WSN031413

WASHINGTON SQUARE NEWS VOL. 41 – NO. 25 | THURSDAY, MARCH 14, 2013

PRESENTS

THE

ARTS ISSUE

SINCERITY

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WASHINGTON SQUARE NEWS | THURSDAY, MARCH 14, 2013 | NYUNEWS.COM

LETTER FROM

THE EDITOR

When I was a kid, I loved the Harry Potter books.

This isn’t exactly a mind-blowing revelation, as that w a s a n o p i n i o n s h a r e d b y m o s t o f m y p e e r s . H o w e v e r, my middle school self was so anti-mainstream that I felt the need to express my adoration of the J.K. Rowl i n g s e r i e s i n a w a y t h a t w a s d i ff e r e n t f r o m t h a t o f my classmates. Hence, I had my dad order the original British versions from Amazon U.K. for me to read.

At the time, words like mainstream, indie and hipster didn’t mean anything to me — I simply wanted to be different. The need to feel different is just as natural as the need to fit in, but just like any other impulse, it can be dangerous if left unc h e c k e d . Yo u c a n f a l l d o w n t h e r a b b i t h o l e o f i r o n y a n d c y n i c i s m , a n d e v e n t u a l l y, y o u r o p i n i o n s w o n ’ t really be yours at all.

This phenomenon has helped form the cloud of insincerity that hovers over today’s arts scene.

Bands, films and television shows are deemed unc o o l , a n d t h u s u n w o r t h y, b e f o r e y o u c a n s a y “A r c a d e F i r e .” I o f t e n f i n d m y s e l f h a v i n g t o s a y t h i n g s l i k e “ Yo u k n o w, I s i n c e r e l y l i k e F o u n t a i n s o f Wa y n e . S e r i o u s l y, l i s t e n t o ‘ We l c o m e I n t e r s t a t e M a n a g e r s .’ ” Sincerity is what this issue is all about. In these pages, the WSN Arts desk scrounged the music, film, television and theater scenes to celebrate the s i n c e r e a n d c a l l o u t t h e i n s i n c e r e . We w a n t t o s h o w how even a two-hour video game can be one of the most transcendental life experiences you will ever c o m e a c r o s s . Ab o v e a l l , w e w a n t t o s h o w t h a t w e have feelings for a reason, and it would be a waste trying not to care.

JOSHUA JOHNSON ARTS EDITOR

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TABLE OF CONTENTS

FILM 4 ENTERTAINMENT 6 GAMES 8 MUSIC 10 THEATER 12

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FILM 4

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RENTALS BRING VIEWERS TOGETHER

Is there anything sadder than a video store in 2013? It may be hard to believe, but several of them still exist.

Those feeling nostalgic can consult Google for a (miniature) list of locations in New York, including Alan’s Alley Video in Chelsea and Mr. Video III in Brooklyn. The question arises of why anyone would bother seeking out a video store in an age of Netflix, but the unfortunate reality is renting a video offers an experience that streaming never can — the experience of actually enjoying a movie with friends.

Of course, Netflix can be enjoyed among friends, as long as your group is willing to cramp around a computer screen for two hours and your computer has decent speakers, or else listening to the movie will be a chore. Alternatively, you can hook Netflix up to

INTERNET REPLACES OUTDATED STORES

your television, except not all televisions are compatible with Netflix — not to mention the fact that Netflix has only a limited range of offerings.

If we want to enjoy movies, we have to do it Netflix’s way, and Netflix is less about the group experience and more about hiding away in a dark room as we indulge ourselves in their offerings of critically-reviled horror films and romantic comedies.

Gone are the days of personal recommendations, running through the racks and making it an actual event to go to the video store. The remaining stores are a glimmer of what true movie fans have always known — all movies are better with a friend.

VS.

– JEREMY GROSSMAN

‘42’

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i want a player who's got the guts not to fight back.

Those who lament the disappearance of the video rental store tend to see it as the end of social film viewing, but such claims wither under the slightest scrutiny.

When multiple game consoles permit Netflix Instant to stream directly to one’s television, when both rentals and streaming are available in extraordinary abundance over the Internet, when the cables necessary to link up a laptop to a plasma screen television have become absurdly cheap and easy to use, one cannot plausibly claim that the opportunity to view movies and television programs communally has vanished.

Some complain about the lack of selection on a service like Netflix Instant. An aphorism concerning glass houses springs to mind, for video stores are inherently limited by being physical spaces into which only so many movies may be crammed at a time.

Compare this to, say, Ama-

Only some trailers are capable of giving a viewer chills, and “42’s” manages to do just that. The upcoming adaptation of the legendary Jackie Robinson story is reminiscent of the sort of classic sports film that makes the heart pound even if everyone knows who wins the game at the end of the day.

“42” follows Robinson’s historic career with the Brooklyn Dodgers. As a black man in a white-dominated league, Robinson battles racism and a nation that refuses to change. He stares down adversity with his undeniable talent and the help of his unapologetic manager Branch Rickey.

Though it might have been tempting to boost ticket sales by having a star play the lead, the people behind “42” cast little-known actor Chadwick Boseman to play Robinson instead, placing their confidence in the story’s inspiring message

zon’s streaming rental service, in which very nearly any film in Amazon’s catalogue can be rented for instant online streaming. Or consider the partnership between Hulu Plus and the Criterion Collection, which allows members with a paid subscription to access an enormous archive of the greatest foreign and arthouse films in history. It would be amusing to watch a video store attempt a similar feat.

