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New Wave classics crash into The Loft By Alex Gendreau Arizona Daily Wildcat

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Justyn Dillingham Arts Editor 520•621•3106 arts@wildcat.arizona.edu

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‘Anne Frank’ a winner INSIDE Local band makes debut Moore a chore in new flick

Photo courtesy of fan-de-cinema.com

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The French are invading Tucson this month at the Loft Cinema with four must-see French New Wave films every week. “New Wave a Go-Go,” the Loft’s French film series, encompasses 50 years of “quasi-experimental French films,” Loft representative Jeff Yanc said. Four diverse films will adorn the Loft’s screen every Wednesday during the month of October, as a tribute to the zany genre. The New Wave film movement became a blanket term among critics describing certain French filmmakers’ characteristics in the 1950s and ’60s. “New Wave is a lot different than what was happening in Hollywood in the ’50s and ’60s,”Yanc said.“They have a lot of jazz influence, really interesting editing and weird songs that pop up throughout the films.” The first of the series, “The 400 Blows,” is marking its 50th anniversary this year, giving film aficionados and The Loft a reason to celebrate. Directed by Francois Truffaut, “The 400 Blows” is considered ground zero of the genre. The semi-autobiographical film tells the story of Antoine Doinel, a troublemaker NEW WAVE, page B8

inretro speckt Night of the living ’80s: Ridin’ low and sailin’ away

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Timothy Galaz/Arizona Daily Wildcat

From left to right: Esau Hislope, Sarah K. Smith, Celia Madeoy, Brad Kula, Ryan DeLuca, David Yarnelle, Tim Fitzsimmons, Nikisha McFall, Trish Everett and Claire Buchignan run through a rehearsal on Monday in Centennial Hall of ‘The Laramie Project,’ a play by Moisés Kaufman about the 1998 murder of Matthew Shepard in Laramie, Wyo. The play will show on Monday, Oct. 12, in Centennial Hall at the UA.

Community members aim for social change in ‘Laramie Project’ By Alex Gendreau Arizona Daily Wildcat

On Oct. 12, Centennial Hall will open its doors to the public as a call to meet and deal with the issues of our time through the art of theater. “The Laramie Project: Ten Years Later,” is a play that reflects on the repercussions of the hate crime against Matthew Shepard and will have its international premiere on Monday evening. For one night, members of the UA community are encouraged to crowd into Centennial Hall to honor Matthew Shepard, the 21-year-old, gay student who was killed in Laramie, Wyo., on Oct. 12, 1998. “The Laramie Project: Ten Years Later” is the brainchild of the Tectonic Theatre Company in New York City, who also wrote and produced the original Laramie Project. UApresents immediately latched on to the

idea when the Tectonic Theatre Company released a call for other theatres to partner with them. Several hundred theaters around the world also decided to jump on the bandwagon. However, unlike other theaters, UApresents required that “The Laramie Project: 10 Years Later”be kept free and open to the Tucson community. Yet they had another hurdle, trying to find someone to direct and cast a show. But, when it came down to finding someone who could help them achieve their goal they could only think of one department. “Yes, we want to do it. We want to be on board,” said Bobbi McKean, associate director for the School of Theatre Arts and the director of “The Laramie Project: Ten Years Later.”“They were the ones who called us which was fabulous.” McKean said this is the first time the School of Theatre Arts has teamed with

UApresents to put on a production. “We love to collaborate with UApresents as often as we can,” McKean said. “But usually it is with bringing a guest speaker to our students. This is the first time we actually collaborated on a show.” As soon as the plans were solidified, McKean hit the ground running. “It’s been a work in progress,” McKean said. And she isn’t kidding. The stakes were high, with 10 cast members playing a multitude of roles and a revised script from the Tectonic Theatre Company that arrived only a week before the show, combined with the hope of bringing about a social transformation for all who come to see it. Tim Fitzsimmons, interdisciplinary studies senior and cast member of “The Laramie Project: 10 Years Later,” says he read the LARAMIE, page B8

