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Editor’s pick:

“NAPOLEON DYNAMITE” ANIMATED SERIES Today, 8 p.m. Ackerman Grand Ballroom, FREE CEC presents a sneak peek of “Napeoleon Dynamite,” an upcoming animated television sitcom. A Q&A with talent and producers to follow.

Tuesday, January 10, 2012

dailybruin.com/ae

Students find space in music industry BY MARJORIE YAN A&E senior staff myan@media.ucla.edu When Robyn Ong and Karen Oliveros met, they both shared an interest in working in entertainment and business marketing. Ong, a fourth-year sociology student, and Oliveros, a fourth-year English literature student and Daily Bruin advertising account executive, put their passion for working in the industry together and formed their own music management company, Cosmic Entertainment. The name of their company stems from their first – and so far only – client, local Los Angeles band Tangent Transmission. “We describe (the band’s) music as being spacey and being from space,” Ong said. “When thinking of a name, we wanted to incorporate the idea of out of the ordinary and something new you haven’t explored yet.” While the duo knew Tangent Transmission members before their company was established, the music management company’s objective is to help bands book shows, get albums made and serve as publicity . “As we worked with (the band) before we started Cosmic, we decided it was something we really liked doing, and we just decided to start a business,” Ong said. “Karen is interning, ... and I mostly learned from experience. I’ve been going to concerts since I was really young and basically networked my way into the industry.”

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DMITRY KOSHUTIN

A still from Cosmic Music’s new music video, ‘10,000 Years’ by Tangent Transmission. UCLA students Karen Oliveros and Robyn Ong are co-founders of Cosmic Entertainment, a music management company, the name for which was inspired by Tangent Transmission, the group’s first and – so far – only client.

Melnitz Movies spotlights independent and foreign cinema For winter quarter, the series will screen movies that include a Disney sneak peek and a political conspiracy film BY JENNA MAFFUCCI A&E contributor jmaffucci@media.ucla.edu

GHIBLI/WALT DISNEY STUDIOS

“The Secret World of Arrietty” plays on Feb. 16 as part of Melnitz Movies’ monthly film series titled “New Vision of Japanese Cinema.” The series was conceived as part of a commemoration for the Terasaki Center for Japanese Studies’ 20th anniversary.

The UCLA community enjoys a prime view of the West Coast film scene in action. Often, this benefit can be accredited to the surrounding premieres and exposure of Los Angeles, but in other cases, the campus itself contributes to the film experience. Melnitz Movies does just that as it prepares for another quarter of showcasing independent and foreign films on campus. Samuel B. Prime, the director of Melnitz Movies, invests his efforts in continuing the event by programming the schedule with various films. All films are shown in the James Bridges Theater (Melnitz Hall 1409), typically on Tuesdays and Thursdays at 7:30 p.m., depending on the film, at no cost whatsoever. According to Prime, Melnitz Movies, which is sponsored by the Gradu-

TV important to college students

ate Student Association, is the campus’s premier free-screening series, open to UCLA students, faculty, staff and members of the general public. He said that the series is looking to expand on its work from last quarter. “For winter quarter, we’re looking to showcase a handful of exciting sneak preview screenings of films that are coming up in 2012,” Prime said. “In addition, we’re bringing a lot of really extraordinary foreign pictures to campus, many of which will be Los Angeles or West Coast premieres.” During winter quarter, Melnitz Movies will place a strong emphasis on not only American independent film, but also international and world cinema. Melnitz Movies will launch this quarter on Jan. 10 with “Miss Bala,” Mexico’s submission in the Best Foreign Film category of the upcoming 2012 Academy Awards. This quarter’s Melnitz Movies will

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Movie Review

Interests in similar shows help people develop connections beyond the screen SAMANTHA SUCHLAND

REMOTE LIFE

M

y dad has mentioned time and again the portable television he brought with him to college. He and a friend would convene each week to watch “Saturday Night Live” and huddle around the ten-inch black and white screen. It’s funny to think that college hasn’t changed all that much. Sure we’re more likely to clump around our computer screens than our televisions. We might not actually watch “Saturday Night Live” live. But I would argue that these differences have actually made television an even more indelible part of the college experience. I could rhapsodize for hours about the importance of television to the average UCLA student’s life, and that’s exactly what I plan to do with “Remote Life.” After all, we’re well aware that a 25-minute episode on Hulu is the perfect fit for our bouts of procrastination. And when your eyes glaze over, that show you’ve wanted to watch will serendipitously start streaming on Netflix. It is as if some higher being was telling you, of course you should watch George Michael burn down the banana stand for

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DANA EDELSON/NBC

From left, Horatio Sanz, Jimmy Fallon, Chris Kattan and Tracy Morgan perform in matching outfits, sending out season’s greetings on an episode of “Saturday Night Live” on Dec. 17, 2011.

the fifth time (LOL, “Arrested Development,” plus five points). That essay will finish itself in due course. A television show can be a powerful way to make a connection with people on campus. Sure we go through the usual spiel. What’s your major? Where do you live? But then one person quotes Leslie Knope and suddenly you’re instant friends (Parks and Rec, plus 5 more points). There’s no real choice over the matter; the force of a shared favorite show is strong. My first week at UCLA taught me just how true this is. A “that’s what she said” sign in my dorm practically planned “The Office” viewing parties all

by itself. And while that may come off as if I were fishing for friends by hanging such a sign, I promise my devotion to “The Office” was real. Even if we watch an episode of a show by ourselves, our reactions cannot always be contained. We go to that one person we know is just as in-tune with the show as ourselves. When we don’t have that person, we sometimes resort to spewing our thoughts and feelings on Facebook statuses or unsuspecting roommates until we find someone who can understand the joy, the anguish or the shock of what we have just experienced. What was Don Draper think-

ing in the season finale of “Mad Men”? Who is the mom on “How I Met Your Mother”? Did they really just kill a main character on “Game of Thrones”? And will someone please tell me, why was “Arrested Development” canceled? The television of today is far from the lobotomizing TV-walls that Ray Bradbury prophesized in “Fahrenheit 451.” Sure, there is a cesspool of low-brow television out there, but there are also the rich and thematic stories that have emerged with the growth of cable and subscription channels. In the world of television, there are many more diamonds than

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UNIVERSAL STUDIOS

Wicked Pantages Theatre THROUGH JAN. 29

In “The Wizard of Oz,” the Wicked Witch of the East, Nessarose, gets her five minutes – more like one minute – of fame when a young girl’s home fatally lands on her. The rest of the story proceeds to tell how Dorothy, a girl traveling through the land of Oz wearing the witch’s sparkly red

shoes, attempts to find her way back home with the help of Glinda, the Good Witch of the North. However, if there is one character from “The Wizard of Oz” who deserves a back story, it’s definitely not the

RATINGS 1 – Waste of time 3 – Good 2 – Eh... could 4 – Great be better 5 – Classic

WICKED | Page 7


dailybruin.com/ae | a&e | Tuesday, January 10, 2012 | DAILY BRUIN

WICKED | Musical brews impressive back story to ‘The Wizard of Oz’ from page 6

questions whether she was once friends with the Wicked Witch. As young girl whose house gets blown the munchkins gasp in disbelief that away by a tornado. Instead, it is someone would ask such a question, Elphaba (Mamie Parris), sister to Glinda begins to tell the story of the Wicked Witch of the East (Cristy when she first crossed paths with Candler), who has a more compelthe Wicked Witch – a time where she ling story to tell – one about a time and Elphaba became good friends. where she wasn’t wicked Each number the cast at all. performed ended with The musical “Wicked” a roaring applause from ‘Wicked’ currently playing at the the audience while every combines love, Pantages Theatre tells joke, whether minor or tragedy and that story. major, was reciprocated The show begins ethics to create with just the right with the munchkins of laughter a story with a not- amount of Oz celebrating the echoing through the so-predictable death of Nessarose. Pantages. The production does The stage production happy ending. an extraordinary job was also very impressive, in the storytelling and with smooth transitions performance while also including between scenes and performances. just the right amount of comedy and Clarke does an amazing job as wit in between. “Wicked” combines Glinda, an overconfident, popular love, tragedy and ethics to create and spoiled girl who always gets her a story with a not-so-predictable way. From her exaggerated movehappy ending. ment on stage to her knack for using As Glinda (Katie Rose Clarke) a lot of made-up words, Clarke had enters and celebrates with the a stage presence that kept the audirest of Oz, one of the munchkins ence wondering what she was going

COSMIC | Big plans ahead for music management company from page 6 Cosmic Entertainment recently wrapped up shooting its first music video, “10,000 Years” by Tangent Transmission. The production crew consisted of managers Oliveros and Ong, cinematographer and UCLA film alumnus Dmitry Koshutin and extras that included UCLA students and local fans. “Over the summer, we planned on doing it, but it got pushed back to close to New Years,” Koshutin said. “I absolutely loved working with (the band). They were easy going and had all these ideas, so they were contributing a lot to the design and the look of it.” Koshutin met the band, Ong and Oliveros through mutual friends at UCLA. “We never talked about working together professionally before then,” Koshutin said. “This was the first time. ... They’re starting to play more shows, and they wanted to get some content out so we built our relationship as friends.” Dugan Cruz, singer, guitarist and pianist of Tangent Transmission, said he was impressed to see Ong

and Oliveros work so hard as their management team while they were both full-time students at UCLA. “Their tenacity as a duo is really cool, and their creativity is amazing,” Cruz said. “A lot of what we’ve been able to do has come from throwing out random ideas and having the follow through to see if they work well or not. ... They’re super passionate about the projects as much as we are. They care, and it shows.” “10,000 Years” was filmed at Cruz’s home in Van Nuys, Calif., where the band emptied out an entire room and filled it with Ikea mirrors and people dressed in cocktail attire. According to Ong, while Cosmic Entertainment is still in its initial stages, there has been talk of working with friend and fourth-year communications studies student Leah Titus to create a film component of the company. “At some point, we want to incorporate another friend of ours who ... wants to do a film entertainment scheme, like Cosmic Films Management, but we’re focusing on Cosmic Music right now,” Ong said. “The next step is to solidify our name for the industry.”

to do or say next. Parris also does a spectacular job in playing just the opposite of Clarke, a green (literally) character who has no friends and is blamed by her father for why her sister has to be in a wheelchair for the rest of her life. As the plot carries the audience through Glinda and Elphaba’s time as students, roommates and friends, “Wicked,” includes frequent references to “The Wizard of Oz” – telling a back story of how the Cowardly Lion, Tin Man and Scarecrow all came about. The musical reveals many ideas that would have never been evident just by watching “The Wizard of Oz.” “Wicked,” at some points in the musical, makes audiences who have grown up with the “The Wizard of Oz” story feel cheated and mislead about “the wonderful wizard” as well as the wicked and good witches, but at the same time happy to finally know the truth. – Marjorie Yan Email Yan at myan@media.ucla.edu.

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SUCHLAND | Evolving industry creates gems from page 6

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JOAN MARCUS

Mamie Parris as Elphaba, sister to the Wicked Witch of the East, in “Wicked,” the musical that is currently running at the Pantages Theatre in Los Angeles.

MELNITZ | Featuring the unfamiliar from page 6 also debut a monthly film series in cooperation with UCLA’s Terasaki Center for Japanese Studies titled “New Visions of Japanese Cinema.” The series was conceived as part of the center’s 20th anniversary, a part of several commemoration events, according to Seiji Lippit, associate director of the Terasaki Center of Japanese Studies. Lippit participated in the collaboration efforts with Melnitz Movies to expose Japanese filmmaking. “The focus on Japanese movies offers an opportun ity to showcase major important works of Japanese cinema, sometimes before they achieve a wider release, or in some cases there might not be other opportunities to see these films in the United States,” Lippit said. The first film to screen in “New Visions of Japanese Cinema” will be “The Secret World of Arrietty” on Feb. 16. It is a Studio Ghibli film, directed by Hiromasa Yonebayashi. According to Lippit, a reception commemorating the launch of the film series will follow the screening. The film will open to wide release by Disney the following day. Melnitz Movies will continue to display less widely distributed films this quarter as well. “We’re presenting first-time filmmakers or foreign directors who haven’t

made their big break in the United States yet; it’s an opportunity to show their work and discuss that with students,” Prime said. Along with the foreign films, Melnitz Movies will continue to screen American independent films. A sneak preview of “Rampart,” directed by Oren Moverman, will be shown on Jan. 12. The film centers around Officer Dave Brown, a Vietnam vet and a Rampart Precinct cop. UCLA alumnus and University of Colorado at Boulder film professor Alex Cox will work with Melnitz Movies to present three older films: “Walker,” “Lonely Are the Brave” and “Executive Action.” These films range between 25 and 50 years in age. “The world one lives in is so rapidly changing; there’s so much you have to contextualize. But with these films, you don’t have to be over 50 to enjoy them. They are truly sensational,” Cox said. According to Cox, “Executive Action,” a political conspiracy film in the context of the John Kennedy assassination, will still entertain at Melnitz Movies in February almost 50 years after it was made. “These three are all films that have been made inexpensively; they don’t depend on special effects,” he said. “They are ensemble films that have a lot of quality acting and rely on quite significant content.”

there is rough. For several years, writers like Entertainment Weekly’s Mark Harris have been pitting the envelope-pushing television industry against the increasingly stagnant film industry. Movie studios like Paramount dominated the 2011 box office with “Transformers: Dark of the Moon” and “Mission: Impossible – Ghost Protocol,” the third and fourth iterations of their respective franchises. But a quick flip through the past year’s TV Guide reminds us of the year’s unforeseen new hit shows like the horror-drama “American Horror Story” or the epic book adaptation “Game of Thrones.” The true beauty of the evolving television medium is that these diamonds are getting even easier to find. While our parents gathered around to watch in real time and on a restricted number of channels, our television viewing options are both vast and varied. We are constantly able to discover new shows even if they’re no longer on the air or have gone into seemingly random syndication on TBS. For Hulu, Netflix and borrowed DVDs, these distribution methods lend themselves well to a deep, unfettered relationship with television. I’m sure at least a few of you are sitting in class right now, day dreaming about watching that series you started over winter break. Don’t worry, your assignments will be there when you’re finished with that next DVD. Full disclosure, I watched the first two seasons of BBC’s “Misfits” on Hulu in the course of writing this column. If you want to rave about misfits with recently acquired super powers (or any other shows you are currently watching), email Suchland at ssuchland@media. ucla.edu. “Remote Life” runs every Tuesday.


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Editor’s pick:

BUNCHY CARTER & JOHN HUGGINS MEMORIAL Today, 5 p.m. Campbell Hall 1101 and 1224, FREE Screening of “The Black Power Mixtape 1967-1975” and panel featuring Ericka Huggins, other veteran Black Panthers and special guests.

Tuesday, January 17, 2012

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VIRTUAL VIR AL frights

EVAN LUXENBERG/daily bruin senior staff

Alumnus of UCLA’s School of Theater, Film and Television and master of fine arts film candidate Tim Shechmeister had his thesis short horror film “Viral” picked up by film studio Screen Gems to be expanded to a full-length feature film.

“Viral,” a short film about cyberbullying by UCLA alumnus Tim Shechmeister, to hit the big screen BY TERESA JUE A&E staff tjue@media.ucla.edu It took a series of events to occur for Tim Shechmeister’s

dream to come true. Two years ago, Shechmeister decided he wanted to make horror films for a living and set about the process of putting his ideas on film in the hopes that he could display his

directing ability to fellow filmmakers and the industry itself. After graduating from UCLA’s School of Theater, Film and Television in 2011, Shechmeister’s thesis film short, “Viral,” was picked up by film studio Screen Gems to be expanded into a feature film. A modern take on the epi-

demic of cyberbullying, the film is about high school students who summon an evil force through social networking. Shechmeister said he sought to create a succinct film that spoke to his love of the horror genre and showcased his ability as both a writer and a director. “I wanted to do a short film

that felt very now and felt like it tapped into that strange fear that a lot of people have about the bizarre kinds of behavior that result in bullying in schools today,” Shechmeister said. “I made the project small in order to concentrate on being able to direct the hell out of it.” The route to the film’s expan-

sion began when Shechmeister attended a Q&A event with writer and producer Stephen Susco, who wrote “The Grudge” and “The Grudge 2.” Shechmeister, who was a fan of Susco’s work, introduced himself and asked Susco to watch his thesis film.

VIRAL | Page 9

Album review

Spotlight: Sno E. Blac

c o urt e sy o f

“It’s the Arps” Todd Terje c o urt e sy o f

SMALLTOWN SUPERSOUND JAN. 17

KEVIN FREDERICKSON

Fourth-year women’s studies student Sno E. Blac provided her physical likeness to the recently released “Star Wars: The Old Republic” video game as the character Satele Shan. Blac, who began her acting career in her early teenage years and won the Miss Georgia Teen beauty pageant, has also appeared in films including “Alondra Smiles.” Read more at dailybruin.com/spotlight.

Celebrity cameos can be challenging SAMANTHA SUCHLAND

S

REMOTE LIFE

ometimes I think I must be ridiculous to get so excited about television. Then last week I read that Paul Rudd (“I Love You, Man”) will guest star on “Parks and Recreation” as Leslie Knope’s political opponent, and I start jabbing the arm of the person sitting next to me in blind excitement. This is more than just an amazing casting decision that I have been dreaming about with no expectations of it actually happening. It’s also one of the few times I can remember being excited for a guest star. Most guest stars feel like gimmicks. The appropriate term for what I’m referring to is “stunt-casting” or the cast-

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NBC

An episode of NBC’s “The Office” featuring Will Ferrell, who briefly guest starred on the show. Paul Rudd will soon guest star on another NBC comedy, “Parks and Recreation.”

