(04/08/03 4:00am)
On April Fool's Day, many students were shocked upon visiting http://boogle.agblog.com Instead of the usual Boogle search interface, they were greeted with a well-spoofed message purportedly from the Recording Industry Association of America (RIAA). The notice claimed that Boogle was being shut down because it allows students to illegally trade copyrighted material, and every student taking advantage of this service would be charged a fee for each illegally owned movie or song.The joke terrified many students, prompting an MP3 pirate panic as they madly scrambled to delete all of their offending files. Unfortunately, now the joke is for real, and it isn't too funny. Just last Thursday, the RIAA filed suit against four students who ran similar network searching services at other universities. The students may face the maximum penalty for copyright infringement - an absurd sum of $150,000 per copyright infringed. Fearing a similar response, Computer Operators Group (COG), which owns Boogle, took the service offline. This was understandable, especially since the group just received funding for a new Boogle server from the Union Senate. Although COG believes that Boogle isn't illegal, they do not wish to risk legal action against themselves or the University. But for now, let's forget about the big debate over the legality of Boogle-type services, whether CD sales are really up or down and the general controversy surrounding the ethics of music and movie sharing. The real question is: Will groups like the RIAA and the Motion Picture Association of America (MPAA) ever be successful in stopping copyright infringement? Do they have a chance of restoring the industry to the days before the MP3 and the Internet? Or are they merely struggling to hold back the floodgates, doomed to be swept away in the torrent of illegal file sharing? To answer that question, we need only to look at history. The battle began with Napster, which the record labels quickly took notice of and successfully sued in court. The suit against Napster was followed by another successful suit against Scour Exchange, which later went bankrupt. The recording industry essentially forced these services to shut down, but the computing community - having foreseen such an action - was already one step ahead of them. Other services such as Gnutella and Kazza emerged, based on new peer-to-peer file sharing technology. Instead of relying on one central computer that coordinated every file transfer, each computer itself became just one node in a global network, making these services more difficult to defeat. But even though these peer-to-peer networks are decentralized, the recording industry is making some headway by targeting individual users who share large quantities of copyrighted media. Companies such as NetPD are hired to scan networks - Kazaa, for example - for these materials. Once they are found, cease-and-desist letters are sent to the user and their Internet Service Provider (ISP), who will often disable the user's account until the material is removed. The recording industry has thus far refrained from filing any lawsuits against these users, but I doubt it will be long before they do so, in an effort to scare them.The record labels are also pursuing new legal and technological options to fight copyright violations. A bill introduced last summer proposed that the RIAA be allowed to use hacking techniques on computers logged onto a file-sharing network. And the RIAA is already known to "poison" networks by flooding them with falsely named files or files purposely corrupted. Yet despite all these offenses, history has shown that the hacking community is a force to be reckoned with. Metallica's Web site was defaced several times while it sued Napster, and the RIAA Web site has been hacked numerous times as well. More importantly, however, hackers have repeatedly cracked the recording industry's most sophisticated copy-protection measures. In 2000, a digital "watermark" designed to prevent MP3 reproduction was cracked by a team from Princeton, and Sony's Key2Audio disc copy- protection was bypassed simply by using a black felt-tipped marker to draw around the edge of the CD. Further making life difficult for the RIAA are programs like Freenet, a peer-to-peer network designed from the ground up to allow completely anonymous communication and file-sharing. Freenet's members are effectively rendered immune to liability and law suits because no one user knows what another is sharing, The RIAA is all too aware of these countermeasures, and the recent lawsuits are a sign of its increasing desperation. With this recent bout of legal mudslinging, the usual cease-and-desist letters were forgone in favor of a big publicity stink, designed to intimidate students across America. But these bullying and scaring tactics are bound to backfire. By departing from the established procedure of first contacting a school and providing a chance for it to deal with the situation accordingly, the RIAA is certainly not making any friends, whose cooperation will surely be needed if they're to make any progress in their war. The bottom line is that this back-and-forth game of cat and mouse will continue ad infinitum. Hackers love a challenge, and there will always be plenty of them to crack the latest copy protection scheme - even if they care nothing for the music. That leaves the RIAA with two options: either shut off the Internet, or devise a way to monitor every single Internet transmission - neither of which appears too likely.In the short run, organizations like the RIAA and the MPAA may manage to win a few battles here and there. But in the long run, they're going to lose the war.- Jonathan Melenson '04 submits a column to the Justice.
(04/08/03 4:00am)
Raymond'01'Planetary GroupGrade: C+ "01" is the debut CD of the Boston-based band Raymond. Formed in 1999, the band consists of singer and guitarist Noel Heroux, bassist Chris Principe, drummer Seth Kasper and guitarist/keyboardist Bill Zern. Raymond's music is described as having "the energy and audacity of punk, the thoughtful songwriting of contemporary indie rock and (taking) a page from early 80s New Wave (but only the good stuff)." The first song, "Nonsense," opens with an energetic, pulsating guitar riff, as Heroux croons the lyrics, "Some would blame it on the world / But I put it on myself." Although Heroux is from Boston, his voice contains a puzzling hint of a British accent. His vocals are reminiscent of an 80s punk band, but the music has more of a rock sound with a little bit of emo mixed in. The percussions provide an added energy with its aggressive rhythm. The middle of the song features a short and unimpressive guitar solo. The second track, "Trust Me," begins with a heavy emphasis on the bass and a slightly harder edge on the guitar than the first song. Despite the harder rock, almost metal sound of the song, it was still a surprise when toward the end of the song, Heroux adds a slight screech to the end of a lyric. But instead of adding anything to the track, the cat-like screeching only causes the listener to cringe in annoyance. The song "Seven Up" starts out a little less energetic than the songs before it, with more of an emphasis on the keyboard instrumentals. But as with many rock songs, the heavy guitar rhythm quickly kicks in for each chorus. Although its formula is unoriginal, this is still one of the catchier songs on the album. During the track "Sunshine," Heroux miserably tries to showcase his singing ability. Unfortunately, his voice is more whiny than pleasant-sounding. In the middle of the lyrics, he covers the chorus of the song, "You Are My Sunshine," by Bing Crosby. This phrase, which is usually associated with children's rhymes rather than hit rock songs, would have been better left out of the track. The last track, "Soft Touch," is a very bizarre metal tune, with keyboard effects fit for a Halloween party soundtrack. There are no lyrics in this beginning of this brief instrumental jam and the sound ends rather abruptly, going silent for several seconds. When the music picks up there is a satanic sounding voice, chanting nonsense phrases. While listening, I couldn't help but nervously wonder if the devil had taken over my computer. Heroux's voice is only mildly melodic and tends to be annoying at times. Heroux's song melodies lack variation as he appears only capable of producing a narrow range of pitch. While the instrumentals are solid and are fairly original from track to track, they are not impressive enough to make the songs noteworthy. Raymond might want to put together a few more tracks, since this five-song EP isn't going to make the Billboard Top 40 anytime soon. That is, unless the last song is actually an effective brainwashing tool for record buying.
(04/08/03 4:00am)
There was a time when hip-hop was all about innovation and having fun, and most people say that time has passed. But the stylistic and prolific dream team that is Jurassic 5 has spent the past nine years proving those critics wrong. Bred out of the eclectic, underground hip-hop scene in the Los Angeles area, Chali 2NA, Marc 7 and Cut Chemist (originally of Unity Committee) met Akil, Zaakir and DJ Numark (formerly of Rebels of Rhythm), joining forces to become one of the hottest hip-hop groups of the modern era. Between their endless tours and sold out shows, the Jurassic team has mastered their style and preached the power of old school rhyme and rhythm. "A lot of the stuff being released right now is just garbage, and everybody is just playing the radio game and the industry game," Marc 7 said. "I just think the creative side is being jeopardized and for the groups out there that are just making music from the heart, much props to 'em. Basically, all those other guys are worried about making the record companies rich, and they ain't gonna see no money ... That's what it is."Chali 2NA echoed those same sentiments, boldly proclaiming that hip-hop is at a weak point because it's too much "in the now."Jurassic 5 harkens back to a more free and fun-loving era of music, using each concert to promote these less explored aspects of hip-hop. Yet even with their non-threatening demeanor and old-school rhymes, Jurassic 5 isn't a group to be taken lightly. In just a few short years, they have crafted a style all their own and created a uniquely positive image for themselves. Fresh, kinetic tracks like "The Influence," "Great Expectations" and "What's Golden" have all contributed to honing their present persona, and in a business where tastes and trends change by the minute, possessing the edge they do is key to survival.But where did this appealing persona come from? According to Cut Chemist, it all started out back in the early 90s when they released their first demo. "Getting the single out did a lot for us, because it got serviced to all the radio people, and everybody knew who J5 was and appreciated it on its surface," he said. "And by the time we got off and produced the EP it was pretty easy because (the promoters) had already laid a lot of the groundwork. A lot of people got 'Unified,' so we had an EP out that people were already listening to. We just put it out."Add to the mix a subversive Los Angeles hip-hop scene that was very supportive of underground material plus a giant overseas market, and Jurassic 5 found a formula for its initial success. Today, all of their hard work has paid off, leading to big money and even bigger album sales. But the guys of Jurassic 5 aren't about the numbers or ticket sales. Like the group says on the powerful track "If You Only Knew" - "If you only knew, we're real people, homey, just like you ... What we do, is try to give you what you ain't used to." It is originality and quality J5 strives for and, ultimately, achieves with each and every song they make.Amid their organic rhythms and impromptu freestyles, it seems Jurassic 5 is on a quest to save humanity from the tired themes that currently run through hip-hop today. Is there even anyone in the genre they'd still like to work with? "I'd like to work with Pharoe Monch and Percy P. That'd be really phat", Mark7 said. "Maybe De La (Soul)," chimes in Chemist. "You never know. Even Nelly Furtado, I didn't know I wanted to work with her, but then it happened and I was like, oh my god, she's really great."Regardless of what the future of music holds, one thing is blatantly clear: Chali 2NA, Marc 7, Zaakir, Akil, Cut Chemist and DJ Nu Mark are a modern miracle in hip hop, giving the masses a dose of music unmatched in style and entertainment. And while the careers of most current hip hop artists are hazy at best, the members of J5 maintain a sound and vision that will only lead to more success in the years to come.
