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Weekend Edition Nov. 18 | 2010 NEWSRECORD.ORG
SLACKER
SOLUTIONS sean peters
The lonely man’s guide to television Hypothetically speaking, what would happen if “me” from 10 years ago were to see what kind of television I am watching today? Chances are, I’d kick my own ass. Let me explain. There comes a time in every sedentary young man’s life when he must examine what entertains him during his couch ridden tangents. After listing the primary shows I’m sure to watch, I am mildly disturbed. Keep in mind, I love these shows, but looking at it from a non “me” perspective, maybe it’s time to do some heavy thinking about my lot in life. “The Walking Dead”: This is the most promising liveaction series on television right now. Rick Grimes, a Kentucky cop, wakes from a coma to find himself in a hellish world crawling with zombies. With only three episodes having run at the time of publication, I’m convinced this will be a show worth watching until the very end. New episodes air Sunday nights at 11 on AMC. “The Venture Bros.”: This Sunday will bring the fourth season finale, something Venture Bros. fans have been waiting for for a very long time — season four began in October of 2009 and there was a hiatus in new episodes from December 2009 until mid-September 2010. Following the misadventures of Dr. Venture and his family, friends, neighbors and, of course, arch nemeses, there’s been no shortage of compelling and hysterical dialogue along with addictively inventive plot twists and secrets yet untold. Catch the new, hour-long episode at 11:30 p.m. on Adult Swim. For science! “Scooby Doo! Mystery Inc.”: Rooby Dooby Doo! This is the first Scooby Doo series I’ve come across that isn’t repetition of the same episode in a different location with a different guest star. With such voice talent as Matthew Lillard (Shaggy) and Patrick Warburton (Sheriff Bronson Stone), strong plot and pleasantly stylized animation, “Mystery Inc.” is the best Scooby Doo reincarnation … and, damn, Velma is getting cuter and cuter by the second. Two things it thankfully skipped on this time: a laugh track and ScrappyDoo. Do yourself a favor, you meddling kids, and go to www. cartoonnetwork.com/tv_shows/ scoobydoomysteryinc to see when it’s playing next. “Hoarders”: There’s no other show that makes me feel better about myself than “Hoarders.” I’m a fairly sloppy dude who isn’t bothered by a bit of clutter or some stains … but I am obsessive compulsive compared to the people on “Hoarders.” Tracking the destitution of American households and the troubled people somewhere inside of them, the show centers on a team of “experts” who clean out the hoarders’ homes due to the fact that most of them are on the brink of getting kicked out by the city or state for health code or zoning violations — all because they simply have amassed too much crap. All of a sudden, that weird smell coming from my laundry isn’t as disgusting as before, simply because it’s not covered in used adult diapers, food scraps and kitten corpses. Wow. “Hoarders” is on A&E. Check www.aetv. com/hoarders/video to watch a full episode. “iCarly”: Don’t be hating. “iCarly” is the guilty pleasure I enjoy so much that it’s not even guilty anymore. Following a young high school girl named Carly and her best friends Sam and Freddy who run a successful web show titled “iCarly,” this is a seriously funny and twisted comedy that I’m surprised Nickelodeon sponsors. Watching this show is like Prozac — it’s full-blown chuckles and guffaws from start to end. Sure, it’s irrelevant and childish at times … that’s the point? Friday, Nov. 19, be sure to tune in to Nickelodeon at 8 p.m so you can watch an hour-long episode guest starring Jack Black. I’m not a proud man, nor am I an entirely intelligent one. For these reasons will I forgive myself for my absurd television habits. At least I’m not watching “Jersey Shore.”That’s like the meth (or Four Loko) of television, because no one is better off having tried it. Want to help Sean find some pals to watch TV with? E-mail newsrecordent@gmail.com.