SMALLTOWN SUPERSOUND

music to be. The first song and a standout in the disc, “Inspector Norse,” has a danceable groovy beat that is more likely to inspire listeners to sway than to bang their heads back and forth. Over the course of six minutes, it combines the main beat with high-frequency sounds reminiscent of shooting lasers, keeping listeners guessing – and interested – even as their minds slowly melt to the music. On the B-side, tracks “Swing Star (part 1)” and “Swing Star (part 2),” continue Terje’s unique dance vibes. The tracks flow in a way that make them easy to groove to, yet his pronounced use of synth beats and sound effects keep his sound fresh and different for the electronic music market. “Swing Star (part 1)” feels like an extended trip through outer-space, or at least the video game version of it, with

Under “band interests” on his Facebook page, electronic musician Todd Terje lists “Coconuts, Hawaiian sunsets, moose/dolphin/unicorn/practically everything in a sunset.” The combination sounds odd, yet the weird mixture perfectly embodies the influences that give Terje’s new record a sound that makes it a fun and laid-back listen. Anyone who turns on the radio is well aware of the electronic music that is influencing modern pop artists, with its heavy dubstep beats and intense bass drops. Terje’s music, though, takes electronic music in a completely different direction. His dreamy synth-layered sound feels like the perfect background music at a TERJE | Page 9 beach party, especially if the beach party took place in space. RATINGS Running at a short 21 3 – Good 1 – Waste of time minutes, Terje’s new record 4 – Great 2 – Eh... could is jam-packed with tracks 5 – Classic be better that stretch the boundaries of what we expect electronic


dailybruin.com/ae | a&e | Tuesday, January 17, 2012 | DAILY BRUIN

SUCHLAND | Stars can alter show’s premise

CREATIVE WRITING: POETRY Classes were cancelled yesterday in honor of Martin Luther King, Jr. Day. While some took the opportunity to reflect on King’s impact on the course of U.S. civil rights, others simply relaxed or spent the time studying, with King far from their minds. Federal holidays have long been declared partly to encourage wide-scale national remembrance – in a sense, they institutionalize or politicize memory. So, the prompt for this week is the idea of “memory,” and works need

not address the theme in the spirit of politics. We are seeking poetry submissions no longer than 500 words. Submissions should be sent to ae@media.ucla.edu by Wednesday at 7 p.m. along with the writer’s name, major and contact information. There is a limit of three poetry submissions per person, per week. Selected entries will run in the paper on Friday and will be posted on the Daily Bruin’s website.

Spotlight: The Cab

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CATHARINE ACURSO

The Cab is currently on tour with The Summer Set in support of its new album titled “Symphony Soldier.” A&E senior staff Marjorie Yan spoke with the band’s lead singer Alex Deleon. Check out the Q&A at dailybruin.com/spotlight.

TERJE | Album features song with a playful twist from page 8

known for releasing songs with a playful twist, often releasing fast beats popping up in repetitransformed re-edits of other tive succession throughout the artists’ songs under his altersong. ”Swing Star (part 2)” has ego “Tangoterje.” The sound of a more pronounced club vibe, “It’s the Arps” is no different, accompanied by a reappearing as Terje never totally allows sound of electronic chimes, the listeners to space out to his as if someone was sound, challenging playing the harp in them with a combian episode of “Star nation of beats that Terje never seem out-of-place, Wars.” totally allows the but surprisingly The only song that doesn’t seem listeners to space meld well together. to fit in Terje’s fun According to out to his sound, and relaxing album his Facebook page, challenging them Terje, hailed in is “Myggsommer,” also on the A-side. with a combination his native Norway Terje’s signature as the “cosmic of beats. cosmic sound disco king,” has suddenly transforms already made fans into a hypnotic, constant beat of electronic lovers and music overlapped with weird rainforcritics alike because of his love est sounds that makes listeners of taking risks with his music. feel as if they’re taking part in He playfully asks his fans “Is it a voodoo ceremony within a house, funk, techno or disco?” horror movie . The song contin- But anyone who listens to “It’s ues its creepy feeling with a the Arps” already knows the weird cacophony of sounds answer – there’s no one genre that get more chaotic and outto quite describe Terje’s crazy of-place. It’s the only song on spaced-out beach vibe. Terje’s album that doesn’t feel – Anneta Konstantinides danceable. The odd song out is not Email Konstantinides at akonstanunusual for Terje’s style. He is tinides@media.ucla.edu.

VIRAL | Short film phases into a full-length feature from page 8

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concept and mass horror appeal stood out to her. “I had these crappy Kinko’s “I am a little surprised that business cards with a link to the people haven’t taken advantage short and the password to it, and of looking at student films more I begged him to watch it,” Shech- often,” Meyers said. “I think that meister said. “And, sure enough, it is a really great idea to make a he came back and he enjoyed horror film out of social media. it a lot and said, ‘Listen, I know It’s such a relevant issue now you want to make this a feature, and people like to watch horror so why don’t I produce (it)?’ I films, and I thought it was a brilsaid, ‘That sounds like the best liant idea.” thing that’s ever With the Screen happened to me.’” Gems dea l set i n W it h S u s c o’s Shechmeister It is a really place, help, “Vi ral” said that he is eager a t t r a c t e d t h e great idea to make to commence working attention of film- a horror film out of on the film, from coma ker Roy Lee, social media. It’s a writing the screenplay who produced the with brother Matt to American remakes relevant issue.” eventually getting it of “The Ring” and into production. Rya Meyers “The Departed.” “These first few UCLA alumna months are going to Lee recommended the film to Screen be all about the writGems, who ultimately bought ing and getting the story as the film. compelling and interesting and Master of fine arts direct- exciting as possible. From there, ing student Clint Kenley, who once we get the script that the co-directed the short w ith studio’s happy with and we’re Shechmeister, said he was not happy with, we’re completely surprised by the film industry’s turning 180 degrees and going interest in the film. into directing mode,” Shech“Tim’s twisted and has a bril- meister said. liant mind for horror. It’s kind Shechmeister said that the of a matter of time before Tim whole experience has been, to got a deal making horror mov- say the least, thrilling. ies, because horror people just “I really, truly can’t believe find each other. There are only it,” Shechmeister said. “The so many of them out there, and thought of the thing that you Tim’s one of them,” Kenley said. want the most in the world to UCLA alumna Rya Meyers, happen, happening, is really an who starred in the short, said out of body experience. It’s pure that Shechmeister’s innovative excitement.”

from page 8 ing of a well-known celebrity with the assumption that it’s intended to boost the show’s ratings. My gut reaction is to cry “sellout” while painting a giant red “S” on my TV screen. Using a big name to entice channel surfing viewers makes sense, but the integrity of the show and the loyalty of existing viewers will be tested. Britney Spears’ guest stint on “How I Met Your Mother” in March of 2008 received the show’s highest ratings to date. Bloggers lauded Spears’ appearance as a personal comeback. Others, like the New York Times, gave her lackluster reviews. The way these articles read, the cast, the plot and the premise were props to Britney’s performance. When a casting decision like this is such a media blitz, there’s that worry that the show will cater to the mania. Whether it’s the shaping of the story, the quality of acting, or that jarring moment when you see a former teen pop star sitting behind a receptionist desk on your favorite show, it alters the episode. For dedicated fans, feelings get hurt and abandonment issues surface. I can only assume this is how longtime Comic-Con attendees felt when Twilight fans began storming the conventional hall to see Robert Pattinson’s enigmatic hair pouf. Twilight fans are missing out on what made Comic-Con so great before Pattinson graced

it with his presence. nominated for an Emmy Award More to the point, more people for Outstanding Guest Actor in a are watching one of my favorite Comedy Series. shows, but are they really watchSo what makes the casting ing the same show? of Paul Rudd on “Parks and As angry as stunt-casting Recreation” any different from can make me, a friend of mine other guest stars? Sometimes a brought up a good point. casting decision just makes sense Whether or not a casting decito you. Independent of celebrity sion was actually stunt-casting or gimmicks, someone has to play will always be speculation on my Leslie’s opponent. For me, Paul part. Yes, I may be 100 percent Rudd sounds like a good choice. convinced that the recent signing And maybe that’s the key. of Ricky Martin, Gloria Estefan, This role wasn’t created for Pitbull and NeNe Leakes (“Real Rudd in order to get him on the Housewives of Atlanta”) with show. Unlike “The Office,” which “Glee” are attempts to shoehorn trumpeted Will Ferrell’s appearas many celebrities as ance and then left us possible into a single to speculate about his show. But perhaps the role, this is a character When a creators think that organically casting decision created Ricky Martin is in fact from within the show is such a media the best person to itself. portray the McKinley blitz, there’s that Will the fact that high school Spanish Rudd is best friends worry that the teacher. with Adam Scott, who As much as I would show will cater to plays Ben Wyatt on the like to blanket judge show, be distracting? I the mania. stunt-casting, there highly doubt it. Is there are also the rare going to be a reference moments where the decision is so to “slapping the bass” from “I perfect that it might actually be Love You, Man” or some other considered a gift to loyal viewers. allusion to Rudd’s work outside of Take the casting of Brad Pitt this gig? I think we’re safe from as Ross’ high school friend and such a travesty. co-president of the I Hate Rachel For now I’m optimistic about Green Club in “Friends.” Sure Pitt this casting decision. Ask me was an A-list star, but he was also after Rudd makes an appearance, married to “Friends” star Jennifer and maybe I’ll be singing a differAniston. What could have been ent tune. a quick cameo to gain viewers became a joke with an extra layer If you have a favorite guest star of humor for those who knew appearance, email Suchland about their marriage. The stint at ssuchland@media.ucla.edu. was such a success that Pitt was “Remote Life” runs every Tuesday.


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Editor’s pick:

MELNITZ MOVIES: “DECLARATION OF WAR” Today, 7:30 p.m. Melnitz – James Bridges Theater, FREE A new couple faces the ultimate test when they find out that their newborn child is deeply ill. Directed by Valérie Donzelli.

Tuesday, January 24, 2012

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UCLA LIVE Royce Hall hosts a medley of performances by prominent artists in the coming months

BY MARJORIE YAN, ANDREW BAIN AND LENIKA CRUZ A&E senior staff myan@media.ucla.edu, abain@media.ucla.edu, lcruz@media.ucla.edu UCLA’s Royce Hall hosts acts ranging from student organizations to world renowned artists. Royce Hall’s UCLA Live presents performers that travel from around the world. Here’s an overview of some of the performers visiting the campus this quarter. UCLA LIVE

MAX RAABE & PALAST ORCHESTER

NOA (ACHINOAM NINI) THE ISRAELI SONGBOOK MAR. 24, 8 P.M. ROYCE HALL

ONE CANNOT KISS ALONE FEB. 23, 8 P.M. ROYCE HALL TICKETS FROM $25 ($15 UCLA STUDENTS)

TICKETS FROM $20 ($15 UCLA STUDENTS) Though best known in her home country of Israel, prolific musician Noa (or Achinoam Nini) has not limited herself to making music strictly in Hebrew. She has written and recorded music for 20 years in English, Yemenite, Italian, Neapolitan, French and Spanish. Late this quarter, she will perform pieces from her latest release, “The Israeli Songbook,” with material stemming from her cultural roots, including new takes on Israeli classics such as “Hayu Leilot,” “Mayim Rabim” and “Ruach Stav.” She will augment her set by playing a blend of Middle Eastern and Latin percussion. -Lenika Cruz

One rarely sees a performer described as “uber-suave,” so it piques our interest when one is. Max Raabe will be accompanied by his Palast Orchester in this concert, playing the music from the ’20s and ’30s that the group is known for, as well as music from the group’s new album titled “One Cannot Kiss Alone,” which features love songs played in styles that range from modern pop to a more vintage musical flavor. A blend of music from the Roaring ’20s and more contemporary tunes? Sounds suave to us. -Andrew Bain

ROYCE HALL ORGAN AND SILENT FILM FEATURING STEVEN BALL “TILLIE’S PUNCTURED ROMANCE” MAR. 10, 8 P.M. ROYCE HALL TICKETS FROM $15 ($15 UCLA STUDENTS) The recent critical and commercial success of “The Artist” has shuttled the silent film genre to the forefront of popular culture, highlighting the inventive richness to be found in the form. Though lacking the crucial element of sound, such films are far from artistic amputees. This spring, renowned organist and Fulbright scholar Steven Ball will command the treasured Skinner Organ in Royce Hall to provide a live score for the 1914 Charlie Chaplin film “Tillie’s Punctured Romance.” Considered by film historians to be the first full-length comedy ever, it also stars Marie Dressler and was preserved in 2004 by the UCLA Film and Television Archive. -Lenika Cruz

UCLA LIVE

c o urt e sy o f

DENISE OFELIA MANGEN

THE MOTH

HUGH MASEKELA

RUSH: STORIES OF TICKING CLOCKS MAR. 1, 8 P.M. ROYCE HALL

FEB. 10, 8 P.M. ROYCE HALL TICKETS FROM $20 ($15 UCLA STUDENTS)

TICKETS FROM $20 ($15 UCLA STUDENTS)

Early next month, Hugh Masekala returns to Los Angeles with his band of South African musicians. The multi-talented composer, performer, producer and innovator will grace the stage of Royce Hall with music from his album “Phola” as well as new jazz works and ballads. Masekala is known for his musical tribute to Nelson Mandela as well as his integral role in Paul Simon’s tour behind the album “Graceland.” Masekala, also a human-rights activist and trumpeter, has been described as a defining force in world music and the struggle for human rights both in Africa and around the world. -Marjorie Yan

The phenomenon of story-telling shows is sweeping the nation, and one of the organizations leading the charge is coming to UCLA. The Moth, which puts out a podcast in addition to putting on live shows and other programs, will present a story-telling show set to the theme of “Rush: Stories of Ticking Clocks.” For any students familiar with the feeling of racing against the clock, this show is not to be missed. -Andrew Bain

UK to US airing delays make for baffling case American viewers of British shows such as BBC’s ‘Sherlock’ grow impatient with gaps between the broadcast dates SAMANTHA SUCHLAND

in a decade. Americans went on to twiddle their thumbs for two months. Or in other REMOTE LIFE cases, bang their heads against their will cover my ears desks repeatedly asking what they did while humming to deserve this. the Jack in the Box The increasingly global nature of Jumbaco commercial if it means entertainment and the cracking down avoiding a spoiler. But even Jumbaco on file-sharing makes me wonder if couldn’t save me from an ambush of British broadcasters are enjoying Internet spoilers after BBC aired the torturing and tempting their Ameriseason two finale of “Sherlock” in can fans. Britain last week. The issue is different It’s baffling that British from the illegal downloadbroadcasters delay the of television shows that For ‘Sher- ing airing of new seasons of can easily be watched on lock’ fans outside TV or bought online. shows that are already popular in America. For “Sherlock” fans of the U.K., there Aside from making the is absolutely no outside of the U.K., there is Internet an unsafe space absolutely no way to legally for avoiding a twist ending way to legally watch the show when it watch the show that had bloggers in tears airs. and critics demanding Season two hasn’t when it airs. award nominations, it’s aired on American cable a cruel experiment in or subscription channels, temptation. and neither the U.S. iTunes store The recent SOPA protests and nor Amazon Instant carries a digital federal take down of Megaupload add version. While BBC has a global iPlayer insult to injury. app for iPads and iPhones, the “global” Sherlock Holmes would tell his description only refers to 11 countries, pal Dr. Watson that this conclusion is none of which is the United States. elementary – that is, if he were both After several hours looking for a real and concerned with fans of televiway to buy the episodes, I was left sion shows being unfairly spoiled. trying to physically shove my debit This delay has become a familiar card into my laptop’s CD drive while issue for American fans of British telebegging for the BBC to please take my vision. Take the Golden Globe-winning money already. period drama “Downton Abbey,” which While the delay can be chalked up is a huge boon for PBS. “Downton” to international licensing agreements ended its second season in the U.K. between the BBC and PBS, the chanwith the largest audience for a drama nel on which “Sherlock” airs in the

I

BBC AMERICA

“Doctor Who” was a rare example of a British show which aired simultaneously in both the U.K. and the U.S. This was done in order to counteract piracy. Pictured above is Matt Smith, who plays the Doctor, in the TARDIS.

U.S., that doesn’t placate those who have been tormented by the season one cliffhanger for more than a year now. If “Sherlock” were a brand new show, this marketing strategy would make sense. Airing the first season in Britain would build buzz so that Amer-

ican audiences would look forward to the premier. But now that an American fan base has been built, and left with that season one cliffhanger, the second season is unfairly floating just beyond their reach. Sure, a delay means spreading high

ratings throughout the year, but how reliable will those high ratings be if American fans refuse to wait? The worst part is that BBC is already aware of the issue. The sixth

REMOTE LIFE | Page 6


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Soundbites hand and put your heart right in.” While the lyrics are delightful and DiVine’s voice gives off a sense of shyness that comes along with meeting a potential love for the first time, the chorus proceeds with “You are my perfect kind of love, love, love, love...” over and over again – it gets old quickly. The song remains upbeat and cheerful, proceeding to describe a date that is going well and the feelc o u rt e sy o f KIM DIVINE ings that come along with it – very cute, but a lot more could be done to improve the lyrical content. Fire “Best Thing” is more of a slow Kim DiVine song that consists mostly of guitar KIM DIVINE MUSIC and DiVine on vocals. The song moves the narrative of the album into the next step of a relationship after a first date – the honeymoon Gelatin tends to be fragile and stage. falls all over the place. However, The song, like “Perfect Kind the new voice of Jell-O, Kim of Love,” is also repetitive with DiVine, who is releasing her new a chorus that mostly consists of album “Five,” does anything but “Cause you are the best thing / Oh fall apart. DiVine’s new release the best thing / Oh you are the best features a solid collection of songs thing / You might be the best of that reflect every aspect of a relame” – very basic, too basic. tionship – from start to finish. “Easy on Me” also resembles DiVine, a Los Angeles-based “Perfect Kind of Love,” and it indie-pop artist who grew up in sounds like a song that could be Holden, Mass., is not played on a commeronly the new voice of cial. After hearing the the sweet treat, but she track, it’s fairly evident It’s easy to how DiVine became has also had her single “Perfect Kind of Love” the voice of the Jell-O realize early on featured on the CW’s jingle. The combination that the songs television show “One of her voice, trumpets repeat the same and repeated rhythm Tree Hill.” “Five” is a compilain “Easy on Me” is chords and tion of songs that all and could easily include a similar catchy have a similar sound, get listeners singing beat throughout. and bobbing their but manage to tell a different story. heads along. While it’s easy to real“Easy on Me” is ize early on that the songs repeat another buoyant and happy-gothe same chords and include a lucky pop song with lyrics that similar beat throughout each include “Cause what you got is track, it’s unfortunate that the lyri- what I need / You’re every book I’d cal content within each song also like to read / You’re simple, you’re lacks variation and depth. sweet / You’re all that I need.” The “Perfect Kind of Love” opens the song could be the most captivatalbum with the lyrics, “I open the ing on the album. This track also door, and there you are standing reflects the highest point in a relaright before me / You open my tionship (and the album) where

SPOTLIGHT: ‘Mean Girls: The Musical’ everything is as good as it’s going to get. “Yours to Keep” features basic guitar strumming throughout the entire song, with minimal amounts of drums and keyboards incorporated. While DiVine keeps a steady pitch level throughout the songs on her album, it could easily be improved with different vocal levels. The lack in variation make the songs feel all too similar, leading to the listener becoming bored after the first few anthems. The last track, “Just the Same” – one that represents the crossroads stage of a relationship where members of a couple are wondering whether they should continue to pursue the relationship or not – ends the album on a not-so-happy note. In contrast to her other songs, “Just the Same” has much more of a sad and emotional feel. “You said you’d give me the sun / All I got was rain / You said you’d fill my heart with love / All I got is pain / Said it would be different this time / But it hurt just the same.” While most of the tracks sound similar, “Just the Same” could be the gem that should have been introduced earlier on the track listing. The song serves as a good break from the all-too-happy energy DiVine promotes. As far as gelatin and the album are concerned, “Five” definitely has what it takes to hold DiVine’s thoughts and feelings together, but it could be missing that secret ingredient to keep people coming back for more. – Marjorie Yan

AGNIJITA KUMAR/ da i ly

b r u in

UCLA’s Hooligan Theatre Company presented “Mean Girls: The Musical” in Moore 100 over the weekend. Daily Bruin’s Jacob Ruffman reviews the production that included original songs from the movie as well as student-written selections that catered to the UCLA campus. Read more at dailybruin.com/spotlight.