(04/01/03 5:00am)
Even at Brandeis, a school renown for its emphasis on depth of knowledge in a broad spectrum of study, there is concern for how a liberal arts education will provide access into the job market. According to a recent New York Times article, such concern reflects nationwide sentiment.In the current state of economic recession and military action, more than ever, students across the country have felt pressured to choose a major and career path that will offer relative career stability and certainty in these uncertain times. For Brandeis students concentrating in the liberal arts, these fears hold true as well.It is "a phenomenon right now of panicky seniors," Becky King, assistant director for experiential programs at the Hiatt Career, said.But with a motto of "Truth, even unto its innermost parts," Brandeis students are continuing to pursue study in the liberal arts. In fact, many say finding these innermost aspects of truth is what will give them the edge when vying for job opportunities.Among the top nine most popular majors students declared as of last fall, only two - biology and computer science - fell within the scope of the School of Science, which contains majors that show a more direct correlation between concentration and career. Students in these two top majors, which more directly correlate with a subsequent career, constitute only about eight percent of the student body, indicating a clear trend leaning toward the liberal arts.Professor Steven Whitfield (AMST), who received his Ph.D. at Brandeis in American Studies, recognized some of the possible explanations for pursuing a liberal arts education. "The case for a liberal arts education is as strong as ever," he said. "The transformations, the unpredictable but dynamic features of the American economy, make it impossible to draw a clear trajectory from training to needed skill, and therefore education - the cultivation of critical and analytical thinking - is much more important than training.""Liberal arts ... at their best," Whitfield added, "allow students to detach themselves, if only for four years, from the pressures and limitations of the working world and can provide an oasis of critical distance that will make life choices sounder and more meaningful."Hannah Agran '04, an American Studies major, identifies with the principles of a liberal arts education, particularly its facilitation of a broad understanding of a certain discipline. "I like that I'm doing something that's a little bit broader and can be applied to more things," Agran said.Other students like taking advantage of the opportunity to discuss subjects that can never be addressed to any significant extent outside the university arena and in the workplace. "As a philosophy major, I got to explore things that I otherwise wouldn't have," Kristen Stelljes '03, also an Environmental Studies minor, said. "This is my only time to talk about ideas such as of God ... and of what is justice."But amid this talk of God and justice, why should students so esteem their deep liberal arts education at the risk of sacrificing future security and financial well-being? Because, according to Brandeis faculty and employers, the latter need not be sacrificed."A liberal arts education that encourages people to be skeptical and articulate makes them eligible for the most interesting jobs, whether or not students know in advance what those jobs will be," Whitfield said.Many unforeseen advantages are also to be gained by means of the liberal arts, according to Professor Andreas Teuber (PHIL). With technology and machinery, people are more than ever able to accomplish many complex tasks, but, as Teuber remarked, "we still haven't found ways to have machines frame what the real issues are." A liberal arts education teaches students how to think and solve problems -attributes many employers actively seek out in job applicants. Stelljes agreed. "A lot of people think it's very useless, but I think that (philosophy) provides you with a framework of looking at a problem," she said.In fact, Teuber explained how rather than or in addition to the traditional interview process, some businesses will require job applicants to work on a type of puzzle in order to determine each applicant's problem-solving and thinking skills, as well as an ability to think on one's feet.In addition, the liberal arts provide a broad background and experience in many subject areas, allowing students to draw connections between many seemingly unrelated concepts and to have a wider foundation from which to base decisions about future career paths.Philosophy in particular provides such a foundation for determining future plans - in helping an individual understand his personality and goals. "When we enter difficult economic times," Teuber said, "people ask themselves what should I do, and suddenly philosophy seems more important to answer these questions."This idea perhaps explains why philosophy enrollments consistently increase with a strong correlation to the fall of the NASDAQ, Teuber said. Such an inverse relationship is also perceivable with theater majors, as well as others in the liberal arts area."(A liberal arts education) is now more important than ever when there is economic uncertainty, when times are tough, (because) a liberal arts education, including a major in American Studies, can give students flexibility and resilience," Whitfield added. "These count for more than pre-professional training."This assumption appears to hold true in the real world, as verified by the experience of at least one Brandeis student. Agran, currently an intern at Atlantic Monthly, told an editor that there was no journalism major at Brandeis when applying for the internship. Surprisingly to her, the editor's response was "Good," given that her broader academic background was an attribute employers valued among candidates.Nonetheless, the scarcity of jobs in the present economy is very real and cannot be ignored when choosing to pursue a liberal arts major. Nadav Klugman '04 strongly considers that the economy may present obstacles to his getting a career with an American Studies major. "I'm going to get a graduate degree ... and remain a student, and a lot of it has to do with the economy," he said."While being educated in the liberal arts setting is a wonderful thing, it is a panicky, frightful ... thing for a senior," King said.King emphasizes the importance of taking steps early on in determining a career path and marketing oneself in order to obtain the scarce jobs available in today's economic times that were abundantly available only two or three years ago. Many students finish their undergraduate studies with extensive knowledge in their area of study but insufficient experience for obtaining a good job. Liberal arts schools adequately teach liberal arts subjects, "but the part that all liberal arts colleges fail to do is (teach) about the real world," King said.According to King, the worth of a liberal arts education has not changed over the period of a few years, but the degree of work required to make employers recognize the value of it has."How you communicate your ability, your skill, has become infinitely more important. Competition has risen, and you have to be that much better at selling yourself," King added.This may mean pursuing more internships and jobs, in addition to working to perfect one's resume and cover letters. So what are student's doing with their liberal arts degrees? According to Whitfield, the most popular field for American Studies majors to enter is currently law, while "others go into teaching, social work, business, political and social reform and the media."In addition, both Teuber and Whitfield have consistently found many of their students continue their education after attaining an undergraduate degree from Brandeis, especially in these shaky economic times. "Within my experience, students assume their Brandeis education is not the last formal step they will take before entering the job market. Most students plan to go on to graduate or professional schools, and therefore I would like to believe that they cherish the general education in the liberal arts that Brandeis has given them," Whitfield said. In the long run, Teuber said he feels a foundation in the liberal arts may also create better citizens, who can better inquire and contribute to their society."The ultimate aim of a liberal arts education, the big prize, is liberation," Teuber said. "It tends to liberate you from any narrow position that you might somehow become wedded to ... by introducing you to other possibilities.
(04/01/03 5:00am)
You may know Avi Kaufman '03. He may be in one of your classes. He may have sat beside you all semester and you would never have guessed that he is a lieutenant in the U.S. Army Reserve. Kaufman is by most standards a typical Brandeis student -- a 21-year-old Near East and Judaic Studies major from Worcester, Mass. who is looking forward to graduating in a few months. When I met with him at Cappy's, the small pizza place across from the Brandeis-Roberts commuter rail station, he appeared mild-mannered and even-tempered, lacking the stereotypical hyper-male, aggressive, hard-edged image that people often attach to military men.Kaufman is patriotic - a value which inspired him to join the army. "(The army's) only as good as the people in it," he said. "If good people are in the army, then you are assured that (the war) will be fought right in terms of human rights. I felt that it was important for people with morals to not run away from it."Being Jewish was anther factor in Kaufman's decision to enlist. "There are not many Jews in the army," he said. "It makes it possible for there to be a Holocaust. If (the soldiers) are the only people with guns, what's to prevent it."As a member of the 401st Chemical Company, Kaufman said he satisfies his desire to help others. The company's mission, according to him, "is to do decontamination for mass causalities in a domestic setting for weapons of mass destruction." He promptly and officially added that this was his mission, as if my question had triggered an automated response that he rehearsed many times to higher commanders. I almost expected to see him salute at the end of that explanation. When asked to explain the objective of his position in plain English, however, his shoulders sagged, as if at ease, and with a subtle laugh, he replied that he remains stationed on U.S. soil and in the event that there is a biological, chemical, or nuclear attack on civilians, Kaufman and the 401st Chemical Company will decontaminate people and equipment using protective gear, chemical solutions and water.Since Kaufman was mobilized on March 22, he is on active duty full-time. But his schedule permits him to continue classes and graduate in the spring. Since he is a commander for the rear detachment, he was ordered to stay in the Boston headquarters, whereas most of his unit was deployed to Georgia. "If I hadn't become an officer," he said, "I would be in Georgia right now."Kaufman is the highest-ranking soldier in his unit to remain in Massachusetts. He will stay for another five or six months, at which point he will go to Missouri for five months for more extensive training. While on active duty in Boston, he ensures that the rest of his unit receives the proper equipment, serves as a liaison between the chemical company and the brigade, and tracks those who are absent without leave (AWOL). While the rest of us worry over finals and consider summer plans, Kaufman must attempt to be a full time lieutenant in the U.S. Army Reserve and prepare to leave for training while juggling classes and other everyday concerns. But the heavy responsibility has not shaken Kaufman's psyche; he asserts that he isn't worried. "I'm confident that my equipment works and that my training is good," he said. "I've trained with nerve gas. A single drop can kill you.""It feels good to be doing something that saves lives," he continued. "Sometimes it can be tough. It's not an easy job. I guess that's all the more reason to do it, because it's hard and it has to be done."