was born in ’88, which hardly qualifies me as an“‘80s Man,”but because I have parents I was necessarily raised on classic rock. It was thus that I entered the 30th Anniversary KLPX Fest with optimism this Sunday at the Pima County Fairgrounds and, despite a lackluster start, left with a sufficiently melted face. First to take the stage — around 1:30 p.m. — was Great White, a hair-metal and blues rock band notorious for playing Zeppelin covers and belting out quintessentially ’80s make-out ballads. Perhaps it was the fact that the crowd at the Fairgrounds was either too slim or too sober, but Great White’s array of power chords and drug references were met with only mild enthusiasm, even when playing their smash hit“Once Bitten, Twice Shy.” Pockets of the crowd were noticeably affected by that ballad of ballads “Save Your Love,” specifically the peppy cowboy in front of me who did the boot-scoot boogie while volunteering unintelligible tidbits about marijuana brownies, but overall the crowd remained COMMENTARY docile through the introductory set. By Brandon Specktor “Round and Round” arts writer composers Ratt were slated to perform next, but the band canceled, citing an illness, and Eddie Money picked up the slack. Again, being born only on the cusp of the ’80s, it would be disingenuous for me to say that Eddie Money isn’t what he used to be — but judging by the singer’s offhand references to serving DUI sentences,“standing on (his) head” and hanging out with the boys from Great White“three rehabs ago”during inter-song banter, I needn’t say more. Money opened unexpectedly with one of his biggest hits,“Two Tickets to Paradise,” throwing the crowd off and inspiring a half-hearted sing-along while doing labored heel spins and parodic pelvic gyrations. The crowd became progressively more engaged as the set dug into his catalog with hits like “Take Me Home Tonight” and“Shakin’,” finally getting a huge ovation for “Baby Hold On.” As the aggregate substance abuse of the crowd intensified, so did their enthusiasm. By the time War took the stage at sunset, patrons were swaying to “The Cisco Kid,” singing ebulliently along to a heavily ad-libbed version of “Spill the Wine”and initiating impromptu dance parties over a hyper-extended, solo-laden version of“Low Rider”that included covers of Black Sabbath’s“Iron Man”and Santana’s“Black Magic Woman.”The seven musicians delivered a groovy mesh of soul, jazz and blues instrumentation while singer Lonnie Jordan painted stoner-y retrospectives of the ’70s, eliciting boisterous cheers at every mention of drugs, Vietnam, or pop culture in general. The final set I stuck around for was Styx, who I had seen once before at the AVA amphitheater with marked satisfaction. When they charged the stage and opened with a blaring, distorted rendition of“Miss America,”the crowd around me erupted and I instantly appreciated the merits of the fairgrounds as a venue over the regimented seating chart of the casino. With golden locks dancing in the wind, trickedout synth spinning on a 360-degree pedestal and a full moon rising triumphantly behind the stage while the band kicked out hits like“Fooling Yourself,”“Suite Madame Blue”and even an epic cover of“I Am the Walrus,”the set was an ethereal, unstoppable, rocker’s fantasy. Keyboardist Lawrence Gowan demanded full audience participation during“Come Sail Away,”and the crowd gladly obliged. After the encore of“Blue Collar Man”and the incendiary“Renegade,”Styx sailed away to ongoing cheers from the ecstatic audience. Despite the slow start, KLPX Fest was an anniversary celebration like no other — enough to make this non-eighties boy dream of a time not too long passed, if only for a few hours.

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• wednesday, october 7, 2009 • arizona daily wildcat

Around town OUR PICK FRIDAY, OCT. 9

Margaret Cho. Since I hate the words “raunchy,” “pottymouthed” and “outrageous,” I am unable to give you any idea whatsoever what the critically acclaimed stand-up comic’s show will be like. It’s an “all ages” show, but the show is also billed as containing “mature content,” so take that for what it’s worth. Doors open at 7 p.m. The Rialto Theatre, 318 E. Congress St. $21-$51.

exhibit “Hard Eyes: Images in Empathy,” which opens Friday. Next time you’re doodling a picture of your dog while you’re supposed to be taking notes in economics, just think — one day that dog could be in Esquire! 4-6:30 p.m. UA Museum of Art. Free with admission, which is $5 for adults, free for students, faculty and UAMA members. Tucson Film and Music Festival. This fourday celebration of all-things-cinema kicks off with “Till You’re Told to Stop” at Cinema la Placita at 7:30 p.m. Now, if only they could think of a more exciting name for it. For a complete schedule, visit www.tucsonfilmandmusicfestival.com. Various times and venues. $40 for an all-access pass.

FRIDAY, OCT. 9 Tucson Meet Yourself. This yearly event features food, festivities and various performances. 11 a.m. to 10 p.m. Friday and Saturday; 8 a.m. to 6 p.m. Sunday. Visit www.tucsonmeetyourself.org for more information. Free.

Photo courtesy of insidesocal.com

WEDNESDAY, OCT. 7

Film Series. 7 p.m. ILC, Room 130. Free.

Max Cannon. The “Red Meat” cartoonist will sign copies of his Marvel Comic,“Strange Tales #2.” (No word on when he’ll take on Richie Rich and Casper the Friendly Ghost.) Original art from the issue will be on display. 4-6 p.m. Fantasy Comics, 2595 N. First Ave. Free. “Children of Heaven.” Roger Ebert called this 1997 Iranian film “very nearly a perfect movie for children” and predicted that it might be “their perfect introduction to subtitles.” On the other hand, be careful — give your kid a taste of this sort of thing, and the next thing you know he’ll be attending Fellini screenings and looking down his nose at you for liking “Twilight.” It’s a slippery slope. Part of the Center for Middle Eastern Studies’ First Wednesday

Dr. Dog. No, it’s not a vet — in fact, it’s not even a person. It’s a psychedelic rock band from the least psychedelic place in the world — Philadelphia. They’ve been compared to Guided By Voices and Pavement — which doesn’t tell you much, since every indie band in the world sounds at least a little bit like Guided By Voices and Pavement. 8 p.m. Hotel Congress, 311 E. Congress St. $12 in advance; $14 day of show.