SPOTLIGHT: ‘Wonderland’ Soundbite

Email Yan at myan@media.ucla.edu.

RATINGS 1 – Waste of time 3 – Good 2 – Eh... could 4 – Great be better 5 – Classic

D im M a k R ec o r d s

a nd

U lt r a M u s i c

Steve Aoki recently released his new album “Wonderland” on Dim Mak Records and Ultra Music. Daily Bruin’s Phillip Horlings reviews the new release. Read more online at dailybruin.com/spotlight.

REMOTE LIFE from page 5 season of “Doctor Who” aired in both the U.K. and the U.S. simultaneously. According to The New York Times, this decision was made by BBC Worldwide America because of a jump in file sharing even when the airings were only delayed by two weeks. For all of my temper tantrums, television life has been cushy for me as an American. The U.K. has been dealing with this issue for much longer and on a grander scale. American shows like “It’s Always Sunny in Philadelphia” are only now making it across the pond, despite their popularity in the states. So are Americans facing some sort of digital karma? Either way, karma didn’t take long to strike back with CBS’ recent announcement of an Americanized version of Sherlock Holmes titled “Elementary.” Will “Elementary” affect the success of “Sherlock” in the U.S.? That’s a case for Sherlock Holmes. One of them. Or maybe they can team up. Either way we won’t have the answer for a long while. Are you suffering withdrawals from a favorite foreign television show? Email Suchland at ssuchland@media.ucla.edu.

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Editor’s pick:

“SPRING ON RIVERSIDE STREET” Today, 6:30-8:30 p.m. Young Research Library 11348, FREE Come see this film screening of a 1956 melodrama about a relationship between a teacher and her student. Russian with English subtitles.

Tuesday, January 31, 2012

dailybruin.com/ae

Page 5

a ray of

light & sound

courtesy o f

MARTIN SCHAEFFER

Nicholas Ray (left), who directed films such as “Rebel Without A Cause” and “Johnny Guitar,” with friend Samuel Fuller (right). Ray’s film titled “We Can’t Go Home Again” will be playing tonight at the James Bridges Theater. The film takes a look at the generation of the post-1960s social revolution struggling to make an impact on American history. The film also uses techniques such as splitting the screen into four simultaneously playing scenes.

‘We Can’t Go Home Again’ experiments with style, looks into the post-1960s generation gap BY STANTON SHARPE A&E contributor ssharpe@media.ucla.edu A n a m e l e s s ge n e r a t i o n stands alienated from society,

searching for its own identity wh i le fighti ng through the shadow cast by its preceding generation. Nicholas R ay’s “We Can’t Go Home A gai n” (1976), playing tonight at the

“We Can’t Go Home Again” Today, 6:30 p.m. James Bridges Theater, FREE

James Bridges Theater, takes a closer look at the generation of the post-1960s social revolution fighting to make its own

imprint on American history. After living in Europe for 10 years, Nicholas Ray, American director of movies such as “Rebel Without A Cause” and “Johnny Guitar,” returned to the United States to become a professor at Harpur College of Arts and Sciences in Binghamton, N.Y..

W h i le t e a c h i n g f i l m a t Harpur, Ray, along w ith his fi l m students, began working on the stylistically avantgarde film “We Can’t Go Home Again.” Ray and his students play fictionalized versions of themselves and reveal topics such as the Vietnam-era, the generation gap after the 1960s

social movement, living in a commune, and the filmmaking process itself. The Harpur College students who assisted Ray on the film were part of the generation that followed the social revolution in the 1960s.

LA PREMIERE | Page 6

Soundbite

UNIVERSAL STUDIOS

EASY WAY OUT VIRGIN FOREST PARTISAN RECORDS

NBC

Will Arnett and Christina Applegate star as a pair of parents in NBC’s comedy show titled “Up All Night.”

TV shows unite finicky audiences SAMANTHA SUCHLAND

REMOTE LIFE

I

never expected my mother to betray me. But there it was on the front page of the local newspaper’s arts and entertainment section. My mom had revealed to a reporter that I was a television control freak. I will admit to having a few quirks when it comes to watching my favorite TV shows. I can’t stand to miss a word spoken or a joke told. Then again, I think we all have a particular way of watching TV. Most people’s quirks just aren’t published so publicly. We had been interviewed for an article about mothers and daughters who watched “Gilmore Girls” together in anticipation of the series finale. Apparently, the hour diatribe I gave the reporter on the declining quality of the television series was not as compelling as my petu-

lant teenage angst. “If you run your mouth, you get the evil eye,” said my mom in the opening of the original article. This was a loving interpretation of my hushing her during those final episodes of “Gilmore Girls.” But like I said, I’m not alone in my quirks. I’m surrounded by people with different television viewing habits. I have a friend who will be completely obsessed with a show but will wait until the perfect moment to sit down and watch. Her self-control both astounds and frustrates me. She once waited for more than a year and a half to watch a new season of “Doctor Who” with me because she wasn’t ready to watch the show without David Tennant, the actor who used to play The Doctor. Meanwhile there are others I know who inhale episodes like junkies. They will hole up for a weekend, and next thing you know, they are triumphantly announcing that they have caught up on “Community,” finished “How I Met Your Mother” and started “Dexter.” The fact

that this is temporally impossible doesn’t faze them, and friends whom they watch these shows with are left in the dust. Last week, this issue cropped up on NBC’s “Up All Night.” Married couple Reagan and Chris got in a fight when Chris watched “Friday Night Lights” with a fellow stay-at-home parent instead of waiting for Reagan. There are others whose relationship to television is healthier. They are okay missing some dialogue to share a quick story. Sometimes they’ll miss a whole scene to grab a snack. It’s moments like these that make my eye twitch and my heart palpitate as I lunge for the pause button. Don’t they know that their chances of missing a huge plot twist increases exponentially when they stop paying attention for even a second? That’s what the neurotic voice in my head tells me. And yet we continue to all watch

SUCHLAND | Page 6

“Easy Way Out,” Virgin Forest’s latest album since its debut LP “Joy Atrophy,” is one of those albums that seems to give direct insight into the band’s feelings and does not hold anything back. The sentiments are sometimes difficult to follow on an album that consists primarily of emotionally heavy tracks. The 10 tracks that make up “Easy Way Out” take listeners on a nearly half-hour journey through expressions of love, blues, loneliness and uncertainty. While some songs communicate their meanings better or more clearly than others, frontman Scott Stapleton and the rest of Virgin Forest do demonstrate emotional range and experience. The lyrics of the opening song, “Don’t Be Afraid,” say little more than what the title implies, but the electric guitar on this track serves the group well as a supplement for repetitive lyrics.

While the music seems to overpower the lyrics, this song provides a good taste of what is to come and sets the tone for a string of songs in which the music is just as sentimental – if not more so – than the words. “Different Blues” is one of the most emotionally charged tracks on the album, and it does the best job of conveying the precarious feeling of not knowing what to do “when I get those different blues.” The following track, “Get Away,” is more direct in its instructions to the song’s subject, and it is one of the few songs in this album that actually benefits from repetition of the title line itself in the lyrics. “Big Old Mama” and “Song for Nino” provide some relief from the more melancholy and gloomy vibes that tend to dominate the album, and they break up the track list

VIRGIN FOREST | Page 6

RATINGS 1 – Waste of time 3 – Good 2 – Eh... could 4 – Great be better 5 – Classic


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DAILY BRUIN | Tuesday, January 31, 2012 | a&e | dailybruin.com/ae

SUCHLAND | Viewers bond over episodes despite quirky habits

VIDEO: Conducting the past

from page 5 together on the same couch and on the same TV. Despite our differences in how we watch our shows, we put up with each other’s quirks and even amend our own. Over the years I’ve learned to reign in the evil eye and to calmly press pause. DVR has helped a lot in my personal growth. My friend told me that, even if she gets ahead of her sister on AMC’s “Breaking Bad,” she will still rewatch

the episode with her because it has become “their show.” And despite the fact that my mom found my need for absolute silence during “Gilmore Girls” so insane that it should be shared with a reporter, she still watched with me until the final closing credits. Sometimes there’s more to a show than the show itself. Even if I have to press pause a few times in the process. If you have a not-so-secret TV quirk, email Suchland at ssuchland@media.ucla.edu.

SPOTLIGHT: Movie Review and Q&A

ROXANNE BAMFORD AND MICHELLE KOEPP/ daily

b r u in

On Jan. 26, the UCLA Philharmonia played composer Eric Zeisl’s “Concerto Grosso,” a piece that has only been performed once before in 1959. Conductor Neal Stulberg, professor and director of orchestral studies, speaks about conducting the late composer’s work. See it at dailybruin.com/video.

VIRGIN FOREST | Repeated lyrics not up to par from page 5 with sweeter and softer melodies. “Song for Nino” even contains the lines, “I’d bend down just to pick you up / And you would reach up to kiss me,” which seems to refer to a parent-child relationship that is not explored anywhere else on the album. However, the rest of the album continues much in the same fashion as the first few songs, with the title track alluding to someone having taken the “easy way out” and the subsequent song “Home Alone” once again resorting to repetition of the title line to get its

point across. the band’s sound and vocals that “Lifted” has the most rely too heavily on rock-and-roll feel out of repetition to get their all of the songs and really point across. The showcases a strong elec(Virgin For- “thumbs down” on tric guitar performance, est) has difficulty the album’s cover but it is also one of the is also a bit ironic. coming up with darkest tracks. Despite its struggles, lyrics that match “Easy Way Out” still Overall, Virgin Forest does a good job demonstrates the the emotions of creating an effective growth and its conveyed by the band’s musical background for potential, given the music. each of the songs on powerful melodies on “Easy Way Out” but has this album. difficulty coming up with –Andrea Seikaly lyrics that match the emotions conveyed by the music. This slight Email Seikaly at disjunction creates a rift between aseikaly@media.ucla.edu.

BBC FILMS

Tilda Swinton and Ezra Miller star in “We Need to Talk About Kevin,” a dark film which explores the tenuous and fragile relationship between a mother and son. Read the full review of the movie online at dailybruin.com/spotlight.

Check out our Podcast

Search ‘Daily Bruin Radio’ on iTunes to subscribe.

c o u rt e sy o f

STEVEN MARTINEZ

Punk-influenced indie rock band Indian School is in its first year as a band and is already making plans for a U.K. tour. Daily Bruin’s Margaret Davis spoke with lead vocalist Arturo Barrios about the band’s beginnings, influences and writing process. Read the Q&A at dailybruin.com/spotlight.

c o u rt e sy o f

CHARLIE LEVI

A screening of Nicholas Ray’s film titled “We Can’t Go Home Again” will show today at the James Bridges Theater on campus.

LA PREMIERE | Film splits screen into multiple images from page 5 “(It is a) generation of alienated American teenagers as they are growing up in a world that really has no place for them,” said Bill Krohn, United States correspondent for the French film magazine Cahiers du Cinéma. Krohn called this generation “Generation Next” and adds that Ray compares himself to this generation in the film. Ray had a very distinct style of film making, according to Christa Fuller, an actress and friend of Ray’s. “Ray viewed the screen as a symbol of fascism because, w ith i n the screen, you are framed and closed in with no flexibility,” Fuller said. “Ray wanted to get away from the screen, so he split the screen by showing multiple images on (it) at once.” Thus, in “We Can’t Go Home Again,” the screen frequently splits into four distinct images, leaving the viewer to watch four independent scenes simultaneously on one screen. In light of the film’s use of techniques such as the split screen, Krohn said that the

film offers an alternative to simply repeating Hollywood models. “It tot a l ly ex plodes t he screen, and ... the story-telling paradigm,” Krohn said. “We Can’t Go Home Again” remains an artistically influential film to this day. Though the film was made around 35 years ago, Krohn said that the film could really exert an interesting and strong influence on young filmmakers today. Susan Ray, Nicholas Ray’s widowed wife and overseer of the restoration of “We Can’t Go Home Again,” said that the film’s lifespan is far from over. “I think the impact of the film has only begun. I think that it is still ahead of its time, (around) 40 years after it was shot,” she said. She also said that the audience shou ld have patience when watching the film. “I think it is a movie that reveals itself over multiple screenings. It’s not a film that you necessarily can just be entertained by,” Ray said. “It requires a certain effort on the part of the audience, even if that effort is only to open wide and be receptive.”


a&e

Editor’s pick:

‘THIS MEANS WAR’

Today, 8 p.m. Ackerman Grand Ballroom, FREE See what happens when two CIA agents who are also best friends fall for the same woman at a screening presented by CEC.

Tuesday, February 7, 2012

dailybruin.com/ae

Page 5

TIM BRADBURY/ dai ly

brui n sta f f

Jonathan Grossman, associate professor of English, is putting together a series of events on campus in honor of Charles Dickens’ 200th birthday. Organized with the help of the UCLA humanities division, Friends of English and UCLA Library, Dickens’ birthday celebration will consist of events staggered throughout the afternoon to teach students about the author’s literary career and his personal life, and to show how the author affected the world.

UCLA celebrates Dickens’ 200th birthday BY BRADEN BASELEY A&E contributor bbaseley@media.ucla.edu

Charles Dickens’ 200th Birthday

Many revere Charles Dickens as the most famous author of Victorian literature, yet few see the irrefutable parallel between the author and Mark Zuckerberg. Nearly two centuries before Facebook, however, Dickens saw the world shrinking as a consequence of increasing interconnections between people – essentially, the birth of modern social networks. For this reason, Jonathan

Today, 12 p.m. Humanities Room 193, FREE Today, 1:30 p.m. Young Research Library Lobby, FREE Today, 3 p.m. Humanities Room 193, FREE

Grossman, an associate professor of English, sees an occasion to celebrate.

In honor of Dickens’ 200th birthday today, Grossman has collaborated with the UCLA humanities division, Friends of English and UCLA Library to celebrate the acclaimed author’s career and to elucidate his often-unknown personal life through a series of events staggered throughout this afternoon. The celebration consists of an illustrated talk by Grossman, an exhibit viewing, and a screening of David Lean’s Academy Award-winning film adaptation of Dickens’ novel, “Great Expectations.”

Considering the influence Dickens’ literature has had upon the world at large, Grossman said he felt it was important to share the life of the author with the UCLA community. Ali Behdad, a professor of English and comparative literature and chair of the English department, said the ubiquity of Dickens’ literature is a testament to the author’s understanding of the mechanics of society. “Dickens is an author whose work continues to be read and talked about around the world. This is an opportunity for students to participate in

the conversation and learn something new,” Behdad said. “Being exposed (to his work) enables us to look at our own world today.” Perhaps the most telling evidence, he said, is the notion that Dickens preempted the current social networking phenomenon, albeit nearly two centuries before it actually happened. “He was really the artist who took a large canvas and showed how we were all atomized from each other, walking

DICKENS | Page 6

Soundbite

ASLEEP MUSIC

Unpleasant Companion Asleep ASLEEP MUSIC

NBC

“30 Rock” cast members Alec Baldwin and Tina Fey, as well as cast members of other NBC programs, appeared in NBC’s musical Super Bowl ad.

NBC’s heart beats despite low ratings The network’s underdog status doesn’t keep it from airing lovable comedies with loyal casts SAMANTHA SUCHLAND

REMOTE LIFE

T

he most memorable moment of Sunday’s Super Bowl wasn’t Ahmad Bradshaw’s awkward flop into the end zone for the Giants’ game-winning touchdown. It was the three-minute musical commercial for the game’s host

network, NBC, before the game began. The genius of this commercial was how well it captured the essence of NBC. It was smart, self-aware and full of unadulterated joy. Sure, I am falling hard for a blatant marketing ploy, but if being swayed by this multimillion-dollar ad is wrong, I don’t want to be right. The ad opened with the characters of “30 Rock” at a

Super Bowl party hosted by fictional network vice-president Jack Donaghy (Alec Baldwin). He tells his employee and mentee Liz Lemon (Tina Fey) that he invited them all over to celebrate the game because hosting the Super Bowl is a big day for NBC. What could have been a passing attempt to remind Super Bowl viewers to flip back to NBC the other 364 days of the year quickly evolved into something more. Donaghy tells Lemon that they’re a family despite the

fact that they’re all a part of a cold corporate landscape. The camera shifts, Lemon looks up from a nacho plate the size of a large baby and Donaghy begins to sing that there’s “one great club that all of us are in.” Cue the entrance of Jim Halpert (John Krasinski) onto “The Office” set and suddenly the entire NBC lineup is taking turns gleefully singing “The Brotherhood of Man” from the Broadway musical “How to

REMOTE LIFE | Page 6

Asleep’s new album “Unpleasant Companion” possesses a sound that manages to blend the influences of Incubus, Nirvana and Radiohead into a harmonious overall sound. “Unpleasant Companion” opens with speed and force in the first two tracks “Hip to Def” and “Drama Junkie.” Possibly the catchiest song on the album, “Hip To Def” sets the pace of “Unpleasant Companion” with fast-beating drums and loud vocals. Asleep demands the attention of the audience with melodic energy that will immediately entice the listener. With heavier drums and guitar, “Drama Junkie” introduces more emotional vocals to the album while

maintaining the fast-paced style of “Hip to Def.” While the vibes of “Hip To Def” and “Drama Junkie” are exciting and full of adrenaline, “Deserted” brings to light a slower side of the album. The vocals remain loud and upbeat, but the speedy and powerful instrumental of “Hip To Def” and “Drama Junkie” are replaced by a steady soft rhythm, introducing the listener to a mellow side of the band. A choppy guitar lead, juxtaposed with throbbing backup guitar, encapsulates heartache in “Delirium Tremens.” The heavy chord lines of “Must’ve Been” don’t

ASLEEP | Page 6

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DAILY BRUIN | Tuesday, February 7, 2012 | a&e | dailybruin.com/ae

DICKENS | More than a monolithic figure

VIDEO: UCLA Near Eastern Takht Ensemble

from page 5 in different ways in life, and not able to understand each other in the modern society. But at the same time, we had many hidden interconnections that he would bring into sight (as the novel progressed).” Yet, as is common for quintessential figures, many often perceive individuals like Dickens as monolithic figures. This is something the exhibit tries to dispel, according to Dawn Setzer, director of communications at UCLA Library. “Seeing an exhibit like this actually makes you see Dickens as more of a person. Figures from the 19th century

can seem very cast in stone, but he didn’t say ‘Okay, I’m going to write this’ and write (a novel all at once). He wrote in serial format, so he wrote each part as it was published,” Setzer said. Dickens’ personal and professional l i fe mater ial izes in the exhibit in the form of playbills, personal letters and other trifles from his two visits to the United States. T he ex h ibit w i l l be up through the end of March at the Charles E. Young Research Library Lobby Gallery. Setzer said she hopes that passers-by will not only learn a thing or two about Dickens

Soundbite PATRICIA FERIDO AND HANNAH JACOBS/ dai ly

br u in

On Feb. 2, the UCLA Near Eastern Takht Ensemble played a small concert featuring pop, classical and transcendental improvisational music from the Arab world. See parts of the performance and hear members of the ensemble explain what makes Near Eastern music unique at dailybruin.com/video.

