(09/23/14 6:03am)
Walking into TD Garden on Sunday night, crowds rambled up the escalators, tickets in hand, eagerly awaiting the start of the performance. All this excitement was for the Black Keys, who would be accompanied by opening act Cage the Elephant. The concert fulfilled this the audience with two exemplary, yet different performances. The Black Keys’ lead singer Dan Auerbach mostly remained standing at the microphone at the front of the stage, while Cage the Elephant’s lead singer Matthew Shultz moved around while performing. The two groups embodied two very different types of rock music.
(04/29/14 4:00am)
"Golem" Alongside the steps leading to Mandel Quad, Paul Belenky '14 constructed an enormous steel and wood Golem, described in the Festival of the Arts pamphlet as a "traditional symbol of protection and defiance." The structure of the Golem originated in 16th-century Prague when a rabbi built the structure to protect Jews. Belenky explained on a descriptive plaque next to the statue that the Golem serves as a "symbol of protection" for the graduating seniors.
(04/08/14 4:00am)
Sarah Elizabeth Bedard M.F.A '14 pulls inspiration from three personal accounts of mental illness to format her Studio Series short play: the personal accounts of Susanna Kaysen, poet Anne Sexton and works by poet Sylvia Plath. Interrupted, a Theater Piece in Pieces' storyline centers around Kaysen's novel, Girl, Interrupted, in which the author draws on her time at McLean Hospital, a Belmont, Mass. psychiatric hospital, where she was diagnosed with borderline personality disorder. Similarly, Sexton and Plath both spent time at McLean in being treated for depression. The play incorporates pieces of all three of their lives, but the main characters are based on Kaysen's novel. The actors at times dramatize the direct text of the novel, which includes some pages from Kaysen's actual psychological diagnosis from McLean as well as doctors' notes about her diagnosis, while also using Sexton and Plath's writings. Bedard wrote, directed and choreographed the play. She also played the role of Lisa, who is a diagnosed sociopath with unpredictable behavior. Bedard combines Kaysen, Sexton and Plath's writing with dance movements and music to alter Kaysen's more traditional book into an alternative style performance. Girl, Interrupted is transformed from a memoir into both a provocative and thought-provoking piece on how mental illness can affect women. If not familiar with all three women's work, the play can be confusing because it is unclear from where Bedard is drawing inspiration, especially when she quotes different poems. However, this could easily have been resolved with a more thorough program detailing the sources used. Regardless, Bedard incorporated different perspectives on mental illness to create a sensory collage about women and mental illness within society. As for the overall structure of the play, it consisted of mostly disjointed scenes that revealed challenges of the different characters and their time spent at McLean. Bedard sticks to Kaysen's original characters, but her use of dance, supplementary poetry and music develops the characters much more thoroughly than Kaysen's original memoir. Bedard chose five characters to focus on: Susanna (Alex Johnson MFA '14), the protagonist and author; Nellie (Caley Chase '16), who is a lesbian and seemingly the most sane of the group; Lisa (Bedard), an uncontrollable sociopath who frequently leaves the hospital; Sylvia (Liz Tancredi M.F.A. '14), who was not in the memoir but suffered from a dissociation with reality due to childhood sexual abuse and Polly (Sara Schoch M.F.A. '14), who acts like a child after being scarred from lighting herself on fire. Throughout the play, Bedard also emphasized conflict, both internally within a single character and externally between the women. At times, you could feel the tension in the play, as well as the struggles of one woman battling mental illness. Each character had a "solo" scene that featured music, poetry recited in the background or a monologue and interpretative dance. One of the highlights was Schoch's performance in which she completely embodied Polly's fragile psyche and child-like behavior. Her solo started with a brief, yet powerful moment in which Susanna entertains her with a notebook, while Susanna talks-essentially to herself-about a deeper issue that goes beyond Polly's understanding. It is a tender moment that also reveals some of Susanna's fears and issues. Polly then launches into telling the audience a story about a lonely butterfly who just wants to be surrounded by beautiful butterfly friends. After her accident, all Polly wants is to feel beautiful and loved. The song "Didn't Leave Nobody but the Baby" by Alison Krauss played in the background, adding to the tragic tone of the scene. Bedard used Sexton's poem titled "Housewife" to develop Sylvia's character and her two personalities: one that seems to be her real self who is in love with another woman despite the pressure to conform and another who is devoted to "extreme housewivery," as Lisa puts it. At one point during her solo, the other girls also danced around her to the upbeat song "Sunshine Cake" by Frank Sinatra and Paula Kelly, which contrasted with Sylvia's depression and subsequent suicide. Susanna's character is interesting because there is little answer to whether or not she is sane. She obsesses over the bones in her hands during her suicide attempt, trying to prove that she exists, but that is the only indication that she might be struggling with reality. Overall, Susanna seems to serve as a tool to question how society defines mental illness. She fights her diagnosis, but by the end of the play, she is the only one who has recovered. During her scene, Susanna appears to grow stronger and more confident as seen through the type of dance. Johnson successfully conveys Susanna's struggles and triumphs while she recovers. The converging texts, music and performance tie together the idea that normative American society damages women and then punishes them for reacting to the damage. Interrupted was a startling re-imagination of Kaysen's memoir and was incredibly well performed by all of the actors.