Rental stores were born out of the VHS revolution, but like VHS they have been thoroughly outclassed. Some may have happy memories associated with video stores, but there are more efficient ways of wallowing in nostalgia. Technology and infrastructure improve, and inventing a bygone golden age will do nothing but blind us to the fact that we are living in one right now.

– STEFAN MELNYK

and heartfelt realism. Harrison Ford plays manager Branch Rickey, who mentored Robinson as he faced antagonism from the league, baseball fans and even his own teammates.

“42” will be about much more than baseball. Robinson’s story is a tale of the strength, perseverance and bravery of a man who never let anybody judge him by the color of his skin. It is the story of a man who wanted to play ball but inadvertently changed the world in the process. Without special effects or A-list actors, “42” hopes to present a captivating tale that reminds us all of what it takes to alter history for the better.

– BOB TEOH

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‘the

perks

a wallflower’ of being

‘silver

While watching “The Perks of Being a Wallflower,” it is easy to laugh at the characters because of the things they say. “I don’t write poetry, poetry writes me,” one says, while others gripe over the difficulty of finding “good music.” Some of the film’s most memorable lines, taken straight out of the book, are “I feel infinite” and “We accept the love we think we deserve.”

We can laugh because these characters are the types of people who now would be referred to as hipsters. Regardless, Stephen Chbosky — author of the original 1999 novel and the screenwriter/director of the film — ignores such assumptions. He poignantly captures the complexity of growing up and facing a new and challenging world outside of one’s comfort zone. The film arrives at a perfect time, as many who grew up with the original novel are now graduating from college and thinking about what their futures hold. The terrific cast includes Logan Lerman, Ezra Miller and “Harry Potter” star Emma Watson in a role so unlike Hermione she truly reminds us of what it means to leave our childhoods behind.

Through his protagonist Charlie, Chbosky instills the message that growing up is terrifying, but the little moments — like driving down the highway with our best friends, blasting our favorite song — mean everything. No matter how scared we are of the future, Charlie reminds us, “You are alive,” and when he says it, there’s nothing insincere about it.

linings

playbook’ “Silver Linings Playbook” is regarded as David O. Russell’s most pers-onal film. With its blend of comedy, drama, romance, football and dance, the Best Picture-nominated film continues to touch audiences across the world.

Pat Solitano (Bradley Cooper) suffers from bipolar disorder and is released from a mental hospital following an “incident.” He returns to Philadelphia and his obsessive-compulsive, gambling addict, Eaglesobsessed father, Pat senior (Robert De Niro). His mother Dolores (Jacki Weaver) tries her best to keep the family from falling apart. Wrongfully convinced his broken marriage will last and improve, Pat struggles to get back on his feet. It is not until he meets Tiffany (Jennifer Lawrence, who won an Academy Award for the role), an equally troubled soul consumed by depression after

her husband’s death, that Pat is able to confront his issues by helping Tiffany with her own.

“Silver Linings Playbook” is a film to which we can all relate. The Solitanos remind us of our neighbors, friends and even our own families.

Russell’s film is not about people working to sneak hostages out of Iran or pass a monumental amendment. It is about people who want to be happy and need each other to do that. The film teaches us about coping and finding ways through the toughest times in our lives. We are met with tragedies that force us to question the morality of our world, and “Silver Linings Playbook” is one kind of answer.

– JORDAN AXELROD

‘beasts of

the

southern wild’

“Beasts of the Southern Wild” is one of the most emotionally honest on-screen tales in recent years. “Beasts” presents an unapologetic look at the life of 6-year-old Hushpuppy (Quvenzhané Wallis), an unassuming heroine living in the Louisiana bayou. The film documents Hushpuppy’s internal hardships — her complex relationship with her ailing and pugnacious father, Wink, and her struggle to cope with barely any recollection of her mother.

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Externally, Hushpuppy must deal with the destruction of her home, the Bathtub, after a devastating storm.

Wallis’ portrayal is completely unpretentious and sincere to a fault. Hushpuppy’s ongoing narration captures the honesty of the film. The heroine manages to make unthinkably profound statements for her young self, but through either her grave predicament or undeveloped English, they are played off as typical.

i'm the man!

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Although Hushpuppy must deal with matters far beyond the scope of childhood normalcy, there is an awareness that she is still very much a child.

The film masterfully instills this fact — a child-like innocence permeates the bleak exterior of the plot, somehow suspending the painful element of reality. It seems there are few things more sincere than the perceptions of a child.

– ISABEL JONES

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– BETHANY MCHUGH

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we were infinite.

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ENTERTAINMENT ‘Girls’:

down to earth

For most shows, a scene in which a woman urinates on train tracks while childishly crying on the telephone with her parents could be considered outlandish, but for HBO’s “Girls,” this scene is just another day in the life of Hannah Horvath.

Lena Dunham’s “Girls” has received a barrage of angry tweets, lambasting scenes like this one. The rage surrounding the series’ more over-the-top moments isn’t unmerited. Maybe a well-to-do Brooklynite would never do cocaine, and friends don’t let friends get married on a whim. Hannah could probably never fall off the grid for a whole weekend while she has an affair with a married man, let alone one played by Patrick Wilson.

While any of these events would never occur in most people’s lives, they all make sense within the universe of “Girls.” That is why something so implausible — something like calling 911 on an ex-boyfriend just to see what will happen — can become so honest when placed in Dunhams’s hands.

