4 / ARTS
THURSDAY, OCT. 24, 2013 / NEWSRECORD.ORG
McCartney mixes multiple generations in ‘New’
Rom-com meets real life
James Gandolfini makes last appearance in feature film before death, honest approach to comedy depicts marriage flaws MONROE TROMBLY STAFF REPORTER
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AMONA REFAEI STAFF REPORTER
Paul McCartney’s latest album “New” features a number of songs that could reignite Beatlemania. McCartney’s album takes modern influences and blends them with his famous sound. An example of this is the song “Appreciate,” which is obviously influenced by modern music editing and sampling. However, the song’s repetitive lyrics and sound effects are reminiscent of “Magical Mystery Tour,” the title track of the 1967 Beatles’ album. This song could easily have been released in the ’60s and yet it still sounds familiar to modern listeners. “Everybody Out There” is even more like former Beatles’ hits. Some songs on the album — such as this one — help balance McCartney’s past works with his new pieces.“Everybody Out There” contains instruments that are similar to the Indian-influenced songs the Beatles released. The song also proves McCartney still has the ability to write songs with meaningful lyrics that are truly artistic feats. “We’re the brightest objects in the sky/ Remember never for the grace of God go you and I/Do some good before you say goodbye.” It is very rare for pop songs released today to have lyrics that could double as poetry. “Early Days” will remind Beatles fans of George Harrison’s distinct style. The song is composed of acoustic instruments and simple yet amazing vocals by McCartney himself. “Early Days” combines this relaxed feeling with lyrics that address issues McCartney has faced in his life since The Beatles. “Now everybody seems to have their own opinions/Of who did this and who did that,” McCartney sings.“But as for me I don’t see how they can remember/When they weren’t where it was at.” “New” is the most similar to former Beatles hits. Although most of the songs on this album contain a combination of new and old, ironically, “New” is largely comprised of old Beatles style. The style of this song is very similar to hits on “Magical Mystery Tour” and “Sgt. Pepper’s Lonely Hearts Club Bands.” It is clear that McCartney’s many years of performing and writing music has made him aware of what does and does not work musically. This album is an example that his age has not inhibited him from writing successful hits. Instead it is his years of working in the industry contributed to his expertise. “New” is sure to remind listeners of a more classic musical era in which musicians put thought and meaning to each song. It’s remarkable that at the age of 71 McCartney is still performing. What’s even more amazing is that the songs he’s releasing are still as infectious as his Beatle-era songs.
About halfway through Nicole Holofcener’s refreshingly funny movie “Enough Said,” it sinks in that the main protagonists’ exes haven’t been shown on-screen. The audience is witness to two divorcee’s constant kvetching about, ‘How my ex couldn’t stand this and couldn’t stand that,’ yet the audience hasn’t seen a physical speck of them. But that’s the supreme beauty of “Enough Said” — the ability to keep interest in the characters as the audience watches them stumble through their anxiety at try their luck again at love. Starring the late James Gandolfini as Albert and Julia Louis-Dreyfus as Eva, the two meet and share a mutual connection of quiet angst over their children leaving the nest and moving away to college. They subsequently bond and try to move on from their emotionally fraught pasts. The two try to keep each other company until that fateful date of moving day. This isn’t your ordinary, middling, sputtering try and generate laughs romcom — if that’s even a genre term that can
accurately describe film. It’s an unusual film with unusually crafted characters, sharp dialogue and themes dealing with anxiety and apprehension that are rarely examined with such genuineness and sincerity. Holofcener has crafted a tale that accurately brings to the forefront how difficult it is to be a single parent in the midst of life. This is coupled with the possibility of committing to someone a second time, on top of all the frayed and torn emotions from the first time. Eva is an upper-middle class, divorced, single mom who makes a living as a masseuse. She goes about her daily routine with set clients, and shares custody of her one daughter with the father, Peter (Toby Huss). She meets Albert at a party after being invited by her friends, Sarah and Will, respectively played by Toni Collette and the hilarious Ben Falcone. They meet for dinner and start to date. Albert is comfortable in his own skin, which is surprising and even attractive for Eva, being that she clearly still continues to carry some emotional baggage from her own divorce. At the same time, Eva also starts to see a new client, Marianne, after having met her at the party. Played by Catherine Keener, Marianne is an earthy, spiritual, bohemian poet who wows Eva with her sense of ease, calmness and apparent fame. She is clearly