THURSDAY, OCT. 8 Brian Stauffer. The UA graduate and international illustrator whose work has appeared in such publications as The New York Times, Rolling Stone, Esquire, GQ and The Nation, will speak about his

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Pueblo Noir: Hotel Congress’s 90th Birthday Bash. Featuring a 25-piece marching band, Albuquerque’s La Chat Lunatique, a giant birthday cake, a complimentary midnight champagne toast, mariachis and a personal appearance from John Dillinger. Well, OK, no Dillinger — he’s dead. But all the other things are real. Visit parasolproject. com for more information. 7 p.m. to 2 a.m. Hotel Congress, 311 E. Congress St. 21+. $8 in advance; $8 with costume; $10 day of show. “Straightlaced: How Gender’s Got Us All Tied Up.” Having trouble lacing that girdle? Well, this movie probably won’t help you, since it’s about gender. But keep at it. 7:30 p.m. SUMC, Gallagher Theater. Free.

Wanda Jackson. The “Queen of Rockabilly,” as Bob Dylan dubbed her, is 65 and still rocking as hard as she did back in the ’50s when she toured with the likes of Elvis. No word on whether the King himself will join her onstage, but you can split a Quaalude in the back if he shows. With The El Camino Royales. Doors open at 9 p.m. Plush, 340 E. Sixth St. $15.

SUNDAY, OCT. 11 “Patsy Mink: Ahead of the Majority.” This is a film about the first Asian-American woman in Congress. We’ve got no snark for this event, but we do have to say that “Patsy Mink” is a really awesome name. 1 p.m. The Loft Cinema, 3233 E. Speedway Blvd. $10. Ghiant. A“quirky”acoustic singer-songwriter said to sound like Ween, Beck and Dinosaur Jr. He’s also known for unnecessary use of the letter H. 9:30 p.m. Plush, 340 E. Sixth St. In the lounge. No cover.

MONDAY, OCT. 12 A Day to Remember. No, it’s not a belated 9/11 tribute, it’s a pop-punk band from Florida. All ages. Doors open at 3:30 p.m., and the show begins at 4. The Rialto Theatre, 318 E. Congress St. $17.50 in advance; $20 day of show. “The Laramie Project: Ten Years Later.” See story, B1. Presented by UApresents. 7 p.m. Centennial Hall, 1020 E. University Blvd. Free.

TUESDAY, OCT. 13 A Place to Bury Strangers. This band has been likened to Joy Division, The Cure, the Jesus and Mary Chain, and every other band that ever made a teenager want to lie on his bed and stare gloomily at the ceiling. Not that there’s anything wrong with that. With Darker My Love and All The Saints. Doors open at 9 p.m. Plush, 340 E. Sixth St. $12. — compiled by Justyn Dillingham

The Bibliophile

“I had my best first round ever on dylan pool, number 8” — Josh Fowler, political science sophomore “That is so hot.” — Caila McCabe, undeclared freshman

Tucson Pride Parade and Block Party. You’re invited to turn out for Tucson’s lesbian, gay, bisexual and transgender community’s parade and block party. Fourth Avenue, between Second and Seventh Streets. Call 622-3200 for more information. Starts at 6 p.m. Free.

SATURDAY, OCT. 10

Want to be a rebel? Read an unknown book

here’s a better way to be an antiestablishment, socially progressive, stick-it-to-the-man, changeaffecting badass : Read. Think about it; the clothes that are available for purchase at an affordable price are designed by someone who thinks they know what you should wear, made by an underpaid, mistreated worker in a giant factory overseas and look just like all the other clothes everywhere else. The movies that are available for viewing are only the ones picked up and distributed by giant corporate “entertainment” machines because they think they can suck our pockets dry with drivel about explosions and aliens. Even widely available music is more the result of computerpolishing than artistic inspiration. How can we idealistic young consumers in the coveted 18-24 sales bracket, really subvert the corporate machine, and show everyone we’re not all programmed MTV-bots who consume anything that’s marketed to us with a shiny label and a pretty model? Read. To pick out an unpopular book and read it, and to consider it carefully, is an act of rebellion against everything society thinks college students are. We have to read a great deal for class, but that’s what we’re told to read. We sometimes read to keep up with popular culture, but so much of that is generated by expensive marketing schemes and a keeping-up-with-the-Joneses mentality. It is in the rare moments we have to read for our own personal enjoyment that we reveal our natures as consumers and as people. If time for non-academic reading is

tight, a bestseller is a tempting choice. It’s sold well, so presumably other readers have enjoyed it. That means it’s good, right? That it’s worth the time and the inflated sticker price? Hardly. Bestseller lists are as much a reflection of whether a book is good as Anna they are whether a lot of people want to Swenson look like they read arts writer what’s hip and new. A book that sells well is probably a result of the marketing efforts of a large publishing house: the five largest publishers make up 80 percent of bestseller lists, and the largest 10 account for 98 percent. Do all good books get published and marketed by those 10 publishing houses? Should readers let our choices be monopolized by those who have the money and resources of a corporate giant behind them? Books that sell well might not even be widely read. In the 1980s, the staff of the New Republic magazine put coupons redeemable for cash inside copies of a heavy political tome on the bestseller list, and not a single one was sent in. The book — about nuclear arms control — sold well because it was already selling well. People bought the book because other people bought the book. The mark of a good book is not that a lot of people bought it. The mark of a good book is that an individual reader spent time on the words, enjoyed the experience, learned from the piece and maybe loaned it to a friend. We shouldn’t let our choices be selected for us in a high-rise office in New York. Thousands of smaller presses release books that might cater more to the personal and even smaller collective