(03/25/03 5:00am)
Hurl Soul Bridge' ... Which Is Your Way'Dank Records BostonGrade: B+Hurl Soul Bridge has made a modest entrance into the Boston rock scene with a refreshingly organic sound. They are the hottest new item from Dank Records Boston and there has already been much debate to decide in which genre their music belongs. Hurl Soul Bridge (HSB) reconciles elements of folk, bluegrass, alternative rock and reggae to create a sphere as diverse as America itself. After all, one should expect diversity from a band that is composed of a bluegrass-loving guitarist from Kentucky (Roadie), a New Yorker whose passion for the bass started with jazz (Kyle), and a Rhode Island-bred drummer who claims his influences are Beanie Man and the Wailers (Wes). It is surprising that even with all these conflicting textures, the overall result is very smooth and evocative of rural Americana.Dank Records, the label that brought hardcore band Cheech 2000 to the foreground, is known for its honorable support of experimental music. Producer Dave Giangarra has previously worked with DJ Devious, but people who are familiar with his furious fusion of rock and rap will be surprised to see the softer side of Giangarra in "...Which Is Your Way." The album is a testament to the fact that HSB is capable of creating a sound in the spur of the moment and making it linger in the mind for much, much longer.The overall tempo of the album is slow. The first and ninth tracks, "Mountain Song" and "Long Road," are 16-count, medium tempo songs in the country-western tradition. In these songs, Roadie departs on improvisational solos with the slide guitar that definitely adds a little edge to the otherwise lackluster style. "Smilin' In The Rain" and "The Screen" sound similar to what I would call Hawaiian country music, with their lilting vocals and tropical melodies. The third track leans more towards folk rock, with the use of a regular acoustic guitar and vocals reminiscent of Elliot Smith. One of the preeminent tracks on the album is "Puppet Master," a jam track which gradually crescendos into a Grateful Dead-like guitar solo and energetic drum and cymbal sessions. The title track is reggae-influenced with a touch of funk. Its Rastafarian attitude is reflected in the lyrics of the song: "Rest beside me in the sun / Rememberin' games we played for fun."Whether it's because of Kyle's soothing vocals, or the ever-so-soft fluctuation of the instrumentals, listening to Hurl Soul Bridge is therapeutic like driving down a country road under the hot summer sun. The cover art was designed by Dana Woulfe, who did a similar piece for the Shekinah album cover, and as her painting suggests, the music in this album warms you up like a cup of afternoon tea. My sole criticism of this album is that it will definitely make you lethargic. You might end up taking a 30-minute nap between tracks one and nine. Nevertheless, it is an impressive piece of work in which you should indulge. Put one foot in, and you might not want to get out of this one.
(03/18/03 5:00am)
A sold out Harper's Ferry means the music's gotta be good. And it was. Both The Shantee and Seeking Homer play cutting edge bar rock deserving of the next step. I was fortunate enough to catch The Shantee's last three songs when I attended Harper's Ferry on March 14. They made such an impression with their catchy melodies and feel good jams that I pursued an interview/conversation with their keyboardist, Randy Browne, who played one of the most intricately beautiful piano solos that I've heard in a long time. The Shantee also includes Michael Perkins on lead vocals and acoustic guitar, Matthew Morton on lead guitar and vocals, Ward Scott on bass and vocals and Shane Frye on drums.The Shantee originated in Columbus, Ohio six years ago, building a strong following in their home region and extending their fanbase throughout the northeast. Although The Shantee can improvise their songs with the best of them, Browne was adamant that they not be labeled as a jamband. This Billy Joel idolizer stressed that The Shantee's primary goal is to play and write good songs that people want to hear. They improvise their live performances by allowing different instruments to take center stage, but they steer clear of 15-minute marathons that will tire the predominantly non-heads in attendance. "Music is begging for good songs," Browne remarked. The Shantee is determined not to be classified, but they continue carving out their niche of radio friendly tunes with uplifting, danceable live interpretations that draw in music lovers from all scenes.The other band featured Friday night, Seeking Homer, is highlighted by frontman David Oberacker on lead vocals and acoustic guitar, who has a stage presence second only to Bono (although I've heard The Boss ain't to shabby either) and sequined velvet loafers deserving of a place in the Halls of Cleveland. He is supported by Tom Connors on electric guitar and vocals, James Dunlop on bass and Mike Seda on drums and vocals.Friday night the band was filming for a new live CD/DVD release, so they gave us the best they had to offer. Seeking Homer's first couple of tunes had that pristine, poppy 92.9 quality as Connors laid down licks with the same pedal effect as U2's "The Edge". They also showed that they could play good couples music that wasn't sappy, which they juxtaposed with extended jams to placate the singles in the audience. Another style mastered was their jungle beat rock with strong rhythmic bass lines reminiscent of Rusted Root. During their instrumental portion of this song, a sweaty Oberacker did an all out interpretive dance movement using all points in space on stage like a master's canvas. Their covers for the evening included an acoustically driven version of The Band's "The Weight," allowing Seda to shine on vocals and the always intense Pink Floyd's "Run Like Hell" for their encore, which had more than several faithful chanting "Run!" throughout the instrumental intro.Following some harmonic vocal echoing between band mates, a lone Seda dazzled (or bored) the crowd with his fast paced, extended drums session. Then returned Oberacker and Connors on acoustic guitars as the duo introed with Marley's "Redemption Song" and segued into an unforgettable "Star Spangled Banner" with the rest of the band joining in. As a pacifist and music lover, my emotions were pulled in polar directions as the crowd waved mini American flags while the band poured their heart into the most rousing, climactic version of our national anthem since Jimi did it at Woodstock. Unlike the red glare of Jimi's soloing, Seeking Homer was a collective of bright stars that interwove to bring Key's composition to a new level. Just as you thought the song was winding down, they busted out with repeated "Oh say does this star spangled banner yet wave?" phrases that had everyone dancing with unrivaled excitement. They played the ultimate, rocking drag out ending that left the majority of the crowd on a patriotic high, causing them to disrupt the post masterpiece positive cheer with their barking "USA."Seeking Homer followed that up with a poppy Dave Matthew's Band-like tune with a fun bass line that included a "Low Rider" tease. Oberacker took the time during this song to tell the crowd how he read the fortune, "Live for the moment," on a Bazooka Joe comic. He enthusiastically freestyled the quote, but unfortunately the shallow crowd did not embrace the beauty of his message. Oberacker then did his second wild dancing performance of the show, confirming that he is the best dancing male lead singer around.They ended their set with the crowd favorite "Texas," which showcased Dunlop singing "Why must I be the man in the suitcase?" in the rawest of vocals, and the crowd was loving every second of it. This bound-to-be radio hit had me singing "Aw, beep beep... Mexico," as I slid down an icy Comm Ave. arm in arm with my two best friends in a post-show glow. It's just a matter of time before your average radio listener can't get this catchy tune out of their head and gets their minds blown at the multifaceted artistic event that is a Seeking Homer concert.
(02/25/03 5:00am)
You may know them as one of Brandeis' hottest up-and-coming bands, or for one of a hundred other reasons: their bold personas, their smooth, improvisational lyrics or their jazzy-rock infused music. If you don't know them, then learn their names now. Pianist/singer Phil Seleznick '05, guitarist Tom Pernikoff '05, bassist Mike Park '05 and drummer Mark Record are known to many across campus as Red Shift. This group of individuals has drawn a large fan base from first-years to seniors, all vying for a glimpse of the men behind the buzz around Brandeis' music circuit. Yet there is more to this group than first meets the ear. The members of Red Shift met last year, after each honed his own musical talents independently before they realized their chemistry as a group. "I met Phil through a jazz group here. Well ... actually I didn't introduce myself until Tom brought us together," Park said. "Tom called me out of the blue and sounded very official, saying that they were looking for a bassist, so I met up with them and auditioned. I'd like to say that it was instant chemistry, but it wasn't. I stuck it out a little for a while and we started connecting both musically and as friends."Pernikoff, whose musical background stems from a deep interest in blues, rock and jazz, had spent most of last year playing shows at Cholmondeley's with fellow guitarist Matt Goldfine '05. They built up an impressive reputation, but the duo was short lived, and Pernikoff moved on to forming his own band, Pocket, which consisted of Pernikoff, Seleznick, Park and drummer Ari Teman '05. However, his relationship with Teman was also short-lived: He left because of various personal conflicts between him and the rest of the group, taking the name "Pocket" with him and leaving the band without a drummer or an identity. But, Seleznick's watchful eye picked up on Record, who had played with Seleznick in a previous band called Clan Du, and it seemed fitting that he join the pianist yet again. After numerous brainstorming sessions and sit-downs, the name Red Shift was born.From an avid listener's point of view, it is difficult to classify Red Shift's musical style -- after all, they draw comparisons to everything from jazz to rock. Yet listening to Pernikoff belt out wailing guitar rifts or Seleznick's wild piano playing allows their listeners to form one conclusion about them: These guys are serious about their music. "I think it is obvious that everyone in the band comes from a different place," Perkinoff said. "People have put us in many genres, such as jam, jazz/funk and rock. I think we are all of these, but I would like people to see us as a unique entity." Pernikoff said he hopes that through utilizing different types of music they will be able to define their own style. As they continue to seek that style, they also hope to create a new name for themselves ... literally. Over on the other side of Boston at Tufts University, rival band Red Shift 6 has been playing gigs for the last four years, and with their seniority over Brandeis' own Red Shift, fans of both bands have been confusing the two groups for each other. This has sent Phil, Pernikoff and the rest of the guys on a search for a new name for their band. "It's been an arduous process trying to find a new name and it sucks, but we've already been confused with Red Shift 6, so we felt if we wanted to proceed on our own merits we would need to change it," said bassist Park. Though both groups boast different styles of music, Red Shift wants their name to stand out from other bands, hoping to alleviate confusion and give their group more of an edge. Yet, it will be the next two years, not their efforts to pick a new name, that will test the true talents of the band. "If we can make serious headway in the next two years, which means recording an album and playing many of the venues in Boston (basically if we become more popular), then I think we have a serious chance," Pernikoff said. Park echoed this sentiment as well: "I see Red Shift or whatever we call ourselves going real far. I know we will be gigging everywhere and I feel that we have a newer sound right now so I feel like we can conquer Boston ... We're taking determination to the next level and hopefully our music shows this."Undoubtedly, the band we all know today as Red Shift has come a long way since their humble beginnings. From acoustic guitar sessions in Chum's to performances all over Boston (their next big show is Feb. 25 at "The Midway" in Boston), the band has overcome some big obstacles, picking up an amazing sound and a large fan base along the way. They are even looking forward to the eventual possibility of being signed to a record deal. But, no matter what happens down the road, these guys know where they got their start -- right here at Brandeis.