Dunham’s performance makes us believe that Hannah would act so naively as to experience any of these situations. With many tears and a number of comical, absurd situations, Hannah could have been a manic, hipster mess of a character.

But Dunham’s painfully real, Pabst Blue Ribbon-drenched world makes the loyal fans of “Girls” willing to believe in a character they can’t fully support. After all, one man’s realism is another woman’s tragicomic rendition of life.

– ALEX GREENBERGER

‘Girls’: two-faced

“Girls,” “Girls,” “Girls” — that’s all anyone seems to be talking about lately. Some may say Hannah Horvath is a relatable protagonist because she encourages viewers to chase after their dreams. However, if there’s anything Lena Dunham’s show portrays correctly, it is the insincerity of its characters and their friendships.

The series’ four main characters deal with their own problems, which range from relationship issues to establishing a writing career to trying to figure out one’s place in the world.

Whenever one of the girls faces a personal dilemma, she figures the best

thing to do is talk to a friend about it because, after all, that is what friends are for.

It takes a lot of courage to talk to friends about problems, but the effort counts for little when it comes to the characters on “Girls.” Instead of being faithful to one another, the characters show their complete lack of concern for their friends’ troubles, explicitly telling them, “I have other important things to worry about other than your problems.”

If “Girls” illustrates anything about our lives, it is that our friends are not as sincere as we thought they were.

Why have friends if they are unwilling to give us valuable time for personal conversations? The solution is simple — we must constantly go through this cycle because, sooner or later, we will experience a shift in perspective and finally grow up, a process that will make us think twice about the people we allow in our lives.

– JUNIOR GONZALES

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i'm an individual and i feel how i feel when i feel it.

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new

dramas

play off

distrust Today’s critically acclaimed dramas are largely devoid of sincerity. AMC’s “Mad Men” and Showtime’s “Homeland” have captivated audiences worldwide, though unconventionally. They succeed on the strength of their deception rather than their morality.

We enjoy partaking in the game of cat-andmouse they set up for us.

After two seasons of Showtime’s “Homeland,” we still cannot be certain that Sgt. Nicholas Brody is worthy of our trust. The “us against the world” effect of the season two finale leads us to believe Brody was not responsible for the death of over 200 people at Vice President Walden’s memorial service. But in a show as turbulent as “Homeland,” do we dare blindly believe?

Can we ever trust our protagonists? Do we believe in “Mad Men’s” Don Draper — or is it Dick Whitman? The true identity of the main character is withheld for much of the first season. But in the sleazy Manhattan advertising scene of the 1960s, this is hardly the only indiscretion. Not unlike Brody on “Homeland,” the ad men of Sterling Cooper Draper Pryce live double lives. They are adulterers and alcoholics, who return home to their attentionstarved children and wives who are in denial, without a suspicion of doubt.

The honest moments that organically arise from duplicity are what keep us tuning in each week. The shock of watching Carrie repeatedly confess her love for Brody, or the moment you realize Don is just a man haunted by the past, make these dramas must-see programming.

– ISABEL JONES

‘parks &

recreation’

“Parks and Recreation” is just about as sincere as any show on television.

Co-creators Greg Daniels and Mike Schur have clearly been working to make it as genuine as possible.

Of course, this is accomplished in part through the show’s colorful collection of characters, each of whom has been crafted with so much heart.

It is difficult not to fall in love with the infectious enthusiasm of characters like Leslie Knope and Andy Dwyer or become enamored with the goofiness of Tom Haverford and Jerry Gergich. And even behind the deadpan seriousness of Ron Swanson and April Ludgate, there’s still a whole lot of love to be found.

While much of this season displays how rich each character is, one episode in particular stands out.

In it, a bachelor party turns into a night of male bonding. The idea is simple — “Tonight, everyone gets the bachelor party they never had.”

The parties are perfectly sui-ted to the specific interests of each male character on the show. Ron takes the guys to a steakhouse, Tom takes them to a new age bar and so on. It’s nice to see that, even in the midst of all the show’s important plot developments, the writers are able to take time to show us just how much these characters value their friendships and care about one another.

– JEREMY PICK

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‘enlightened’

“Enlightened” is that show that comes on after “Girls” — and in many ways, it’s a counterpart to Lena Dunham’s show that’s equally sincere.

Starring Laura Dern and created, directed and written by Mike White, “Enlightened” delivers sincere, humorous, heartbreaking and brutally honest episodes every week and does so without a hint of the cynicism that seems to be dominating mainstream television programming.

“Enlightened” follows Amy Jellicoe (Dern), an optimistic and intense woman who returns to work for her old company after a mental breakdown landed her in rehab. She wants nothing more than to do good in the world, help the environment and spread positive energy, but she is constantly alienated by her friends, co-workers, ex-husband and even her mother, with whom she still lives.

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Amy could so easily be a punch line or a satirical character, but White’s emotional, reflective writing and Dern’s superb acting prevent us from sympathizing with those who misunderstand her character.

Amy whole-heartedly believes everything she says and does, which makes it impossible to mock her, except maybe when things don’t work out the way she plans. Even then, as we are laughing, our hearts break along with Amy’s as she lets the tears flow. We may not always like Amy, but all that matters is that she stands up for what she thinks is right.

In an age when it’s cool to be mean, “Enlightened” is a show about a person with so much sincere passion that we can’t help but stand up and cheer her on.