taste of a reader. College students are engaged, passionate, intelligent people. So then, why are books marketed to us and that sell well in our age bracket so often vapid celebiographies and groupthink derivative genre knockoffs ? Buying a book that is in a pretty display case in the front of the bookstore is like only listening to music that someone else declares hip, with a “strong buzz” and a “street team” in “your marketing area.” We can spot pathetic promotion efforts and trying-too-hard from a mile away. So why not extend this stand-offish, rebellious skepticism to our book choices? Go pick out a book you’ve never heard of — it could be rewarding. Try a section you might not normally choose, pick out a book from a smaller publisher, or grab a used book at random. Underappreciated books are cheaper, more ambitious, and much edgier than the fluff with little redeeming value “The Man” says you should be reading. To start, you might stop by indie bookstores Antigone Books, Revolutionary Grounds, or Book Stop on Fourth Avenue and pick up a book that’s not in wide distribution. As a primer, try picking up the underrated short story collection “Why The Devil Chose New England For His Work” by UA professor Jason Brown , or the social activism novel “If I Die in Juarez,” by Stella Pope Duarte and published by the UA Press. And if you really want to get subversive, rebellious and punk? Try reading a book from the library.

— Anna Swenson is a sophomore majoring in English. She can be reached at arts@wildcat.arizona.edu.

arizona daily wildcat • wednesday, october 7, 2009 •

PERFORMING ARTS

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‘Jazz in AZ’ brings musical sass to masses was choreographed by Douglas Nielsen; he is one of our faculty members here as well. It’s very much keeping in line with that late-’50s, early’60s time where the Rat Pack was hot in Vegas.” “The last number I choreographed, and it’s kind of a fusion of tap done in a hip-hop-y way,” Williams said. “The music is all a cappella beat box score. It’s really unusual from the sound point of view. The name of the piece is ‘Rhythm Schism.’ There are 15 tap dancers and it’s just wild and crazy.” Cross defines this piece as a funky tap number. When choreographing“Rhythm Schism,”Williams wanted to present tap in a way that was unlike the typical tap style. “With ‘Rhythm Schism,’ I wanted to do something that had not really been done with tap before in terms of style, because tap is associated with a ’40s feel,”Williams said.“I wanted to take an opportunity to do some intricate tap work but put it in a new framework.” Cross is dancing in three numbers, all with very different nuances. However, she enjoys the chance to dance in the diversity. “It’s actually very fun. It’s nice to be able to do such variety all in one weekend,”she said.“I do a little ballet jazz, some earthy contemporary, and then some funky, entertaining hip-hop tap.” Both think that the concert is something that everyone would enjoy. “The jazz showcase concert is always very entertaining,”Cross said.“It has lots of jazz and tap and very upbeat pieces. It’s a very short, sweet, and entertaining show.” “It’s really appealing,” Williams said. “It’s one hour, it’s one act. It’s high paced, high energy, fun. It’s not really hard to figure out what it all means. It’s great music, it’s great movement, and it’s not necessarily trying to tell a story that is hard to understand. It’s a good time. It’s entertaining.” The preview of “Jazz in AZ” will be Oct. 7 and 8 at 7:30 p.m. For more information, visit web.cfa.arizona.edu/dance.

By Amanda Seely Arizona Daily Wildcat The UA Dance Repertory will host people from all over the country at its Jazz Dance Showcase this week. While people outside the School of Dance are not permitted attend the showcase, there are previews today and tomorrow where all jazz enthusiasts will be welcome. “The concert that we’re doing for the public is part of this Jazz Dance Showcase that we’re doing on the weekend,” said Michael Williams, professor of dance. The concert opens with a piece called“Against the Current”by Mia Michaels. “It is a contemporary jazz piece with 10 dancers, and I’m the soloist,” said Cameo Cross, a dance senior. “The second number is something by one of our faculty members, Sam Watson,”Williams said. “It’s called ‘The Big Put-On.’ It’s a reverse strip tease. A male dancer starts in his underwear and throughout the dance he puts his clothes on.” The third piece is a jazz piece, danced on ballet pointe shoes. “The third number is called‘Sabor a Mi,’which is Spanish for ‘taste me,’ ”Williams said,“and it’s done by (faculty member) Susan Quinn. It’s Latin and it’s sassy and hot.” “‘Sabor a Mi’ ‘is my favorite because we get to be up on pointe,” Cross said.“It has kind of a Spanish, sensual flair. It’s eight ladies, and we get to be very playful.” “The fourth number was choreographed by one of our dancers that graduated last year, and it’s called ‘A Modern Man,’” Williams said. “It’s actually George Carlin doing a comedy monologue and the dancer used that as their jumping off point for the choreography. It’s very funny and really lighthearted and great.” The next performance,“Rats,”harkens back to Las Vegas in the 1960s. “It’s music from the Rat Pack — Frank Sinatra, Sammy Davis Jr., Dean Martin,”Williams said.“It