(02/18/03 5:00am)
I will be the first to admit that, generally speaking, I am a rock 'n' roll kind of girl. Classic rock, indie rock, punk rock, chick rock and pop rock ... I go for most of it. I will also admit that I'm not one who usually strays from type. It's true; I'm a bit of a music snob. But nonetheless, I consider myself fairly open-minded when it comes to music. In fact, some of my favorite bands have been introduced to me through blind risk-taking. I am not a purist by far.That being said, Patty Larkin's latest offering, "Red = Luck," is truly awful. If I were Superman, this would be my kryptonite. As it is, I spent most of the time listening to the album wishing that I weren't.Larkin used her most recent studio time to record something she described as a place where "the ancient strains of modal folk meet brooding ambient noise." She also claims it to have elements of Middle Eastern music, joyous pop and "playful eroticism." Sadly, all of these things are lacking on this album. I was able to detect no shred of Middle Eastern influence, except the already trite use of a chromatic scale in opening the first song, "All That Innocence." The "playful eroticism" was obviously buried very deep in the album as well: Not only did I not hear it on any tracks, but there is not even a parental advisory sticker on the album. And, what about the joyous pop? Depending on what you call "joyous pop," it's there. But, it's not my definition of the genre. The main problem with "Red = Luck" is the true listlessness of Larkin's music and her nonsensical lyrics. The tepid folk song "Birmingham" is the perfect example of her failed attempts at making music. The music is plain and uninspiring. Larkin's voice is extremely breathy, causing the vocal track to practically squeak as air floods it. And, Larkin's lyrics are completely ridiculous. "We live on the edge of a brand new world order," Larkin sings with what she deems passion, "Breaking down factories / breaking down borders." The message seems connected to the song title there (after all, Birmingham has been a center of social change many times), but the next lyric just tears it all down into a pile of confusion: "The dream's still alive in Birmingham / Birmingham is just a place / Birmingham is just a place to be." This nonsensical gibberish, paired with truly uninspiring music, is what makes this album so awful. There's nothing to grab onto, nothing to pique the listener's interest. There is barely any change between each song, and what is there just makes it worse. "24/7/365" tries to go for a techno-new age feel and comes off sounding stupid and contrived. And, the title track is 1:12 of pointless instrumental guitar. And, the guitarist isn't even that good. Sure, this album might be able to suffice for pretty background noise in, say, a department store, but that's about it. It's certainly nothing you should waste your own time or money on.
(02/04/03 5:00am)
When I was a girl, still yearning for shelter and struggling with the occasional bout of self deception, I held my heart in the palm of my hands, feeling its cool edges and multi-faceted angles. I created my own chaos. I lived in my eyeballs, and prayed for the revelatory murmur of a distant drumbeat.I still have my moments. I sat outside yesterday and cried. The sky was gorgeous -- the heavens looked as though they might have opened and burst. I tried to imagine what Jakob would have said. Tried to imagine his soft milky eyes. Even in my mind they remain something elusive, his skin ethereal to the touch.In my youth I dreamed that time would not touch me, but now I acknowledge more than ever that luxurious element of self preservation known as memory. It is my birthday. Eighteen little candles flicker on my cake. I feel like that flame -- fragile, heaving my body in every possible direction, trying not to lose myself in the wind.Sammy came over today. All I could do was smile. It was miserable. I was lying in bed pretending to read Kant, when he came in, threw his coat on my chair and made himself right at home."What's up, Abby?" he asked nonchalantly, as if his presence here was nothing out of the ordinary.I looked at him. He hadn't changed. He never changed. His hair was a bright shade of blond. His eyes were clear, bright, black as marbles. Strong jaw, sturdy neck, on the tall side. I reveled in his consistency. I looked to him, full of awe."Things are O.K...." I put down my book, and began to run my fingers through my hair, trying to remember why he had gone in the first place. It all seemed so long ago, like a dream. Time was disjointed. I clasped the back of my neck with my palm and tried to feign anger, but all I could do was smile ear to ear, brimming with a warm joy that filled the once empty pit in my stomach like a drug. It's amazing what people can do to you..."Ah, Abby, this place ..." he smiled. "And how is our friend Jakob doing?""Oh, he's alright ..." I waved my hand. "Went to New Mexico. Said he needed to find himself -- I know the drill. They always end up coming back, though."I looked at him, stared long and hard into his eyes. Remorse? They say the eyes are the windows to the soul ... Jakob's eyes were empty, as fluid and milky as my reflection is to this very day. "Still harboring resentment? It's not healthy," Sammy picked at some lint on his shirt, averting my gaze."I'm just trying to walk that thin line between acceptance and apathy," I replied.Sammy sat up again and stretched. "Hey, relax." He took a letter out of his jeans pocket -- crumbled, smudged, worn around the edges. "I just stopped in 'cause I was thinking about you. I knew it was your birthday, and I just wanted to see how you were coping with things."I looked at him again. Then at the letter. My hands felt shaky. My breath was short. My tongue somehow found its way to my heart -- a physiological impossibility though this may be -- and plantitively began licking wounds that I thought I surely had overcome. "He was a character. He truly was," I stood up, restless, and needing to put my energy somewhere. I glanced at the clock, nearly four. "Lets go out, get a drink, a cup of coffee, take a walk ...""All of the above?" Sammy smirked, placing the letter back into his pocket. "An invitation to reminisce, eh? And I thought you lived only for the future, Abby.""You never knew me, Sammy," I picked up my purse and walked to the door.Two old time friends. Sitting in a caf down on Main Street, discussing life and lovers. If I had described the scene like this to Jakob, he would have told me to let go of clichs and speak something of the Truth. But that's all I ever do, I would tell him. Let go and move on, let go and move on. Because if you keep going, and never look back, you lose yourself to the world of heightened idealism, and it's a much more beautiful place there, though certainly no less real.Sammy let his words hang heavy and low, and I watched them pricelessly floating about the air, waiting for gravity to take effect. I only half listened to what he was saying. The other half of me looked at the details -- the slight flecks of a deepened shade of brown hugging close at Sammy's temples, the manner in which he moved his hands, each time reflecting a similar and indistinct gesture, instinctual, and not reflective of the pattern of speech leaking from his lips, subtle as poison."So I said to the guy..." his eyes lit up, "'This is who I am, and if you can't understand that, you will never understand anything.' Because that's what this movement is about -- being who you are and not giving a damn what those elitist pigs think. Nazis." Sammy smiled and the skin around his eyes crinkled like that of a little old man. He took a sip of coffee and we looked at each other. "And how has the illustrious Abby been doing for the past three months? Bright, gamine poet of words, night dancer, mythological sex goddess ... what have you been up to, child?" He clinked my glass and raised an eyebrow at me. "Me?" I shrugged demurely. "The usual." It sounded like a drink order, rather than a confession of self. I was not in a mood for sharing. "Listen, Sammy: What's the point of all this chit chat? You and I both know we are not on good enough terms to get back to what things were. Why all the sudden interest in my personal life?""Abby ... Abby ... you must have more faith in people." Sammy smiled sheepishly. He took out a cigarette, leaned back against his chair and grinned that charming grin."You want the letter now?" he asked.