–IFE OLUJOBI

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When you love something, you don't threaten it ... you fight for it.

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GAMES

‘journey’ returns gaming to its roots The main criticism against “Journey,” a Playstation Network game created by the indie developer thatgamecompany, is that it is not really a game.

Admittedly, “Journey” does not share many of the typical qualities one might find in a modern video game. An average play-through only takes about two hours, and the main character can’t do anything other than walk and jump.

Make no mistake, “Journey” is certainly a video game. In fact, “Journey” represents the purest version of what a video game should be. Its two-hour runtime is not a disadvantage, but rather it eliminates all the pomp and circumstance that comes with so many of today’s games.

“Journey” gives you a simple

task: get to the peak of the mountain. You start in the desert, and as you move toward your ultimate goal you slide through shimmering sand dunes, trudge through snow and fly through the closest thing we may ever know as heaven on earth (sorry, West Virginia).

Every level is completely unique from the one that precedes it — a nice change of pace from the usual “clear the area of baddies, then go into the next, identical area, repeat” structure. The levels themselves are also absolutely gorgeous. The artistry of the sand dunes level alone would make Michelangelo blush.

What really makes “Journey” such a pure game is that everything you do matters. It takes

sincere games of the past “SPEC OPS: THE LINE” “Spec Ops” will make you think about the people you’ve virtually killed and why you have failed at a given mission. It is not necessarily a great game, but any game that makes you think seriously about violence in games is worth commending.

the familiar “chosen one” trope and gives it real meaning. Games constantly put the fate of their world solely in the hands of the player, which has resulted in an odd kind of narcissism in gamers. The pressure of being the only person with the ability to save the world loses significance after being trotted out so many times, and arrogance has replaced the intended sense of duty.

“Journey” does not shy away from this pressure. The music, which, like the design, is utterly breathtaking, helps mount a sense of purpose in your actions. More significantly, the game’s mechanics feed into the triumph of accomplishment, as well as the disappointment of failure. Even if you can only

use two buttons and the analog stick, the controls dig deep into your psyche. For example, as you slide through the sand dunes at a breakneck pace, the controller feels like a weightless steering wheel.

Conversely, as you slog through the snow in the penultimate level, you press the analog stick forward with full force and the controller weighs in your hands like a boulder.

When your character falls to their knees, you genuinely feel like you’ve failed the deity that has been guiding you.

Ultimately, “Journey’s” main appeal is its sincerity, which is why it has served as this issue’s inspiration. The game guides you through stages of real emotion that range from

confidence to fright and from desolation to euphoria. It gives you a clear objective, and you feel an obligation to reach that objective. You don’t just want to beat the game — you want to succeed for the sake of the mysterious force that has commanded you for this lifeaffirming quest.

At its core, “Journey” represents everything a true game should be: a sense of accomplishment in a world beyond one’s means. Save the princess, catch ’em all, get to the mountain. All in a day’s work.

– JOSH JOHNSON

By JOSH JOHNSON “Journey” may be the most sincere game released this past year, but the video game industry has been cranking out genuinely affecting games for awhile. Here are a few games from a variety of generations and platforms.

“BATMAN: ARKHAM CITY” The hero-villain relationship is often taken for granted, but “Arkham City” really makes the point that one cannot exist without the other. Batman and the Joker have always been complicated characters, and this game takes their relationship to a tragic place.

“MARIO KART: DOUBLE DASH!!”

Any game that can ruin friendships certainly must be able to invoke some type of genuine emotion. You may think that banana you dropped was innocent, but it can have a huge affect outside of the Gamecube.

“POKEMON RED/BLUE” Later games in the “Pokemon” series have gone for the money-grab, but the original “Pokemon” games only wanted you to be the very best, like no one ever was.

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multiplayer experience takes gamers on journey The term “multiplayer gaming” often brings to mind images of someone playing round after round of “Halo” or “Call of Duty.” However, the multiplayer experience of “Journey” offers anything but the competitive nature of a first-person shooter.

When players interact in the game’s world, the experience creates a connection, a bond with another player whose real name you never learn. By integrating one of the most unique multiplayer components of any recent game, “Journey” manages to evoke emotion and develop a sincere link in an unexpected way.

As you travel through the gorgeous deserts and haunting caverns of “Journey’s” world, you may come across another character identical to your own, traversing the lands on a similar trek. These other players are not computer-controlled — they are real-world players with whom you will randomly cross paths as you work to complete the same journey.

How you interact with these players is entirely up to you.

While you cannot hurt one another, there is no obligation to interact or assist each other in any way. Ignoring other players is an option, but at the core of “Journey’s” design is a desire to make you feel compassion as you play.

Ignoring them would cause you to miss one of the truly spectacular satisfactions the game provides.

Your genderless avatar in “Journey” can only accomplish a few actions — it can run, jump and chirp.

The first two actions are familiar elements of any game, but the third, while initially strange, becomes one of the most fascinating tools at your disposal. Since the game forbids voice chatting with the players who come across your path, chirping is the only available means of communication.

If you decide to work alongside a fellow traveler, employing your chirp is essential to success. Because you can control the length of each cheep, falling into a rhythm and putting meaning behind these sounds becomes inevitable. You’ll emit a rapid succession of short chirps to call your companion’s attention. A long chirp will signal for them to follow. Patterns develop, and somewhere along the way you’ll have developed a language unique to you and the other player.