Photo courtesy of UA School of Dance

ART’s ‘Anne Frank’ effective, affecting take on classic By Anna Swenson Arizona Daily Wildcat In the Arizona Repertory Theatre’s justopened production of“The Diary of Anne Frank,” theatergoers are not in for a pleasant evening — and in this case, that’s a good thing. The lively cast and creative staging together serve as an homage to the touching words adapted from Holocaust-victim Anne Frank’s diary, which she kept for more than two years while in hiding. Both the deep hardships and the perseverant joy of Anne and her seven other companions are on powerful display here, and create a sweetly hopeful while still tragically truthful telling of the famous young girl’s depiction of Nazi Germany. The cast is eager and capable, and provides tender, humanistic portrayals of characters whose looming demise is never far from the audience’s mind. Erin Asselta portrays a more charming Anne than appears in the book, creating a convincing and precocious 13-year-old. Asselta’s Anne is sweet and brave, but a real girl, too. Asselta depicts Anne’s estrangement from her mother and burgeoning interest in the young Peter with just as much investment as she puts towards the more serious aspects of the story. The supporting cast portrays the struggles of each character wonderfully. In this production, the audience may consider the effect the tension of the times and living in hiding had

on these eight people, not just how it changed young Anne . Chelsea Bowdren is dignified as the matriarch of the family who joins Anne and her seven companions in their hiding place. Her performance as a beautiful woman broken by circumstance is both artful and difficult to watch. Luke Young is convincing as her unlikable, overbearing husband; as an audience member, you hate him, but you understand him. The dentist, Mr. Dussel (played by Clay McInerney), who joins the hiding group, is equally unlikable. Together, their presence gives the audience a more immediate sense of the circumstance. What would drive grown men to act so abhorrently? Javan Nelson is appropriately awkward in the role of Peter, the object of Anne’s affection. The admiration with which he views Anne helps the audience see beyond her youth and silliness to what she certainly was: an exceptionally brave, talented girl in an impossible circumstance. Overall, the group is charming and heartbreaking. They seem so painfully human — the struggles between them, the mother-daughter hardships, the sibling tension, can only remind us of ourselves. Acting assistant professor Kevin Black gives an enthralling performance as Anne’s father, Otto Frank. Black portrays Otto as a bookish, generous man, who remains strong for his family in impossible circumstances. The closing scene — in which Otto visits the hiding place after being freed from Auschwitz —

Photo courtesy of UA Theatre Arts

is tender and subtle. As the lights fell after the Oct. 5 preview performance, so did more than a few tears in the audience. This production does — with resolution and compassion — exactly what good theatre

should do: it touches the collective humanity inside all of us. Even the most removed from Anne Frank’s real-life tragedy will be deeply affected. As Otto says in the closing scene, “May we never forget.”

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• wednesday, october 7, 2009 • arizona daily wildcat

Just what the doctor ordered

Photo courtesy of Paper Poets

Local band Paper Poets will play their first show at The Rock Oct. 10. The band’s influences include folk music, classic rock and modern metal.

Newly formed local band prepares for first concert Photo courtesy of myspace.com

Dr. Dog is a psychedelic indie rock band whose sound hearkens back to the likes of The Beatles and The Beach Boys. They play Club Congress Oct. 7.

By Tauni Malmgren Arizona Daily Wildcat It’s the middle of the semester, and stress is in the air. Kids are starting to walk around in their sweats, studying note cards and eating at the same time. Thankfully, whether you’re dealing with midterms, looming deadlines or a demanding parttime job, Philadelphia indie-rock band Dr. Dog is coming to Club Congress tonight to help ease some of the pressure. “Are you movin’ much too fast?” asks Dr. Dog on their track “The Breeze,” a song that might as well be a diagnostic test for the soul. If you are, they have the perfect prescription: retro psychedelic rock that throws back to 1960s bands like The Band and The Beatles.

Seeing Dr. Dog may be the closest thing you’ll get to seeing a Beatles concert, but they still have a uniqueness that has earned them indie-credibility as they opened for bands like Wilco, The Strokes and The Black Keys. Their classic rock revival sound is as upbeat as it is comforting. It fuses major chord loving instruments like guitar and piano, suggesting gospel tunes or a piano house. The music is topped with folky, likable vocals, chalk full of Beach Boy harmonies and John Lennon outcries. The feel-good lyrics are heartfelt and reference American ideals, so expect down-home music as satisfying as a slice of warm apple pie. “What you thought was a hurricane was just the rustling of the wind. Why do you think we need amazing grace just to

tell us like it is? Oh, I don’t need no doctor to tear me all apart. I just need you to mend my heart,” Dr. Dog croons during their song “Hang On.”With lyrics like this, it’s hard not to oblige. Whether you are looking to ease trying times or just want to hear some good music, I recommend this soulful concert with a laid back attitude and maybe a bourbon on the rocks, so take two songs and call me in the morning.

