, (and I said) 'Oh my God, I've seen a polar bear in my ther- mometer. This is a sign of global warming!'," she said. Her goal is to make a statement without causing too many waves. "I'm making a point, butI would never argue with anyone about global warming because I'm not up for that kind of argument," she said. Another contribution from Pritschet, DePietro and Mike Sivak is the collection of photo- graphs titled Sad Keanu Meme Visits Ann Arbor, in which a pic- ture of a sad Keanu Reeves is worked into various Ann Arbor backgrounds. These photos, along with Anthony Fontana's piece Sculpture Fail - a heap of broken pencils - deal with online cultural phenomena known as memes. To extend the range of humor in the exhibit, Pritschet and DePi- etro also include interactive piec- es, like Automatic Bachelor Pad, a tiny nook decorated with tiny pianos, flashing lights and a self- emptying ashtray, among other eclectic items. High Five 4000 doles out high fives when a foot pedal is pressed. These and other interactive works open a door for the public to connect with art that is more accessible. "We always try, besides getting a real geographic range and a real range of artistic level, to have a whole range of media," Pritschet said. "Rocco and I interact with people (who visit the gallery), and we also encourage people to bring their children. We're committed to kids being in the gallery." Pritschet hopes that when yisi- tors leave the exhibit, "they found something funny here, a kindred spirit who has the same sense of humor they do, (and) that maybe there's something that makes them stop and think." "You can break a barrier with humor, and I think that's just very exciting and powerful," she added. into a police tary or betwee States. EugE Fight") Not Al which decrea '90s. I 'Friday' reaches the endzone By JACOB AXELRAD DailyArea Writer It'sgoodto beback ineDillon. For those who are new to the fictional Texas town where high school football is a way of life, welcome. For longtime fans of the criti- cally acclaimed drama "Friday Friday Night Night Lights," welcome back. Lghts The eagerly Wednesdays awaited fifth at9 p.m. and final season NO . has arrived. The fourth season marked an important transition for the series. Coach Eric Taylor (Kyle Chandler) was forced to leave his job as coach for the Dillon Panthers and take a position as head coach for the tal- ented but misguided East Dillon Lions, due to a redistricting plan in the town. The season five premiere, "Expectations," has us back in Dillon with the characters we know. But it's a distinctly differ- ent Dillon from when the series began, and better off for it. The Panthers are becoming a thing of the past and the Lions are now a force to be reckoned with. New characters dominate the story- lines and older ones bid us fare- well. The departure of Landry Clark (Jesse Plemons), former Panther and East Dillon Lion and Julie Taylor (Aimee Teegarden), the coach's daughter, are appro- priate and well executed. Though we'll miss them, it's understood that it's time for them to leave. Characters introduced in the last season have now taken center stage. Vince Howard (Michael B. Jordan, "Hard Ball"), the Lions' quarterback, is leading his team with teammate Luke Cafferty (Matt Lauria, "Lipstick Jungle"). It appears that their former rival- ry has blossomed into a strong friendship. Fittingly, the only character who seems oddly out of place is Tim Riggins (Taylor Kitsch, "X-Men Origins: Wolverine"), Robot elevator music If you're happy and you know it, clap your hands. the former Dillon Panther run- large fan base, "FNL" is on par ning back. In prison after taking with the top fare currently on the fall for his brother's crimes, network television. Developed he seems worn and tired. He by Peter Berg in 2006 as a spinoff tells his brother Billy in one short from the book and film of the scene not to visit him as much. same title, the show has taken It's tough to tell, but this may on a life of its own. It's a credit to mark the end for Riggins, Dillon's the writers that they've managed beloved bad boy. to take a powerful story, adapt it The storylines are as fresh as superbly for television and hold ever, imbued with genuine emo- a fanbase for five seasons. While tion without ever being overly football is the thread that ties sentimental. There are no heav- the storylines together, "FNL" is ily dramatized scenes or cliff- more of a character study of the hangers. Rather, it's the subtler inhabitants of the town. Nothing moments that are celebrated: the is better than watching Chan- dler and Connie Britton ("24") - who plays his wife, Tami Tay- t lor - discuss everyday life with a Out with the old, 'nuanced chemistry. It's a lesson . .in acting from two masters of the in with the new