And here, “Journey” accomplishes something few games attempt and even fewer achieve — it helps you construct an emotional connection with another player. The adventure forces you to adapt to a new form of communication. Putting such effort

into understanding another person forges a bond that, upon completion of your expedition, will have you yearning to yet again run through the sand with this nameless friend.

The subject matter of “Journey” and its artistic achievements further elevate the bond that develops. At the heart of this two-hour adventure is a narrative devoid of dialogue or defined characters. The meaning you derive from the gorgeous painted world in which the game places you is entirely determined by how you interpret the tale. But the overwhelming emotion that may hit some players is a surprising result from a medium most gamers consider to be replete with violence and adolescent tendencies.

In our daily lives, most of us seek to make connections — to not journey through life alone. These bonds give meaning to what we do every day because we accomplish it all for both ourselves and the people who matter most to us. If “Journey” succeeds in any way, it captures a life lived in only a few short hours. And if such a meaningful experience reflects what matters in real life, the game reveals its true beauty in the friendships it creates.

– JONATHON DORNBUSH

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sincere games of the future

By JONATHON DORNBUSH

Conveying as much sincere meaning as “Journey” did is no small order, and few games before it accomplished that task. Still, some of this year’s gaming options aim to follow in its footsteps on the road to genuine emotion.

“BIOSHOCK INFINITE” Set in a city in the sky during the height of American exceptionalism, players control former Pinkerton agent Booker DeWitt on his mission to save a mysterious woman named Elizabeth.

One of the game’s goals is to make players care for Elizabeth like no other virtual character before in the midst of a “BioShock” universe that is rife with social, economic and political turmoil.

“REMEMBER ME” While the amnesic protagonist is a far too familiar trope, “Remember Me” makes the search for your memories a harrowing, gripping part of gameplay.

While trying to recollect their past, players will enter the memories of others and manipulate them.

“THE LAST OF US” Another title that develops a core relationship with another character, “The Last of Us” puts players in the role of Joel. After the spread of a deadly disease, Joel must protect a young girl named Ellie. The two form a parentchild bond during an adventure where every bullet counts and survival is a constant concern.

“BEYOND: TWO SOULS” Featuring actress Ellen Page, “Beyond” is a deeply personal tale that retells 15 years in the life of Jodie, who is struggling with a strange presence in her life. In addition to exploring the afterlife, this dark title seeks to challenge the narrative norms most games follow.

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MUSIC mumford

& sons

The popularity of Mumford & Sons seems inexplicable in a culture that claims to celebrate authenticity and originality. Within several years, the band already staked their claim as the most pretentious of all bands to have ever garnered such acclaim.

With every incoherent rant masquerading as a profound folk ballad, one comes to recognize that they may well usurp the throne long occupied by U2.

Intellectual complexity, of course, is always desirable in music, but Mumford & Sons are so disingenuous with their words that their

Seattle rapper Macklemore has been part of the indie rap scene since 2000, but he was only recently catapulted to fame by smash single “Thrift Shop.”

Macklemore’s music has been criticized as being too poppy, annoying or not heartfelt enough. Regardless of whether you like him, he is one of the most genuine rappers on the scene right now.

On his latest album “The Heist,” Macklemore and producer Ryan Lewis craft a pop-rap odyssey with hits and misses, but the rapper brings steady appeal with his playful openness.

“Starting Over” digs deep into his 2011 relapse, while “Neon Cathedral” details the artist’s struggles with alcohol abuse. Songs like these would make a fine rap album on their own, but the Seattle MC has one truly transcendent track up his sleeve: “Same Love.”

For a genre long mired by homophobia, “Same Love” is a breath of fresh air. Smoothly tackling the gay marriage debate as well as his own struggles with religion and sexuality as a kid, Macklemore provides an insightful commentary on being gay in America.

Most importantly, Macklemore’s challenge of politicians, religion and bigots doesn’t feel forced. It is not a perfect song, but it is personal, powerful and certainly a good start, while also offering a refreshing counter-narrative to a still-prevalent section of rap. “‘Same Love’ was a song that I wanted to write for a long time, but I didn’t know exactly how to address the issue,” he explained in an interview with the website SameSame. “I knew I wanted to write a song about gay rights and homophobia within the hip-hop community and the world.”

macklemore

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– PETER SLATTERY

supposed complexity is simply a facade. Frontman Marcus Mumford would have you believe that “The Cave” celebrates self-reliance as an expedient to attaining selfhood, but even a cursory examination of the lyrics demonstrates that it is the most verbose and arrogant breakup letter ever written.

In that regard, Mumford & Sons are not much different from Taylor Swift, who at least states precisely what she means and does not attempt to evade comprehension. Mumford & Sons, in contrast, strive to conceal their triviality with an endless obscurity

that yields to scrutiny.

Inauthenticity has plagued rock music since its beginning and still remains pervasive across genres in the industry today. Disingenuous artists are generally tolerable nuisances, but they become something insidious when their work claims to possess a truth and a profundity that it does not have. Among contemporary acts, Mumford & Sons are a prime example of such inauthenticity.

– CHRISTOPHER FELDSINE

thom yorke

Thom Yorke, frontman for Radiohead and, recently, Atoms for Peace, is incredibly sincere in that he does what he wants regardless of any criticism he might receive. In recent years, he has turned down meeting requests from Kanye West and Miley Cyrus, danced in a way that can only be described as “Thom Yorkeish” and put out an album, “In Rainbows,” through Radiohead’s website with a pay-what-you-wish system.