Dr. Dog

Club Congress, 311 E. Congress St., (520) 622-8848, $14, 9 p.m., all ages hotelcongress.com, www.myspace.com/drdog

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By Emily Moore Arizona Daily Wildcat This Saturday marks the first-ever show for the Paper Poets, a newly-formed local band. The band is based in Tucson, but its members — Jake McShea, Jamie Aiken, Tyler Rothe and Mike Smith — are all from different parts of Arizona, and when past bands didn’t work out, they found each other via the Internet based on their same musical aspirations. McShea, Aiken, Smith and Rothe all share vocals. McShea, a college graduate, also plays guitar, while Aiken, Smith and Rothe, all students at the UA, play bass, drums and guitar, respectively. Paper Poets focuses on their lyrics more than their instrumentals, so when it came time to come up with a name, the group decided on “Paper Poets.”The quartet liked this new name and it meant something to all of them, so they stuck with it. Their music is something that they can call their own. They can’t quite classify it. “We don’t think we’re bubbly enough to be bubble pop, but we aren’t hardcore either so we’re kind of in between there,” said Aiken. “I never wanted to be trapped inside of a genre,” said guitarist Rothe.“Versatility is a pivotal credential within this band.” They’re influenced by everything from classic rock to modern metal. The juxtaposition of McShea’s love of folk music to Rothe’s love of “harder stuff,” cleverly merges to create this fresh sound. As for their creative process, the“Poets”jam until they have something they like, they add the beat, and something raw forms. To come up with the melody, they scream into the mic or sing random phrases until they like what they hear. In preparation for their first concert, the group has been practicing a lot The Rock, to make sure they know everything and can confi136 N. Park Ave. dently prove their worth to Oct. 10, 7 p.m., 629-9221. the crowd. “I think it’s going to be a lot bigger than any of us actually thought it was going to be,” said drummer Smith. Eagerness and excitement seems to be the overwhelming theme of their last few days before the gig. “I’m excited to hopefully get over this cold so I can bestow my angelic and boyish voice for the masses of the Rock,” Rothe said. Paper Poets wants to see how far the group will take them (hopefully out of Tucson, they all agree), and they have high hopes of making it big and expanding their following. “It’s not just a hobby, it’s more like a career — we’re hoping,” Smith said. For more information, or to check out their tunes, visit myspace.com/paperpoets.

Paper Poets

538 East 9th Street Tucson, Arizona 623-6811

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arizona daily wildcat • wednesday, october 7, 2009 •

Basement Jaxx shows its ‘Scars’ on new album By Steven Kwan Arizona Daily Wildcat

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ers (We March On)� from a club-ready song into a sensual, poetic performance: “Open like a flower, come get naked with me. / Music take me home, tie me up in melody. / Just a touch, it’s all we need. Just a kiss.� Lisa Kekaula’s laidback, husky voice on “Stay Close� matches the lover’s invitation to a private, intimate setting and serves as the perfect tune to wind down to after a long night on the dance floor. While it may not match the danceability of previous efforts, Basement Jaxx’s Scars can still move the head and the hips as it delivers songs that push house music into a new decade.

Ten years is a long time in the world of music, let alone house music. But Basement Jaxx has been plugging it in and experiencing mostly good luck since its 1999 debut. Now Jaxx has returned with Scars, an album that finds the London duo revisiting its roots and the past decade of dance music. Unlike previous albums, Scars opens with a downbeat and even anxious tone. Artist Kelis belts out lyrics about“coming loose at the seamsâ€? and how“all I got is my scars.â€?Rapper Chipmunk rhymes about saving her when “I come around back like karma, be your knight in shining armor.â€? The first single, “Raindrops,â€? proves to be as glorious as rainfall on the desert. Rather than bring in a guest singer, Jaxx member Felix Buxton takes up the vocal duties and Auto-Tunes his way through music that blossoms with every word. (T-Pain and Kanye could learn a few lessons here.) What’s striking about “Raindropsâ€? is that it’s not overflowing with the usual skewed instrumentation used to fill in the spaces and mark the beat — it’s surprisingly straightforward. Of the guest spots on Scars, four stand out. Singer Santigold’s role in “Sagaâ€? recalls “Creatorâ€? with its lyrics and warped vocals. Sam Sparro gives a soulful performance on the second single, “Feelings Gone,â€? exuding an exuberance that stands against his words of uncertainty and loneliness. â€˘â€œRaindropsâ€? Yoko Ono — yes, really — â€˘â€œFeelings Goneâ€? transforms “Day of the Sunflow-

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Paramore shows new maturity on latest By Emily Moore Arizona Daily Wildcat Paramore: Love them or hate them, they’re still around — and kicking and screaming. Tuesday marked the release of the Grammynominated Tennessee rock band’s third album, Brand New Eyes. Crowds are in for a pleasant surprise to hear their matured, yet angrier than ever, sound. It’s something everyone can relate to while blasting the music and singing along. Lead singer Hayley Williams is still yelling out her feelings, and the rest of the band — lead guitarist Josh Farro, drummer Zac Farro, bassist Jeremy Davis and rhythm guitarist Taylor York  —  is still angsty with a sound defineable only as “Paramore.� The band offers more versatility on this album, which features a good ratio of slow to upbeat songs. “Misguided Ghosts,� in which Williams is able to show off her vocals, meticulously complemented with a slower, more melancholy sound, offers a unique, acoustic style you’ve never heard from the band before. Upon your first listen, you may not realize it’s actually them.

All of the songs on this album are good and stand out in their own way. From tracks one to 11, you will find yourself enjoying every beat and every word. With a matured audience comes a matured sound, proving that Paramore is evolving with each album and not fading from the limelight.

