The Heights
B6
Thursday, March 15, 2012
Star value by elias rodriguez
Rising actress Robb takes on ‘Sex and the City’ AnnaSophia Robb’s acting career began with a McDonald’s commercial, and took off when she landed her first leading role in 2005’s Because of WinnDixie. That same year, Robb played gum-chewing, medal-winning brat Violet Beauregarde in the box office hit Charlie and the Chocolate Factory, giving her the exposure only one of Willy Wonka’s golden tickets could buy. Her child-star career continued with roles in the family films Bridge to Terabithia and Race to Witch Mountain. At the age of 18 came the more adult part of professional surfer Bethany Hamilton in the truth-inspired Soul Surfer, in which Robb displayed her chops as a serious actress. So what’s next for the blonde-haired, green-eyed Denver native? The role of Carrie Bradshaw in the upcoming TV version of The Carrie Diaries, the prequel to Sex and the City. If the show can do for Robb what SATC did for Sarah Jessica Parker, stardom is sure to follow. Will she be able to fill SJP’s Manolos?
Keeping with the current
A road trip that is long overdue
Dan Siering
Photos courtesy of google.com
Fashion Forward
Fashion rules were made to be broken
This St. Patrick’s Day, boldly break free of tired, age-old fashion myths
Therese Tully Well it’s almost St. Patrick’s Day, and after taking a look at my pale freckled skin and strawberry blonde hair, it’s not difficult to see that I was made for this holiday. It is one I have loved since childhood. I will always remember months of Irish music leading up to the day (the Clancy Brothers of course) and a hearty stack of green shamrock pancakes on the morning of, in addition to many other things. And on this day, I always take pride in my Irish heritage, especially the red tint to my hair. But with these red locks came a set of rules quite different from those my blonde sisters adhere to. As a redhead, I was told that I should never wear red. And the pale color of my skin ruled out any light pinks or beiges, as well as any shade of yellow. So as trends came and went, and colors came in and out of popularity, I felt quite limited by the cards heredity had dealt me. I will never look as good in a crisp white summer top as someone with tan skin, and I can’t pull off a red dress, I am told, like someone with another hair color. But the older I get, the more I have decided that these rules are meant to be broken. We all have our thing, whatever it may be, that we think is not allowed. For me, it’s colors. I look better in rich jewel tones–dark blues, emerald greens, and majestic purples. When spring comes around, I crave the softer, lighter side of the color spectrum, even if I know it is not the most flattering choice. So I work these pieces into my wardrobe in small and big ways. Light cream dresses, or even an accessory outside of my color palate can work wonders in satiating my craving for dainty colors. Many tall girls think they can’t wear heels. Whether it is a fear of being taller than any guy they may meet, or just being the tallest person in sight, they often shy away from this entire category of shoes. But why?! What I wouldn’t give to be taller. There is something about height that makes one look poised and powerful. The benefits of heels are not simply to assist the vertically challenged, though. They change the way you stand, move, and feel, while also adding a touch of fancy. So embrace the heels, no matter what your height is. The tall girls aren’t the ones with all the problems. Short girls often think they can’t wear long maxi skirts and dresses. But I say, what the heck. As long as you pick an option that does not have too much fabric and isn’t completely overwhelming your frame, go for it. Though I only clock in at 5-foot-4, I sport them relentlessly. Why be left out? Then there are neutrals. Whoever said that one
should not mix black and brown in an outfit (or any two neutrals) was woefully misinformed. They are neutrals, meaning they can be mixed and matched with each other, or bolder and brighter accent hues. Navy, cream, brown, black, beige, and white all mix nicely, though maybe not all of those colors in one outfit. Fear not, no one will arrest you for pairing a black skirt with a navy top. Hey, throw in a bright yellow accent piece, and they might even applaud you for it. The same goes for gold and silver. Take those gold and silver bangles, mix them up, throw them on, and you’ll be sure to impress. There is so much fun to be had when you let go just a little bit. My favorite fashion myth, for sheer absurdity’s sake, is that horizontal stripes are all unflattering. Are some not the best fit? Of course, but if this campus does nothing else, it proves that women can rock a horizontal stripe, whether nautical or colorful, and look fantastic doing it. Like any other pattern, stripes, whether vertical or horizontal, grab people’s attention, so wear them where you feel comfortable. Sometimes, we just use these excuses as crutches. We don’t want to take a risk, or call too much attention to ourselves. But really, most of these things are archaic and arbitrary fashion rules that people have been taking far too seriously for far too long. So let it go. Embrace whatever your heritage dealt you, even if you aren’t lucky enough to be Irish. Work with what you have, and don’t take it all too seriously.
Therese Tully is an editor for The Heights. She can be reached at arts@bcheights.com.
Top: Because many fashion connoisseurs stigmatize horizontal stripes, they can be a refreshing addition to any wardrobe, and truly are not as unflattering as their reputation implies. Bottom (left): Maxi skirts visually lengthen the body, making them perfect skirt choices for girls on the shorter side. Bottom (right): Tall girls shoul not steer away from heels: they enhance the look of legs and add sophistication and class to any outfit, even paired with ankle socks and casual print shorts.