Yorke is willing to do and create anything, as long as he firmly believes in it. When he and Radiohead finished their six-album contract with record label EMI, they realized that the music business was a decaying system with waning appreciation for artists. Instead, they decided to record and produce their own album. Ever since Radiohead exploded onto the music scene with their first and most enduring hit, “Creep,” Yorke has remained an indie artist, eschewing any sort of

mainstream recognition offered to him despite being a multiple Grammy Award-winning musician.

Yet his independence is entirely genuine — rather than going through a record label, he achieved a direct connection with his fans by giving them his material for free.

Instead of collaborating with Kanye or Miley for their fame, he works with musicians like Flea because of their compatibility.

Yorke’s genuine spirit and attitude keep indie music alive, especially in an era that has turned the hipster lifestyle into a brand. He keeps it real where it counts, so we won’t judge him for dancing the way he does.

– PATRICK JAOJOCO

childish

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NYUNEWS.COM | THURSDAY, MARCH 14, 2013 | WASHINGTON SQUARE NEWS

gambino

i won't stop 'til they say james franco's the white donald glover.

Donald Glover is like a human Swiss army knife — he’s known for being multi-talented. But it’s Glover’s skill on the microphone that really deserves attention.

Glover, who raps under the moniker Childish Gambino, is responsible for creating some of the most provocative social commentary available today, combining an awareness of himself and society with deft skills in writing verses and producing tracks.

While most rappers tend to shy away from topics that make them look soft, nothing is off limits for Gambino, whose subjects range from his difficult childhood to his chronic depression to his noted taste in women and clothes. All are delivered with a confidence that allows him to poke fun at himself, something that few rappers are willing to do.

The combination of self-aggrandizement and self-deprecation that permeates Gambino’s work reflects the conflicted feelings that most rappers and, for that matter, people, likely experience but are reluctant to share with others. His honesty in the hip-hop game is a refreshing change of pace after generations of artists who build themselves up with insubstantial claims of greatness and little evidence to prove it.

Gambino does have the rags-to-riches story, an unspoken prerequisite to entering the rap game, but his experiences growing up in Georgia and attending NYU lend him a unique perspective on race and prejudice. As a black kid growing up in predominantly white communities, Gambino encountered many instances in which others’ expectations of him differed from how

It’s hard to know who was more devastated by Lady Gaga’s decision to cancel her tour after a recent injury — her loyal fan base or Mother Monster herself.

From the very beginning, Gaga created an image of self-love and empowerment, as demonstrated by the unforgettable meat dress she wore at the 2010 MTV Music Video Awards. With the infamous dress, Gaga attempted to make the statement that she is a human being with rights, not a piece of meat, and that she refused to be treated as such. Through her performances and music, Gaga passes her values onto her fans.

There is no doubt in anyone’s mind that Gaga loves her fans with every ounce of her being.

At the close of her jam-packed,

two-and-a-half-hour set during her Born This Way Ball Tour last year, the artist spent nearly every break between songs thanking the audience and letting them know how much they meant to her. She also used her own story of dedication and hard work to achieve fame as an inspirational anecdote to help her fans strive to achieve their own dreams. At the show’s close, Gaga pulled several audience members onstage and sang to them, offering the entire venue a reason to believe in themselves and what they can achieve.

– ALEX PASTRON

he wanted to live his life. He channels these ideas into songs like “Hold You Down,” which features brilliant commentary on the evolution of racism.

While Gambino gained more popularity following the release of his 2011 major label debut album “Camp,” his first mixtape, “Sick Boi,” was released in 2008. Other early efforts, like “EP” and “I AM JUST A RAPPER” parts one and two, established his creativity with words and rhythm but progressed into more introspective territory.

The latter two tapes featured Gambino rapping over songs from bands like St. Vincent and Sleigh Bells, and they created an innovative and infectious blend of hip-hop and indie music that perfectly represented the artist.

His lyrical mastery is unparalleled in the game today, and one only need listen to the opening verse of “All That Power,” Gambino’s favorite lyrics, for proof. It’s incredible that an artist who has struggled so much with being accepted into the hip-hop community is the same one who chooses to make it more accessible to others. He broadens the genre to include various aspects of black culture that go unnoticed or are deliberately ignored. Considering his burgeoning film career, it may be awhile before we see Glover’s alter ego make another appearance, but it’s worth waiting for the artist who opened the rap community to those who felt alienated before.

– ALEXANDRIA ETHRIDGE

deap

lady gaga

valley

When Deap Vally’s Lindsey Troy and Julie Edwards play, they don’t just put on a show — they stage a full assault on the senses. Even though the group is only a two-piece band, with Troy on guitar and vocals and Edwards on drums, they harness the power of pure rock in a way that is truly mind-blowing.

The duo is a throwback to Led Zeppelin that still manages to sound modern and fresh, and there is certainly no one out there right now like them. As soon as they step out on stage dressed

in their glam-rock best, they exude genuine confidence and sex appeal. Edwards is positively feral, smashing into her drums as if they’re an ex-boyfriend, and Troy’s vocals are reminiscent of Jack White — she wails and moans in a way that commands everyone’s attention. Every audience Deap Vally plays to is at the band’s mercy, which may actually be the greatest thing anyone could ask for.