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• wednesday, october 7, 2009 • arizona daily wildcat

CINEMA CENTRAL

Moore’s antics weaken ‘Capitalism: A Love Story’ By Steven Kwan Arizona Daily Wildcat Filmmaker Michael Moore presents a strong, emotional argument against the excesses of deregulated capitalism in his new movie, “Capitalism: A Love Story.”The movie succeeds at giving human faces and voices to the numerous news stories buried under numbers we can barely conceive. It’s a shame Moore constantly butts in to provide unnecessary levity through his showboating tactics, which have become tiresome and trite at this point in his career. “Capitalism” marks a return home for Moore. Twenty years separate this release and his first film, “Roger & Me.” Moore takes the opportunity to wax nostalgic — which yields mixed results. As in previous efforts, he brings out the connections his hometown of Flint, Mich., has to the film’s main issue. This time, Flint is a base of operations for a company that serves foreclosure notices nationwide. It’s difficult to ignore the faces of parents and children barely holding back tears of bitterness and anger as they are evicted from their family homes, many of which have housed multiple generations. The Hacker family of Peoria, Ill., was evicted within less than the promised 30 days — a fact that surprised even the police officers serving the notice. It seems the family had failed to keep up with mortgage payments that increased with the bank’s interest rates. In a sad, ironic turn, the family was even hired

by the bank to trash and burn their own belongings — a job normally given to a cleaning company. The Hackers were paid $1,000 for their work. Moore is more or less evenhanded in his criticisms: All U.S. presidents since Jimmy Carter are condemned for their part in deregulating businesses. Even

Timothy Geithner is considered an incompetent financial manager in the movie — and this was before he became Obama’s Secretary of the Treasury. Much of Moore’s humor remains intact, unfortunately. It was once novel, at least for Moore, to mingle archival footage and songs from his

childhood with his voiceover during one of his explanations. Now it feels overused and annoying, especially when the time and effort would have been better spent marshalling his facts and arguments

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against his critics. For a director whose films advocate democratic principles as an antidote to the poisons of unchecked capitalism, Moore needs to know when to just let the people speak for themselves.

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Welcome to Zombieland: Would you like some comedy with your apocalypse? By Brandon Specktor Arizona Daily Wildcat

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As is common in times of recession, society has disaster on its mind, and the world of cinema is no exception. Today, a rational moviegoer can only hope to be mauled to death by Benicio Del Toro’s “Wolfman” before the world implodes on “2012” or, God forbid, some unobliging teenage vampire comes along to break our hearts. “Zombieland,” the newest in an endless chain of apocalypse flicks, posits the same human-free end times that man has been stressing about since biblical days, but is delivered with an irreverent comedic style that ultimately makes it more akin to “Superbad” than doom-and-gloom contemporaries like “Dawn of The Dead” or “Resident Evil.” At the core of “Zombieland” is Jesse Eisenberg (you know, the Michael Cera for people who are sick of Michael Cera), who reprises his role in“Adventureland” as the awkward virgin trying to get a break despite wacky circumstances. In this case, the circumstance is the zombie apocalypse, caused by some terribly infective disease derivative of mad cow (the specifics are never fully explained) that has consumed most of America’s population by the time the film begins. Eisenberg, known only as “Columbus” in the film, has managed to outlive his fellow Americans by obsessively adhering to a set of simple zombie survival rules influenced by a lifetime of being introverted and suspicious — but that introversion is soon tested by the comedic cadre of fellow survivors he encounters on the road home (imagine “The Wizard of Oz,” but with way more flesh-eating and execution). Along for the ride is Woody Harrelson (in his most outlandish role since the hook-handed bowler in “Kingpin”) as the hickish, gun-toting Twinkie-fanatic known as Tallahassee. Tallahassee

is Terminator to Eisenberg’s John Connor, but unlike Arnold, actually shows an intense exuberance when flinging lead between a zombie’s eyes or taking out flesh-craving rednecks with a wellaimed banjo. Playing the obligatory hot chick of the wastes is Emma Stone (of “Superbad” and “The Rocker”) who, along with her kid sister (“Little Miss Sunshine’s” Abigail Breslin), makes a decent living for herself both pre- and post-apocalypse by conning horny men out of their possessions. The film opens with a slow-mo montage of undead Americans turning on their countrymen, spewing blood across the camera, chomping on some sweet man flesh and consorting in other traditional zombie hobbies while a stereotypical Metallica tune blasts in the background. Despite the initial gruesomeness and gore, the prevailing tone of “Zombieland” is more of a slapstick and adolescent-romance hybrid, utilizing sensational bursts of violence only when it is funny, not for the purpose of whittling down the already slim number of speaking characters. The obvious comparison is to “Shaun of The Dead,” the genre-bending British brainchild of Simon Pegg that also examined the lighter side of the undead Armageddon. The biggest differences in the decidedly Americanized “Zombieland” are the protagonist’s prevailing quest for devirginization, and the utter lack of subtlety: the first three jokes of the film are a burp joke, a fat joke, and a bathroom gag, but the juvenile humor eventually subsides once the plot kicks in. Despite a few distractions, like the unexplained origin of the zombie virus and the sporadic bouts of sophomoric comedy, “Zombieland” is a wholly amusing vision of the apocalypse that prospective zombie hunters and horny college students alike will not regret seeing. Remember: the end times only come once. Might as well enjoy them.