(04/08/14 4:00am)
Who is Geoffrey Canada? Before Brandeis announced him as our 2014 commencement speaker, I had no idea who this man was. After a quick Google search, I learned that Canada, like many of our own Brandeisians, is an activist. Currently, he is the president and CEO of the Harlem Children's Zone, an organization that works to increase high school and college graduation rates among children in Harlem, N.Y. through various support services. Canada clearly deserves this honor bestowed upon him. By recognizing someone who isn't trending on Twitter or in the spotlight, the University is acknowledging individuals whose hard work could have otherwise gone unnoticed. There's always the argument that Brandeis doesn't attract big name speakers because we're a smaller school, but I think it's OK that we don't top the list of most famous graduation speakers if Brandeis continues to welcome individuals like Canada. After growing up in the inner city himself, Canada has used his Harvard University education and personal story to change the lives of thousands of children. Canada's work has also impacted public policy, including President Barack Obama's pledge to create more centers like the Harlem Children's Zone across the country. Canada clearly demonstrates the qualities that Brandeis holds dear: social justice, opportunity for those often overlooked and community. Why, then, are students generally not looking forward to his speech, even if it means doing some research on him? Why, year after year, do students lament that other universities have a better, more famous, name brand speaker? Yes, it would be quite exciting for Ed Helms, who is speaking at Cornell University this year, or John Legend, University of Pennsylvania's speaker, to grace our commencement stage, but these individuals don't represent Brandeis. We deserve someone who reflects Brandeis' values and history, rather than Joss Whedon, who spoke at Wesleyan University last year, or Peyton Manning, who will speak at the University of Virginia this May. I'm not saying some name recognition is a bad thing-it does boost the University's image, or at least its press coverage. Think Madeleine Albright, the first female secretary of State, who will speak at Dickinson College this year. Or Bill and Melinda Gates who are speaking at Stanford University's graduation this year. Being famous is one thing and being qualified to deliver a commencement speech is another-and if an individual fits both those categories, that's great. Although Canada may not be recognizable by the general public, I think Obama's recognition of Canada's work illustrates his growing image. Though having a famous speaker is exciting, the most important aspect of a commencement speaker is his or her message. Furthermore, Brandeis higher-ups have recently done a pretty good job at inviting speakers who I probably wouldn't have heard about otherwise. Last year, Brandeis honored Dr. Rick Hodes, who works in Ethiopia helping people with serious illnesses and is the medical director of Ethiopia for the American Jewish Joint Distribution Committee. In 2007, Hodes was a finalist for the respected "CNN Heroes" program that consistently recognizes individuals for their humanitarian efforts. If he's good enough for Anderson Cooper, Hodes clearly deserved to be Brandeis' commencement speaker. You don't need to be a famous comedian or movie star to have a story to tell. Margaret Marshall, first female Supreme Court justice in the Massachusetts judicial court, spoke in 2005. Marshall is from South Africa, where she advocated against apartheid as a leader in the National Union of South African Students. She also wrote the majority opinion statement on the court case that declared same-sex couples could marry in Massachusetts, making it the first state to do so. Ideally, an individual is chosen to speak at a graduation because he or she has something meaningful and thought-provoking to say-whether they are a comedian or founder of a nonprofit. That being said, you can't judge a commencement speaker by their career or background and it's possible that speakers like Manning or Whedon will give equally memorable speeches. But as for Brandeis, considering our conception as a harbor against discrimination, we should honor individuals who display a similar passion for social justice. Speaking at commencement is an honor that reflects back on the University and our values. By choosing Canada, we are saying that we value those individuals who are often under-appreciated, who make a difference in the world through activism and philanthropy. We are saying that despite your background, you can become someone who changes lives. *
(03/25/14 4:00am)
Ronny Zinner, the daughter of Carl and Ruth Shapiro and a Brandeis University trustee, passed away on March 18 at the age of 70 in Boston, according to a March 20 BrandeisNow article. Following her parents' legacy of dedication to Brandeis, Zinner served as president of the Carl and Ruth Shapiro Family Foundation, which is known for its widespread philanthropic work. The foundation supports organizations ranging from the Heller School for Social Policy and Management at Brandeis to after-school youth art programs.
(03/11/14 4:00am)
Prof. Emeritus Michael "Timo" Gilmore (ENG) passed away on March 3 at the age of 72 after battling an unspecified serious illness, according to a March 5 BrandeisNOW article. Gilmore retired from Brandeis two years ago after spending nearly 40 years building the English department's reputation in American literature. Gilmore is remembered by his colleagues for his passionate character and intellectual achievements that range from publishing books to teaching at Brandeis. In his academic career, Gilmore authored or edited eight books that studied the relationship between American politics, social conditions and literature. Prof. Robin Feuer Miller (GRALL), who described Gilmore as a natural leader on campus in an email to the Justice, wrote that her favorite book of his is Differences in the Dark, a study analyzing American movies and English theater.
(03/04/14 5:00am)
We've all read Shakespeare, though I spent most of my high school literature class lost in the Shakespearean language. However, Shakespeare does offer universal themes that are open to interpretation. In a departure from the Master of Fine Arts' traditional productions, Laura Jo Trexler MFA '14 presented her own original one-woman musical romp, Play On!, that reimagines Shakespearean heroines. The performance, which was staged in Spingold Theater Center's Merrick Theater this past weekend, consisted of eight vignettes-each focusing on a different woman-as well as a concluding song. What's interesting about Play On! is that it wasn't a formal performance, but actually a performance-style workshop for Trexler. Following the show, Trexler also welcomed feedback and suggestions during a talkback. The musical opened with a song called "I Shouldn't Look at You," which was based on Romeo and Juliet. For all the characters, Trexler combined the traditional Shakespearean text with inspired songs that she wrote herself in order to create a more accessible and modern story. In the case of Juliet, Trexler acted out the idealized character of a young girl in love, and even compared this song to a Taylor Swift-style pop song. The delicate love song was a perfect way to slowly introduce the audience to Trexler's innovative musical, and each following set further displayed her talent and range as a performer. Other characters included Olivia and Viola from Twelfth Night, Gertrude from Hamlet, Rosalind from As You Like It and Lady Macbeth. Trexler explained in the talkback that she chose the women based on the characters with whom she personally felt a connection. My favorite song was in the character of Adrianna from Comedy of Errors, as she sang "Master of My State" with a dramatic country-style flair-something you would never connect with Shakespeare. After finding out her husband cheated on her, Adrianna drinks away the pain, but the alcohol actually serves to empower her over the course of the song. Trexler also broke through the fourth wall when she sat down right next to an audience member, asking if he had a tissue. For me, this song achieved the strongest character development, and, even though I've never seen Comedy of Errors, I completely understood the character because her reaction was so relatable. The most shocking song was Lady Macbeth's "Leave all the Rest to Me" that offered a chilling end to the sequence. The song was completely different than all the preceding songs and Trexler delivered her monologue seated with a spotlight only on her face. Her voice was almost demonic and to me, it seemed like the monologue represented Lady Macbeth's racing thoughts. In the talkback, Trexler explained that she drew inspiration for this piece from Samuel Beckett's short monologue "Not I" that only shows a close up of the actor's mouth as the monologue is delivered. The last song, also titled "Play On!," emphasized the importance and meaning of music in all aspects of life. It also included references to famous Shakespeare lines like "all the world is a stage" and "he loves me, he loves me not." At one point, Trexler repeated "I'll whisper music to your weary spirit" as the audience clapped along. To me, these