– YASMINE PANAH

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WASHINGTON SQUARE NEWS | THURSDAY, MARCH 14, 2013 | NYUNEWS.COM

THEATER

musicals one-woman shows

Ann Richards, played by Holland Sherry in the show “Ann,” never understood why a woman could not do everything a man does. “After all,” she says, “Ginger Rogers did everything Fred Astaire did. She just did it backwards and in high heels.”

That is an apt way to describe what Richards did as the Democratic governor of Texas before George W. Bush was elected.

Richards — and by extension Sherry, who embodies the role completely­ — is one of the most charming and disarmingly funny politicians of all time. This performance shows that Sherry is one of the better actors on the Broadway stage.

Sherry’s enthusiasm never wavers over the two hours. It might seem exhausting to wholeheartedly watch a one-woman show, since the plotline can quickly stray into the darker side of the character’s internal struggles, but “Ann” surpasses this obstacle.

Over the course of the play, Ann tells the story of her upbringing and, when she becomes governor, the audience is given

access to her office, which discreetly slides out from backstage, over the course of a day in her life. But all of our access is privileged. The acoustics of the space are set up, intentionally or not, so that her uproarious keynote speech takes the audience out of New York and back into Texas, and everyone’s laughter seems to reverberate through a space very unlike a dampened Broadway theater.

Bleakness is often mistaken for sincerity, as in romantic comedies with a melancholy ending. Oftentimes this is considered more realistic than Hollywood happy endings. But it seems easy to believe that maybe Ann really was as wonderful as the play would have us think. Her romance ends badly, as does her time as a functioning alcoholic, but there is never a moment when she asks for pity or seems anything less than ecstatic to be alive, even if just on the stage doing what she loves: speaking.

– ALEXANDER TSEBELIS

It’s easy even for an avid theatergoer to become jaded. Years of sitting through sickeningly sweet tales like “Mary Poppins” and obnoxious tourist traps like “Rock of Ages” have done a fine job of demonstrating that musicals, as an art form, can be completely devoid of anything resembling real emotion.

Yet once or twice every season, a show comes around that proves hope is not lost. Among the dancing newsboys and perilously swinging superheroes, it is still possible to find gems of sincerity in today’s musicals.

The original purpose of songs in a play was to convey a character’s feelings and thoughts in a moment of overwhelming emotion when words alone were no longer enough. Many songwriters have given us moments of incredible joy (“I Could Have Danced All Night”), true love (“Some Enchanted Evening”) and overwhelming hopelessness (“I Miss the Mountains”).

Look at “Once,” the 2012 Tony Award-winner based on the movie of the same name. Its familiar plot — boy meets girl, boy

falls in love with girl, boy leaves girl — is portrayed in a beautifully simple musical that is really just a sad and bittersweet love story. And if you’re not tearing up by the end, you will find yourself in the minority.

Similarly, “The Last Five Years” began performances off-Broadway at the Second Stage Theater on March 7. Also a love story, it tells the tale of Jamie and Cathy’s failed relationship, which Jamie tells from beginning to end and Cathy recounts in reverse. As the show ends, older Jamie leaves Cathy for the last time at the end of their relationship, while across the stage a younger Cathy sings about all the hope and promise she sees for their future.

Admit it — even reading about that makes you emotional.

With shows like these it is impossible to argue that all musicals are devoid of true emotion.

Instead, it is shows like “Once” and “The Last Five Years” that prove just how sincere musical theater can be.

– DYLAN JARRETT

gimmicks

New York theatergoers faced a gimmicky season this winter.

Though everyone loves the falling chandelier in “The Phantom of the Opera,” discerning audiences know that fancy tricks often serve as unnecessary distractions from the story. While the disastrous Broadway preview period for “Spider-Man: Turn Off the Dark” proved clever stage tricks still win press attention, it also unwittingly showed that plays resort to gimmicks to compensate for deeper flaws.

Almost 30 years after the original Broadway debut of “The Mystery of Edwin Drood,” dismissing the beloved classic for its cheap tricks will no doubt strike loyal audience members as hopelessly snobbish.

Still, the show was an early concept piece. Based on Charles Dickens’ unfinished murder-mystery novel, the script requires audience members to vote for one of 400 possible endings. The Roundabout Theater Company’s recent revival thrills audiences with its absurd musical numbers and lavish set, but in 2013, “Drood” seems dated. Its overworked conceit is insufficient to carry the play.

Similarly, the Transport Group Theater Company contributed its puttering “House for Sale” to this year’s Broadway season, and the usually successful Atlantic Theater Company made a seri-

ous misstep with “The Jammer.”

The Transport Group presented five actors on a stage, repetitively reciting a Jonathan Franzen essay. Each actor was assigned a color. A lighting technician randomly switched the stage light colors, and the actor whose color was shining recited a paragraph. Then another actor got a turn at the same paragraph.

Needless to say, the theatrical production made little improvement on the essay.

The Atlantic Theater Company’s breach wasn’t as egregious, but one still wonders what they were thinking. “Jammer” would have been an acceptable, if juvenile, comedy if not for the inexplicable decision to have cardboard cut-

outs portray half the characters.

Perhaps this gimmick was meant to comment on a long-lasting economic slump that barred the company from hiring actors?

Please, New York, give us back sophisticated, sincere theater. Forget the fancy sets and weird ideas.

New Yorkers want good actors. New Yorkers want fine scripts.

But then they’ll change their mind again. New York got Patti LuPone in a David Mamet play late last year. The script was ascetic, the acting austere. “The Anarchist” was a show without entertaining frills or silly intellectualisms. Praise aside, “The Anarchist” was plain boring.