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different in Eva’s mind from the bore of clients she usually gets. Marianne is tranquil but the fact that she never stops yapping about how obsequious her ex-husband was and still is, is something Eva at first relates to. This commonality eventually evolves into horror, as Eva realizes the ex-husband she’s incessantly ripping into is Albert. What goes up must come down. To the audience’s own dread, Eva starts to then pump Marianne for all the information she can get concerning Albert’s quirks and flaws. Once she puts the two and two together without Marianne knowing, the annoying things that Albert does in Marianne’s mind manifests themselves to be bothersome in Eva’s and the “flaws” become all she sees. It’s hard to watch the inevitable occur, but hard in the sense that for once the charm and chemistry between Eva and Albert is refreshingly realistic. As one of Gandolfini’s last roles, this is a side unforeseen that’s thoroughly enjoyable and at the same time sorrowful to watch. For once in the tiresome genre of rom-com, the kids aren’t the obnoxious ones stealing their parents’ independence and robbing them of their sanity. Eva’s daughter, Ellen, is her mother’s moral compass, while Eva weaves webs of guilt, falsity and deceit to continually use Marianne’s friendship. Eva confides in Sarah that Marianne,“Is like a hotel trip advisor, telling me of all the good ones; you’d avoid a bad one if you could, wouldn’t you?” In the era of 21st century social media and technology, this is all so discouragingly true of our neurotic, anxiety-ridden, perfection driven society when looking for the “perfect one.” “Enough Said” is a charming film, inviting you to explore and delve deeper into the hardships of adults trying to fashion a new life for themselves. Louis-Dreyfus impeccably portrays Eva as she incessantly refuses to trust her own judgment and opinion. She uses fear, apprehension and trepidation as an emotional shield from the possibility of being hurt again. Nicole Holofcener scrutinizes these social and emotional dynamics of adulthood with objectivity, and demonstrates how love can be so intensely hard, especially if the “significant others” in frame never progress to accept each other’s quirks and flaws.
Devine not sugarcoating in ‘Bubblegum’ Chelsea Manning, Occupy Movement are featured in Devine’s new album, entirely funded by fans via Kickstarter ROBERT BREEN STAFF REPORTER
Singer/songwriter Kevin Devine has returned with new music with the ambitious launch of two albums — “Bulldozer” and “Bubblegum” — simultaneously. “Bubblegum” was recorded with his own backup band, The Goddamn Band, a change from his earlier acoustic albums. Devine worked his way up in the music world. He recorded album after album and played gigs whenever he got the chance. He made a name for himself and earned a large enough following to be taken seriously. He has played all the major music festivals including Coachella, Lollapalooza and Bonnaroo, proving that he’s a musical force to be reckoned with. He is known for his meaningful lyrics, and continues to speak his mind with songs such as “Private First Class” and “Fiscal Cliff.” On “Fiscal Cliff” he gives voice to the 99
percent,“If you’re angry, well I’m angry too/ In my mirror, I see a movement/Let’s move.” “Private First Class” talks about a soldier who acted heroically, but is faced with legal punishment from his country. The song walks right out of the recent Chelsea Manning trials. Devine continues to be a voice of his generation and focuses his songs on current issues. The song is reminiscent of Bob Dylan’s classic “Hurricane,” which tells the tale of a middleweight boxer who was wrongfully convicted of a triple murder. Though the years, the only difference to his sound is the addition of a backup band. He continues to give fans more of what they like. He still focuses on songs that grab listener’s attention with forceful guitar riffs and relevant verses. Listeners already familiar with Devine will enjoy his new music and listeners unfamiliar with him will discover an artist who is very realistic and honest. He tells things as they are and doesn’t sugarcoat. On his previous hit “Cotton Crush,” he assures listeners,“Trust me, your friends will not wait for you.”