words connect the original stories of the eight heroines with Trexler's original music, as if she is giving life to the Shakespearean characters. Trexler's interactions with the piano are also very interesting; one moment she is playing a somber song and the next she is climbing on top of it while portraying the alluring Olivia of Twelfth Night. During the talkback, Trexler discussed her relationship with the piano, explaining that co-director Prof. Mary Lowry (THA) helped her find balance in using the piano during the show. For example, Lowry took away the piano part of Juliet's song because the meaning was so simple and didn't require it because Juliet was like a young, innocent girl in love. Though Trexler does make the musical accessible to anyone, it does help to have background knowledge of the original Shakespearean plays because you see how truly innovative Trexler's creative process was. The idea for the musical began with her writing one song for a production of Hamlet and evolved into an impressive display of Shakespeare's female characters. And the creative process still continues-during the talkback, one audience member suggested changing around the transition between the last scene and the final song. Trexler decided right then to use that idea for the next performance. I left the tiny theater completely surprised at the workshop performance I had just seen and a new appreciation for Shakespeare, whose work seems endlessly adaptable. *
(02/04/14 5:00am)
Losing love and the subsequent fear of spending life alone are devastating. The new film Labor Day, based on the 2009 novel of the same name by Joyce Maynard, brilliantly captures the downfalls and joys of love through the lens of grieving mother Adele (Kate Winslet) and her 13-year-old son Henry (Gattlin Griffith), who encounter escaped convict Frank (Josh Brolin). The film was originally released at the Telluride Film Festival last August in the noteworthy first feature slot, following in the footsteps of other successful films such as last year's Argo. Directed by Jason Reitman, Labor Day marks an interesting progression of Reitman's work after his hit films Thank You for Smoking, Up in the Air and Juno. Labor Day, set in the summer of 1987, opens with a detailed portrait into the lives of Adele and Henry, who live a quiet life after her divorce from Henry's father Gerald (Clark Gregg). Adele suffers from depression, struggling to leave the house to run errands, and her hands consistently shake in moments of anxiety. Henry, who retrospectively narrates the film, is incredibly attentive and caring toward his mother. He explains that he sees how much she's suffered from losing love itself and attempts to fill that void; for example, he makes her breakfast in bed and gives her a book of handmade coupons for assorted chores and favors. Their relationship is one of the most remarkable aspects of the film, both in the emotional connection and also as the actors develop a different type of parent-child relationship. In a rare trip to the store, Henry meets Frank, who just escaped from prison while having minor surgery. Bleeding through his stark white T-shirt, Frank forces Adele to take him back to their house, but the film doesn't follow the typical hostage situation-Frank and Adele develop a dynamic and tender relationship that manages to overshadow any negativity in the film. Though the premise of falling in love with your captor is a bit unusual, Reitman creates a love story that transforms two broken individuals. The film revolves around the progression of Adele and Frank's relationship, as well as their relationship with Henry. Over the course of the long Labor Day weekend, the film uses flashbacks, details and powerful emotional ties to progress the plot. The beauty of Labor Day is in its many silent moments that truly encapsulate the theme and events of the film. In one scene, Frank silently ties Adele to a chair (in case she is forced to testify to the police) and then feeds her dinner that he made. The moving silence perfectly contrasts with the underlying tension in the scene. Another memorable silent moment was one of the first tender scnes between Adele and Frank-sitting on the steps while Henry plays a few feet away. The film proves that family is not a rigid entity, but a fluid self-created structure. The flashbacks to Frank's past, including the crime he committed, also occur in silence with the emphasis entirely on his story. Griffith, who has appeared in several television shows and films, conveyed a deep sense of maturity and depth as the young boy. His wide, expressive eyes captivated each scene he was in and he developed an excellent rapport with his costars. Toward the middle of the film, Henry meets Eleanor (Brighid Fleming), a girl his age who just moved to town after dealing with her own family issues. The two display an innocent yet intense relationship, both wise beyond their years after dealing with many challenges in life. The two young actors have a lot of potential for their future years and are perfectly cast in Labor Day. Winslet is also an ideal choice for the melancholic role of Adele-both her body language and eyes convey her deep pain in her performance. Winslet also does an excellent job transforming her character from forlorn to engulfed by love. Brolin expertly mixes a rugged exterior with complex inner emotions and a challenging past. Aside from the acting, the cinematography and musical score are also outstanding. Set in New Hampshire, the scenery is exquisite and is accompanied by sharp eye for detail, from items around their house to the local grocery store. The film feels immensely real and tangible because of this. As for the score, the music plays a critical element in the key moments of the film and I found myself hypnotized. Though Labor Day has received negative reviews from many critics and the plot is a bit far-fetched, Reitman-who also wrote the screenplay-directed a dynamic and engaging film that I thoroughly enjoyed. Plus, Clark Gregg-the amazing Phil Coulson from The Avengers movies-makes a great appearance as Gerald, Adele's ex-husband.
(01/21/14 5:00am)
The Undergraduate Theater Collective, an umbrella group of five theater groups on campus, has announced its lineup of performances for the spring semester. In an email to the Justice, UTC Coordinator Alyssa Bickoff '15 explained that the various groups will produce Brandeis Cares, 1984, Killer & Me, Hairspray and Boris' Kitchen's Spring Show. Bickoff adds that they "are especially looking forward to having Brandeis Cares as a main stage performance for the first time." In the past, Brandeis Cares has co-sponsored with the Brandeis Pluralism Alliance to feature various musical numbers, improvisational skits and other performances-all in support of AIDS research and fundraising. The UTC umbrella consists of five distinct groups, all of which are run by undergraduate students and share performance space in the Shapiro Campus Center Theater: Brandeis Ensemble Theatre, Boris' Kitchen, Brandeis Players, Hillel Theater Group and Tympanium Euphorium. Each of these five groups represents a different aspect of theater, ranging from musicals to sketch comedy. Brandeis Cares, which is related to the larger organization Broadway Cares, seeks to raise awareness about AIDS through theater productions, ticket sales, silent auctions and raffles. Since it is a main stage production this year, the charitable event will be able to have an even stronger impact than in prior years. 1984, produced by Brandeis Players, is based on George Orwell's novel of the same name. In the novel, Orwell raises perplexing questions on political tyranny and socialism in a dystopian society under the watchful eye of constant government surveillance. As the National Security Agency has filled the news in recent months, Players' production of 1984 has the potential to create an intellectual dialogue on Orwell's society in a modern context. Killer & Me, an original dark comedy written by John Schnorrenberg '14 and produced by BET, will take the stage April 3 through 6. Killer & Me centers upon the unusual romance between a police detective and serial killer and according to Schnorrenberg, the play uses the characters to mock the typical romantic comedy. Having won eight Tony Awards in 2003, the nationally acclaimed musical Hairspray comes to Brandeis April 10 through 13 as HTG's spring production. The musical centers around Baltimore teenager Tracy Turnblad, who wins the chance to perform on a local dance television show. However, the musical also raises serious commentary on the social injustices of the 1960s-something quite pertinent to the founding values of Brandeis. Sketch comedy group Boris' Kitchen, continuing an annual tradition, presents its Spring Show on April 25 and 26. As usual, BK performs short skits on various topics, often relying on pop culture references and Brandeis-related inside jokes. In addition to their spring performance, BK also hosts a charitable event in the fall semester and the September "Old Sh*t Show." As always, theater remains a central part of student life on campus, attracting a wide range of students to its numerous productions each semester. From BK's comedy routines to the dystopian world of 1984, UTC displays a range of performances with their upcoming productions.