Bring on the gimmicks?

– LEORA ROSENBERG

NYUNEWS.COM | THURSDAY, MARCH 14, 2013 | WASHINGTON SQUARE NEWS

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Editor-in-Chief JONATHON DORNBUSH Managing Editor

AMY ZHANG Web Managing Editor

HANQING CHEN Deputy Managing Editor

JORDAN MELENDREZ When The Highlighter first started by, it was used merely as a home for the overflow of content the WSN Arts desk was producing. A newspaper has a finite amount of space, and there just wasn’t enough room for reviews of the new Old 97’s album or weekly reviews of “Community” episodes, so the blog became a safe haven for our less-than-mainstream articles.

Eventually, The Highlighter evolved into

something greater. Through the hard work of our writers and editors, the blog began to take on the personality of the Arts desk. We installed weekly columns that commented on the themes and trends of today’s arts scene. These columns range from considering at roles that could have been to in-depth looks into a musician’s influence. Check out a sample of The Highlighter below and visit it at wsnhighlighter.com.

The Highlighter presents Musical Influences: Adele

By CHRISTOPHER FELDSINE

Although its aesthetic merits don’t necessarily justify its success, Adele’s “21” has enthralled the popular consciousness like no other record since the release of Nirvana’s “Nevermind” in 1991. However, the similarities between Adele and Nirvana end there. Nirvana reinvented rock while restoring and augmenting its aesthetic dignity, while Adele has more or less reiterated Etta James, Dusty Springfield and The Supremes. Impressive as her work can be, imitation is still not as compelling as sheer originality.

Fortunately for her, neither James nor Springfield are much in vogue today, a truth that makes her music seem more original than it actually is. One need only listen to her singing to discern the influence of James’ variety of the blues. But the high-pop of the 1960s is also a seminal influence, and it is particularly conspicuous on her album “19,” which is filled with Spectorian orchestration.

Easily the finest song on the record, “Chasing Pavements”

recalls supreme achievements of the ’60s like “My Girl,” even though Adele is considerably more equivocal than her predecessors. Still, one cannot listen to the record without noticing its sublime crescendos, which seem to swell toward a resolution that Adele never embraces. Only she could appropriate Motown so memorably and so ironically.

“21” is also a derivative record, but Adele is more evasive here. Her lyrics are still predicated upon thwarted desire, a tendency that suggests that she has listened to Bob Dylan’s “Blood on the Tracks.” Certainly Adele should be familiar with Dylan, whose “Make You Feel My Love” she covered on “19.”

The ambivalence that characterizes Adele’s earlier music is entirely absent on “21,” the success of which must forever torment the former boyfriend who she claims inspired it.

There is also an element of her formidable contemporary, Amy Winehouse, but unlike the supremely resigned Winehouse, Adele never quites expresses unbridled rage. In that

regard, at least, she evokes John Lennon on “John Lennon/ Plastic Ono Band.” Although Lennon’s wrath inspires a crisis of identity that concludes in an assertion of his selfhood, Adele can only manage the fulsome “Someone Like You,” which, perhaps inadvertently, suggests that she lacks the resolve to exist without a boyfriend. There’s also the vindictive “Rumour Has It,” which should serve as a reassertion of her autonomy but, alas, is considerably more annoying than triumphant.

But Adele sings with an enrapturing verve, and there is a refined vigor in her voice that distinguishes her from her contemporaries. She does sound apathetic in comparison to her predecessors — and to the deceased Winehouse — but fortunately her competitors greatly accentuate her strengths. Perhaps Adele, as an artist, could evolve into the most distinctive performer of her age as Adele, the person, becomes more content with herself. One can only hope that she will continue chasing pavements.

Christopher Feldsine is a contributing writer. Email him at music@nyunews.com.

VIA FOXNEWS.COM

Despite her powerful voice, Adele’s influences are evident.

HEAD TO THE HIGHLIGHTER: To read more columns in the Musical Influence series, and other series including Student Seeking Great Art, which features great city exhibits, and The Eighteen Percent, a column that examines women’s roles in the film industry, as well as other exclusive arts content, visit wsnhighlighter.com.

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KEITH LEIGHTY About WSN: Washington Square News (ISSN 15499389) is the student newspaper of New York University. WSN is published Monday through Thursday during NYU’s academic year, except for university holidays, vacations and exam periods.

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KALEEL MUNROE Photo Credits: Cover and Pages 2, 3: Inspired by the artwork of 'Journey' by thatgamecompany | Beasts of the Southern Wild - via facebook.com | The Perks of Being a Wallflower - via facebook.com | Silver Linings Playbook - courtesy of the Weinstein Company, via collider.com | 42 - courtesy of Legendary Pictures | GirlsSincere - via facebook.com | Girls-Insincere - via facebook.com | Parks and Recreation - via facebook.com | Enlightened - via facebook.com | Dramas (Mad Men, Homeland) - via facebook.com | Journey - via nonexistent-one.deviantart.com | Future - via flickr.com (except for Remember Me - Courtesy of CAPCOM) | Past - via flickr.com | Thom Yorke - via facebook.com | Childish Gambino - via facebook.com| Deap Valley - Yasmine Panah for WSN | Lady Gaga - via facebook.com | Mumford and Sons - via facebook.com | Macklemore - via faceboo.com | Musicals - via flickr.com | Gimmicks - via flickr.com

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