(02/04/03 5:00am)
The Brandeis men's basketball team (2-5 UAA, 5-10) got off to a great start last week by defeating Tufts University 72-70 at the buzzer. The Judges, however, ended the week on a sour note with losses to UAA rivals University of Chicago (6-1 UAA, 10-8 overall) and Washington University (7-0 UAA, 18-0).On Sunday, the Windy City proved hostile territory, as Brandeis suffered a 73-57 loss to the University of Chicago Maroons.The Judges tend to start games slowly, and Sunday's contest proved no exception. After Brandeis won the tip, Chicago senior power forward Derek Reich stole the ball from point guard Jon Marks '04. The Maroons missed a three-point attempt on that possession, but Reich had already set tone with his early steal and ball-hawking hustle. Reich hit two free throws on Chicago's next possession and would finish the day with 24 points to lead all scorers. He is averaging 26.1 ppg., second in the Division III ranks. In the final five minutes of the first half, the Maroons continued their mastery of visiting Brandeis, converting on 10 of 14 shots from the field during a decisive 15-1 run. The Judges could not respond to the Chicago onslaught: They missed all five field goal attempts in the waning minutes of the half and turned the ball over four times during that awful stretch. At the half, the home team led 36-31. In the second half, Chicago picked up where it left off, scoring 12 points in the first six minutes of play. But the Judges countered shot for shot to keep the score close. With 14 minutes left in the game, the Maroons led by only seven points, but they were able to sustain their momentum, and the Judges slowly faded. With 11:27 left, Chicago took a 55-45 lead, and maintained that double-figure cushion for the remainder of the game. Although they fell by 16, the Judges shot well enough to keep the game tight. They made 45.5% of their field goals and 33.3% of their three-point shots. Unfortunately, Brandeis only attempted four three-pointers in the second half while Chicago made 43.6% of its field goals and 43.5% of its three-point shots. The greatest disparity between the two teams, however, was at the foul line. The Judges shot only seven free throws the entire game -- of which they made three -- and Chicago shot 15 of 26. On Friday, the Judges traveled to St. Louis to face the powerful Washington University Bears, who are currently ranked first in the NCAA Division III Midwest region with an average margin of victory of 20 points.From the outset, the Judges played an up-tempo style that allowed them to keep up with the athletic Bears. After ten minutes of play, Brandeis actually led 20-19. Once the Judges slowed the pace, however, the Bears sped up and went on a 26-7 run for the remainder of the half to take a 46-27 lead heading into the locker room. In the second half, Brandeis was faced with the impossible of recovering from a 21-point deficit. In just his fifth game of the season, center Seth Roberts '06 paced the Judges with 14 points on seven of nine shooting and snared five rebounds. Pat Collier '06 continued his string of solid games with eight points and seven rebounds, while center Bryan Lambert '04 put up six points and brought down eight rebounds. On Tuesday, the Judges faced rival Tufts University in a non-conference game. Brandeis fell behind 10-2 in the first four minutes of play, then stormed back with an 11-0 run over the next four minutes to take a 13-10 lead. The two sides remained close for the next two minutes before Collier entered the game and helped the Judges gain a 27-19 edge. He scored six points, blocked two shots, and had a rebound and an assist in his eight minutes of play in the first half. When Collier was out, the Judges were led by Lambert, Wright, and Tim Diehl '04. Lambert led the team with 17 points and four steals, Wright added 12 points, nine rebounds, and four assists, and Diehl finished the game with 12 points and four steals. Led by this formidable foursome the Judges maintained a 39-30 lead at halftime.With 4:08 remaining in the game, Lambert cut the Tufts lead to 62-61 with a baseline jumper. On their next possession, the Judges tied the game on Wright's bank shot, then took a 65-63 lead on Marks' drive to the hoop. Diehl gave Brandeis a 67-63 lead, but the Jumbos responded with two quick baskets to tie the game. With 54.6 seconds remaining, Collier got in trouble and called a time out to retain possession. When play resumed, guard Greg Kristof '04 tried to kill the clock by holding the ball. Brandeis was eventually forced to put up an ill-advised shot, but Collier got the rebound, was hacked and converted the basket for a three-point play. He made the foul shot, giving the Judges a 70-67 lead with 31.3 seconds remaining. Despite battling tendonitis in his knee, Collier has played very well since scoring 14 points against NYU on January 18. "I just find something that allows me to play well and I go with the confidence of it," Collier said.Ford was very pleased with the Tufts win, and sees it as a big step in the growth of his young team."I was very pleased with their composure to close it out. We found a way to win. With close games you have to find a way to win and guys are starting to learn how to do that," he said. The Judges must now prepare for weekend re-matches with Chicago and WashU at Auerbach Arena. The Maroons will come to Waltham riding high on a six-game win streak during which they've defeated Emory University and Case Western Reserve University on the road by a combined 45 points, and Carnegie Mellon University, the University of Rochester and New York University (NYU) at home.In an 83-66 rout of NYU on Jan. 31, Chicago proved what a well-balanced group they have, as four starters scored in doble figures for Head Coach Mike McGrath. Forward Scott Fisher scored 13 points on five of six shooting to complement All-America candidate Derek Reich, who tallied a game-high 15 points and six rebounds. Reich, a bruising inside presence for Chicago, has led the Maroons in scoring in all but one game this season (Chicago dropped that contest to Carthage College 77-64).Over the past seven Chicago games, Reich has netted an astounding 158 points, an average of over 22 per contest.For Washington University, Head Coach Mark Edwards had had the luxury of returning all five starters and 17 of 19 letterwinners from a team that set the school's single-season victory record with 25 in 2001-2002. All-UAA selection Chris Jeffries returns: Last season, he led the Bears in scoring (16.9 points per game) and rebounding (8.3 per). Guard Dustin Tylke averaged 10.2 points and 4.1 rebounds for WashU last year. Tylke's backcourt mate, point guard Matt Tabash, averaged 10 points and dished out an incredible 137 assists (5.1 per game). According to the latest rankings from "d3hoops.com," WashU is the top-rated team in the Midwest in front of schools such as Rockford College (Ill.), Hanover College (Ind.), Illinois Wesleyan University (Bloomington, Ill.) and Wheaton College (Ill.)
(01/21/03 5:00am)
"It is often said to be the prime duty of a government to protect its citizens," Jonathan Schell writes in 1998 his book "The Gift of Time: The case for abolishing nuclear weapons now." "Why shouldn't America's leaders, by agreeing together with Russia's leaders to abolish both countries' nuclear arsenals, rescue our people and theirs from the threat of annihilation?"A good question. Yet, for a cynic like myself there is an easy response. In today's world, America and Russia are hardly the only nuclear powers. Britain, France, China, India, Pakistan, Israel, North Korea, Iran and Iraq are all nuclear powers or threatening to be so. Even if America and Russia unilaterally disarm, other countries could retain nuclear capabilities. And, nuclear weapons cannot be disinvented, meaning proliferation can reoccur at any time.America and Russia inarguably possess large stockpiles of both tactical and strategic nuclear arms. And, they have for at least 50 years, since the beginning of the Cold War arms race. Yet, the last nuclear weapon to be used in war was dropped Aug. 11, 1945 on Nagasaki, Japan, helping to end World War II in the Pacific. Since then, wars have been fought by nuclear powers in Korea, Vietnam, the Falkland Islands (U.K.), Algeria (France), Afghanistan (U.S.S.R.) and the Persian Gulf. But, America, Russia, Britain and France never used their nuclear edge in any of these wars. Why?According to Roger Molander, who served as a nuclear warfare and arms control adviser to Presidents Nixon, Ford and Carter, exercises made it clear that "nuclear weapons offered little military or political value to the United States in regional conflicts, even against adversaries using nuclear weapons." Conventional weapons can now "destroy virtually all types of targets ... as effectively as nuclear weapons and with lower collateral damage to noncombatants." The main argument against unilateral disarmament is the "breakout" problem. Even if America, Russia and the other nuclear powers agree to disarm, some rogue leader may attempt to break out from the agreement and hold the world hostage with a few nuclear weapons. This is entirely unrealistic though, because conventional weapons are now so effective. If Iraq, North Korea or even Osama bin Laden used a nuclear weapon against the United States, it is highly unlikely that America would retaliate with anything other than conventional weaponry. As Rolf Ekeus, the Swedish ambassador to the United States said, "Would the United States blow up Iraq with a nuclear bomb? It's not credible ... the United States would use its smart weapons." Using a nuclear weapon in response would make America seem callous and vindictive in international eyes, especially because dictators, rather than the general population in Iraq and North Korea control the nation's arms. Why should the United States hold innocent civilians responsible for the self-destructive actions of their unelected leaders? Looking back, many feel that was the mistake made at Hiroshima and Nagasaki. After surveying the damage done there, few would be willing to repeat it, or deal with the political consequences.So, rather than a justification for Cold War-era deterrence theories, the recent crisis with North Korea demonstrates why nuclear weapons must be removed. We will never be willing to use nuclear weapons against North Korea, and Kim Jong II realizes this. Our nuclear weapons are clearly not deterring him from using his. Deterrence does not work in a breakout situation. The list of disarmament proponents is illustrious and growing. It includes former Soviet leader Mikhail Gorbachev and former U.S. Defense Secretary Robert McNamara. Military and political leaders from both countries have decided, based on personal experience, that nuclear weapons are not a necessary evil. If these leaders are willing to admit that possessing nuclear weapons is unnecessary in the modern world, civilians should listen carefully to their arguments and follow suit.Now that the Cold War has ended, America and Russia must take advantage of their now-cordial relations and decide to unilaterally disarm. A poll conducted by Lake Sosin Snell and Associates found that 87 percent of the American public favors a treaty eliminating nuclear weapons. Already, four out of seven continents are free of nuclear weapons: Africa, Antarctica, Australia and South America. An agreement between the United States, Russia and China to disarm would make a pro-nuclear position of other current or potential nuclear powers untenable.In "The Gift of Time," Schell says a general post-Cold War apathy toward the nuclear issue has halted the disarmament movement. The United States and Russia need to reenter serious negotiations, leading to full disarmament rather than the slight reductions of weapons stockpiles. The rest of the world will follow the example set by the two nuclear superpowers.The responsibility for disarmament now rests on the shoulders of the citizens. An active, anti-nuclear movement such as the ongoing ones in Australia, New Zealand and Japan can set an example for Russians and Americans."Peace is not the province of governments; it is the province of the people," writes David Krieger, president of the Nuclear Age Peace Foundation. "The people know far more about achieving and maintaining peace and human dignity than the so-called experts - political, military or academic - will ever know. Therefore, we must act now as if our very lives depend on it - because they do." Let us, the people, value our own lives and those of our neighbors, leaving the nuclear age forever behind at Nagasaki. Instead, let us look forward to the peaceful information age of the future.