(11/26/13 5:00am)
Sexy, risqu?(c) and provocative are the three words I think of to describe Cabaret, a daring musical set in 1930s Berlin, Germany. The Brandeis Theater Company perfectly captured the seduction and tension of the musical during their production of it this weekend. Cabaret has a long performance history, dating back to its 1966 Broadway premiere in Manhattan, and is certainly an ambitious undertaking. The musical is arguably best known for actress Liza Minnelli's 1972 portrayal of Sally Bowles in the film adaptation.
(11/19/13 5:00am)
Many of the Marvel Cinematic Universe films follow the same plotline: backstory, conflict, defeat or tragic moment and the inevitable triumph over evil. Thor: The Dark World is no exception, but that isn't a bad thing. I left the theater stunned by the excitement and depth of the film. Since the 2008 release of Iron Man, Marvel and their film production team have created an entirely distinct realm of Hollywood, with each release building upon the trails of the last. Thor: The Dark World begins with a flashback to a conflict long-forgotten by the characters between the Asgardians and the Dark Elf Malekith (Christopher Eccleston) over a powerful substance known as Aether. Asgard defeats the evil forces and hides the Aether deep beneath the earth, unbeknownst to them that Malekith and some of his followers escape to their ship. Flash forward to present day where we find Loki (Tom Hiddleston) imprisoned for his crimes committed on Earth in The Avengers; Thor (Chris Hemsworth) and his friends battle to create peace in the nine realms and Jane (Natalie Portman) is studying a scientific phenomenon in England where she discovers the Aether. Awakened by the Aether's energy, Malekith and his forces attack Asgard, resulting in great tragedy and one of the most impactful moments of the movie. Eccleston's portrayal of the revenge-driven Malekith was decent but Malekith does not stand out on the list of bad guys. However, Malekith is clearly willing to do anything to gain the Aether, which will grant him endless power. Thor, angry about the destruction and Asgard's helplessness, devises a plan to defeat Malekith for good but needs Loki's help to escape from Asgard through a secret passage. The relationship between Thor and Loki develops a strange appeal throughout the film, as the viewer doesn't trust Loki for his past actions but there is still a powerful bond between the two brothers. All of the previous Marvel films have not taken the opportunity to develop their relationship, but after suffering a common tragedy in the movie, the two are forced together. The movie also reveals Hiddleston as capable of much more than the crazed, power-hungry character of Loki. Hiddleston displays the emotional complexity of a character tormented by his own decisions and ambitions, willing to do anything to prove his worthiness to rule. Beside this, Hiddleston also retains the comedic and sarcastic nature Loki is known for, thus proving Loki's likeability-even as the 'bad guy.' The other power couple of the movie is Jane and Thor who, when the movie opens, haven't seen each other for nearly two years. Thor is a warrior, but in comparison to his first movie, he develops much more emotion-or humanity-through the relationships seen on screen. Portman is almost always flawless in her roles, though Thor always overshadows her whenever they share a scene, and the entire premise of the movie follows the plotline of Thor saving her from the dangers of the Aether. Regardless, Portman's performance is reminiscent of her Star Wars days as Queen Amidala, a strong-headed woman motivated by love. The movie also relies heavily on the talent of supporting actors, including Dr. Selvig (Stellan Skarsg??rd), Heimdall (Idris Elba) and Frigga (Rene Russo). Selvig, a scientist who works with Jane, is initially locked in a mental hospital after his traumatic experience during The Avengers, but returns now and helps save the world from devastation. Heimdall is the all-seeing keeper of the Bifr?dst Bridge that unites the realms, and the sequel sees Heimdall play a much greater role in the plot as he helps Thor save the day. Elba's solemn tone and unyielding body language match perfectly with the man who knows everything about the realms and whose job it is to protect the gates of Asgard. Frigga, the wife of Odin and mother of Thor and Loki, also helps develop Loki's emotional appeal; Frigga clearly loves her son and their scenes together are heartbreaking. Though much of Thor: The Dark World draws on previous Marvel knowledge, I loved that the movie, was still accessible to people who know little about the Marvel Universe. The movie is much more than an action-packed explosion of conflict and enemies; relationships and emotions compose a large part of the film. When tragedy falls, it is not just another warrior in battle but a character whose story you know. As an amateur Marvel enthusiast, I highly recommend the movie though it is even better knowing the plot of previous Marvel movies.
(10/29/13 4:00am)
Coinciding with this year's Fall Fest, Brandeis Players presented a production of Boeing-Boeing, a 1960s comical farce. The play, written by French playwright Marc Camoletti, was originally written in French and translated into English. In 1991, the Guinness Book of Records declared Boeing-Boeing as the most performed French play since its first staging at the Apollo Theatre of London in 1962. With a cast of only six actors, Boeing-Boeing encourages each actor to show off their talents, and each Brandeis student truly captured his or her respective role. Bernard (Austin Koenigstein '17) is a single, flirtatious American living in France, happily engaged and enjoying life. The twist is that Bernard is engaged to three women: Gloria (Corrie Legge '14), Gabriella (Lisa Galperin '14) and Gretchen (Joanna Nix '14). All three fianc?(c)es are flight attendants for different airlines whose flight schedules cross the globe, allowing Bernard to keep his fianc?(c)es unaware of each other. That is, until one fateful night full of delayed flights, surprise visits and unexpected schedule changes. In the morning, Gloria is getting ready to leave for her flight, and Bernard hastily pushes her out the door, when his old friend Robert (Ray Trott '16) arrives. Robert, who is from Wisconsin, plans to settle down in Paris. Bernard welcomes him to stay in his apartment. Gloria, who is American, leaves, and in comes Gabriella, the Italian woman. However, Bernard's carefully calculated flight plans and detailed arrangements promptly self-destruct as all three women announce their respective changes of plans. This unfortunate obstacle is the entire basis of the play and was provoked even as Bernard explained his perfect setup to Robert. With Gretchen, the German woman, on her way, Bernard basically forces Gabriella to go to the country for a romantic evening, leaving Gretchen with the impression that Bernard left on business. However, the real situation-and comedy-appears when all three women are in the small apartment and Bernard and Robert do all they can to keep them apart. I have to admit, I wasn't a fan of the script and found it generally boring, though specific lines made me laugh. Because the entire two-and-a-half hour play took place in Bernard's apartment, the scenes seemed to drag on endlessly, punctuated only by a brief intermission. I don't understand how this is the most performed French play, but maybe I'm simply not understanding the theme of Boeing-Boeing. However, one redeeming quality that subtly addresses gender stereotypes was Gloria's own engagement to three men in different cities. Gloria proves that women can be just as deceptive in their dating as men. As much as I disliked the play itself, the actors were amazing. Kelsey Segaloff '15 steals the show as Bernard's housekeeper Berthe. With her thick French accent perfectly executed, Segaloff was incredibly funny, not to mention her exasperated facial expressions and precise body language. She also wore-and rocked-a short, black wig and a French maid outfit. Trott's role was similar to other goofy roles he has portrayed in previous productions, as he carried the bulk of the farcical antics while keeping the fianc?(c)es apart. His nervous and jumpy portrayal of Robert was ideal as he managed the disaster Bernard created. Trott and Koenigstein are both excellent when interacting with other characters, as seen in their dialogue with the three fianc?(c)es while juggling Bernard's situation. Of the fianc?(c)es, I particularly enjoyed Nix's portrayal of the feisty, strong-willed Gretchen, imitated accent and all. Nix, who wears a yellow uniform, is intense, dramatic and funny all at the same time while interacting with Robert, who hits on her incessantly. Legge portrays a much more flirtatious and sexual character-a personality that is aesthetically portrayed by her red flight attendant uniform. Legge does an excellent job at balancing the "cute" behavior without being overly clich?(c). Galperin, who wears blue as Gabriella, also does a perfect Italian accent and captures Gabriella's emotional state, as well as her anger and frustration over Bernard. All three women have distinct personalities and represent different stock character traits, as seen in their different color uniforms and reactions to Bernard's scheme. I may not have appreciated the plot of the play but the six actors made the performance much more enjoyable as they showed off their talent through an array of acting skills. Though Brandeis Players only puts on one main stage production each year, I look forward to seeing all of the actors in more performances this year. *
(10/22/13 4:00am)
Getting into my car Sunday morning, I slipped States, the new album by indie-folk band The Paper Kites, into the CD player. It was the perfect fall day-a gentle breeze, radiant sunlight and colorful leaves. As I drove through town, I enjoyed the beautiful morning and melodic music.