“Weird” Al Yankovic received a Bachelor’s degree in Architecture. He also served as valedictorian of his high school at age 16. Read the facts at the Arizona Daily Wildcat!

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NEW WAVE continued from page B1

Music videos, ‘Agnes’ among highlights of French film festival

Jean-Pierre Leaud stars as tormented adolescent Antoine Doinel in Francois Truffaut’s 1959 French New Wave classic ‘The 400 Blows,’ screening at The Loft Cinema Oct. 7. Photo courtesy of grouchoreviews.com

among his teachers and mother. When he starts getting in trouble for the most minor offenses, he turns his lies into larger ordeals. The other three films in the series, Jean-Pierre Melville’s “Le Doulos,” (“The Informant”), Claude Chabrol’s “Les Bonnes Femmes,” (“The Good Girls”) and Jean-Luc Godard’s“Band of Outsiders” (a favorite of Quentin Tarantino, who named his production company after it), round out the event. The Loft specifically picked these films to support “The 400 Blows.” This selection also includes all the big directors of the movement in the late ’50s and early ’60s. Not only do attendees get to enjoy the genre’s racy topics, but each movie

begins with a French-pop music video. “They are kind of sexy and weird,”Yanc said of the music videos. “We called it ‘New Wave A Go-Go’to make it fun and not a bunch of stingy old art films.” Incorporating other mediums is exactly what The Loft is aiming to do. On top of the French music videos, The Loft is also giving out French passports to attendees of the first film. With the passport, film watchers are entered into a drawing where they can win prizes such as DVDs. The Loft loves the genre so much that they are extending the films to other regular series held at the theatre. Essential Cinema, a free series the theater holds every month on Sundays at 1 p.m. and Tuesdays at 7 p.m. is hosting

the 1960 French horror film “Les Yeux Sans Visage”(or“Eyes Without a Face”). The critically acclaimed film is yet another addition to the month-long tribute to classic French cinema. “The Beaches of Agnes” also makes an appearance as part of the Tuesday night “One Hit Wonders” series. The documentary tells the autobiographical tale of filmmaker Agnes Varda, who revolutionized French New Wave cinema with films like “Cleo From 5 to 7.” The film explores her looking back on her experience and influence in New Wave. Just in time for audience members to go back the next night and enjoy the genre on the screen. “People should be really excited to see it,”Yanc said of the series.“There is a big

audience for French films in Tucson.” But Yanc hopes that the younger crowd will also show up. The series isn’t about showing boring black and white art films to an older audience; the Loft selected films to appeal to everyone from long-time New Wave lovers and people who have never heard of the genre before. “We probably shouldn’t have waited until the 50th anniversary”, Yanc said. “But here we are doing it, and we are excited.” “New Wave A Go-Go” screens every Wednesday in October at 7 p.m. at The Loft Cinema, 3233 E Speedway Blvd. Admission is $6.00 for general and $4.75 for Loft members. Call 7957777 for more information.

One last drive-thru

LARAMIE continued from page B1

Ashlee Salamon/Arizona Daily Wildcat

Patrons of the De Anza drive-in movie theater enjoy a movie on Saturday, Oct. 3. Saturday was the last day that the drive-in would be open, a new development will go in place of the last drive-in theater in Tucson.

Play picks up from original

That kind of reaction is exactly what McKean is hoping to inspire Monday night. “It is about trying to keep the legacy of Matthew Shepard alive,” she said.“Because a lot of people, like new college students, were 10 when it happened and they might not know who he is.” “The Laramie Project: 10 Years Later”picks up where the original play left off. It gathers all of the events that has happened within the last ten years of Matthew Shepard’s death and poses the question: Where are we now? The Tectonic Theater Company aimed for a documentary-style play where key players are brought into question. McKean said that the two perpetrators of the crime, Russell Henderson and Aaron McKinney have lengthy interviews. Also the mother, Judy Shepard plays a major role, something that wasn’t seen in the original play. “(The Tectonic Theatre Company) made a conscious decision not to talk to Judy Shepard the first time,” McKean said. But now, audience members get to see her reactions to the event surrounding her son. Fitzsimmons hopes people see the show and the issues it deals with in a new light.“In this day and age they are many people skilled in a closed mindset. Hopefully this will raise awareness,”he said.

Indeed, the play has received such recognition that even the House of Representatives have chosen to honor the participants of “The Laramie Project: 10Years Later.” “There is a lot more talk about this with the effect on legislation on so many levels,” McKean said of gay rights. This makes the project ideal for raising awareness against the current political backdrop.“It gives us an opportunity to reflect back on the 11 years since Matthew was killed and take stock in that.” Despite all eyes watching, ultimately the event is about bringing about a change to the society in which we live. “This is about a community coming together to look at ourselves,” McKean said. “There is so much work to be done.” However, McKean also states that in the aftermath of the Matthew Shepard murder, the gay community knows they have an ally in Laramie, Wyo. That kind of transformation is what the university members of the “The Laramie Project: 10 Years Later” hope audience members take away with them after the performance on Monday night. “By participating in this, you are participating not as an audience member but in a much larger community action,”McKean said.“I want people to take away their own personal thoughts and transformations and ask what they can do for the society.”

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