(01/14/03 5:00am)
On Friday, Dec. 13 the music group moe. played a sold out show at one of Boston's most intimate venues for big named bands -- The Paradise. moe. Gordon Stone joined moe. on pedal steel and occasionally banjo throughout the night. Even without their percussionist, the members of the band still were able to pull off a great show. Al and Chuck played guitar, Rob played bass, Vinnie did the part of two drummers, and Gordon provided a solid network of tightly woven jams that remained strong for the duration of the evening.moe. has gained a reputation for playing the speediest jams for never-ending moments. Last month at the Paradise, however, they produced a more balanced show. The audience could keep pace with them as they began many of their songs in slow, tight, swaying melodies and gradually built them to mind blowing peaks.The first set included "Nebraska," a yeehawing rodeo celebration with a breathtaking Stone solo. After Al's microphone power trip, stating, "By 35, you should have your shit together," moe. launched into "Salt Creek" with Stone's best banjo work of the evening. The tune reached an intense peak and stayed at the intense plateau. Afterwards, a surprise "Dark Star" instrumental jam was delightful; it highlighted more of Phil and Friendsy than of Deady, and included some spacey squiggly effects. This piece segued smoothly into a fantastic "Mexico" that went from a poignant, beautifully slow, melodic storyline to a "How the hell did I get here!?" climax. Ultimately segueing back into "Dark Star," moe. gave us another story ballad in "Happy Hour Hero." This song elevated one plane at a time that led to another bright climax with the charge led head on by Stone. The last piece in the set, "Bring It Back Home" started with a happy vibe. After establishing the mood, the tune became sharply discordant and headed straight down the freaky expressway. The second part of the song was an eternal journey, opening briefly for body conquering bass drums. Ultimately, moe. successfully completed their full throttle climax with "Bring it Back Home" that left the audience breathless.moe.'s second set included a couple of poppy sounding Christmas tunes off their new Christmas album. Early on, moe. constructed a dizzying jam out of what began as a deep, dark chasm. Al overlaid it with some trippy synth effects that brings the listener yet another step further away from reality. The band transitioned smoothly to Chuck's upbeat sliding on the intro to St. Augustine. The next piece, "32 Things," boasted a piercing bass with an edge from Rob. With strobe lights and a nasty speedy jam that penetrated the walls of consciousness, this was another in a string of highlights this evening.Nobody expected what would happen next. Al invited a member of the audience to sing with them. This unknown then invited his girlfriend on stage turned to her, knelt down and proposed. As she embraced him, moe. provided some good feeling background to celebrate this joyous occasion."Jazz Wank "was a little prolonged for my taste. Although it had a nice build, it didn't seem to go anywhere. As the yawns began to set in the audience, moe. busted into "Buster," completing the evening with "Spine of a Dog." With the audience singing along and Vinnie on the snare drums to bring the piece into an unreal ending, it was a perfect song to close the second set.moe. rewarded the audience's enthusiasm with a three-song encore. "Tambourine" was a succulent tune, although a little on the short side. The subsequent songs were short as well. A cover of Creedence's "Bad Moon Rising" was a clever acknowledgement of Friday the 13th , and "We're a Couple of Misfits" was absolutely hilarious -- an '80s style punk tune that had Chuck and Al playing power chords and yelling in typically poor punk vocals. Overall, it was a great journey, with multiple highs and lows that fit together nicely. Next time they swing by, I highly suggest going to see moe. If you want an up tempo jamband with intelligently composed tunes, moe. really knows how to rock out.
(01/14/03 5:00am)
No film about the Holocaust is without its dissents, as there is always a sizable population concerned about the appropriateness of its depiction. Simon Louvish was quick to note "Schindler's List" as a "Holocaust theme park" -- a sentiment that was voiced by many European critics. Roman Polankski's "The Pianist" is free from such criticism. Polanski has incredible, unfortunate credential for making a Holocaust picture. Having escaped the Krakow Ghetto through a hole in a fence on the day of its liquidation in 1943, Polanski has lived in the wake of history and personal loss. Polanski was originally approached by Steven Spielberg to direct "Schindler's List" but repeatedly declined, stating that he did not want to revisit the experience. "The Pianist" is not a piece of intellectual discussion, nor a particular interpretation of the Holocaust. It is certainly not a typical Roman Polanski film. It is a completely visceral movie that is inherently dramatic. Adrien Brody ("Summer of Sam") is wonderfully perceptive and restrained as Polish pianist, Wladyslaw Szpilman. Remarkable is his portrayal of Szpilman as not quite in tune with reality. He continues playing Chopin as the Nazis destroy Warsaw. Dorota (Emilia Fox of "Soulkeeper") plays his gentile wife who greatly admires Szpilman's work. They meet at the beginning of the war and quickly engage in a deep and intense friendship. Soon after the Nazi occupation, Szpilman and his family, along with Warsaw's 400,000 other Jews are herded into the unbelievably cramped ghetto, unaware of what they will find soon ahead of them. Thanks to his reputation, Szpilman gets a job at one of the only remaining restaurants as a pianist and, in the process, is able to help his family survive by obtaining work permits. Szpilman also has an uneasy relationship with his quick-tempered brother, Henryk (Ed Stoppard), who is as worried about the inevitable suffering ahead as much as he is about his brother's aloofness. Szpilman himself escapes the concentration camps and, with the help of Dorota, finds his way from safe house to safe house while the Nazi's are slowly defeated in the streets below him. "The Pianist" shows that the Holocaust was a painful and horrific event, but it does so with sensitivity. One of the most devastating scenes of the movie comes when the Szpilmans receive notice that all Jews must move to the narrow confines of the newly established ghetto. Father is noticeably upset, stating that he has heard what the Nazis are planning, and he is sure that every last Jew is going to be murdered. Mother Szpilman responds calmly stating that the Nazis would "never get rid of such an important work force.""The Pianist" is particularly good at depicting the terrifying blend of arbitrary personal sadism by individual German soldiers and the institutional brutality of the Nazis as a whole. Though it is prolific in its displays of the treacheries of the Holocaust, the film is never reductive. In one of the most heartbreaking scenes, a woman's tin of gruel is dropped on the ground and a desperate, feeble old man immediately stoops to slurp every last morsel off of the gravel. The movie's only fault is its awkward script by the screenwriter Ronald Harwood ("The Dresser"). The film is gorgeously shot, by Pawel Edelman, in rich dark browns with an edge of sepia, but is otherwise completely devoid of aesthetic treatment. "The Pianist," which was awarded the Palme d'Or at Cannes last year, is a film made with an extreme empathy and humility by an unfairly troubled filmmaker.
(11/19/02 5:00am)
Missy Elliott'Under Construction'ElektraGrade: A-When Missy "Misdemeanor" Elliott released her 1995 debut album, "Supa Dupa Fly," her uniquely delivered rhymes and producer Timbaland's futuristic beats gave hip-hop a makeover that it still has not outgrown. Since then, Elliott has revolutionized hip-hop, creating such unforgettable hits as "The Rain (Supa Dupa Fly)" and "Get Ur Freak On" in the process. With her fourth studio album, "Under Construction," the Madonna of rap continues to raise the bar by shattering the negative stereotypes and clichs that have enslaved hip-hop for years. She integrates old-school R&B and hip-hop elements into her signature style while, most importantly, seeking to erase the hate.With the opening track, "Go To The Floor," Elliott is up front with her intentions. All she wants to do is entertain, dance and make some money in the process. The album's first single, "Work It," is a hybrid booty-shaker that incorporates the electronic influence of Madonna's "Music" into the Indian-dance style of "Get Ur Freak On." "Work It" displays the lyrical gymnastics that earned Elliott credibility back in 1995. While this light-hearted material would seem vapid in the hands of a less charismatic and skilled artist, Elliott proves this vivacity is one of the album's greatest virtues. "What happened to those good old days / When hip-hop was so much fun?" Elliott laments with Jay-Z on the old-school tune "Back in the Day." Here, she liberates herself and her art form by injecting the exuberance back into hip-hop. The song itself is an invitation that directs Elliott's fellow rappers to abandon the hate and return to the dance floor. Although most of the material on "Under Construction" is careless dancefloor hip-hop, the old-school R&B ballad "Pussycat" is an outstanding point of difference. Carefully balancing delicacy with bluntness, Elliott croons unapologetically about the necessities of sexual satisfaction. She pushes the limits of her vocal range, achieving a new level of flexibility. Throughout the album, the listener gets the distinct impression that Elliott has drastically changed. The album cover displays a slimmed-down, humbled version of the iconic singer. The trash talk is gone, the hate has been rejected, and the love has been embraced. No explanation is given for this change until the final track, "Can You Hear Me." With the soulful closing track, Elliott laments with guest vocalists TLC on the recent deaths of their best friends, Aaliyah and Lisa "Left Eye" Lopes. Together, they deliver an emotional performance atypical of a hip-hop record. It is Elliott's most heartrending and sincere performance since she collaborated with Aaliyah on "Best Friend" in 1995. References to the deaths of hip-hop pioneers Notorious B.I.G. and Tupac make the song's message clear: Hip-hop's brightest stars are being extinguished. Stop the gun-slinging before more MCs die.Missy "Misdemeanor" Elliott's latest effort, "Under Construction," is more than simply a danceable hip-hop album. The album embraces the positive clichs that define hip-hop while leaving negativity behind. This gives "Under Construction" the edge and endurance necessary to outlast its competitors. Always self-assured but never insincere, Elliott asserts that her best work and hip-hop's zenith both lie in the future. Thanks to her, the latter just might be true.