(10/15/13 4:00am)
Rebel Wilson has officially broken my heart. After two episodes of her new comedy series Super Fun Night, I'm disappointed. Wilson's performance and the show's humor pale in comparison to Pitch Perfect, Bridesmaids and her stand-up comedy acts. Super Fun Night follows three best friends, Kimmie Boubier (Wilson), Helen-Alice (Liza Lapira) and Marika (Lauren Ash), as they attempt to revamp their social lives. Wilson is also one of the executive directors and writers of the show, but clearly something is off in Super Fun Night. It depends solely on clich?(c) jokes, often ridiculing Wilson's weight or eating habits. Yes, Wilson did rise to fame on the coattails of her character Fat Amy of Pitch Perfect, but every other word out of Kimmie's mouth does not need to be a demeaning joke about herself. I'm constantly thinking, "grow up and get some self-esteem." Kimmie is an adult, working at a law firm, yet clearly no one takes her seriously because of the way she carries herself. What real lawyer would chase after birthday cake in the break room, run singing down the hallway or let an elevator rip her dress off (all of which happened just in the first episode)? Kimmie, Helen-Alice and Marika are also obsessed with finding a boyfriend, and that's pretty much all they ever talk about. Would Super Fun Night pass the Bechdel test? Probably not. On the second episode, the three friends sign up for an online blind dating service and, after getting no date requests, Kimmie "spices up" their profiles. Kimmie becomes a successful Russian model, Helen-Alice a tattoo artist and Marika a botanist. Kimmie wears an atrocious black dress with enormous shoulder pads, it is clearly another of Wilson's attempts to ridicule the character. The show always presents Kimmie in the worst possible way-both physically and behaviorally, through her tasteless outfits and her self-demeaning jokes and actions. In addition, Kimmie works with Kendall (Kate Jenkinson), a beautiful, elegant and slim lawyer who always gets what she wants and remains graceful. Super Fun Night is basically throwing the Kimmie vs. Kendall comparison in your face and, worst of all, you can't like or dislike either character because neither is relatable or captivating. Kendall is a one-dimensional, slightly uptight, talented lawyer who flirts her way into saving a relationship with a client, while Kimmie battles a pair of Spanx. Seriously, Rebel Wilson? I expected her to write at least one strong, independent and confident female character, but instead, she just perpetuates female stereotypes and fat-shaming. As for Kimmie's constant side-flanking allies, either Helen-Alice or Marika would probably be more entertaining as the show's main character. Helen-Alice first comes off as shy and intimidated, hiding behind big-framed glasses, but she is actually a little spunky. In the first episode, charcters made subtle, off hand jokes about Marika being a lesbian and those were also more entertaining than Kimmie's weight jokes. As an incredibly direct and personable all-star tennis coach, the potential for Marika's character is endless. If Super Fun Night somehow manages to stay on air, I hope that Wilson will realize this show really isn't all about Kimmie's waistline and will incorporate more jokes from supporting characters. Also of interest, Wilson's American accent kind of sucks. Maybe I'm just used to her regular Australian accent, but I cringe at the sound of her voice on the show, and it always sounds very fake. Wilson's appeal has always been her distinct voice that added a little spice to her roles, so I don't quite understand why she felt the need to change. It seems like the entire purpose of the show may just be to transition Wilson farther into the American spotlight and Hollywood life-and that is truly a shame. The television show has taken an amazing, talented and funny actress and forced her to comply with the harsh dictates (namely, body requirements) of American entertainment and therefore, I can't endure watching Super Fun Night. Rest in Peace, Rebel Wilson, at least we'll always have Pitch Perfect. *
(09/30/13 4:00am)
Each September, the television airwaves are taken over by new shows with series premieres that aim to captivate audiences. Of all the shows starting this fall, five caught my eye: Marvel's Agents of S.H.I.E.L.D, Brooklyn Nine-Nine, The Michael J. Fox Show, The Blacklist and Hostages. From comedy to drama, these five shows offer a range of entertainment and will aid my slow withdrawal from Breaking Bad. 'Hostages' What I like most about Hostages is how direct the premiere was-they wasted no time laying out the hostage situation and creating tension between the characters. Toni Collette stars as a mother and physician, Ellen Sanders, who has been chosen to perform surgery on the president of the United States. In a twist of events, rogue FBI agent Duncan Carlisle (Dylan McDermott) and his team take the Sanders family hostage within their own home to force Collette into "accidentally" killing the president during surgery. Over the course of the episode, we find out the family's own secrets, such as son Jake's (Mateus Ward) drug deals, daughter Morgan's (Quinn Shephard) pregnancy and husband Brian's (Tate Donovan) infidelity, which left me with a sense that the family is also metephorically held hostage to their own messed-up and dysfunctional lives. Though Collette and McDermott are brilliant in their roles, I doubt this show's premise-how long can the family be held hostage while Ellen stalls on killing the president and no one finds out? The show is only slated for 15 episodes, and each will represent a day in their lives, but I have the feeling that the show could grow stale by then. 'The Michael J. Fox Show' In 1999, Michael J. Fox announced to the world he had Parkinson's disease and retired from his hit television series Spin City. Now, his new self-titled series follows Mike Henry (Fox) who took a hiatus from his job as an award-winning newscaster because of the illness. To his family's happiness, Mike goes back to work in the first episode and the entire premise of the show seems to be about his perseverance and overcoming of Parkinson's. Some of the most memorable moments from the show are Mike struggling to open a jar of pickles, misdialing on a telephone and attempting to serve scrambled eggs, but spilling them everywhere-all challenges of suffering from Parkinson's. Though touching, this trope did get a bit repetitive by the end of the episode. Otherwise, The Michael J. Fox Show is a typical sitcom-mom, dad, crazy aunt and three kids-and falls into the same category as shows like Modern Family. As talented as Fox is, I don't see much of a future for the show beyond this season given its limited premise, though I do love seeing Betsy Brandt (who also played Breaking Bad's Marie) as Mike's wife. I definitely want to see more raw humor and less of a heartbreaking public service announcement; the cast is talented and the show has a lot of potential to tap into. 