ENTERTAINMENT College-Conservatory of Music
Music students talk theory jessica mccafferty | staff reporter
INDIANAPOLIS — Faculty members and students of the College-Conservatory of Music’s Theory and History department traveled to Indianapolis to attend the joint meeting of the American Musicological Society and the Society for Music Theory Nov.4. The American Musicological Society was founded in 1934 with the intent of advancing research in various fields of music. It includes many professors and scholars of musicology throughout the United States. The study of musicology is chiefly concerned with studying music from a variety of different aspects including historical, sociopolitical, gender studies and performance practice contexts. It also publishes the “Journal of the American Musicological Society,” colloquially referred to as “JAMS,” supports scholarly books and grants recognition and funding through various awards and grants. Likewise, the Society for Music Theory is comprised of professors and scholars of music theory who traditionally study music from a more analytical standpoint. This society provides many of the same functions as AMS to scholars in this field. While each of these organizations meet
annually, every two years the convention is joint, since these areas of scholarship often overlap. The conference featured paper readings from the disciplines of music history and music theory, panel discussions, and meetings of various journals and sub-committees. The founding of a committee for pedagogy within musicology was particularly unique. While the most traditional career route for those pursuing careers in musicology is becoming a professor, there has been no mainstream endeavor to organize a pedagogical approach. Rather, students are expected to learn to teach solely through opportunities as graduate or teaching assistants. This meeting provoked a large deal of discussion and even some small arguments, which could be beneficial in shaping how the committee continues its studies and which issues it focuses its time on. CCM Professor Steven Cahn chaired an SMT paper session titled “Visualizing Music.” Students were afforded the opportunity to choose between a multitude of sessions and attend those that appealed to their areas of specific interest. They were also able to meet and converse with leading scholars in the field; this was particularly helpful to those students who were able to talk to authors whose sources
Photo courtesy of Jessica mccafterty
AMERICAN MUSICOLOGICAL SOCIETY CCM students took a break from discussion to pose for pictures. they are using or in finding faculties at programs of interest. Students met James Hepokoski and Warren Darcy, co-authors of “Elements of Sonata Theory,” a standard music history textbook, whom the CCM attendees found lunching at a downtown restaurant. The weekend was overall an inspiring experience, and the entire contingent of students returned with renewed vigor just in time for research-paper season.
YOUNG FRANKENSTEIN
FROM A MEL BROOKS NOOB’S PERSPECTIVE
FROM A MEL BROOKS FAN
ARIEL CHEUNG | MANAGING EDITOR
NICK GREVER | SENIOR REPORTER
If you like movies like “Spaceballs,”“Blazing Saddles” and “The Producers,” you will enjoy “Young Frankenstein.” If, on the other hand, a woman singing “tits” 15 times in one song doesn’t amuse you, you might want to steer clear of the latest tour to hit the Aronoff Center for the Arts. “Young Frankenstein” is written and composed by Mel Brooks, whose slapstick, bawdy humor shines through. Many times, the effort fails, coming off as too much bawdy and not enough humor. Cory English, who plays Dr. Frankenstein’s devoted assistant Igor, pulls off the vulgarity most successfully, while characters like Frankenstein’s fiancée, Elizabeth (Janine Divita) and castle housekeeper Frau Blucher (Joanna Glushak) have trouble with the timing. The songs also left something to be desired. While many were meant to advance the plot, the lack of creativity and cleverness made each one drag on. “He Vas My Boyfriend,” for example, was Frau Blucher’s declaration of romantic involvement with Frankenstein’s grandfather, Victor. But the song was too long, too repetitive and way, way too vulgar. The show does have some charm. Synthia Link plays Inga, Frankenstein’s main love interest, and has decent timing, coming off as a ditzy but loveable blonde. Frankenstein, played by Christopher Ryan, also had good moments. College-Conservatory of Music alum Preston Truman Boyd as The Monster was believable. The highlights included the company’s “Puttin’ on the Ritz,” choreographed by Susan Stroman. Any classic Broadway enthusiast will enjoy the tap number and quirky adaption from Irving Berlin’s original. The cast also branched off into improv several times during the show — English and Ryan were often at their best when spontaneous. This pattern carried on throughout the show: it was usually funniest when it didn’t mean to be. Any time the humor was intentional, it came off as just a little too much. But it was when the cast was behaving un-Brooks-like when they were actually funny.