ASLEEP | Album combines different styles from page 5 quite match its tranquil vocal melody. However, the two manage to complement each other to create a fluid harmonious ambiance. By the end of the song, the music fades, and listeners are left with the noises of different voices from a television changing as though listening to someone channel surfing. The style in which Asleep concludes “Must’ve Been” reveals Asleep’s experimental side in the album. “Big Sister” suggests a darker tone of “Unpleasant Companion.” The end of the song climaxes with highpitched vocals and heavy, tormented guitar. The album picks up momentum in “Static Mirrors,” returning to the fast-paced guitar riffs that characterize the first songs

of the album. Distorted guitar heard in order from beginning riffs add a new sound to the to end, and not on an individual album that credit a larger range song basis. in the artists’ capabilities and “Hip To Def” and “Drama creativity. The end of “Static Junkie” immediately catch the Mirrors” leaves listener’s ear, but the listener with it takes patience to chaotic static noises truly appreciate the Distorted that lead to the final rest of the album. guitar riffs add a Though “Unpleassong on “Unpleasant Companion”: new sound to the ant Companion” “Magik Numbers.” album that credit a does not introduce “Magik Numbers” anything previously larger range in the unheard in music, concludes the artists’ capabilities it combines aspects album with a soft, ambient acoustic of grunge, alternaand creativity. sound reinforced by tive and slightly the repeated lyrics experimental rock “It was all a dream,” suggesting and possesses strong vocals. the listener wake up from the Altogether, these elements 30-minute trance. create a fun and pleasant listen Asleep covers many genres for any fan of rock music. and styles in “Unpleasant – Stanton Sharpe Companion.” The combination of these different styles makes Email Sharpe at it imperative that the album is ssharpe@media.ucla.edu.

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ballads on the album. It’s reminiscent of Van Etten’s trademark style, relying on simple song writing, eerie melodies and haunting vocals that will send chills down the listener’s spine. Van Etten’s ability to switch between simplistic and complex arrangements is partly what makes this JAGJAGUWAR album commendable. Soon enough, the album’s Tramp lead single, “Serpents,” arrives with blaring drums Sharon Van Etten and electric guitars. This JAGJAGUWAR song is exemplary of Van Etten’s juxtaposition of beauty and spite with which she so often plays. Sharon Van Etten has Her lyrics here are angstnever denied the fact that driven, which complement her abusive ex-boyfriend, the semi-chaotic nature of who used to steal and break this track: “You enjoy suckher beloved instruments, ing on dreams / So I will fall has played a huge role in asleep with someone other her music. If anything, her than you.” dark past has given life to Van Etten said she had a musical by-product that singer and songwriter Zach induces intense feelings of Condon in mind when she love, hate, pleasure, pain wrote “We Are Fine” on the and ultimately, hope. ukulele. Van Etten is a singer and In addition to adding songwriter from Brooklyn, harmonies to the track, N.Y., and her mystical Condon even contributes indie-folk style his own verse. of music has The everlastattracted the ing chants of There are “I’m alright” attention of many intimate and throughout the many fans, as well as fellow song will leave acoustic songs, musicians in the the listener feelas well as plenty past few years. ing rejuvenated, of hard-hitting Her previous renewed and at album,“Epic,” guitar and drum- peace. which was “Tramp” has based episodes. released in the bipolar disorder fall of 2010, was in the best critically acclaimed and possible way. There are praised for its simplicity many intimate and acoustic and gloomy yet beautiful songs, as well as plenty of atmosphere. hard-hitting guitar and Collaboration is the drum-based episodes. The basis for Van Etten’s new first half of the album is album, “Tramp.” The group noisy, cathartic and hectic, of musicians (and friends) while the latter half tends who worked with Van Etten to drone off with peaceful on this album may very well organ hums. With so much be spoken of as the “indievariety and depth to this rock dream team” of 2012. album, it won’t be hard for The ensemble includes The listeners to find something National’s Aaron and Bryce they’ll love. Dessner, the Walkmen’s Van Etten’s band of Matt Barrick, Beirut’s boy musicians and friends have wonder Zach Condon, helped her produce someJulianna Barwick and Wye thing truly special here, Oak’s Jenn Wasner. and she’ll be getting plenty The album opens with of attention from the indie“Warsaw,” a track that intro- rock world for it. duces the arsenal of musi– Nicholas Curcio cal weapons “Tramp” has to offer: electric and acoustic Email Curcio at guitars, merciless drums, ncurcio@media.ucla.edu. piano, bells, tambourines and more. In comparison to RATINGS Van Etten’s previous work, this album has a rather 1 – Waste of time 3 – Good noisy demeanor. This isn’t 2 – Eh... could 4 – Great necessarily a bad thing. be better 5 – Classic “Give Out” is one of the first plainly acoustic

but will also learn about the breadth of resources available to students on campus. Grossman said he hopes that, at the end of the day, the event is informative and fun to those who choose to engage in the celebration. “I’m just doing (the event) for, as Dickens would say, a lark. I just wanted to celebrate Dickens’ birthday on campus, and I hope people will come,” Grossman said. “People are very worried for me that nobody’s going to show up for his birthday, and I keep telling them, ‘It’s Dickens’ birthday, not mine. If people don’t show up, that’s his problem.’”

REMOTE LIFE from page 5 Succeed in Business Without Really Trying.” Now here’s where it gets good. In the current Broadway musical, the song is sung by J. Pierrepont Finch, just as the struggling company he works for is about to fire everyone. His song says that, despite the cut-throat corporate climate, they’re all a part of something bigger, “The Brotherhood of Man.” NBC has long been the lagging network – the underdog, if you will. And while it continues to try and fight back for the ratings, there are just as many moments when the network owns up to the plight and is just plain self-deprecating. It’s difficult to call rooting for a multi-billion dollar media corporation rooting for the underdog. But there’s something about NBC that makes it a little more endearing. I think it’s the fact that I believe them when the cast members say they’re all a part of the NBC family. When Kristen Wiig and the rest of the “Saturday Night Live” cast ask, “Aren’t you proud to be, right here on NBC?” I find myself cheering as if Eli Manning just did something awesome on the field (my football knowledge only goes so far). It’s the home of the underdog. Look at the Thursday night comedy block for December 2011. It includes a mid-level paper company office (“The Office”), a small town parks and recreation department (“Parks and Recreation”) and a community college study group (“Community”). It’s on a network that specializes in these niche communities where you would think to find mediocrity. Instead you find heart. But it goes beyond the individual shows. There’s something about NBC and its ability to keep cast members loyal to the network. Just look at the former “Saturday Night Live” cast members that are still working for the peacock network: Tina Fey as Liz Lemon on “30 Rock.” Amy Poehler as Leslie Knope on “Parks and Recreation.” Maya Rudolph as Ava Alexander on “Up All Night.” Jimmy Fallon hosts “Late Night with Jimmy Fallon.” In Conan O’Brien’s “The Tonight Show” goodbye speech, he was legally allowed to say whatever he wanted about NBC. It was an opportunity to bash the network that had kicked him out in favor of a returning Leno. But despite everything that had happened, Conan said one thing loud and clear: NBC was his second home. Between “SNL,” “The Late Night Show” and “The Tonight Show” he spent 20 years with the peacock network, and he was proud of the work they had done together. As a Conan fan myself, this was the saddest thing: the idea of Conan working for someone who wasn’t NBC. Why should this matter to someone outside of the NBC fan fold? Maybe it shouldn’t. But there’s something about NBC that goes beyond the programming. It’s something about the fabric of the network itself. Yes, it’s the branding and the culmination of years of marketing, but I doubt it was anyone’s goal to be viewed as the bottom of the heap. That just comes with dumb luck and inexplicably low ratings. It takes a special sort to embrace the low ratings as a part of its identity. Maybe NBC isn’t winning in the rating game, but it seems to be having a lot of fun at the bottom. If you are emotionally attached to a television network, email Suchland at ssuchland@media. ucla.edu. “Remote Life” runs every Tuesday.


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EDITOR’S PICK:

“DERSU UZALA” FILM SCREENING Today, 6:30 p.m. Young Research Library 11348, FREE The Center for European and Eurasian Studies hosts a screening of “Dersu Uzala” as part of their “Soviet History through Soviet Film Series.”

Tuesday, February 14, 2012

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JONESY

“Dirty Looks: Long Distance Love Affairs” will feature the work of artist and filmmaker Jonesy. One of his pieces is the five-minute long “Beauty Must Suffer,” which was created in 2010 in color and with sound.

Connecting filmmakers across coasts ‘Dirty Looks: Long Distance Love Affairs’ at the Hammer features experimental artists from both ends of the country BY MARIA SIMPSON A&E contributor msimpson@media.ucla.edu Love is in the air – and on the screen – at the Hammer Museum. Tonight, the Hammer Museum will be screening a film series titled “Dirty Looks: Long Distance Love Affairs.”

The group of films are part of a New York-based roaming screening series that couples East and West Coast queer experimental filmmakers of the past and present. It is co-curated by Darin Klein and Bradford Nordeen and will feature work by Deanna Erdmann, Rhys Ernst, Mariah Garnett and David Jones

‘Dirty Looks’ Today, 8 p.m. Hammer Museum – FREE

(known as Jonesy) just to name a few. According to Klein, the screening series represents a type of communication between filmmakers from different sides of the country. “The screening series is a love letter between the East Coast and Los Angeles filmmakers,” he said.

The series ran on a monthly basis solely in New York until Klein, public programs associate at the Hammer, approached co-curator Nordeen with the idea of bringing the series to Los Angeles. Klein said he and Nordeen wanted to bring the East Coast experimental filmmakers together with those in Los Angeles. Klein also said that the artists fused together effortlessly, despite their coastal origins, because of the similarities in their work. It is a roadshow

consisting of a collection of short pieces from Dirty Look’s first year of production in New York, paired together with the recent works of Los Angeles filmmakers and historians. Those in attendance can expect to see lots of sexually explicit content and innovative techniques in filmmaking that extend from the early ’60s until now – one of the films wrapped

DIRTY LOOKS | Page 6

Soundbite

REVERBNATION

“The Search” Mike Acerbo REVERBNATION

Mike Acerbo wants to live in a fairy tale. As he sings of golden castles, blueberry moons and colorful lights in a lofty croon, the New York City singer and songwriter creates a mystical atmosphere that one would expect to be playing while a storybook heroine stumbles through fog toward her Prince Charming. After working for more than 10 years, Acerbo completed his first album, “The Search.” His alternative folk album creates an enchanted aura, jumping from whimsical tracks to heart-wrenching croons for lost family and friends. The album opens up with “Trilby,” a song about a young girl’s growing cynicism during her unsuccessful search for love. Acerbo’s voice glides smoothly over violins that create a

country-esque twang and is possibly the catchiest song on the album. Listeners encounter Acerbo’s whimsical side on “Blueberry Moon,” as he sings, “Spinning around like a bird in the sky / Come take my hand, we will capture our childhood / There’s a blueberry moon tonight.” Acerbo sounds rather pitchy at the end of the track, as he seems unaware of his own range. While his lyrics are amusing, listening to them is somewhat less so. “Fairy Tale Love” exemplifies the magical tone that Acerbo was presumably hoping to create with “The Search.” The appearance of an electric guitar introduces a new dynamic to the album, and

MIKE ACERBO | Page 6

RATINGS 1 – Waste of time 3 – Good 4 – Great 2 – Eh... could 5 – Classic be better

SPYGLASS ENTERTAINMENT

Channing Tatum and Rachel McAdams star in the romance film, “The Vow.” Films, more than television shows, seem to be be a better date activity.

Movies a better date choice than TV Going to the theater has a more romantic feeling while curling up on the couch with your favorite show lacks sense of authenticity SAMANTHA SUCHLAND

W

REMOTE LIFE

hat better day for me to write about television than Valentine’s Day. I love TV, and Valentine’s Day is all about love, right? But the more I thought about the mechanics of Valentine’s Day and dating in general, the two seemed less and less compatible. Granted you can make a connection with someone over a TV show, but watching a show together isn’t the greatest date activity. Despite everything that’s wrong with the movie industry today, such as the barrage of sequels and high ticket prices, going out to the movies remains the better option.

This was a depressing discovery. The movies being a better date activity than TV watching has nothing to do with the movie itself. No, I’m not talking about canoodling in the back. This applies to the people that actually watch the movie too. It’s essentially a way to define an outing as a date. It shows a desire to be seen with another person in public. It shows a willingness to spend money to be with that person (even if you go dutch). Not to mention, it shows a mutual understanding that this is something more than hanging out. Unless of course it’s the middle of the afternoon and your date brings a friend; then things can get a little more muddled. But essentially, the only point in going out to a movie is to acknowledge that the outing is romantic. When I walked out of “The Vow” this weekend, there was a girl quite literally

hanging onto a guy’s arm with tears streaming down her face. It was abundantly clear that they were on a date. I’m not sure how well it was going, but that’s not the point. While I like to think that asking someone to come over and watch a TV show is a wonderfully romantic gesture about mutual interests, there’s definitely something about it that sounds ... not so much like a date. Let’s be honest. It sounds lazy at best and like a booty call at worst. Now when I say dating, I should be a little more specific. For those in long-term relationships, staying in and watching a TV show together on the couch sounds pretty adorable. You know the drill, cuddling up to “your show” and throwing popcorn in each other’s mouths. My understanding of longterm relationships is based mostly on ABC Family shows, so I could be romanticizing it a bit.

REMOTE LIFE | Page 6


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DAILY BRUIN | Tuesday, February 14, 2012 | a&e | dailybruin.com/ae

REMOTE LIFE | There’s something off about TV dates from page 5 But for the rest of us out there, it’s not quite so cute. I like to compare it to the “uncanny valley,” a robotics term that’s been adopted by the film industry when talking about computer generated humans in movies. As technology becomes better and better at generating more human-like characters, there’s a moment where the character looks just short of real and the audience becomes incredibly uncomfortable. The most famous example is “The Polar Express” where they used motion-capture technol-

ogy to turn Tom Hanks into a overcome the “uncanny valley” glassy-eyed train conductor of television dates, please prove who sang about hot chocolate. me wrong. Television dates In some ways it’s are like Tom Hanks a nice discovery. You in “The Polar don’t have to have You can Express.” They look perfect show pick a movie out the a lot like a date, but in common with of a hat, and there’s something someone before you off about the whole you’re already go on a date. You thing. can pick a movie out ahead of all the Let me back up of a hat, and you’re a little and say, this people watching already ahead of all isn’t based on a the people watching TV together. specific experience, TV together. so much as I spent I feel like I’m a lot of time trying to imagine betraying a part of myself by the perfect television-centric saying that, but it’s true. date and came up empty. If It also gives me reason to someone has found a way to ignore John Cusack’s narrow-

minded adage in the movie “High Fidelity,” “What really matters is what you like, not what you are like.” This is something I think college students can get hung up on pretty easily. So for all the TV lovers out there, no matter how much you enjoy your shows, you can let them go for a night out. Take a chance on the movies and know that “Firefly” will be there if your date turns up with his or her roommate. If you were tricked into a television date this Valentine’s Day, email Suchland at ssuchland@media.ucla.edu.