(11/12/02 5:00am)
Growing up as a Washington Redskins fan in the greater D.C. Metro area, I can barely recall the days of CBS's coverage of NFC games. In fact, my memories of the Skins are usually narrated by John Madden and Pat Summerall on our local FOX station. Since moving up to scenic Waltham, I have had the distinct privilege of watching your New England Patriots on Channel 4. What does all this have to do with my column this week? Well, I felt it was about time for a Justice columnist to properly analyze which television conglomerate best covers our nation's number one sport.I'll begin with FOX. After all, they are the away team here in Beantown. Last year, the Murdoch-owned corporation lost its top ace in John Madden to network free-agency. Madden has now gone on to headline rival ABC's Monday Night Football. Pat Summerall, his partner for the past 21 years (not sexual, you sicko), has relegated his announcing duties to third and fourth tier games in the lower half of the country. That is the equivalent of losing Pedro Martinez to the Red Sox and moving Derrick Lowe to a middle reliever. In their place, the network has promoted from both within and without. Cris Collingsworth and Darryl Johnston join play-by-play man Joe Buck to make up their first team. Buck is the best announcer in the game - contrary to Dan Passner's '06 article - and deserves to be looked at beyond the shadow of his late great father, Jack. Johnston and Collinsworth provide ample banter between plays. Sometimes, the two former players offer subtle nuances of the game that may otherwise go unnoticed if it weren't for their experience. The other announcing tandems lack any pizzazz, though Bill Maas is quite amusing in his candidness. The pre-game show, direct from Los Angeles, is simply "A+" caliber. Terry Bradshaw, Howie Long, James Brown and Jimmy Johnson are both witty and entertaining. They are never too serious and all seem to realize that they have one of the best jobs in the world. Each of them plays his defined role to a T. Add in Jimmy Kimmel's antics and Pam Oliver's serious reporting on important issues from week-to- week and you have a format that is tough to beat.CBS may have the home field advantage for most viewers, as they cover the local Patriots, but they are also the most inconsistent. With the key losses to FOX's premier pair, CBS had "the Eye" on taking over the NFL market. Greg Gumbel and Phil Simms are bland and straight-forward in covering the best the AFC has to offer. Their deliberate style is inviting to the older crowd that CBS hopes to reach. I personally want more humor and personal criticism, especially if the game is a blowout and is otherwise not worth tuning in to watch. Kevin Harlan, Dan Dierdorff, Dick Enberg are all consummate professionals, but they need more personality to garner my attention when switching between shows. Overall, though, CBS has the better announcing teams, in light of FOX's losses. The pre-game shows wouldn't deserve to be compared if it weren't for CBS stealing a page from FOX in signing Deion Sanders. His work alone closes the gap between the two. Still, Dan Marino and Boomer Esaison were both great quarterbacks and dreadful studio hosts. Neither can step away from their careers and learn the delicate art of expression. Jim Nantz is the camp counselor on staff and does a superb job of ushering the bunch through the day's games. Jill Arrington and Bonnie Bernstein are kind to the eye, but the obnoxious Armen Keteyian is the network equivalent of Paul O'Neill. The outdoor set is not television friendly and is therefore a point against CBS. Maybe, the show could travel on-site to the most important game of the week. Just a suggestion. The comparison shouldn't be as close as it is, but Madden's departure makes this column necessary. Give the edge to FOX for their creativity and largely enjoyable love for the game. If this off-season resembles anything of years past, then this discussion may be viewed in a completely different light.
(11/12/02 5:00am)
The volleyball team went into the UAA Championships riding high. Last week, the team went 3-1 at the Judges' Classic. Two weeks ago, they had the same record at the Hall of Fame tournament. Ranked fifth in the UAAs, the Judges ran into tough competition, losing to Rochester in the fifth place match. "The last three weeks of the season hve been our best," Co-captain Marni Kutok '04 said. "It took us longer to mesh together as a team in the beginning of the season and to find our perfect line-up. But, once everything clicked, we really played well."In Friday's pool play, Washington University (MO) swept the Judges in the first match (30-19, 39-20, 30-17). The highlight of the match was Kutok's 19 digs and nine kills, Adam Levin, Gosman's sports information director, said.Trying to keep itself in contention, Brandeis fought hard against perennial rival NYU. The Violets won the first two games (30-20, 30-25). The Judges came back, inching past NYU 30-28 in the second game, before the Violets closed out the fourth 30-23.The highlights of the match were Kutok's 16 digs, 10 kills and 3 serving aces. This rode on the heel of Kutok's performance last week, in which she served five straight aces. Jenn Lobban '05 registered 11 kills and seven digs. Ceriello racked up 34 assists and 12 digs."Going into the tournament, we were hoping to beat NYU during pool play competition," Kutok said. "We played a good match but lost to them in four games."In the final game of pool play, Brandeis defeated Rochester (30-22, 27-30, 30-17, 30-20). Kutok led the team with 19 kills and 19 digs. Ceriello had another strong game, picking up another 34 assists and 10 kills. Lobban had 15 digs of her own to compliment her 11 kills.On Saturday, the teams entered tournament play. Brandeis defeated Case Western Reserve (CWURU) and Rochester defeated the University of Chicago in the consolation semifinals. Washington defeated Carnegie Mellon and Emory defeated NYU in the winner's bracket semifinals."We had lost to CWRU earlier in the year," Kutok said. "So we wante d some revenge."The Spartans came out playing with intensity against CWRU, winning the first game 30-27. Brandeis came back strong, winning the next three games (30-28, 30,22,30-21). The Judges' win set up a fifth place match between Rochester and Brandeis.Kutok singled out Shannon Eagan '05 for playing outstanding defense in the game."While our loss to Rochester was a bit of a letdown . we played a great match against Case Western," Isabel de Koninck '04 said. "Theresa's defense was amazing. They were picking on her the whole time, and she put up just about everything." "We had beaten them twice before," Jenn Lobban '05 added. "So, they were out to finally beat us." Overall, players said the season was not a loss. "I think I played well this season, although I was not playing my normal 'left side' position for most of the season," Lobban said. The Rochester Yellowjackets barely edged past the Judges. In the first two games, Rochester slipped past Brandeis 30-26 and 31-29. Brandeis came back with a convincing 30-21 win before Rochester closed out the match 32-30."We knew that we could have beaten them, but they came at us with revenge from the day before," Kutok said. "They found our weaknesses and attacked them. We played a good match, but Rochester played better."In the championship game, Washington justified its first place ranking, defeating Emory convincingly (30-19, 30-10, 30-21).Case Western Reserve reported that the UAA's MPV was Lulu Sewell from Emory. Katya Khmelnitskaya of NYU was the Rookie of the Year and Washington University's coaching staff was ranked first.Co-captain Theresa Ceriello '03 was an All-Association Team honorable mention turned Second Team member after a recalculation. "She is the core player of the team and it will be hard to fill her spot," Kutok said. "She is a natural leader and a wonderful volleyball player. She will definitely be missed."Ceriello returned the praise. "I was impressed how everyone worked together," she said. "I was especially impressed by Kutok's leading the team on and off the court."After it was all over, Brandeis took sixth place in the UAAs, the same spot they occupied last year."I am disappointed that we didn't make it into the post-season," Ceriello said. She added that the team has been to the ECAC's for the past three years.
