the Racquette 7
September 21, 2012
Tricia Jackson and Josh Franz at Coffeehouse @+15%33%)2/=%1$51+ !"1$/5-#$51=)6/5$%/
I arrived at Hurley’s just as the doors open for the 8 o’clock Cof feehouse show, but to my surprise, I found that I had not managed to 9)#"()#$%&"#".#,%%0C);#D))%0*5#,/%.&&# the room, the lights still low but lit, I counted a handful of people already settled in, waiting to hear Tricia Jackson and Josh Franz play their onehour set. E,C0*5# "(0&# ,&# "()0%# $%&"# .6 $/0,1# (),-10*)# &(.'3# F%0/0,# '.%)# her emotions outright: clad in a grey sweater with a big bright pink heart in the center, she subtly hint ed at her plan to put all her cards on the table tonight. Josh smiled in soft agreement as he cozied up on his stool, giving a small wave be 6.%)#%),-40*5#(0&#(,*-&#6.%#"()#$%&"# of many melodious guitar chords. They hit the ground running with an ambitious cover of “Rumor Has It” by Adele. Josh’s clipped, clear chords came together with Tricia’s
sweet, sincere voice. Their united sound was followed by unanimous applause; they were off to an in triguing start. In fact, Tricia wrote almost half of the tunes performed by the lovable twosome such as “Nobody’s Hero”, “On Your Own”, and “One Chance”. After a particularly heartfelt tune, she shyly recognized the somber and saddening tone of her songs with a bittersweet smile. She thanked the audience for their attendance with genuine tenderness, and such endearing gratefulness segued 0*".# ()%# $*,1# &)16G'%0"")*# &.*53# “Miracle”. Its introduction rallied up applause before the song even started, recognized by a pocket of loyal fans from its debut at the Crane Youth Music Talent Show. The show was not as sad and sorrowful as all that, though. Half way through their set, Tricia put on a playful grin before making a disclaimer: “Don’t hate me for this.” Josh gives an agreeably low laugh before strumming out a line
no one could detect just yet. Then suddenly, and laughably so, Tricia began singing Rebecca Black’s “Friday” to the hoops and hollers of the audience. While Tricia shines in her own songs, their selected radio hits ')%)# ",01.%G$"# 6.%# H.&(B&# /1)C)%# repertoire. He turned Katy Perry’s pop song “Wide Awake” into an unrecognizably mellow melody. He transformed “Too Close” by Alex Clare from commercial back ground noise to coffeehouse an them. He strummed to “Someone Like You” by The Summer Set so sweetly that it could give its listen er a toothache. But the true crowd pleaser, the place where Josh strutted and showed his stuff, was “Superstition” by Stevie Wonder. This humble little duo has been performing together since high school. Now, about four years later, both are sophomores in the Crane School of Music for Edu cation (Tricia actually majors on trombone while Josh’s main in
Netflix Hit: Drive 0"%)?+#:+
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!"# $%&"# '()*# +# &,"# -.'*# ".# ',"/(# "(0&# movie I was thinking, wait, Ryan Gos ling? That guy from The Notebook? Isn’t this an action thriller about a getaway driver? How is this gonna work? I asked my friends about it and the only plot syn opsis I received from them was a lot of foot stomping noises and the description of Gosling stomping someone’s face off in an elevator. So with that in mind I was fairly intrigued to witness this badass side of Gosling I hadn’t seen before. Now, af ")%# "()# $123# 24# 50%16%0)*-# &'),%&# 74,*# Gosling is my man crush and she may be right. This is a different kind of Gosling, one that you’ll sit down next to at the diner and he’ll tell you: “Shut your mouth, or I’ll kick your teeth down your throat and I’ll shut it for you.” Gosling plays the character Driver, as his character is so badass he never gets a name and is only labeled by the awesome things he does. He works as a Hollywood stunt driver by day and a gangster getaway driver by night. His dual life is working .8"#$*)3#8*"01#()#2))"&#(0&#*)05(9.%3#+%)*)# (Carey Mulligan), and proceeds to fall in love. Sadly, like all marriages, her real husband, Standard (Oscar Isaac), gets out of jail and comes home to make the situ ation uncomfortable for everyone, includ ing you. When it turns out he owes money to the mob from his time on the inside and they are coming after him and his family, Ryan Gosling steps in to handle things and
drive for one of Standard’s heists to get him the money. Things take a turn for the worse, however, when it turns out the job is a set up. As a result, Driver ends up be ing targeted by his old mob bosses, Bernie Rose (Albert Brooks) and Nino (Ron Perl 2,*:;# <..*# =.&10*5# $*-&# (02&)16# >0110*5# men with curtain rods and drowning Hell boy in the ocean while wearing a creepy rubber mask. I feel Ryan Gosling really “drives” "(0&# $12# ,&# ()# ?1,4&# "()# ,29058.8&# /(,% acter very well. Even though his character doesn’t talk all that much, (I mean, I don’t think he says more that 200 words the '(.1)# $12:3# 4.8# &"011# 5)"# ,*# 0-),# .6# '(,"# is going on because of how he acts. This works for the Driver character, as he is por trayed as a man of action and few words. +"#,1&.#,--&#".#"()#$12#'0"(#0"&#,--0"0.*,1# sense of suspense as you never really know what Driver is thinking. The ambiguity of the character reminds me of western mov ies and Gosling is the man with no name. The driving scenes are also amazing and will make you want a pair of driving gloves and a scorpion jacket of your very own. I believe that everyone should at least see this movie once, as there are some really 5%),"#&(."&#0*#"(0&#$12#,*-#"()#,29058.8&# character makes the story very interesting as far as Driver’s character develops as he eventually turns into the hero. You’ll be (..>)-#,6")%#"()#$%&"#@A#20*8")&#,*-#&..*3# 4.8B11# $*-# 4.8%&)16# %8**0*5# ,*-# 5)""0*5# away from the cops screaming “I am Ryan Gosling!”
strument is clarinet). Their invit ing, engaging demeanor was ap parent even while on stage, and as I searched the crowd’s enthralled, entertained faces, I realized some thing: I had not seen one person on
their cell phone since I had walked into the nightclub. Tricia and Josh served up a mug of coffeehouse melodies worth listening to, and no one was going to ignore or deny that.
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