MIKE ACERBO | Album does not impress, is lackluster from page 5 Acerbo’s claim that this love “is not real” is mirrored by the ethereal mood on this track. Acerbo’s song “Mother” slows down the tempo with a tribute to his mother, who died tragically while he was in high school. According to his biography, Acerbo’s teenage years were darkened by the deaths of his mother, brother and a close friend. “Won’t you keep the candle burning in the window / So that I might find my way again to the embrace that held me dear,” sings Acerbo in some of the most heartfelt lyrics on the album. The simplicity of the piano adds a nice counterpart to Acerbo’s soprano. “Robbie” also offers a

glimpse into Acerbo’s troubled “No Moon” starts off with past, as a song about a childa fleeting strain of a flute, hood friend who drowned. making Acerbo’s 1970s But while “Robbie” is packed influences apparent with its with feeling, Acerbo’s voice layered vocals and poetic is unimpressive, lyrics. The soprano hitting the right key that the chorus note less than half calls for does While Acof the time. Acerbo no favors, The folky twang erbo’s songs are as his voice does found in “Trilby” beautifully packed not allow for the resurfaces on high notes the song with emotion, “Where the River requires. there is nothing Meets the Sea,” After a few with backup vocals distinguishing more mediocre from Leah Coloff songs, the album adding a throatier about the album. closes with “The counterpart to Night Light.” Acerbo’s smooth Appropriately, the high notes. The song presents song sounds like a lullaby and some nice harmonies and, serves as a nice close to “The while repetitive, captures the Search.” carefree feelings of a day by “The Search” starts out the river. strong with “Trilby” and has

a few shining moments on “Mother” and “The Night Light.” While Acerbo’s songs are beautifully packed with emotion, there is nothing distinguishing about the album as a whole. It seems as though Acerbo himself is unsure of his own genre. The album tries to do too much – no track stands out as a frontrunner, and while Acerbo uses a variety of instruments, there is a sad lack of depth in his song-writing. While a few songs off “The Search” could be good for a television show soundtrack, it is hardly noteworthy as a stand-alone effort. – Leah Christianson

DIRTY LOOKS | Film series as a platform for debate from page 5

Jonesy is an experimental filmmaker and artist by trade. up shooting just a couple of His piece titled “Beauty Must weeks ago. Klein also said the Suffer” will also be showcased material is fresh with a broad among the group of films. range of emotions. Jonesy has activist roots and “There is some really fun- said he believes that the films ny work as well as some very are important for LGBT youth serious issues that are dis- at colleges across the country, cussed. It will be an emotional including UCLA. roller coaster,” he said. According to Jonesy, the Garnett, who has worked event will provide an open a s a c o m merplatform for inquicial and music ry, discussion and v ideo d i rector debate, as he, GarUnderin Los Angeles, nett, Erd man n, said she experi- ground, obscure, E r n s t a n d p e r mented with dif- intellectual and ar- former Narcissister ferent types of tistic types will be will participate in media when crea post-screen i n g most intrigued.” ating her piece discussion and take “Encou nter s I questions from the Darin Klein audience. May or May Not Have Had With Accordi ng to Co-curator Peter Berlin.” K lei n, seei ng the “This piece has changed films in “Dirty Looks” might shape over the last 3 years be an offbeat way for students – I started in 2009. It was to spend Valentine’s Day. originally intended to be a “It’s not your usual way single channel film in three to spend the holiday. Underparts, but the way it was first ground, obscure, intellectual exhibited was a multi channel and artistic types will be most installation. ... This is the first intrigued. And when people time it’s being screened as a think of love, it leads to sex,” film,” Garnett said. Klein said.

Soundbite

Email Christianson at lchristianson@media.ucla.edu.

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“White Hot Gun.” One of the high points of the album, the song is carried by a fastKNITTING FACTORY RECORDS paced drumbeat and a driving, fuzz-laden riff. Cipolla lets his vocals loose in an aggressive chant over the guitar melodies. The end The Phantom Family result is a great recreation Halo’s new record, “When I of late ’60s psychedelia. Fall Out,” is a contemporary Amid the extremes of psychedelic experience. heavy and soft, “When I With elements of acid rock Fall Out” has some welland krautrock, the record balanced tracks in between. comes across as loud and “Lightning On Your experimental. Face” is one of these interThe creative force mediate tracks. The song behind the band Dominic has a fairly upbeat, almost Cipolla has created a funky rhythm that serves soundscape that’s not as the base for a variety too common in modern of sounds. Except for the day music. The record stripped-down verses with can sometimes seem a bit only bass and drums, the single-minded because melodies are created with of a lack of sound variety. layered vocals, guitars and But it still sounds good, strings. Again, the hypnotic and the singlethemes of the mindedness music are presmay very well be ent here. The crewhat Cipolla was The acid rock ative force behind going for. is extremely the band DomiFor “When prominent in the I Fall Out,” closing track, nic Cipolla has Cipolla seems created a sound- “Vital Energy.” to have drawn From the start, scape that’s not the song puts on certain sounds from forth a harmonic too common. the early ’70s. minor, Middle This includes Eastern vibe in everything from glam both the music and Cipolla’s rock to the stylings of Syd lyrics mentioning “ancient Barrett. Cipolla employed Babylonian slaves.” techniques such as doubleThrough its melodies and tracking the drums with harmonies, “Vital Energy” different drum sets to epitomizes the experimencreate a sharp, stereo-delay tal aspect of the album. It effect that builds atmoeventually closes out the sphere. A similar effect was recording with an increasapplied to the vocals. ingly dissonant downward The eight-track, spiral that culminates in a 29-minute record is one sinister note. of two to be released as “When I Fall Out” is a “brother and sister” to one well-written record. The another, in a light/dark album combines an emphaduo. “When I Fall Out” is sis on psychedelia with a the darker “sister” album to loud, aggressive approach “Hard Apple Moon,” which to the music that results in is currently planned to be a focused effort. The main released in the fall. pitfall of the album is a The album opens lack of variation in instruwith “The Fall Out.” The ments and sound variety track starts with a clean, in general. But the album hypnotic riff and beat manages to sound great which continues all the way regardless. through. Cipolla’s dazed – Abhay Malik vocal melodies and simple rhymes such as “You can Email Malik at stay real high / You can amalik@media.ucla.edu. tell a lie” create a lulling effect that is only broken by RATINGS some jarring guitar chords 1 – Waste of time 3 – Good toward the end of the song. The heavier aspects of 2 – Eh... could 4 – Great the music are evident in be better 5 – Classic

“When I Fall Out” Phantom Family Halo


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EDITOR’S PICK:

CEC SNEAK: “PROJECT X” Today, 8 p.m. Ackerman Grand Ballroom, FREE CEC screens a sneak peak of “Project X,” a film about three high school seniors who throw a party to make a name for themselves.

Tuesday, February 21, 2012

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dailybruin.com/ae

Bruins are brewin’ up campus coffee Student baristas share experiences behind what makes that morning cup so special BY JESSICA MCQUEEN A&E contributor jmcqueen@media.ucla.edu While many students are fast asleep, fourth-year history student Nina Aguilar arrives at work at 6 a.m. The sun has not come out yet, and the campus is empty. Aguilar, however, is ready to start her day as a barista at Bruin Buzz. Aguilar, who is only one of the many student baristas on campus, opens the coffee bar, stocks pastries and begins the brewing schedule for the house blend, fair-trade, Italian, decaf and monthly special coffees that Bruin Buzz has to offer. “It can be intense, but I like to open in the mornings. ... It’s surprisingly systematic. There’s a very clear method to the coffee madness,” Aguilar said. Aguilar, a self-proclaimed coffee snob, said she gained much of her coffee knowledge when she studied abroad in Italy. She said her first shot of espresso in Italy got her hooked on cappuccinos, macchiatos and lattes. According to Aguilar, her appreciation for coffee has led her to uphold certain standards as a barista. “I really ... care about the product on a personal level, (so) I’m also really sure to give the customer a really good cup of coffee or whatever it is that they’re ordering,” Aguilar said.

KEN HUANG/ daily

b r u in daily b r u in s eni o r sta f f

Fourth-year political science student Parnaigon Yangpaksi works as a student barista at Kerckhoff Coffeehouse, one of several coffee houses located on campus.

Aguilar also said she pays attention to sma l l deta i ls, such as perfecting the level of foam or the amount of syrup or

PART ONE IN A SERIES: COFFEE WEEK TODAY

WEDNESDAY

Student baristas working at coffee houses across campus.

A quick look at the pros and cons of Read up on some of trends brewing Q&As with a couple of UCLA’s UCLA’s many coffee houses. in the coffee world. coffee-conscious professors.

THURSDAY

COFFEE BARISTAS | Page 7

FRIDAY

P R E V I O U S STO R I E S AT DA I LY B R U I N .C O M

Soundbite

FUELED BY RAMEN

Some Nights Fun. FUELED BY RAMEN

CHARLIE WANG/ daily

b r u in

The columns outside of Bunche Hall are one of a few locations on campus that have been marked with writings that tie in with the show “Sherlock.”

UCLA believes in Sherlock Holmes Markings on the walls of Bunche Hall incite togetherness among avid television show fans SAMANTHA SUCHLAND

REMOTE LIFE

I

f you’re not a fan of the shows “Sherlock,” “Doctor Who” or “Game of Thrones,” you might have walked by the chalk writings at Bunche Hall without giving them much thought. But if you are a fan, you’ve probably whipped out your phone, taken a photo and gloated about attending UCLA on every social network you happen to be a part of. Or at least that’s what I’ve been doing. Messages like “I believe in Sherlock Holmes,” “Bad Wolf” and “Ned Stark” have been accumulating on the walls of Bunche for weeks, making Bunche a mecca for television fans. They’ve also validated my choice to attend UCLA, where people don’t just like their television but plaster their appreciation for it across buildings. So I donned my metaphorical

Sherlock Holmes deer-stalking cap and did some sleuthing to find out who was responsible. Eventually I discovered the UCLA Sherlockians, a small group of “Sherlock” fans who meet in Ackerman on Friday afternoons. It all began a month ago when Lenore Berry, a fifth-year comparative literature student, posted on Tumblr asking if there were any “Sherlock” fans at UCLA. A few responses resulted in four to six UCLA Sherlockians meeting up each week to discuss their favorite shows. By week two they were bringing their own chalk. “I’ve been seeing ‘I believe in Sherlock’ on other campuses in England so I thought UCLA needed one,” Berry said. They began with the message “I believe in Sherlock Holmes” on the temporary ramp near Pauley Pavilion. Another week they drew the door to 221B Baker St., the fictional home of Sherlock Holmes, on the pillars in front of the Geology Building.

But most of the excitement continues to take place near Bunche, where copy cats from other shows are leaving their messages. “For whatever reason, Bunche is where all the nerd groups are going to leave their nerd messages,” Berry said. But there’s more to the messages than just letting the world know that fellow fans of these shows exist at UCLA. There are back stories to these messages, which give them depth and a reason to be written about. “Bad Wolf” was a reoccurring phrase on BBC’s “Doctor Who.” It was spoken rarely but appeared scrawled across walls in nearly every episode of the show’s first season. Eventually viewers learned that the message was planted purposefully from another place and time. Seeing the words “Bad Wolf” written on a wall at UCLA is incredibly thrilling once you’ve learned to associate the phrase with a message from the future. When I sent my roommate a photo of the words “Ned Stark,” she replied with the “Game of Thrones” catchphrase, “Winter is coming.” Suddenly I felt as if I

were standing in the middle of Winterfell, a direwolf at my feet. In reality I was in the sculpture garden, late for class. And then there are the “Sherlock” messages that started it all. Without giving too much away, the finale of “Sherlock” season two leaves Holmes with a tarnished reputation. In the wake of that episode, fans across the world have begun a guerilla style support campaign with fliers and messages stating, “I believe in Sherlock Holmes.” Seeing these messages made me feel as if I were a part of an underground society of Sherlock supporters lurking in the dark shadows of campus. And I mean lurking in the most complimentary way possible. So thank you to the UCLA Sherlockians and all those other television nerds out there who have taken to the pillars of Bunche. Now I know I chose the right school. I look forward to your future work and until then, I believe in Sherlock Holmes. If you are part of a television club on campus, email Suchland at ssuchland@media.ucla.edu.

Every once in a while, there comes an album that does just about everything right, an album that combines a seemingly chaotic mix of melodies and sounds to create an arresting mosaic. Once in a blue moon, an album comes along that reminds listeners why they love music in the first place. “Some Nights” is one of those albums. Fun. has recently shot into the public eye with its mega-hit “We Are Young” (featuring Janelle Monáe), otherwise known as an anthem for those ready and rearing to go to make some decisions they’ll later regret. But here’s the thing: That isn’t even the best song on the album, not by a long shot. The album begins with “Some Nights Intro,” a short song that flits from delicate pianos to something decidedly reminiscent of Queen. This resemblance to Queen continues throughout the entire album, both in terms of arrangements and frontman Nate Ruess’ outstanding vocal dexterity. Almost every song on the album is great, but four (other than “We Are Young”) stand out above the rest. The album’s title track, “Some Nights,” is the most musically multifaceted

song of the set, beginning with an a capella introduction before going from indie-pop sounds to a pleasantly surprising African-style drum beat. It also features the first of many examples of excellent lyrics on the album, which manage to convey anxiety in the midst of otherwise upbeat music reminiscent of Queen: “Some nights, I wish this all would end/ ’Cause I could use some friends for a change.” After “We Are Young” comes “Carry On,” perhaps the best song on the album and perfectly capable of being Fun.’s next big hit. It begins with an acoustic guitar and piano before amping up into an anthem for those unsure of themselves. Ruess sings, in a voice which brings to mind the glory of Freddie Mercury, about accepting yourself, limitations included: “You swore and said we are not / We are not shining stars / This I know / I never said we are.” Unfortunately, “Carry On” is followed by the record’s only flop of a song: “It Gets Better.” Gritty and repetitive, the song sticks out like a sore thumb from the feel of “Some Nights” as a whole, and it could

FUN | Page 7

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EDITOR’S PICK:

“SILENT HOUSE”

Today, 8 p.m. Ackerman Grand Ballroom, FREE Elizabeth Olsen plays a young woman who is trapped in her parent’s lake house. Directed by the duo that directed the film “Open Water.”

Tuesday, February 28, 2012

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Q&A with Jessica Steel Pandora’s executive vice president gives insight into the evolution of the radio music industry

C o u rtesy

of

CONAN SORANNO

Jessica Steel is the executive vice president of Pandora, an online radio streaming web site. Steel will be speaking as Sigma Eta Pi’s guest speaker tonight in Moore 100. The co-ed entrepreneurship fraternity will have Steel speak on business start-up lessons she has learned.

Shows battle against busy schedules

Pandora rad io makes up more than 60 percent of Internet radio listening in the United States. When Jessica Steel, executive v ice president of business and corporate development at Pandora Media Inc. received a phone call from her nephew Aza Steel, a third-year sociology student, asking if she would come speak at UCLA as Sigma Eta Pi’s guest speaker, she immediately agreed to do so. Tonight, Steel will speak about the music industry and the start-up lessons she has learned. Steel spoke to the Daily Bruin’s Marjorie Yan about

Start-up Lessons Learned with Jessica Steel Today, 7:30 p.m. Moore 100, FREE

the story behind the company’s name, the Music Genome Project and Pandora’s view on the rise of social media platforms and Spotify. Daily Bruin: Why the name Pandora? Jessica Steel: I remember

JESSICA STEEL | Page 6

Soundbite

Programs that aren’t viewers’ favorites have to take a back seat when time is tight SAMANTHA SUCHLAND

I

REMOTE LIFE

t’s that time of the quarter. Week eight has arrived, the midterm madness has slowed and it’s the short lull before the end of the quarter sprint. After two or three weeks of all-nighters, essays, extracurricular events and surprise obligations, I finally have a day or two to recover and catch up on my television shows. I’m dreading it. I’ve neglected some of my shows for so long that the thought of catching up is exhausting. Sometimes I think about the amount of television I “need” to watch, and I want to curl up in a ball on the couch and pretend the shows don’t exist. Even if you’re completely obsessed with television, there are those shows that fall through the cracks. Sure, I’ll make time to watch an episode of “Parks and Recreation” the night before an exam while my

SECRET CITY RECORDS

“The End of That” Plants and Animals SECRETS CITY RECORDS FOX

Dr. Temperance Brennan (Emily Deschanel, right) and FBI Special Agent Seeley Booth (David Boreanaz, left) adjust to their new life as an expectant couple in the premiere of the seventh season of Fox’s drama “Bones.”

midterm essay’s concluding paragraph continues to dangle. It’s those other shows that I still feel obligated to follow that are nagging me. And while now seems like the opportune time to catch up, my mind would rather not deal with them. Between students’ busy schedules and their tendency to start more

shows than physically possible to watch, I can’t be the only one suffering. Somehow I managed to miss the first episode of “Bones” when it started late because of lead actress Emily Deschanel’s pregnancy. I kept meaning to go back and watch, but once I finally tried, the first episode had already disappeared from

Hulu. So while the show goes on, I am sitting here debating how much effort I’m willing to put into catching up. Jumping in with the most recent episode is unthinkable (one does not simply watch a show out of order) and the

REMOTE LIFE | Page 6

Soundbite

MONKEYTOWN RECORDS

“Parastrophics” Mouse on Mars MONKEYTOWN RECORDS

The predominant electropop beats of Mouse on Mars’

newest release “Parastrophics” make this album stand out compared to many songs heard on the radio today. One of the most surprising things about “Parastrophics,” in fact, is that each song has very few audible lyrics, placing the focus on the inventive

musical mixing styles of Mouse on Mars’ German duo of Jan St. Werner and Andi Toma. This playful album comes after nearly a six-year gap since the group released “Varcharz” in 2006 and shows how the group has grown over the course of the 10 albums it has released since 1994. The absence of a strong lyrical presence on most of the tracks allows listeners to really concentrate on what Mouse on Mars does best – coming up with interesting and surprising melodies and beats using software that St. Werner and Toma designed themselves. At times, some songs begin to sound like the music in the background of a Black Eyed Peas track, but on “Parastrophics,” the beats are never overpowered by words. The opening track “The Beach Stop” definitely sets the scene for what is to come on the rest of the album and showcases the electronic melodies and unusual approach of Mouse on Mars.