craft. Older characters make their for F cast. departures and new ones step up to fill their shoes, but the specific tone of the series is always pre- final ping-pong match between served. After all, what is a high Taylor and his daughter before school football team if not a con- she leaves home for college, a stantly changing group of indi- stressed out teenager strug- viduals committed to a common gling to parent her little brother goal? now that dad is out of the pic- Before departing for college, ture. These are the true-to-life Landry remarks to Julie "I'm details that have been the defin- gonna miss this place." We'll miss ing characteristic of "FNL" over him too but the truth is, the town, the years. This is a show that the team and the show will go on embraces the silences. At times, without him. By the season's end, just a look or a shift in body pos- we'll all have to leave Dillon too, ture conveys the feeling of the but for a little while longer we can moment. still root for Eric Taylor and the Although never garnering a East Dillon Lions. By EMMA GASE bleeps puncture the song, adding DailyArts Writer to its futuristic space-age sound. "2 Forms of Anger" begins with Bald, British big-wig producer a beatboxing drum loop and smat- Brian Eno is back with a new solo terings of bongos underneath a album. Having served a short ten- white-noise soundscape. As the ure as the keyboardist and mas- bongos speed up, a distorted elec- ter of all things tric guitar is introduced for the synthesizer in first rocking sound on the record. the exalted Roxy With uncharacteristically tradi- Music, Eno's Brian Eno tional electric guitars and drums, street cred in the Eno tempts listeners into thinking music biz is pret- Small Craft on a melody will emerge somewhere ty much as gold- the Milk Sea amidst the chaos. But alas, once it en as you can get. Warp all culminates in the most tradi- He has curated a tionally rock'n'roll sound on the festival in Aus- album, it abruptly ends. tralia, scored films ("The Lovely The album has clear shifts in Bones") and produced for some of emotional direction; the anxious the most titanic names in music and choppy tone of the first half (Coldplay, U2). mellows out considerably to a Eno pioneered electronic art- sweeping, relatively serene (but pop in the 1970s with albums like still eerie) second half. Here Come the Warm Jets and Tak- "Bone Jump" sounds like the ing Tiger Mountain (By Strategy) score to a robotic version of "Law that were highly influential and & Order." The clean bass line cuts stylistically ahead of their time. through the rudimentary drum But Eno is also known for a lin- track while the old-school synth gering interest in constructing and creepy ascending notes add an what he calls "sonic landscapes." element of suspense to the song. He has put out several "ambience" By the time the track comes to a albums, minimalist in instrumen- close, it sounds less "Law & Order" tation but complex in atmosphere and more like the score to the orig- and 100 percent lyric-free. His lat- inal "A Nightmare on Elm Street." est, Small Craft on a Milk Sea, is a Milk Sea is unlike anything in spare, spacey and emotive array popular music today; it requires of tracks that are most effective patience and a high level of tol- when listened to in their collective erance. Let's just say you're not entirety. Don't expect the glam melodic punch of a "Prairie Rose" or the grandiose pop of a "Life is Long" on this album. However, if you have ever wondered what a robot's thoughts sounded like, Small Craft on a Milk Sea would be a good starting point. "Flint March" sounds perfectly suited for the backdrop of a "Bat- tlestar Galactica" chase scene. The looping synth provides the founda- tional backbeat, as the percussion and screeching who-knows-what slowly climb to a tense, frantic crescendo. Spaceship industrial "This is where I go to cry." going to blast it in your car stereo while cruisin' the strip anytime soon, unless you live on Jupiter. There are no singles, no standout pop-oriented tracks, no booming choruses or jangly guitars. The peculiar space sonics are finely Perfect for when you're stuck on a 'Small Craft on a Milk Sea.' crafted and pristinely layered (thanks to two collaborators Jon Hopkins and Leo Abrahams), but they aren't something you can whistle on your way to class. Though there isn't the instant gratification of easy-to-love tunes, Small Craft on a Milk Sea lends poignancy to the most ordinary of activities. Listen to it while walk- ing down the street; suddenly the tedious scenes of everyday life are given movement, the most mun- dane activities are ennobled. That is the key to an ambience album: It allows you to see and feel from a different perspective. Brian Eno can do that better than almost anyone.