'Brooklyn Nine-Nine' After leaving Saturday Night Live last summer, Andy Samberg has done several projects, but Brooklyn Nine-Nine stands out as his latest comedic endeavor. Samberg stars as the goofy, disobedient cop, Detective Jake Peralta, whose Brooklyn precinct just welcomed a new commanding officer, Captain Ray Holt (Andre Braugher). Holt is constantly on Peralta's case, whether it's for filling out reports incorrectly or not wearing a tie, and the two play off each other flawlessly with Holt's deathly glare and Peralta's constant humorous remarks. Though I was never laughing out loud at the show, Brooklyn Nine-Nine succeeds as a comedy. The writers and actors don't try too hard-everything feels natural, and none of the humor is forced. Along with the comedy, there is also a real plot and diversity of characters, including two female leads, played by Stephanie Beatriz and Melissa Fumero, who are not to be messed with. After watching the first two 30-minute episodes, I also appreciated how the crimes themselves are not very serious-a hidden teddy bear camera that records a robbery and ends up solving a case and a specialty $4,000 ham that was stolen by a greedy shop owner. I will definitely keep up with Brooklyn Nine-Nine this season, though I'm not sure about its longevity, because the comedy sitcom scene is always competitive. 'Marvel's Agents of S.H.I.E.L.D.' The superhero empire of Marvel never stops expanding-and its most recent release has taken on television. S.H.I.E.L.D gives a different perspective on the Marvel world; there isn't a superhero like Captain America or Iron Man saving the day. Rather, the show follows the "regular" agents who save the world from behind the scenes while discovering new "superhumans." As a Marvel fan eagerly awaiting the next Thor release, I was excited to watch the show, which carries on from where The Avengers left off after saving New York City-and I happily embraced my inner nerd throughout the exciting episode. The first episode, which premiered Sept. 24, reintroduces Agent Phil Coulson (Clark Gregg), who was presumed dead in The Avengers, along with his team of agents. Like the Marvel movies, the show is a high-budget work with quality special effects. Though not as enthralling as his typical action project, director Joss Whedon already has a strong fan base, and I'm confident that this ABC show will continue to attract plenty of viewers. *
(09/23/13 4:00am)
The Rose has experienced some serious redecorating. A year ago, the Rose Art Museum exploded with colorful, vibrant artwork and mirrored floors covering the entire front room. But now, the Gerald S. and Sandra Fineberg Gallery, the first exhibit upon entering the museum, features Light Years: Jack Whitten, 1971-1973, curated by the Rose's new curator-at-large, Katy Siegel. This exhibit is far less exuberant than its predecessor and the fun glass floors have been replaced. The abstract painter fits the contemporary atmosphere of the Rose, and it is hard not to be taken aback by the sheer immensity of Whitten's work. Standing at the front of the room, the exhibit is very symmetrical and balanced: two medium-sized works hang on either side of the door on the back wall; the side walls each feature one huge work flanked by smaller pieces, and each side has a glass table display of small works. I think that the symmetry reflects the clean-cut nature of the artwork and also adds balance to the complex colors. Though Whitten has an impressive array of work dating back to the 1960s and was educated at the Cooper Union in New York, the Rose features his work from the early '70s, called Slab paintings because of their size. At this time, he began to further experiment with alternative creative processes and unconventional materials, ultimately creating an artistic technique where he dragged an oversized T-shaped piece of wood across a canvas to create the desired effect of lines. The Alabama native was able to create his own version of abstractionism while escaping from the typical hand-brushed canvas art style. The selection of works are diverse in appearance yet still maintain a sense of continuity. They all have a feeling of austerity, simplicity and organized abstraction, especially in comparison to Walead Beshty's exhibit- the shattered- mirror floor-that previously occupied the space. One work on display, "Third Testing," created in 1972, has a texture similar to concrete pavement, and the brown color with subtle lines running through almost looks like a rock formation. Though simple, the acrylic painting is a good example of Whitten's style and its placement right next to the exhibit description is an ideal introduction. Two of the largest works are entitled "The Pariah Way" and "Asa's Palace," both created in 1973. Both are breathtaking to stand in front of, and you feel fully absorbed by their immensity and beautiful detail. Whitten has a way of maintaining simple and monochromatic works, yet also introducing pops of color that add another layer to the piece. In "The Pariah Way," the use of green, blue and rust color splotches in horizontal layers up the painting creates what looked to me like a skyline. It was my favorite piece in the exhibition and I loved the dark background with patches of muted colors. "Asa's Palace" is a demure pinkish-purple with abstract blobs of yellow throughout. To me, the name is particularly interesting, and I'm left wondering what the story or inspiration is behind it: whether it represents a specific place Whitten has visited or an abstraction of an idea. "The Eighth Furrow," a medium-sized work, stands out with its copper coloring and pounded texture. It is very monochromatic, but the texture offers an interesting depth. Of the smaller works, a set of six "Acrylic Collages" hangs on the walls-colored acrylic pieces arranged abstractly on light brown linen. The collages are pretty much the definition of abstraction, meaning the pieces are open to interpretation of each individual viewer-maybe you see an eye or a bird. The two sets of small series in the exhibit tables on opposite sides of the room are entitled "Cut Acrylic Series" and "Dispersal 'B'." The former are three works of pastel and powdered pig- ment on paper and are mostly black with patches of blue, purple, green and red. A varying amount of the white background is seen, and some areas are darker in color. "Dispersal 'B'" is four works of dry pigment and reflects Whitten's interest in spray and splatter techniques that basically create themselves on the paper. However, in both collections, the glass of the case added a layer of glare and detracted from the overall viewing of the pieces. Whitten's exhibit offers a unique addition to the Rose this semester and is definitely different than its usual modern and contemporary exhibits. While abstract, the paintings all have an air of timelessness and romanticism stemming from the rich, yet muted colors and simplicity. I thoroughly enjoyed the exhibit and am looking forward to Jack Whitten's upcoming visit and symposium to the Rose in October.