There are some soft voices in the background, which can be difficult to make out at first, but as the album progresses, it becomes clear that “Parastrophics” is all about the beats. The track titles themselves also speak to the innovative style of Mouse on Mars. From “Chordblocker, Cinnamon Toasted” to “Imatch” and “Polaroyced,” the group has come up with song names that are unlikely to be outdone in terms of creativity. Around the middle portion of the album, the band’s approach to music and electro-pop becomes more commonplace. The lyrics of “They Know Your Name” were the clearest and easiest to understand of any track on the album and “Syncrop-

MOUSE ON MARS | Page 6

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It’s not often that the phrase “plants and animals” replaces images of pretty flowers and fuzzy woodland creatures with guitar riffs and drum sets. Today, the alternative band Plants and Animals released “The End of That” on Secret City Records. Hailing from Montreal, Canada, the group sounds like a mix of Frightened Rabbit and Grizzly Bear with a dash of Bob Dylanesque folk. Having played together for 10 years, the band’s history is sprinkled with track appearances on popular television shows such as “Chuck” and a discography that boasts three albums and two EPs. The album starts out smoothly with “Before,” opening with a solo acoustic guitar before vocalist Warren Spicer’s throaty voice joins in, singing “Love me now and leave me in the Spring / The sun don’t come to change everything / What looked good in the winter don’t look good no more / Forget about me and everything that came before.” The lyrics set the stage for the rest of “The End of That,” suggesting that Plants and Animals has graduated to a more mature sound on this album than that of their first two. The track combines heartfelt lyrics with soothing instrumentals, and it may be the best song on the album. On the title track, “The End of That,” Spicer sings about trying cocaine, thinking of things he doesn’t

want to be and women with “pepper-grinder hips.” The song steps up the album’s tempo, fusing harmonies and rifts that give the song a more classic rock vibe – ironically happy as it tells listeners of things that have ended. “Lightshow” is reminiscent of Arcade Fire’s early work – perhaps a nod to Sarah Neufeld of Arcade Fire, fellow Montreal native who was featured on Plants and Animals’ debut album, “Parc Avenue.” It is a fun track with plenty of guitar solos and simple lyrics that are easy to sing along with. Plants and Animals shows its ability to mix a laid-back attitude with powerful music on “Crisis!” as the band members spend the first 20 seconds of the song simply talking to one another. Spicer proceeds to sing starkly about all of his friends either “getting married or breaking up.” Acoustically, the song is far from a crisis, making its listener want to stand up and dance to its catchy lyrics. A guitar solo followed by Spicer’s gravelly vocals solidify the song as something listeners can get lost in. “HC” scales the intensity back, reviving the acoustic feel found in the opening track in a less-than-aminute song. It serves as a reprieve between the intensity of “Crisis” and “Why & Why,” speaking mostly of lonely days and not much

PLANTS | Page 6

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DAILY BRUIN | Tuesday, February 28, 2012 | a&e | dailybruin.com/ae

MOUSE ON MARS | Songs mix string, electronic styles from page 5 ticians” has a much more calmer and slower pace. This demonstrates the versatility of Mouse on Mars and its ability to create fast-paced beats as well as softer tracks. While track length varies between three to nearly six minutes, one of the songs, “Bruised to Imwimper,” is only 43 seconds long. This once again speaks to the fact that Mouse on Mars breaks away from convention and creates music on its own terms. The most familiar-sounding song, “Metrotopy,” is a bit like something that one would dance to or hear playing at party, but this trend is brief, and subsequent songs such as “Imatch” seem to be in a category all their own that

reflects the creative power and electronic mixing skills of Mouse on Mars. The final two tracks, “Baku Hipster” and “Seaqz” are incredibly fast-paced and bring “Parastrophics” to a strong close. Both songs summarize what Mouse on Mars does best on this album and demonstrate the unconventional and innovative techniques of combining some string instruments and electronic mixing. Even though these 13 songs are probably unlike anything that those unfamiliar with Mouse on Mars have ever heard before, it is the sense of unpredictability that makes this album compelling. – Andrea Seikaly Email Seikaly at aseikaly@media.ucla.edu.

REMOTE LIFE | Catching up shouldn’t cause headaches from page 5 idea of tracking down the first season sounds worst than trekking to Young Research Library on a Sunday morning. This internal debate went on for far too long and eventually I gave up. “Bones” has since gone on to solve murders without my viewership. “How I Met Your Mother” came dangerously close to this fate. The cbs.com video player refused to play on my computer, and as each week passed, I became more and more distanced from the show. This was probably a healthy separation period, and at the time it seemed like a break-up was in the future, but eventually I tried a different web

from page 5 else. On “Why & Why,” Spicer laments an inability to get over a beautiful girl in a dream, expressing this frustration with some amped-up vocals and guitar riffs. “Let it go,” Spicer cries over and over again, layering a husky voice over some impressive instrumentals. “Control Me” feels a bit uninspired, as the majority of the song simply repeats its title. An electric guitar starts the track off on a flat note, setting a tone for the rest of the track. While Spicer maintains his strong, gravelly voice, the song eventually becomes boring. “No Idea” is the second song on the album to express a fear of commitment in the wake of all of one’s friends getting married. On its website, Plants and Animals describes “The End of That” as an album that defines a person in their 20s – confident in a way that only young people can be, yet struggling to figure out what

he/she wants. “No Idea” delves into these issues. Spicer sings with feeling, saying, “The winter’s got a way of throwing punches / It’s turning black and blue.” A piano appears during the chorus, and its repetitive chords drive home the somber vibe of the track. “The End of That” seems to be a reconciling of the happiness and stress caused by the transition from adolescence to adulthood. The tracks alternate from effusive to reflective, with Spicer’s gravelly vocals tying them all together, giving the album a refined, post-classic feel that is surprisingly satisfying. Despite its name, Plants and Animals’ sound is far from animalistic. While a few of the songs become muddled – “2010” and “Runaways” blend together – the majority of the tracks stand on their own as successful pieces of music. – Leah Christianson Email Christianson at lchristianson@media.ucla.edu

spring break. Other times it’s more serious. Maybe it’s time to let a show go. I’ve finally made peace with the fact that I haven’t watched an episode of “The Office” since Michael Scott left. Whatever your reason, it’s sad to realize that a show you once loved is no longer a priority on your watch list. But just think, giving up that one pesky show means more time to start something new. Something you might actually enjoy watching. If you have a show you’ve been meaning to catch up on, email Suchland at ssuchland@media.ucla.edu. “Remote Life” runs every Tuesday.

JESSICA STEEL | Revolutionizing how we hear music from page 5

PLANTS | Lead vocals pull together album’s tracks

browser, and now my weekly it’s something no one would date with Barney Stinson is no ever say out loud, but that longer compromised. However, would be a lie. our relationship is still compliOf course no one needs to cated. watch TV. It’s more “Television defiabout the refusal to cit rebound,” a term let a show go. After a long that I just made up, If you’ve is something I’m followed a show span of missing sure many college certain shows, the across multiple students are dealseasons, you have daunting amount of already invested ing with. After a long time it would take more time into it span of missing to catch up makes than some friendcertain shows, the ships. That friend daunting amount of us not watch at all. you met in your time it would take class last quarter? to catch up causes You’ve probably us to rebound back to the state known Walter White or Don of not wanting to watch at all. Draper longer. It’s not the sort of thing you Sometimes it really is that would ever complain about in a you haven’t had time, and serious way. I’d even like to say you’ll remedy the situation over

the day our CEO came back from lunch with a couple of names written on the back of a cocktail napkin. We were in the process of choosing a name at that point, and Pandora was one of them. He had been in the automotive industry, and he had to name car lines, and so Greek names are something that commonly tapped into those exercises. When we focus group-tested the name Pandora, the thing that set it apart was people’s recollection of the name. It was 10 times more memorable than any of the other names we tested. It’s very phonetic and people are able to spell it out. DB: What were some other names that were considered? JS: Thebeast.fm and thebeast.com since the company was called Savage Beast Technology. I’m really glad it turned out to be Pandora.

DB : How h a s Pa ndor a evolved with the rise of social media platforms? JS: It’s been predominantly a word-of-mouth phenomenon. It’s people finding the product, falling in love with the playlists and introducing it to their friends. That’s certainly been made more frictionless by Pandora’s presence on mobile phones. Pandora is one of the most downloaded apps on every major platform that we’re on. DB: With the rise in popularity of Spotify and other music streaming outlets, how would you say Pandora has responded? JS: Our growth actually accelerated at the time Spotify came to the United States, and we see the services as complimentary to each other. We set out to re-define the radio industry through personalization, but radio is predominantly a leaned-back experience, something one does while driving or cooking

at home or working at their desk, and Spotify satisfies a different demand, which is, “I know exactly the song I want to hear right now.” DB : So Pa ndora works through the “Music Genome Project.” How does that work? JS: Every one of the 900,000 songs in our catalogue has been analyzed by a musician and is described across ... between 200 to 500 attributes per song. ... We’ve been working with it since the company was founded in early 2000, so it’s been long time, but it’s actually a process we’ve been able to scale very well with our own growth, so we analyze more than tens of thousands of songs each month. DB: You are also musician under the name Jessica Stone. What is it like balancing the performance side while also working on the business side? JS: Well I like to say that work-life balance is more like a pendulum than a level. The

truth is that I’ve done very little with my own music since I came to Pandora, which commands all of my time, but I believe in what Pandora is doing, and it’s helping people connect with music they haven’t heard any other way. It helps other artists like myself who don’t have access to mainstream media to promote their music. We have lots of anecdotal stories where bands tell us their shows are filling up because of Pandora, which is really heartening. DB: If you could choose one side of the industry, the business or the performance side, for the rest of your life, which one would it be and why? JS: I think to be in the music industry today means being both a good business person and having a good creative mind. I don’t think you could have one without the other in this day and age. Email Yan at myan@media.ucla.edu.

THE DAILY BRUIN:

BEST ALL-AROUND DAILY STUDENT NEWSPAPER in 2006 and 2003 by the Society of Professional Journalists


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EDITOR’S PICK:

‘CONTINUITY AND CHANGE’ Today, 1 p.m. Schoenberg Hall Room B544, FREE “Continuity and Change: Bedouin Music and Dance in the North Badia, Jordan” is an ethnomusicology lecture by Professor Kathleen Hood.

Wednesday, April 4, 2012

Page 5

Documenting the lives of gang members UCLA professor’s memoir captures personal dimension of local urban struggles BY JESSICA MCQUEEN A&E contributor jmcqueen@media.ucla.edu A young boy with a purple ba nda na cover i n g h is face walks through the streets of his Watts neighborhood. He carries an AK-47 assault rifle in hand, but no one seems to notice. But Jorja Leap does. Leap, an anthropologist and professor in the Department of Social Welfare, recently published her memoir “Jumped In: What Gangs Taught Me about Violence, Drugs, Love, and Redemption.” The book documents the lives and personal histories of gangs and gang members through Leap’s encounters and experiences with them in Los Angeles. “I wanted to understand and talk to people about how they reacted (to this), and I ultimately wanted to do something to get money and resources into this area to help with the struggle against gangs,” Leap said. Leap first became interested in gang violence 30 years ago when working as a social worker in South Los Angeles and is now the senior policy adviser on gangs and youth violence for the Los Angeles County Sheriff’s Department. With both current and former gang members as guides, Leap said she was able to speak with gang members and get their perspectives on the violence and crime that plagues areas such as Pacoima, Harbor Gateway, Watts and other neighborhoods in South Los Angeles. “I didn’t want to w rite a typical book about crime and statistics and how to solve

c o u rt e sy o f

MARCIA BARRIS

UCLA professor and anthropologist Jorja Leap has just published her memoir titled “Jumped In: What Gangs Taught Me about Violence, Drugs, Love, and Redemption.”

the gang problem. Instead, I wanted people to hear the voices and learn about the lives of those who are rarely truly understood in their own words ... a nd those who str u g g le every day,” Leap said. According to Leap, if people look beyond the criminal aspects of the issue, they can also relate to and understand the personal struggles these people face, such as the need for family and happiness. Leap also works closely with

Homeboy Industr ies, a Los Angeles-based foundation that serves as a safe gathering place for former gang members or those who wish to leave gangs. “(Homeboy Industries) is for individuals who have decided that they want to change their lives. Many of these people have been in local or federal custody, and through our services, we try to give them the support they need,” said Elie Miller, Homeboy Industries attorney and Legal Services

director. Accord i n g to M i l ler, the gang rehabilitation organization offers free services and classes about subjects ranging from anger management and substance abuse to job training. As part of a current five-year longitudinal study at Homeboy Industries, Leap has collected data and life histories of more than 300 people who went to the organization for help with leaving their gangs.

Although Leap’s data is preliminary, her findings show that a majority of these people have been successful in leaving gangs within the past three years. Todd Franke, an associate professor in the Department of Social Welfare, also worked with Leap at Homeboy Industries to develop a system for tracking the outcomes of those who want to leave gangs. According to Franke, the two professors wanted to iden-

tify the qualities that make new ex-gang members successful at leaving their gangs in order to devise a way to better help those who come to the organization. “G a n g i nvol vement i s a complex issue. No one has the answer, but we are adding information to the discussion and deciding how we want to format our plan to help people move forward and out of gang life if that is what they want to do,” Franke said.

A night of Turkish culture Bruins will get a chance to enjoy food, dance and music from region, all for a good cause BY MARGARET DAVIS A&E contributor mdavis2@media.ucla.edu When UCLA students are planning how to spend their Friday night, they might hope it w i l l i nclude i nteresti n g food, a concert or even doing something to support a philanthropic cause. This week, the Turkish Cultural Club will give students the opportunity to have all three at once. On Friday, the club w ill host its 2nd Annual Turkish Cultural Night. This event is designed to introduce students to many aspects of Turkish culture while simultaneously supporting a cause related to Turkey. A new cause is introduced each year. Accord i n g to El la Eser, second-year physiological sciences student and social chair of the Turkish Cultural Club, the proceeds from this year’s event will support autistic children in Turkey. Eser said it was after a trip to Turkey that she decided children’s autism would be an appropriate cause for the Turkish Cultural Club to sponsor. “When I was there I worked at a hospit a l. A nd what I realized is ... compared to the United States, the kids there – especially the special needs kids – don’t have nearly as many resources as many American kids do,” Eser said. The club will donate money raised to an organization known as Turkish Philanthropy Funds. Accord i n g to Eser, th is organization works as a distributor to allot money to a multitude of federations that support needs in Turkey. Because the event is free to attend, Eser said that the club will be selling raffle tickets to raise money. The ra ff le pr i zes w i l l include souvenirs from Tur-

AMC

“Mad Men” recently returned with the premiere of its fifth season.

Springing into new seasons c o u rt e sy o f

ZIYAD MARCUS

The Nahawanderers will be performing at the 2nd Annual Turkish Cultural Night on Friday in Ackerman Grand Ballroom. Proceeds from the event will support autistic children in Turkey.

The T u rk ish Cu ltu ra l Club worked to bring several aspects of these cultures together i n order to al low UCLA students to achieve the best understanding of Turkish key and two $50 gift cards to a culture, according to Alper. website that sells Turkish food She said that there will be perand an array of Turkish items, formances such as live music according to Selen Alper, sec- and a belly dancer, speakers, ond-year electrical T u rk i sh t r i v i a engi neeri ng stuand a study dent and vice presia br o a d b o ot h . dent of the Turkish We want to il- There will also be Cultural Club. luminate all aspects traditional TurkWhile supportish desserts and ing autistic chil- of culture, of the pastries, such as dren in Turkey, the music tradition.” simit, a popular event will also give pastr y covered Ziyad Marcus w i t h s e s a m e UCL A students an opportunity to First-year ethnomusi- seeds, and borek, come together and cology student a filled pastry. le a r n a b out t he One of the richness of Turkish performers that culture. will be featured at this event Accordi ng to A lper, the is the Nahawanderers. The phrase “Turkish culture” does band’s style consists of music not simply apply to the coun- from throughout the Near try of Turkey itself, but rather East, according to Ziyad Marmany countries of the Near cus, first-year ethnomusicolEast. ogy student. He is a member of “Turkish culture is not sole- the Nahawanderers and plays ly made of Turkey. ... In Turkey both the tablah, an hourglassthere are 28 different ethnici- shaped drum, and the oud, a ties and they all make a part of type of lute. the culture there,” Alper said. Marcus said the Nahawa-

Turkish Cultural Night

Friday, 7 p.m. Ackerman Grand Ballroom, FREE

nderers want the audience to have the opportunity to understand the meaning behind each piece they perform. “We are going to be talking about the significance of each piece. ... We are going to contextualize each song and say where it’s from – what part of Turkey or what the song lyrics are about – how or what the rhythm is,” Marcus said. The band will perform popular songs from throughout Turkish history. Marcus said they will perform traditional songs such as “Uskudara” and modern pop songs such as “Simarik”. “We want to illuminate all aspects of culture, of the music tradition. So by playing both traditional and popular music ... we show what the music is in its entirety,” he said. According to Alper, Turkish Cultural Night will allow the club to achieve its ultimate goal of helping autistic children in Turkey, while also bringing students together and combining an entertaining atmosphere with an educational experience about a culture they may have never experienced before.

After long hiatuses, beloved shows are coming back with some unusual premiere dates SAMANTHA SUCHLAND

REMOTE LIFE

Y

ou did it, you found Remote Life. You found it despite the change from Tuesday to Wednesday and the spring break hiatus. While I like to think there were some of you suffering withdrawals, I’m sure you weren’t too worried. As avid television fans, we’ve all become skilled at tracking down our favorite shows when the networks start to play the line-up mamba. Besides, the triumphant return of several television shows has been stealing the press lately. Even with their unconventional premiere times and awkwardly long hiatuses, they managed to pull in record-high audiences. “Mad Men” returned after a 17-month hiatus to a series high of 3.5 million viewers. That’s nearly one million more than the last season’s average of 2.3 million viewers. Then there’s the second

season of “Game of Thrones” returning to HBO earlier this week with its all-time highest ratings and the title of mostviewed scripted show on cable for the week. It seems weird to have shows premiering midseason like this. Most shows are on hiatus, others are just returning, but new seasons beginning at the end of March? That’s something entirely different. It also seems risky. Look at “Arrested Development,” the poster child for killing a show by routinely moving its air time. I look back and shake my fist at Fox and wonder “Why, oh why, would you do that to such a brilliant show?” Then again, would this same fate would have happened to “Arrested Development” had it been on air today and not in 2003? Maybe shows are able to have funky start dates now that we don’t rely on the network to remind us when a show is on. We have our cohort of fellow fans and the Internet to bombard us with reminders. Can you imagine the “Arrested Development” fan base if Facebook, Twitter and Tumblr had been active? I’m sure it would have been akin to the “Community” fan base publicly mourning its premature hiatus earlier this year.

REMOTE LIFE | Page 6


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VIDEO: Playing the erhu

LEXY ATMORE/ daily

b r u in s enio r sta f f

UCLA a cappella group Scattertones won first place over crosstown rival USC group SoCal VoCals in the semifinal round of the International Championship of Collegiate A Cappella, or the ICCA.