Fans of Mel Brooks in general or of “Young Frankenstein” in particular owe it to themselves to see the musical production of “Young Frankenstein,” now playing at the Aronoff. It really is that simple. The story has some minor changes, but watching a Brooks production for the plot is like going to Hooters for the food — you’re missing out on the main reason for being there. What is truly important is more than intact: Brooks’ humor, outrageous situations and characters. If you know who Abby Normal is, then this is the play for you. I’m normally not a fan of musicals; in fact, I can count the number of musicals I enjoy on one hand. But I do love me some Mel Brooks; I assert he is the funniest man alive today. Forget about “The Hangover” guys or Will Ferrell — Brooks is where it’s at. His skill lies in his ability to mix ridiculously lowbrow jokes with off-the-cuff comedy that takes a second or two to resonate. It’s a classic delayed-response laugh, quickly followed by a “Did he just say that?” The humor in “Young Frankenstein” is never-ending, and many of the famous lines from the film are carried over to the play. The actors also seem to improvise some lines to great effect.The timing might not be as lightning quick, but the delivery is no less hilarious. Even the music carries Brooks’ stamp. The songs are funny, bawdy and totally infectious — all the elements of a good musical song in my opinion. Theatre attendees who aren’t fans of Brooks may be a little put off with all of the lowbrow humor, but fans of his work will be more than happy with “Young Frankenstein.” Oh, excuse me, it’s pronounced Fronkensteen.
PHOTO COURTESY OF BROADWAY ACROSS AMERICA
IT IS ALIVE Performers went above and beyond to deliver Mel Brooks’ trademark humor in “Young Frankenstein.”
Underoath rocks new drummer, new CD kelly tucker | entertainment editor
Photo courtesy of tooth & nail
SEE YA LATER While Aaron Gillespie, shown second from right is gone, Underoath still rocks.
It’s the sad-but-true story for so many bands that make it in the music business — after hard work and patience, a band finally makes it big. After the first hit album that’s blasting through everyone’s car stereos, the next few releases, no matter how musically evolved or unique they might be, never quite measure up for fans and the moment in the spotlight is gone. Or perhaps fans remain loyal, but the group inevitably changes members, and the sound is never quite the same. Underoath has risen above the trials of the music business, however, producing album after album filled with irresistible hooks, heavy music with perfect timing and a haunting blend of Aaron Gillespie’s vocals against current front man Spencer Chamberlain’s screams. Gillespie, the only remaining founding member of Underoath, was an iconic member of the band
whose skill as a drummer, vocalist and songwriter got Underoath lots of attention. “Disambiguation” is the first Underoath album released after Gillespie’s departure from the band earlier this year. Chamberlain took it upon himself to cover all vocals, and Daniel Davidson, former drummer for Norma Jean, became the band’s new drummer. Although Gillespie was an incredibly talented contribution to Underoath’s success, “Disambiguation” is proof that the remaining members are getting along just fine without him. The album starts strong with “In Division,” a hard-hitting track much like singles from the band’s previous albums. Although I was expecting to primarily hear screams versus clean vocals due to Gillespie’s absence, Chamberlain proves himself a worthy vocalist, alternating between piercing screams and
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almost grunge-reminiscent vocals that pepper the brooding, blasting music. While his voice is similar to Gillespie’s, it has a rougher edge to it that fits with the album’s darker, more experimental sound. Although the word “eclectic” is thrown around far too much by music critics, the term fits “Disambiguation” perfectly. The band seems to have made the decision to venture into new musical territory for their seventh album, supplying 11 tracks filled with metalcore that suggest grunge and industrial influences. Other noteworthy tracks include “Paper Lung,” a song that begins with a slow, mournful beat and clean vocals that showcase Chamberlain’s range; “Illuminator,” a more typical, fast-paced track to please breakdown-hungry dancers and “Reversal,” a heavily electronic interlude that embodies an ominous chaos the entire album carries.