(09/16/13 4:00am)
Walking into the theater, I had no idea that Riddick, a newly released action movie, was actually part of a larger trilogy and video game franchise starring Vin Diesel. To be fair, the second movie, The Chronicles of Riddick, was released in 2004 with tepid reception (1.5 stars on Rotten Tomatoes)-nearly ancient history in Hollywood terms. The sequel was released after strong DVD sales and Vin Diesel's recent success at the box office (most likely due to the Fast and Furious movies). However anticipated Riddick may have been by eager fans and gamers, I was thoroughly disappointed and spent most of the movie waiting until I could leave and get back to my homework. Vin Diesel himself has been the force behind the success of many action movies, so I think that Riddick's failure establishes itself at a conceptual rather than performing level. Nothing was clearly explained, the plot was nonexistent and the most compelling character was a hybrid zebra-hyena-dog animal. Nearly the first 30 minutes of the movie consisted solely of Riddick (Diesel) fighting strange animals on an abandoned wasteland of a planet-plenty of muscular fight scenes, yet completely void of any deeper meaning. Basically, the only explanation the viewer has of the scene is that Riddick, who was the leader of another civilization, was left for dead after being overthrown by power-hungry commanders. After being left for dead on the isolated planet, Riddick fights for his survival against the native creatures. To survive, he realizes he must get off this planet and finds his way to an abandoned mercenary station where he sets off an emergency alert. Little does he know, there is a $50,000 bounty on his head, thus attracting two bounty hunter groups to his location. Riddick's reputation as a fierce, unbeatable convict precedes him and the rest of the film shows the two groups trying to capture Riddick-a game of cat and mouse. The most substantial part of the film actually looks like a rip-off of I Am Legend, in which Will Smith's character fosters an endearing companionship with his dog. Riddick himself captures a young zebra-hyena-dog hybrid and trains it to obey him (instead of ripping Riddick's head off like the other dog creatures did). The only moments I enjoyed of the film were those between Riddick and the dog because there is emotional depth underlying the action and dialogue, though the movie did a better job developing the dog's character than the main actor's. Riddick is simply a conniving killing machine who lacks any emotional depth. In many cases, an audience can grow to love this type of character and slowly see him in a different light, but Riddick never changes. He remains a man whose greatest strength appears when he has a weapon in hand. Some may argue that this is what an action movie and video game character is made for, but Riddick lacks any appeal other than violence. However much I dislike the movie, I have to admit that the title character is strikingly clever. He makes intricate weapons out of animal bones, concocts a serum to protect himself from the poisonous venom of a predator and deftly sets traps for his enemies-all with ease and believability. The one saving grace of the movie is Vin Diesel's unforgiving, hardcore attitude. Though I disliked the movie as a whole, I do think Diesel filled the role he was given; however, he has been much better in other action movies, like the Fast and Furious series. As for supporting characters, bounty hunter Santana (Jordi Moll?*) stands out for his Spanish accent and crude behavior, while opposing bounty hunter Boss Johns (Matthew Nable) is much more diplomatic with his team. The two men lead different bounty teams that are both looking to capture Riddick after he lures them to the deserted planet where he is trapped. While the only female character, Dahl (Katee Sackhoff), could have been empowering, she is instead sexualized, and her talents as a bounty hunter are minimized. In one scene, directors chose to film her naked while washing her face. This added nothing to the plot of the film, yet simply served as an opportunity to give male viewers some nude entertainment. Why couldn't Dahl serve as an equalizing force that proves women are just as capable and strong as men? Because sex sells-and this is just one of the several instances of unnecessary nudity in the film. With all the confusion, plot holes and utter lack of character development, Riddick was a complete waste of 11 dollars. It is a challenge to combine a stunning action movie with any complex plot dynamics. On the other hand, Riddick probably makes an excellent video game character, and I can even imagine Vin Diesel's deep, angry voice coming from an animated character. When it comes to stories like this one, Hollywood should stick to creating video games of pure excitement and adrenaline and not bother with an actual movie script.
(09/02/13 4:00am)
Set in Newton Haven, England, The World's End spins a classic tale of reliving one's youth into a movie full of plot twists and unexpected surprises. The film follows Gary King (Simon Pegg) who, after 20 years, attempts to reunite his four best friends from high school and return to their hometown to finally complete the famous pub crawl they never finished in their youth. * Gary seeks out each of his friends individually, convincing each one to join him on his adventure-though all are skeptical that their friend Andy Knightley (Nick Frost) will tag along after a mysterious "accident" they allude to in conversation. * The World's End is a hard movie to talk about without ruining its ultimate message-it reminded me of Cabin in the Woods, a horror movie released in April 2012. This is not your typical action movie: the five friends make a shocking, disturbing discovery upon returning to their hometown, while King remains adamant about completing the daunting pub crawl. Gary never grew out of high school, while Andy, Peter Page (Eddie Marsan), Oliver "O-Man" Chamberlain (Martin Freeman) and Steven Prince (Paddy Considine) have become mature adults with professional jobs and families. For example, Gary drives the same car, listens to an old mix tape and holds tightly onto old memories-all from high school. One of the first scenes of the production shows Gary at an Alcoholics Anonymous meeting, and makes it clear that Gary struggles with many more issues in his life than just alcoholism. Reenacting the pub crawl is all he has left and Pegg portrays the character perfectly, from his unkempt performance to alcohol-induced swagger. * Toward the beginning of the film, Andy, Peter, Oliver and Steven were reluctant to give in to Gary's enthusiasm, but they slowly come around as they make their way through the bars. I thought that the camaraderie the actors developed was very convincing, and Andy especially stood out in my mind. He was Gary's best friend and proves that even old grudges can be mended when the two put aside their problems and work together to complete the pub crawl. Gary expects everything to magically be the same when they return home, but much has changed-the quaint and unique bars have even become monotonous and commercialized. * The audience really isn't supposed to like King; he's more of an anti-hero, but Andy is incredibly likable, and he is the character I became attached to the most. He was also very dynamic, demonstrating significant character change throughout the film. * As for the other characters, they helped move the plot forward and added to the movie, especially at the final plot twist. Oliver's sister Sam (Rosamund Pike) also makes an appearance at the pubs and her blossoming relationship with Steven is a cute sub-plot to their adventures. * According to director Edgar Wright, the names of the 12 pubs all have interesting and symbolic meanings that correspond to the series of events that occurs in each of the spaces. For example, at The Two Headed Dog, they encounter twins who wreak havoc on the group. At The Old Familiar, the gang meets up with Oliver's sister Sam for the first time since high school. The final pub is named The World's End, and is where the ultimate action of the film occurs. * The World's End is part of The Three Flavours Cornetto Trilogy-a series of comedic films directed by Wright, written by Wright and Pegg, produced by Nira Park and starring Pegg and Frost. The other two movies in the trilogy are Shaun of the Dead (zombie comedy) and Hot Fuzz (cop action comedy). * Their names come from the company Cornetto Ice Cream, and each movie alludes to a different flavor. Shaun of the Dead is strawberry because of its bloody and gory content. Hot Fuzz is the blue original flavor in honor of the police theme. The World's End is mint chocolate chip, though the reasoning behind it is a plot spoiler! * All I can say about The World's End is that although it lagged a bit in the middle, the movie leaves you with a reflective thought about humanity through a clever, comedic pitch. It uses comedy and action to build up its inevitable final crash and that moment truly defines the production.