Scattertones onto final BY JENNA MAFFUCCI A&E contributor jmaffucci@media.ucla.edu The UCLA a cappella group Scattertones ended its most recent effort on quite a high note. On March 24, Scattertones won the semifinal round of the International Championship of Collegiate A Cappella. The best collegiate co-ed a cappella groups from around the world participate annually in the prestigious competition, which ends with a final round of the top seven groups. This year’s final competition will be held in New York City on April 28. With its recent success, Scattertones will hone its efforts toward making the strongest impression possible at the final point in the competition. This is an exciting development, according to Matthew Flesock, a fourthyear history and geography/environmental studies student and president of Scattertones. “Right now, the group has an excitement level that we’ve never had before,” Flesock said “In the entire history of the group, this is an accomplishment that has never been (achieved), and it’s been attempted many, many times.” A group at UCLA for 10 years,

Scattertones has competed in the contest for the last five years. In the past, the group has never advanced past the semifinal round, making this year a landmark in Scattertones’ history. The group currently consists of 16 singers, all of whom performed in the set that propelled them to first place. In the past four years, USC’s a cappella group, SoCal VoCals, has won the entire championship twice. This has made Scattertones’ victory among the other highly recognized competing teams especially sweet, according to Flesock. “SoCal VoCals is the dominant powerhouse group in the nation, and so to place above them was a really cool moment for Scattertones,” he said. India Carney, a first-year vocal performance student, said that despite the recent win, the group has not fallen into a restful mentality. “We’re not taking this point for granted at all, especially since we haven’t gotten this far before. Our head is definitely in the game still, and we’ll just continue to focus for the New York competition,” Carney said. The group will use its semifinal-winning set, which consists of three songs, at the finals as

well. According to Flesock, the three-part set tells a story. The first song, “C’mon Talk,” originally by Scandinavian singer Jarle Bernhoft, relays a sassy, dramatic exchange between two lovers going through a breakup. Next, “No Woman, No Cry,” originally by Bob Marley, slows down the set before the upbeat final song, “End of Time,” from Beyonce’s latest album. The final song conveys a feeling of togetherness, featuring lyrics like “I will be the one to kiss you at night / I will love you till the end of time.” “(The set tells the story) of a full cycle in a relationship,” Flesock said. Flesock also said the arrangements use a high level of creativity and put a spin on the original versions of the songs. Scattertones member Moses Sumney, a fourth-year English student and former Daily Bruin staffer, said the news of the success brought intense emotion to the group. “The moment they announced we won the competition, it was crazy. We just turned and looked at each other; in a way we saw each other differently in that moment, like, ‘Wow, we did this together,’” Sumney said.

DIANE HO AND KEVIN LEE/ daily

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First-year ethnomusicology student Zoe Shay explains what exactly an erhu is and explains her own relationship with the Chinese bowed instrument. See it at dailybruin.com/video

REMOTE LIFE | Internet plays important role in keeping television shows on air from page 5

Shows like “Mad Men” and “Game of Even after the show’s return, Dan Harmon, Thrones” also get to sidestep the competitive creator of “Community,” posted a YouTube frenzy of the fall premiere season and reign video letting viewers know that the show like royalty over a random week in March or was moving to a different time on April. Thursday nights. To be honest, it’s been nice to The Internet refuses to let To be hon- have these random golden nugget beloved shows die a premature scattered throughout est, it’s been nice premieres death. It sinks its claws into them the year. The spring hiatus, or the to have these and cries bloody murder. spring doldrums as I like to call it, Of course “Mad Men” and “Game random golden hasn’t been so bad. of Thrones” are unequivocally Maybe we’re heading for a new nugget premieres beloved by critics and benefit from way of scheduling television. a stronger awareness by those with scattered through- Maybe even something more akin some clout. Newsweek loves “Mad out the year. to the British way of doing things. Men” so much that it reverted its If it makes the upcoming design to the magazine’s 1960s summer hiatus feel any shorter, I fonts and even had advertisers create retroam in full support of this trend. looking ads. There’s also a difference between moving Do you like unconventional premiere dates or a show’s time around and an unconventional was a 17-month “Mad Men” hiatus blasphemous? start date, but it seems that both can be overContact Suchland at ssuchland@media.ucla. come with a little bit of extra fanfare. edu. “Remote Life” runs every Wednesday.


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EDITOR’S PICK:

HBO’S ‘GIRLS’

Today, 8 p.m. Moore Hall Room 100, FREE Check out a free screening of the first two episodes of HBO’s new show “Girls.” The screening is presented by the Campus Events Commission.

Wednesday, April 11, 2012

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Habitat for Humanity, ORL to work to raise campus awareness of substandard housing BY JEREMY WONG A&E contributor jwong1@media.ucla.edu Living in a plaza, hall, suite or apartment are some of the housing options that students on campus choose from. With the magic swipe of a key card, many students that live on the Hill have instant access to their bedrooms, a study lounge and even their own restrooms. However, many other students don’t. While for most people, key

Rock the House Today, 7 p.m. Northwest Campus Auditorium, FREE

concerns when deciding on where to live include private bathrooms and whether to live in a double or triple bedroom, others still live in homes where sanitation or even the most basic of utilities such as running water or electricity are unavailable or scarce. The plight of these students and others who suffer through similar conditions often goes unnoticed. Tonight, however, the Office of Residential Life will team up with UCLA’s Habitat for Humanity chapter to host Rock the House, an event

that seeks to educate college students on the issue of substandard housing by featuring personal speeches from victims of substandard housing, along with performances from oncampus organizations. “I hope people just leave really inspired, and I hope it pushes them to get involved in Habitat for Humanity, in other housing organizations or just to volunteer more in general,” said Austin Rose, a fourth-year geography and sociology student. This will be the fifth time ORL has teamed up with Habitat for Humanity, an international nonprofit organization dedicated to fighting substandard housi n g by prov id i n g decent shelter to those who

need it. However, past incarnations of Rock the House mainly featured families who talked about their ow n experiences w ith below average living conditions, how it impacted their lives and how Habitat for Hu m a n it y helped them get back on their feet. This year will be the first time performances from cultural groups are added into the mix. This addition was planned by Rose, who is involved in both ORL and Habitat for Humanity. He said he hopes that this year’s Rock the House, with its combination of personal tales and cultural performances, will reach out to a larger audience and leave an impact on college students who choose to attend.

Rock the House w ill feature performances by UCLA Nashaa, the university’s official Hindi Film Dance Team, Grupo Folklorico de UCLA, one of the campus’ oldest Latino heritage groups, and ACA Lion Dance, a Chinese cultural squad that specializes in the traditional art of lion dancing. Javier Borjorn, a third-year history student and the current president of Grupo Folklorico de UCLA, said he is excited by Rock the House’s inclusion of cultural performances. While his group focuses on promoting awareness of Mexican culture through traditional dance, Borjorn said he was eager to help when Rose approached his group. “I think it’s a chance for Gru-

po Folklorico to work together with people from other communities for a good cause,” Borjorn said. “If it brings a smile to people’s faces, I think it’ll be worth the extra effort.” Maggie Chu, a fourth-year microbiology, immunology and molecular genetics student who will be the director for ACA Lion Dance’s contributions to Rock the House, said she and her team were also more than happy to help Rose, who is himself a member of ACA and ACA Lion Dance. “We want to be able to provide entertainment to keep everyone’s spirits high,” Chu said. “And in Chinese tradition, the lion dance is meant to give fortune and good luck during happy occasions.”

Psychedelic is the new rock TV a testament Owl Fly South, a UCLA band, discusses its take on the classic genre and unique music style

of storytelling

Owl Fly South Saturday, 2:30 p.m. TBA, FREE

through a guitar echo pedal. “I feel like echo has a speBY DAN PEEL cial power over people,” HenA&E contributor derson said. “The ideal way of dpeel@media.ucla.edu listening to music is to be in the past, present and future at The gu itar str i n g broke the same time. Echo (helps to) during their last song at Lot put you there.” 1 Cafe in Echo Park. Braeden According to Henderson, Henderson put his Les Paul on O wl F ly South’s members the floor, stepped onto it and come from a w ide range of began grinding the remaining musical backgrounds. strings, while Oliver Dobrian H e n d e r s o n’s s t y l e h a s toppled his Gretsch drum set, evolved from qu iet, folksy making as much noise as pos- music, to country, to riff-rock sible. and into his own form of psyFor Owl Fly South, this was chedelic rock. an act of love. Dobrian said he used to play The psychedelic rock band, drums with alternative and Owl Fly South, plays loud and emo groups, and now adds vollengthy songs, ume and energy to between si x a nd Henderson’s songs. 15 m inutes long. “We have a vast There are array of (musical) The band consists of vocalist and gui- people playing influence that we tarist Henderson, distill into whatcool music. It’s who is a fou r thever we’re doi ng year ethnomusicol- always a good now,” Dobrian said. ogy student, and time.” “Music is an amorsecond-year ethnophous thing.” musicology student Braeden Henderson B r o w n h a s and percussionist Owl Fly South member played bass w ith Dobrian. Owl Fly South for Oliver Brown, a the pa st severa l third-year ethnomusicology weeks. He will bring his bass, student who sings and plays his hip-hop roots and seven guitar with the student band more effects pedals to the Free Food, will accompany show. them for three songs. “(The addition of the bass) “You go to that part of cam- has freed up Braeden,” Brown pus expecting to have the drag said. “It’s hard (for anyone) to of class, and then ... there are play solos and sing at the same people playing cool music,” time.” Henderson said. “It’s always a Henderson began the Owl good time.” Fly South project in 2006 as Henderson uses 15 gu i- the solo project “Owl.” tar pedals to create Owl Fly “I couldn’t find anyone else South’s psychedelic sound, to play with ... so I started which he described as “spacey making strange tape recordand trippy” with heavy drums. ings in my bedroom,” HenHenderson also runs his vocals derson said. “(Before that) I

Time will tell what shows from today will become future classics of the medium SAMANTHA SUCHLAND

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Members of Owl Fly South Braeden Henderson, a fourth-year ethnomusicology student, and Oliver Dobrian, a second-year ethnomusicology student, will be performing at 2:30 p.m. on Saturday.

was trying to imitate (Jimi) Hendrix.” According to Henderson, he is currently working on five albums, with styles that range from sad acoustic songs to rap beats. Once they are complete, he plans to send them to music review blogs. “Blogs are the new big rock critics,” Henderson said. “The age of ... Rolling Stone is over.” Dobrian has played with Henderson for nearly a year and said he takes inspiration from dru m mers l ike Keith

Moon from The Who and John Bonham from Led Zeppelin for their raucous stage presence. Dobrian described his own sound as thunderous and bombastic. “Oliver’s drums sound like a car driving through your house,” Henderson said. “He is the best drummer I’ve ever played with.” According to Henderson, psychedelic music creates an

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never thought I’d get to watch Lucille Ball’s infamous drunk Vitameatavegamin commercial from “I Love Lucy” in a theater full of college students. More importantly, I didn’t expect a 55-year-old show to send a bunch of undergrads into fits of giggles. And yet I was able to experience both this week thanks to a class on the history of television, and thanks to Lucille Ball’s indelible comedic chops. It’s a testament to the craft of storytelling that shows more than 50 years old are still able to entertain us. But it’s not as if most college students are watching blackand-white televisions shows. It’s easy to assume that the entertainment value of a show would be lost with the transition to color, cultural changes and increasingly sophisticated production value. But I’ve got a class full of guffawing undergraduates that debunks that theory. The performances still ring true, and the stories still manage to affect us. It’s not just “I Love Lucy” that got a reaction from my class. “The Honeymooners,” which aired in 1955, and “The

George Burns and Gracie Allen Show,” which aired in 1950, both received their fair share of chuckles. While most students probably caught “I Love Lucy” on late-night reruns, these shows aren’t a part of the college student’s television zeitgeist. Which begs the question: What earns a show a spot in television history? Looking at today’s television line-ups, which of our precious shows are going to make it into the history books and into rerun glory? If we’re going by ratings alone, it looks like “American Idol” is going to represent our golden age of television. Or worse yet, think of that moment 100 years from now when college students are studying “Jersey Shore” in Sociology 2: Life at the Turn of the Century. Of course, that’s if ratings alone are the reasonfor a show’s legacy. “I Love Lucy” doesn’t just live on in our televisions – Lucy is a pop culture icon slapped on lunch boxes, T-shirts and magnets. Going off that logic, “Spongebob Squarepants” has the best luck at representing us even after the apocalypse. While he’s a fine entertainer, what does he say about us as a culture? I’ll let you ponder that one for a moment. Of course, there’s always the chance that the shows that live on are the shows that speak to the writers of history. These are the shows that the few who write about television and culture decide to teach future generations about.

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Crossover artist recalls road to Coachella After appearing in a series of telenovelas and movies, Mexican pop artist Ximena Sariñana released her debut Spanish-language album in 2008. In August, Sariñana made the transition to English with a brand new selftitled record that has earned her an international fan base. The Daily Bruin’s Andrea Seikaly spoke with Sariñana about the crossover and her musical inspirations in anticipation of her upcoming performance at the 2012 Coachella Valley Music and Arts Festival. Daily Bruin: You have some experience as an actress. How did you get your start as a musician and make the switch? Ximena Sariñana: Ever since I was a little girl I liked music, and the first thing that I ever did was musical theater. It was always a part of my career, and I never necessarily saw these things as separate. When I was about 16 years old I decided that (music) was what I wanted to study, so I started studying it and one thing led to another and before I knew it I was completely immersed in doing music. DB: Your first album, “Mediocre,” was a big success and earned you two Latin Grammy nominations. How did you decide to release an album in

English? XS: It sort of just happened. I was nominated for an American Grammy, and that turned the label’s attention to my music in Spanish, and the American label asked me if I would be interested in doing a record in English and maybe working on a more international level. I knew it would be a challenge to switch languages, and some people might be very shocked after I did it, but I thought it would be a great experience for me. I don’t think I would have felt comfortable with myself if I had said no to something like that. DB: What has been the most difficult part of that process? XS: The most difficult part was definitely the whole change of languages and working in another country that is not the one that I was used to. Basically, it was like starting from zero. No one really knew who I was; some people knew, but it wasn’t like in Mexico where I already had a name for myself. It was like having to start all over again, and that was very stressful and very difficult for me to do. In the end, I think that it made me a stronger person. DB: What inspires you as an artist, especially when working

in a new language? XS: After performing my first record for two years, it started to get a bit tedious. I wanted to explore more electronic sounds and more programming, like the stuff that I was starting to listen to at the time. Lyrically, it is an album that talks a lot about the insecurities of being in a new place, like feeling noticed or feeling different, or feeling analytical and very reflective. It was a very uncomfortable time, and I felt like I couldn’t express myself properly, because even though my English is really good, at first figuring out your personality in English is very hard. You don’t have the same sense of humor, and I sometimes felt that it was hard for me to convey certain ideas to people or to really shine through as a person. DB: After releasing “Mediocre” and “Ximena Sariñana,” how do you think that you have grown and matured as an artist? XS: I’m a more hands-on artist than when I first started, and I think I value my music a lot more. I am more confident. ... With the experience that you gain from touring and dealing with different people and different cultures and traveling and being away from home so much, you learn that the most

COACHELLA VALLEY MUSIC & ARTS FESTIVAL MONDAY Q&A with Explosions in the Sky drummer Chris Hrasky. TUESDAY Q&A with Justice’s Xavier de Rosnay. TODAY Q&A with Mexican pop artist, actress and vocalist Ximena Sariñana. THURSDAY Before you go, here are some tips for first-time festival-goers. NEXT WEEK Check back next week for our reviews of Weekend One artists. PREVIOUS STORIE S AT DAILYBRUIN .C O M

important person who is going to push your music is yourself. You have to really believe in what you do if you want to work in this industry, and you have to constantly want to change and reinvent yourself as an artist. DB: In the future, do you see yourself returning to Spanish or continuing to make albums in English? XS: I think I’m always going to try to do whatever I want, language wise. I hope that I can still write in Spanish and still

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Today we remember “Leave It to Beaver” and “Father Knows Best” because our high school history books still mention them when talking about life in the ’50s, the post-war era and the birth of the baby boomers. Whether this is accurate or not is another debate entirely. I have to wonder what shows historians will choose to reference when talking about our time. What shows speak to the world we’re living in now and the issues we’re dealing with (or not dealing with)? I don’t even know if it’s possible to make a prediction at this moment. I just hope that we can be remembered for something more than “Dancing with the Stars.” I guess we’ll just have to let time decide. What shows do you think will stand the test of time? Email Suchland at ssuchland@media.ucla.edu.

undercurrent where wordless communication becomes possible. It creates a space to relax, hang out and talk in. “Our goal is to get on a point of communion with the audience,” Henderson said. “I want to give people (a) rush.” Once, while playing together at a local coffee shop, Hen-

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Mexican pop artist, Ximena Sariñana, will perform at this year’s

Coachella Valley Music and Arts Festival. continue to write in English. I love both languages for writing; they are so fulfilling. I hope that I can continue to go back

derson and Dobrian were told by the owner to turn down the volu me, accord i n g to Dobrian. Instead, they turned the volume up, blowing out Henderson’s guitar amp. Dobrian also said that Owl Fly South and The Ten Thousand, another group at UCLA, have had a competition over who is the loudest band on campus. “I think right now they’re winning ... even though we have five people and they

and forth like I’ve been doing. Email Seikaly at aseikaly@media.ucla.edu.

have two,” said Kevin Moultrie, UCLA alumnus, guitarist and vocalist for The Ten Thousand. “I think we can pull ahead and take the lead. Hopefully they stay on their toes.” Dobrian said he wants to give students something to open their minds so they can experience music in a new way. “We want to learn all the rules, and then break them,” Dobrian said.

DID YOU KNOW THE DAILY BRUIN

PROVIDES OVER 200 STUDENT JOBS that give students real experience in journalism, media and business? CBS TELEVISION


a&e

EDITOR’S PICK:

SCREENING: “EDUCATION UNDER FIRE” Today, 5 p.m. Schoenberg Music Building, FREE The Baha’i Association at UCLA will screen “Education Under Fire”, a documentary on the endangered state of Iranian higher education.

Wednesday, April 18, 2012

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oachella’s first weekend has come and gone. With many music fans headed home from Indio, and just as many looking forward to the second weekend, now is the perfect time to look at a few of the performers in more detail. Daily Bruin’s Leah Christianson spoke to the members of three groups – The Airplane Boys, Nero and We Are Augustines. Email Christianson at lchristianson@media.ucla.edu

The Airplane Boys Beck Motley and Bon Voyage of the Canadian hip-hop duo, The Airplane Boys, spoke to Christianson at Coachella to talk about their views on the rise of hip-hop, touring with Snoop Dogg and their opinions on music’s larger purpose. Daily Bruin: This year, there are a significantly higher number of hip-hop acts performing at Coachella. How do you feel being included in this move toward more hip-hop at Coachella? Bon Voyage: It’s amazing. Hip-hop in general is growing, and to be a part of that wave at Coachella, one of the biggest festivals in North America, really surprised us. Beck Motley: We don’t think there should be any barriers that say, “This is a rock show,” or “This is a hip-hop show.” Rock bands should open for hip-hop crowds, and vice versa, just to educate people about music. The more open-minded you are, the more eager you are to learn. So being here, it’s great to see the presence of hip-hop because it proves hip-hop’s relevance. It’s not just for radios, commercials or clubs; it’s for people that actually want to recite lyrics.