“Bubblegum” has a darker, heavier feel than “Between the Concrete and Clouds” as if the artist tapped into a newfound anger. The title track touches on the theme of childhood innocence. Accompanied by the distorted guitar, the song creates an introspective look at Devine’s current state of life. Devine is still relatively unknown, but with the release of “Bubblegum” he is sure to gain a wider audience. His songs champion the oppressed, the people who have things to say but no way to be heard. With a goal of influencing society with his music, he is on the right track. Where some artists prefer to keep their personal views out of their lyrics and aim for cookie-cutter songs intended for pop fame, Devine is a songwriting purist. He writes music with a purpose, inspired by his own life and opinions, not necessarily to be the on American Top 40 alongside Katy Perry. As proof, both of his latest releases were funded through Kickstarter. His loyal fans pledged the entire amount needed in one day.
Big Gigantic transforms Bogart’s into dance floor With portion of ticket sales going to nonprofits, Big G rages for cause HEATHER KING STAFF REPORTER
Colorado instrumental electronica group Big Gigantic played at Bogart’s, where the crowd danced all night to the group’s masterful hip-hop beats and jazz grooves. Dominic Lalli is the saxophonist/producer while Jeremy Salken plays the drums. The pair is from Boulder, Colo. and their performances are well known for their highenergy live performances that combine DJ style productions with jazz and jam band influences. Bogart’s crowd witnessed Big Gigantic’s unique sound and danced like Dionysus’ followers as they consumed a vibrant light show. The duo is working with Conscious Alliance, a non-profit organization that works toward hunger relief and youth empowerment. A portion of every ticket sold on the tour is being donated to the organization’s “Art That Feeds” project. Big Gigantic’s Sky High Tour shook the building with the thumping beats coupled with the crowd’s exuberant dancing. The groove from Lalli’s saxophone enchanted the crowd, and made the perfect match to Salken’s drumming. “Nocturnal” is the group’s most recent album, released in 2012. It features the enchanting saxophone groove along with exciting synthesizers. “Its Goin Down” is one such song and the saxophone flows with amazing fluidity. The synthesizers in the song add a bounce that makes the crowd get lost in their dancing. The amazing light show and visuals added to the already electric performance of the group, and the ever-changing laser lights set the mood while the Pac-Man ghosts danced on the light panels. The title track, “Nocturnal,” was another crowd favorite. The stylish upbeat sound of the production resembles the electronic sound of an arcade
game, and the skilled tunes coming from the saxophone along with the drums creates a truly mesmerizing musical experience. From the moment Big Gigantic hit the stage audience members could not stop bobbing their heads and they began to move uncontrollably. The live element of the saxophone and the drums made the concert really stand out as a unique and exciting experience and sets Big Gigantic apart from other electronic groups. The songs built up as anticipation increased and frantic bass-drops felt like a bomb going off, and the crowd subsequently exploded into a crazed frenzy. Big Gigantic’s live show made a deep connection with their audience at Bogart’s. The dancing and the music existed in electrifying harmony and the energy of the audience grew along with the dizzying sound of the thumping beats and mindblowing saxophone. Overall, the concert was an eye-opening experience for a newcomer to electronic dance music and a breath of fresh air for EDM veterans.
HEATHER KING
Dominic Lalli brings live sxaphone to Big Gigantics sound. The light show and live element elevates Big G to greatness.
PROVIDED KATE CHRISTENSEN
Entertaining and quirky best-selling author Jami Attenberg visited campus for a discussion revolving around her newest novel “The Middlesteins.”
HEATHER KING
There was not a stationary foot in Bogart’s when Big Gigantic took the stage. The audience was entranced by the duo the entire night as they brought the infectious beats to the usual host of rock artists.