Taste debate: ‘idol’ background checks
Pro
brennan carley
Arts & Review Editor
When TMZ broke the news that American Idol contestant Jermaine Jones had failed to disclose two 2011 arrests to producers, fans threw up their arms in support of the “friendly giant,” a nickname posed by the miniscule Ryan Seacrest. “It should be about the singing,” fans bemoaned, but it is important that Jones be treated exactly like other disqualified contestants before him. It’s unfair to deprive other talented, honest singers of a spot in a competition that is all about showcasing the country’s best talent. The full disclosure clause in Idol’s contract is there to protect employees and audience members alike. Violent ex-convicts like Jones deserve a second shot, and Idol would have absolutely worked with him on a redemption story, but instead he chose to keep it a secret. Contestants like Frenchie Davis were disqualified in their respective years because of problems like Davis’ soft-core porn career, a background not disclosed that contrasts the show’s core audience. In today’s gossip-hungry world, Jones should have known that his past would—and should—rise to the surface.
con
David riemer
Heights editor
“This is a singing competition.” We have all heard this echoed throughout American Idol’s 11-season tenure. It is not, as far as I understand, a “disclose-private-information-and-ultimately-ruin-a-contestant’s-chance-at-winning-an-open-competition” competition. Sure, Jermaine Jones should not be the 2012 American Idol winner, but I say that because of his singing track record, not his court track record. At this stage in the show, it is ridiculous for American Idol to send someone home for something they should already have known about and dealt with. Jones’ legal history might not be unblemished, but he should be allowed a graceful, normal elimination from the show based on how he sings, not on minor infractions. Maybe the fanfare would be merited if Jones had actually done something wrong during his time on the show, but that does not appear to be the case. This incident attests to the larger issue of stigmatizing individuals with a sorted past. We idealize “rehabilitated criminals,” but hold prejudice against anyone trying to start over.
While many eagerly await the impending debut of Katniss Everdeen and company in The Hunger Games film and others frantically count down the days until Peter Jackson brings Middle Earth back to life with his Hobbit prequel, I personally have had my eye on another book-to-film adaptation set to be released this year. Considered the Bible of Beat Generation literature and one of the most important novels of the 20th century, Jack Kerouac’s On the Road will finally be given its long overdue film adaptation in 2012. While the film does not yet have a firm release date or even a U.S. distributor, a trailer surfaced on the Internet last week and has added a great deal of fuel to the inferno of anticipation that has surrounded the project since day one. For those Beat novices out there, On the Road tells the nearly autobiographical tale of Kerouac’s infamous road trips across postwar America. The novel centers around unconventional themes of social deviance and creative spontaneity, which are manifested in the characters’ passion for such imaginative mediums as jazz, poetry, and Kerouac’s unstructured stream of consciousness writing style. In my opinion, On the Road excels in being an innovative yet exceptionally effective piece of storytelling, a feat which every piece of trailblazing narrative art should strive to accomplish. Now, you might be asking yourself, why did it take over a half a century for the movie industry to put together a film based on such a famous novel? Usually Hollywood wastes no time when trying to cash in on popular literary fads. The truth is that an On the Road film adaptation has been circulating within Hollywood for quite some time. In the year that his book was published, Kerouac himself wrote a letter to Marlon Brando in which he proposed that the two should team up for a film adaptation in which Kerouac would portray Sal Paradise, the narrator of the film who Kerouac based on himself, and Brando would depict Dean Moriarty, Paradise’s travel companion who is based on legendary beatnik Neal Cassady. Brando, staying true to his unsociable persona, never responded to the letter. Because of disagreements between his agent and film studios, Kerouac was never able to sell the adaptation rights to his book during his lifetime. It wasn’t until 1979 that, upon the release of Apocalypse Now, director Francis Ford Coppola acquired the rights to adapt On the Road. Thus began over three decades of struggle for Coppola, who, the meticulous filmmaker that he is, was no stranger to the difficulties of putting a film production together. Coppola was finally able to put together a loyal team of collaborators after he hired Brazilian director Water Salles to helm the project. Garrett Hedlund (Tron: Legacy) quickly signed on to portray Moriarty, Sam Riley (Control) was cast as Paradise, and Kristen Stewart of Twilight fame signed on to play Marylou Henderson, the eccentric 16-year-old wife of Moriarty. Before principal filming began in fall of 2010, Salles ordered his entire cast to undergo a three-week “beatnik boot camp,” where the actors were educated by surviving members of the Beat Movement. After filming in locations such as Montreal, New Orleans, and Argentina, On the Road remained under a tight lid of secrecy as Salles and company underwent post production. Then, just last week, the film emerged from the woodwork with a debut trailer. The short two-minute feature is loaded with stylish and intriguing imagery: Stewart rolling up a joint, Hedlund engaging in a “freak out” beatnik dance number, the three leads sitting topless in the front seat of a vintage Chevy. As an avid fan, I couldn’t be more excited. The one quarrel I have with the initial buzz surrounding this flick is that most sites are dubbing it as solely Stewart’s film. And while I am a fervent fan of Stewart sans Bella Swan (my parents joke that I can’t go a month without mentioning her in my column. Just to clarify, mom, it’s been over half a year), On the Road sports a supporting cast that includes Viggo Mortenson, Amy Adams, Kirsten Dunst, Steve Buscemi, Terrence Horward, and Elizabeth Moss, not to mention Hedlund and Riley. This should hardly be considered Kristen Stewart’s film. Nonetheless, On the Road will be critical as Stewart attempts to shed her Twilight persona, and it’s equally crucial for Hedlund and Riley as they solidify their acting futures. The stakes are high for all involved. All we beatniks can do is wait and hope for the best.
Dan Siering is the Asst. Arts & Review Editor for The Heights. He can be reached at arts@bcheights.com.