(09/02/13 4:00am)
Though we may have our own fall concert and SpringFest right here on campus, Brandeis students can easily take advantage of all the amazing concerts that happen in the Boston area. Here's a breakdown of some of the best concerts coming our way this season. MixFest 2013 September 14 Sponsored by the popular radio station Mix 104.1, the festival will feature Of Monsters And Men, the Backstreet Boys and Gavin Degraw at the Edward A. Hatch Memorial Shell overlooking the Charles River. The best part: The concert is entirely free! Gates open at 1 p.m. and music starts at 4 p.m. Toby Keith September 21 Country singer Toby Keith, known for hits such as "Beer for My Horses," "American Soldier" and "As Good As I Once Was," is a country music staple. His show will take place at the Comcast Center in Mansfield, Mass. Keith is also working on his 17th album, entitled Drinks After Work, and has released its first single of the same name. Grouplove September 22 This indie band, formed in 2009, will perform at The Sinclair in Cambridge just after their newest album debuts on Sept. 17. The album, entitled Spreading Rumours, will be their third release and the single "Ways to Go" is already available. The band has previously toured with groups such as Foster the People and Two Door Cinema Club and has played at many music festivals, including Coachella and Bonnaroo. Sara Bareilles October 6 Since her hit single "Love Song" went viral in 2007, Bareilles has proved her expertise as an artist-even performing for the first family and their guests on several occasions. While in Boston, Bareilles will perform at the Orpheum Theatre as part of an 18-city tour to promote her new album The Blessed Unrest. The album was released on July 13 and includes the hit single "Brave." Drake October 30 Rapper Drake has come a long way, from starring on Degrassi in the early 2000s to signing with Lil Wayne's label Young Money Entertainment in 2009. Drake holds more # 1 singles (12) on Billboard's Hot Rap Songs Chart than any other artist, and has won one Grammy award and six BET awards. Drake is scheduled to perform at the TD Garden in support of his third album, Nothing Was The Same, being released on Sept. 24. Macklemore & Ryan Lewis November 8 You may have caught this famous duo when they played at several Boston-area colleges this past spring, but if not, their Fall World Tour is making a stop at TD Garden. They released their debut album The Heist in 2012 and have become known for touching on controversial topics like gay marriage and materialism, in songs like "Wings" and "Same Love." Other popular songs include "Thrift Shop," "Can't Hold Us" and "10,000 Hours." Beyonc?(c) December 20 Queen B, who was included in Time magazine's 2013 list of the 100 Most Influential People, comes to the TD Garden as part of The Mrs. Carter Show World Tour. Known for her power ballads, creative alter ego Sasha Fierce and her mogul husband Jay Z, Beyonc?(c) has created her own iconic image. Justin Timberlake November 4 After an explosive summer performance with Jay Z at Fenway Park, Timberlake will return to Boston's TD Garden this November. Part two of The 20/20 Experience is being released on Sept. 30 and the international tour-which starts off in Brazil on Sept. 15-will showcase what Timberlake does best. He has won six Grammy awards and four Emmy awards.
(08/27/13 4:00am)
If any one word can categorize the music trajectory of John Mayer's career, it is "change." Since he first eased into the music scene in the early 2000s, Mayer has consistently remained a major player in the industry-despite being deemed a "player" for his many romantic scandals and shortcomings. His latest album, Paradise Valley, once again proves that Mayer is here to stay. Mayer's last album, the 2012 release Born and Raised, is still one of my favorite CDs to listen to-and I was expecting an equally impressive follow-up, though his multiple throat surgeries and voice problems could pose an issue. But Paradise Valley perfectly captures who Mayer has grown to be and transitions flawlessly from his previous record into a newly-developed style. The former was a bit more folk-country, and this album still has bits of the folk feel, but it is more relaxed. The most interesting part about the album may just be the album art-Mayer standing in an empty field wearing a grungy cowboy-meets-Indian outfit and looking very philosophical. Also, compare this cover to that of Heavier Things where Mayer wears black jeans, a grey shirt in a modern setting ... talk about change. Adding to Mayer's distinct voice, both former love interest Katy Perry and rising star Frank Ocean are featured on two separate tracks. Perry sings the ballad "Who You Love," which shows off another side of her voice (as opposed to her usual pop anthems). Frank Ocean accompanies Mayer on "Wildfire" and opens the track with his smooth and melodic voice, a piano slowly building in the back- ground. It is truly an enchanting song-barely featuring Mayer. Rumor has it that "Paper Doll" is about Mayer's ex Taylor Swift, who famously called him out in her song "Dear John." Though a rebuttal, I enjoyed this song for its emotional and slightly snarky lyrics and upbeat, yet mellow sound. "Dear Marie" features Mayer's huskier voice and ponderings about a woman from his past. The song tinges with regret, wondering hopelessly where "Marie" is now and the path her life took. Did he take a page from Taylor Swift's book on this track? Sounds like it. The fifth track on the album, "Call Me the Breeze," sounds like a blues, folk and Johnny Cash mashup, and Mayer's voice perfectly matches the beat. The lyrics are simple: "They call me the breeze/I keep blowing down the road" and there is a Georgia shout-out (my home state). I think this song reflects where Mayer has gotten to at this point-he's grown up and living his life. "You're No One 'Til Someone Lets You Down" is a catchy, scorned-lover tune and sounds a bit like a folk version of Michael Bubl?(c). It isn't my favorite song on the album; it unsteadily balances being slow and fast-paced, making me feel strangely anxious. "On the Way Home" is another nostalgic song about the end of summer-perfectly suiting my mood as school starts. I love this song and its uplifting message that change is normal and everything will be okay. He even references his own period of solitude that he spent "hiding out" at his ranch in Montana, which the album is named after. Paradise Valley comes as a natural progression after Born and Raised. Mayer has further adapted his sound, becoming much more unique in my opinion; he isn't another pop singer anymore like in his early years, and I appreciate that about him. His ability to translate personal life changes into his music is what makes him such a great artist and the lyrics are especially poignant and reflective. The album will make the perfect study background music once school work begins, and I already love shuffling through the more upbeat Born and Raised with Paradise Valley added in.