(11/12/02 5:00am)
The movie "8 Mile" creates an atmosphere that pulls its audience into a swirling, pulsating world of rap subculture on the streets of inner-city Detroit. Eminem chose his acting debut wisely with "8 Mile," which opened in theaters Friday. His character, Jimmy Smith Jr., is essentially a mirror image of himself, which allows him to channel his passion into the role. The story line is centered on Jimmy, a boy with an innate rapping ability who is struggling to escape from a poverty-stricken life and succeed in recording a demo album. Living in 8 Mile Road Trailer Park with his mother (Kim Basinger of "L.A. Confidential") and little sister, Lilly, Jimmy experiences great hardships that stand in the way of his success. The movie brings its focus to a typically unexplored world, and its scenes are so realistic that it picks the audience out of the theater and throws them headfirst onto the streets. Jimmy, known to his friends and fellow rappers as "Rabbit," is forced to return to 8 Mile Road after breaking up with his girlfriend, Alex (Brittany Murphy of "Don't Say A Word"). This road is the mental division of the lower-class city neighborhoods and the upper-class suburbs. Teetering on the edge of both sides, impulsive Jimmy channels his hostility into hip-hop, and this is the one stable element in his otherwise turbulent life. Directed by Academy Award winner Curtis Hanson ("L.A. Confidential"), the acting is superb and helps to create a realistic inner-city atmosphere. It addresses the many social problems that Eminem has surely seen in his own life, and does so with grace and tact. His battle against racism inverts the typical anti-black racism that is so widely popularized and makes the audience realize that discrimination can work both ways. The film is at its most intriguing when the audience is taken onto the streets with Eminem's friends, Future (Mekhi Phifer of "Paid In Full"), lovable but oh-so-stupid Cheddar Bob (newcomer Evan Jones), Sol George (Omar Benson Miller of "Sorority Boys") and the intellectual, socially aware DJ Iz (De'Angelo Wilson) known as Frederick Douglass to the boys. Rabbit faces his fears and discrimination on stage in clubs, battling against other rappers to earn his dignity in black-dominated hip-hop. Future, the host of these weekly rap-offs, pushes Rabbit to make himself known to the world of Detroit rap. The plot, however, is far from innovative, with painfully predictable developments in the story. His mother is in an abusive relationship, unemployed and somewhat alcoholic. His little sister is being neglected and exposed to the terrible violence and destitution that comes with living on 8 Mile Road. Jimmy's friend and girlfriend betray him. Jimmy himself is struggling to make enough money to survive by working at a nearby factory. The relationship with his girlfriend is a token love affair that seems to lack any purpose. After their first conversation, she tells him that she knows he'll "get a record deal soon, (she) can feel it," and yet she has never heard him rap. The clichd script becomes ridiculously obvious at times and taints the excellent acting.Eminem's performance is natural and believable, and the situations his character faces are enacted realistically. Despite the plot's unavoidable predictability, the movie provides a captivating view into the inner-city street-rhyme world. The creative rapping that surrounds the characters throughout the story is entertaining and allows the audience to appreciate the talent necessary in such an industry. Eminem is smart to have chosen a mostly autobiographical role as his first acting job, and blows most other singers-turned-actors out of the water.
(11/05/02 5:00am)
Friday night at the Orpheum proved to be an evening of dancing and joy, with thanks going to the most addictive band on the jamband circuit, The Disco Biscuits. All I have to say about Moonraker, their opener, is that the vocalist sang and looked like Gwen Stefani. Her backup kept a steady undertone that supported her high vocals quite nicely. Now, onto the boys.These Philly natives really know how to put on a fun show. Their followers are the epitome of youth, consisting mainly of high school and college-age heads looking to dance and feel the good vibes. Their unique style of trance fusion blends aspects of Phish's below surface grooves, intricate hard rocking of the likes of Les Claypool and his Flying Frog Brigade and the most ecstatic of trance beats, which turned the Orpheum into a rave on multiple occasions that evening.Their phenomenally-talented bassist Marc "Brownie" Brownstein, who has the greatest facial expressions while playing, and their steady out of spotlight drummer, Sam Altman, held the flow together. Embellishing these tunes with keyboard effects ranging from Floyd-style synth to piano to electronic techno was Aron Magner. Finally, providing speed of light solos, explosive riffs, sub par vocals and an afro that made like flapping head wings when he bopped was Jon "The Barber" Gutwillig.The pre-show buzz was that this tour was the best yet, and that since tonight was the CD release party of their new album, Senior Boombox, then they'd be pulling out all the stops. As high as an expectation this made for me, they easily met and surpassed it. "M.E.M.P.H.I.S.," their opener, was a full show in itself. It started off with a sweet rockin' beat that had the entire place bouncing. There was some light guitar soloing that gave way to a strong rhythm and bass lines that became electronic. They added keys that paved the way towards a full out ridiculous climax. A cool jambandy thing they did was finish "Voices Insane," a song they had left unfinished from the night before. To keep the continuum flowing, during the second set they left "The Overture" unfinished as well. Following "Voices," "Little Lai" made for a hypnotically delicious groove that perpetually progressed towards light. Finally, it led back to an embellished melody, and then to the skeleton of the tune."Astronaut" started off with some hard licks, with everyone singing in unison "A-Stro-Naut!" This hard rocker morphed into an airy '70s disco that took off into space, as bubbles from the deep end would propel towards the surface.Their cover of Frank Zappa's "Pygmy Twylyte" was the entry into a fanatical world of electrogoodness. The moment erupted into a joyous celebration of triumph, love and fun … but that was just the beginning. Before I had time to catch my breath, I found myself in the tripped-outkick-ass version of Floyd's "Run Like Hell." Between the alternating flashing spotlights on Brownie and The Barber during their evil Floydian vocals, their reverberating guitar playing, and the all out rave that was sandwiched in the middle, it was the best version I have ever experienced.The first of the second set highlights was their opener, "House Dog Party Favor." It was the perfect jamband piece, starting with a minor quality groove and rocking towards ecstasy, while there were light tunnels for you to bathe in on the way.Somewhere thereafter arrived a hard rockin dark number that fulfilled my aggressive urge for the night. Knowing where to take us next, they made the floor buzz with a slow, sexy bass line supported by some cool drum effects. This guided and sustained us at a plateau with pan flute-like keyboarding, providing me with a Zen-filled moment on the mountain, with the earth erupting in colored light and beauty."King of the World" was fun because during every refrain where the song title was sung, many would put their arms in the air Oe la Leo DiCaprio in "Titanic." During this song, Gutwillig sustained this eternal note, every so often diving below the plane with fingers flying and then returning to the same sustained note. They followed this masterpiece up with the ending of the first set's "Astronaut."Encore began at 12:20 a.m., so I assumed it would be a good 10-minute song, and we'd be quickly ushered out by the ever so anal security at The Orph (if you've ever been you know the flashlight Nazis I so speak of). "Bazaar Escape" began with a slow meditative groove that all of a sudden became an old punk song with a "hey, hey, hey" refrain. Fortunately, this was short lived, slowing to a Dead halt (pun intended). This spiraled the audience in unison with the lights, and spun us out at light speed on a rainbow towards oblivion. A perfect way to end, but glad I was wrong. A naked drumbeat progressed harder and harder and a diving techno bass note made its way in. The crowd was now surfing on the edge of the universe, which led to the ultimate in tune body undulating that I've ever experienced. This exploded into the end of "Run Like Hell," which left me wanting to cheer out "Hammer!" with my arms crossed in a brainwashed fashion. The encore lasted at least 30 minutes.I saw an old high school friend at setbreak. He left me with a caveat that I now pass on to you: "The Disco Biscuits are the purest most addictive drug there is. Once you start going to their shows you'll never be able to stop.
(10/22/02 4:00am)
Abandon all hope, ye who enter the theatre expecting writer-director Stephen Gaghan's newest movie to be an edge-of-your-seat thriller. Gaghan, who won an Oscar for writing the screenplay of "Traffic" and makes his directorial debut with "Abandon," continually builds upon his storyline with a mishmosh of meaningless scenes and flashbacks. "Abandon" is the story of an ambitious college senior, Katie Burke (Katie Holmes of TV's "Dawson's Creek"), who is desperately trying to finish her thesis and still enjoy the last months of college with her friends. She seems to have it all under control, spending her evenings in the library until her friends drag her out to party and drink. She shines at her job interview, never once flinching when asked questions and never afraid to be herself. Her determined attitude and flair are apparent to both the audience and the job interviewers. Suddenly, though, everything seems to fall apart when a handsome policeman (Benjamin Bratt of "Traffic") strolls into her life inquiring about the disappearance of her wealthy boyfriend, Embry Larkin (Charlie Hunnam of TV's "Queer As Folk"), who went missing two years before. Embry was Katie's first true love, and it appeared that just as quickly as he swept her off her feet he dropped her down and left her. She has not had a boyfriend since Embry, and continually mourns his absence. Soon after the policeman's inquiry, and just as Katie is finally getting over her lost love, it seems that Embry is back to haunt her all over again. He begins appearing around campus and in her dreams. He is back to reclaim his hold over her life, much to her distress.At first, she tries to follow him and find out where he has been all this time, but soon their encounters become frightening and intense. His overpowering obsession is harming Katie, and she can no longer sleep, work on her thesis or party with her friends without having the anxious feeling that Embry is watching her. Holmes has an innocence and charm about her that fits perfectly in the role of Katie Burke. She can comfortably play the role of a college student, and it seems sad to say that her acting ability may have been a saving grace of the movie. Maybe it is time for her to begin taking on more mature roles instead of continually being typecast as the innocent teenager. Bratt is also typecast as a rugged cop who has just come back from the edge after being a struggling alcoholic. He possesses such magnetism that the audience, as well as the college students, in the movie cannot help but be drawn to him. In fact, "Abandon" possesses such a strong supporting cast as well that it is a shame the movie was not better written and directed. "Abandon" takes the audience through an endless buildup of scenes and story lines that seem to drag on forever. Gaghan's directorial debut is not a promising one, as many of the more intense scenes have potential, but were not shot well and the suspense drags on too long until the audience just gives up hope that anything scary will ever happen. There was one particularly awful scene that takes place at a college party, and the endless flashing lights and camera angles make the audience nauseous and hopeful that it will soon end.There is good news, however. For those who did not either fall asleep or get up and leave in the middle of the movie, the ending may just be worth the wait. Although slightly predictable, the last few scenes allow the audience to catch one last glimpse of "Abandon"'s potential. Although the ending was not enough to save the movie, it may just have been enough to make the audience feel that the last 99 minutes was not a complete waste of time.