DB: You tend to do some really unusual things with your music – for example, sampling Arcade Fire’s “The Suburbs” on your track “Born to Be.” Where do you get the idea for things like this in your music? BV: Well, Arcade Fire was doing a great job representing their music and themselves, being from Canada. We just loved the song. BM: It was funny – we were sitting in the studio and that track wasn’t meant to happen. We meant to work on an upbeat track. ... We wanted to sample Vampire Weekend, but decided too many people were doing it. So we started thinking, “What bands do we like?” since we were really looking for organic instruments. We had been playing “The Suburbs,” and that one track particularly we wanted to flip. Michelangelo, who’s originally from Calgary – so it’s Canadians finding Canadians flipping Canadians’ music – found a live version with this epic bit at the end. The rest was history. DB : You’ve toured with Snoop Dogg before. How does it feel here at Coachella in your own right, rather than opening for him? BM: He was sitting down with us last night talking about how beautiful it is that so many things came together for this weekend – not just us, but him and (Dr.) Dre, too. For them to come together represents something bigger. It’s the same for us – we may want things on our own, but the beauty of coming together is doing something bigger than ourselves.

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Daniel Stephens and Joseph Ray of British electronic group Nero spoke to Christianson about where their inspiration for their music comes from, the differences between the U.S. and the U.K. crowds, and the excitement of having a No. 1 single. Daily Bruin: It seems that every year there are more and more electronic artists at Coachella. How does it feel to be included in that trend? Daniel Stephens: I think electro is worldwide now with all festivals. If you don’t have a big electronic lineup, then you’re probably going to suffer ticket sales, as electro seems to be dominating the scene right now. It’s a very strong movement. ... After seeing other stages, there’s a kind of party, rave-y kind of vibe, and it’s really fun to be a part of that. DB: Where do you find the inspiration for these melodies? DS: We listen to a lot of different kinds of music. I think you draw influence from the things you listen to by bringing them all together, but we have already been a very melodydriven group. We do like pop music as well, and we are fans of that “pop craft” that uses really good melodies and progressions, so we’ve naturally always tried to put that into what we do. DB: This has been a really big year for you guys with your single, “Promises,” debuting at No. 1 on the U.K. album chart and being named “Hottest Record in the World” back in May. What’s your reaction to this positive attention? Joseph Ray: We had a really big 2011. “Me & You” started getting played loads on U.K. radio, and it has certainly crossed over into the mainstream. We did the Dubstep

Symphony with the BBC Philharmonic and played a live show together, which was a new experience for us. We also did a lot of touring. Now, we’re going back to the studio to work on album No. 2. DS: We’re pushing in the (United) States more as well, since obviously it takes a while for things to catch up over here. It was very unexpected to get a No. 1 single on the U.K. charts, so now it’s about getting around America and making sure we get our music out there. We’re very lucky that “Me & You” got picked up for a “Beats” commercial. DB: What are the differences that you’ve noticed on this U.S. tour versus performing in the U.K.? DS: The crowd is definitely different. The U.K. is into moshing; half the dance floor is one massive mosh pit. But it hasn’t happened so much (in the U.S.). Here it’s more of euphoric, hands in the air, glow stick kind of thing, which doesn’t happen at all in the U.K. They’re very different, but they’re both equally great crowds to play to. Both are very excitable, but in extremely different ways.

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here’s a drinking game people are chomping at the bit to play, and it’s not even a real thing. In last week’s episode of Fox’s “New Girl,” Jess (Zooey Deschanel) and her roommates introduced the world to the game True American. Described by the characters as 50 percent drinking, 50 percent Candy Land, it looks more like 10 percent American History class, 10 percent Settlers of Catan, 60 percent drinking and 100 percent chaos. That’s right, True American defies math. It’s the most confusing game I’ve ever watched aside from curling. Scratch that – it’s more confusing than curling. It involves a castle made of beer and whiskey, a floor that can’t be touched because it’s considered lava and the chant “1, 2, 3, 4, JFK” followed by a chorus of “FDR.” It also appears to be highly dangerous as the movement through the room requires traipsing across tables, chairs and overturned buckets. The show’s cast and crew alluded to the made-up game in an interview a couple months ago, but they admitted to not understanding the rules even after they shot the episode. It seems to have been invented for the sake of the show’s plot and only enough of the rules are alluded to make it seem both legitimate and ridiculous. Not that this stopped an ambitious bunch of Internet users who have gone on to flesh out the rules of True American through Tumblr. Even these rules only make a microcosm of sense and seem to require more dexterity and U.S. history knowledge than any pub trivia night. Alternate versions involving Harry Potter and Englishmen have cropped up as well. And this is what makes True American really cool. It seems to have taken on a life of its own outside of the show “New Girl.” It’s certainly not the first time an audience has watched a show and decided to adopt what they see. But normally audiences are more likely to take on a way of dressing or a turn of phrase.

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Bruins to rock out against drought, famine BY JENNA MAFFUCCI A&E contributor jmaffucci@media.ucla.edu Many people tend to harbor the notion that crises in far-off regions thousands of miles away stand beyond their reach of influence. The members of the on-campus organization Mighty Mic tend to think differently. Mighty Mic at UCLA works to tackle human rights topics through the combination of entertainment and education in one event, an annual spring benef it concer t. Featur i n g headliners Shiny Toy Guns and UCLA student band The Ten Thousand, this year’s concert concerns the drought and famine crisis in Somalia. “We are so privileged here at UCLA and in California in general; we have access to food, water and other resources that are so scarce in Somalia,” said Karen Leon, a fourth-year political science and international development studies student

Mighty Mic concert Today, 7 p.m. Ackerman Grand Ballroom, FREE

and co-director of the concert. “Before even thinking about an education or other issues, people our own age in Somalia have to deal with trying to feed themselves and their families for the day.” Although the lack of nourishment has brought overwhelming hardship to many people in Somalia, fourth-year English student and co-director of the concert, Kelly Rosenfeld, said the nation’s damage is a result of more than the famine or drought alone. “All of the natural causes of the famine have been completely exacerbated by the political instability in the region. There’s been conflict between a transitional government and rebel groups fighting over control of different parts of the country,”

Rosenfeld said. Mighty Mic annually prioritizes the protection of human rights such as those in the Somalia situation; this year will mark the sixth concert. Last year’s concert focused on sex trafficking in Southeast Asia. “We live in an increasingly globalized community. We’re citizens not just of our school or our city or even our country; we’re citizens of the world now,” Rosenfeld said. “We should be ensuring that everyone has the basic human rights they deserve.” All proceeds from this year’s event will go toward UNICEF and Africa Rescue Committee, a non-governmental organization in Somalia that will work with the communities of those affected. UNICEF will help to provide resources and set up sustainable solutions for those suffering from the crisis. A speaker from each organization will help educate concert attendees with informative

presentations in between the musical acts. Dylan Robin, a third-year psychology student and member of The Ten Thousand, said he also believes the turmoil in Somalia deserves more attention from the student body and the greater community. “Somalia is experiencing the worst famine the world has witnessed in a really long time. It’s shocking how much difficulty there’s been to get the aid they need,” Robin said. “Not enough people know; the demands are super urgent. (The Ten Thousand) is happy to help in any capacity that we can.” Last November, The Ten Thousand won Battle of the Bands, an event organized by Mighty Mic that determined who would open for the spring benefit concert. Robin said it’s an honor for the band to share the stage with a group that is as well-established and has had as much success in the industry as Shiny Toy Guns has.

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The Might Mic concert will benefit those affected by drought in Somalia.

According to Robin, The Ten Thousand’s style roughly emulates that of Shiny Toy Guns. The student band will play new songs consisting of dark and electronic material. Leon said that, between the hard-rocking musical entertainment and humanitarian speakers, the issues in Somalia are

bound to be lifted up into the horizons of UCLA awareness. “A lot of people think a concert on campus thousands of miles away can’t really do anything,” Robin said. “But I think that through the event and hopefully through the eventual proceeds some change will happen. Every little bit counts.”


dailybruin.com/ae | a&e | Wednesday, April 18, 2012 | DAILY BRUIN

COACHELLA

Theater Review

from page 6

We Are Augustines Billy McCarthy and Eric Sanderson of the Brooklyn-based alternative band We Are Augustines spoke to Christianson about their opinions on creativity, capitalism and producing an honest album.

UNIVERSAL STUDIOS

“Good People” Geffen Playhouse THROUGH MAY 13

Growing up is already a difficult process, but when no one is there to help guide or protect, the odds of succeeding become very slim. Such is the situation for blue-collar, South Boston native Margaret “Margie” Walsh in David Lindsay-Abaire’s “Good People.” Lindsay-Abaire’s play explores the life of a “Southie” and whether one makes it out of the city because of luck or because of the choices one makes. The story revolves around Margie (Jane Kaczmarek) as she struggles to support her daughter and keep a roof over their heads. Margie has been let go from her job at the Dollar Mart because of her constant tardiness, which is usually caused by her daughter Joyce, who is mentally incapable of caring for herself. Kaczmarek’s comedic timing, hard Boston accent and tough demeanor result in a deep and fully realized character. Kaczmarek’s performances allow the audience to empathize with the hardships Margie faces and identify with her strength to keep going at all costs. Kaczmarek’s relentless search to find a job to support her disabled daughter becomes more and more difficult throughout the play. Still, humor persists in the play despite the situations many of the characters are in, giving the audience much needed breaths of fresh air. Margie’s best friend Jean (Sara Botsford) provides an additional source of great comic relief, as well as a support for Margie as the latter looks for a new job. Botsford does a nice job of bringing wit to every situa-

tion she enters, and she plays her role with an engrossing sense of honesty. Despite Dottie’s (Marylouise Burke) strict nature as a landlord, her humor also steals the show. The makeshift rabbit figurines that she sells and her brawling relationship with Jean keep the audience laughing. Craig Siebels’ stunning sets help provide vital details of the characters. The church hall that Margie, Dottie and Jean spend much of their time in highlights the bond the women have with one another. The set designs by Siebels also succeed in showing the stark contrast between the life Margie lives in South Boston and the comfortable life of her ex-boyfriend Mike (Jon Tenney) in Chestnut Hill. Siebels makes a stunning set for Mike’s living room that displays his relative affluence while Margie’s apartment is filled with mismatched items that look like they were purchased from a secondhand shop. Although Margie’s apartment looks less glamorous than Mike’s, the lighting in her apartment indicates the hope Margie has of finding a job, while the shadows casted in Mike’s house suggest hidden secrets within the home. With the help of remarkable performances and beautiful set designs, “Good People” delivers a collection of performances that provoke the audience to think about class, race and gender when they leave the theater. – Brittany Taylor

Daily Bruin: This has been a huge year for you, with your album “Rise Ye Sunken Ships” being released and then named iTunes’ “Best Alternative Album” of 2011. Did you think that this past year would lead to performing not once, but twice, at Coachella? Billy McCarthy: I think I underestimated Coachella a little bit. So I’m very honored to be here, but it was a surprise. It’s kind of a big deal. We’ve been really busy as well, so our itinerary has been morphing a lot. We’re just trying to live it down really and embrace its success. DB: What is your musical process and your source of inspiration? BM: I’m from a small town with basically no record stores, so I was pretty much stuck with pop radio growing up, so a lot of my melodic palette probably comes from Casey Kasem Top 40 Radio. Eric Sanderson: We draw from experience in our lives. Currently, a lot of our inspiration comes from being on the road. Not in a generic rock ‘n’ roll sense, but in really trying

to dive into the communities and cultures that we travel through. It’s getting harder these days with all the capitalism and marketing that we confront, but that’s another part of our culture that we have to accept. We then funnel and channel that (experience) through our sense of individualism by blending the two and seeing what comes out. DB: Can you expand on the idea of capitalism stifling creativity? BM: I’ve come to realize that, being a creative person, your imagination is so very dear. It fuels creativity. It strikes me that so many countries now have giant billboards, television screens everywhere. ... I think that we should question this constant advertising presence. ... Sometimes I wonder, “Wow. How do I protect my creativity? How do I protect that innocence that is needed to make work?” ES: It’s almost like a cup. If you think of your brain as a cup, if 90 percent of your cup is filled with information that someone’s ramming down your throat, you only have a bit left for your actual self. The more you can get out of it, the greater ability you have to access your sense of self within the world. DB: Can you think of one feeling that you would like listeners to take away from your album as a whole? BM: Honesty. This is probably the most honest I’ve ever been in my life. Maybe the next record will be conceptual, but for this moment in time, honesty was my goal.

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REMOTE LIFE from page 6 One example is “The Office” mainstreaming the phrase “That’s what she said” or “How I Met Your Mother” normalizing the act of saluting any time anyone says “general” knowledge or “major” pain. And there’s always the classic Pee-wee Herman phrase, “If you love it so much, why don’t you marry it?” that you may have heard on the elementary school playground. There’s the fine line between adopting something from a television show and just quoting and copying for the sake of a pop culture reference. True American seems like something that could exist outside of “New Girl” if anyone can actually figure out a way to play that doesn’t result in headaches and twisted ankles. Who knows, maybe it will become the next great college party game. Or maybe it’s just something we’ll go on to reference in a situation that we can’t make heads or tails of. Do you understand how to play True American? Email Suchland at ssuchland@media.ucla.edu. “Remote Life” runs every Wednesday.

VIDEO: College Night at the Getty Center

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EDITOR’S PICK:

‘OUR SCHOOL’

Today, 7:30 p.m. Billy Wilder Theater, FREE Check out a screening of “Our School,” a 2011 documentary that takes a look at the experiences of three Roma children in rural Romania.

Wednesday, April 25, 2012

Page 6

a

NEWof

MEMBER the

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PAK

UCLA alumnus Gerald Espinosa takes his love for dance to the small screen as he joins Fanny Pak to compete for the title of America’s Best Dance Crew on the MTV show

BY MARJORIE YAN A&E senior staff myan@media.ucla.edu

c o u rt e sy o f

Tonight, Gerald Espinosa will perform in heels for the first time in his life. Sporting a bright pink crew neck, New Balance tennis shoes, blue fanny pack on his shoulder and a neon green streak in his hair, Fanny Pak member and UCLA alumnus Gerald Espinosa mingles with other group members before the taping of its Madonna-themed episode of MTV’s “America’s Best Dance Crew.” While high heels, tight leather pants, a cheering crowd and intense dance moves could describe a typical Madonna performance, add a panel of celebrity judges and the fear of being eliminated, and the result is Fanny Pak’s performance to Madonna’s “Girl Gone Wild.” As for dancing in heels, Espinosa said it was one of the weirdest experiences he has had, with shaky ankles and sore hamstrings following rehearsals. “I don’t know how else to explain it. It was my first time wearing, touching and looking at a piece of heel,” Espinosa said. “The first ones they had us try on were like slippers and I felt like Dorothy clicking my heels.” What separates season seven from the previous seasons of “America’s Best Dance Crew” is that for the first time in the show’s history, MTV has decided to bring back Fanny Pak, a competing crew from season two. However, not only did it bring the group back, the group has been modified, with the addition of four new members – one of whom is Espinosa. Espinosa met the members of Fanny Pak when he began taking classes with Matt Cady, one of the group’s founding members, at Edge Performing Arts Center in Hollywood. “I was teaching a jazz funk class. The thing that I love about (Espinosa) is that he studied taekwondo so I immediately see where his precision ... and discipline comes from,” Cady said. “That was what I was immediately drawn to.” At a young age, Espinosa’s parents encouraged him to learn how to play both the piano and violin. He also studied tae kwon do for fun under the direction of his brother. Espinosa said he attributes much of his success as a performer to the support of his family. “My dad always wanted me to be either a doctor or a conductor. I feel like he wanted me to be a musician or he’s living to be a musician vicariously through me,” Espinosa said. When he was a freshman in high school, Espinosa joined show choir, where he expanded his musical

FRANK MICOLETTA | MTV

Gerald Espinosa, pictured above, is one of four new members of Fanny Pak on MTV’s “America’s Best Dance Crew.”

ESPINOSA | Page 7

SLAM! mentors via music UCLA group Student Leader Advocates of Music offers high schoolers free lessons

Netflix’s plan to drop full season of “Arrested Development” rids element of suspense

BY JUSTINA COELHO A&E contributor jcoelho@media.ucla.edu Scattered, chaotic drum be at s echoed a rou nd t he courtyard as 20 high school students tried out their first percussion sets. By the end of the quarter, however, this incoherent clamor became cohesive rhythms as SLAM! volunteers watched their students transform into musicians right before their eyes – and ears. UCL A’s Student Leader Advocates of Music (SLAM!) is an after-school program that mobilizes student volunteers to teach free music lessons to high school students in the Los Angeles area. The program began in the fall of 2010 when second-year psychology student Roi Matalon saw that several high school music programs were being eliminated because of California budget cuts. The organization’s volunteers now v isit two different high schools four times a week, with upward of more than 20 students in each music class, which teaches percussion, guitar, piano and vocals. Fourth-year biology student and SLAM! director of per-

Taking it one episode at a time Netflix wants to differentiate itself from traditional TV outlets by dropping full seasons rather than releasing one episode at a time. It sounds like Netflix thinks this is something that TV viewers want, but is it? SAMANTHA When shows air on TV, one SUCHLAND episode per week, the time in between is ritualized with water cooler-style recapping, plot analyzing, hunting down promos for next week’s episode and actively avoiding major fter six years of Tobias spoilers. Funke-style emotional Netflix’s new plan leaves me investment, “Arrested wondering if we’ve given up on Development” fans will be the adage good things come to given a lump sum return. The those who wait. 10 episodes of the new season Yes, I am aware of the irony will be dropped on of lamenting the Netflix. demise of delayed No matter gratification when Netflix’s how much I love our generation new plan leaves watching TV on equates a 30-second my computer and Hulu commercial me wondering if having access to we’ve given up on to the time it takes shows at the click a glacier to melt. the adage good of a Netflix queue, However, there are things come to the new “Arrested moments when Development” plan those who wait. even I want to stop doesn’t sit right. and savor what I’m I’ve always loved watching. Waiting discovering full television six years for a new episode of seasons on Netflix and burrow“Arrested Development” seems ing into my couch cushions for like a good reason to slow down a weekend marathon. But once and enjoy what we’re getting. I’m caught up I’m excited to Are we all going to be on watch with the rest of the world. Netflix at midnight the day the Am I being a stick in the mud? According to EntertainREMOTE LIFE | Page 7 ment Weekly’s James Hibberd,

REMOTE LIFE

A c o u rt e sy o f

ALICE GUAN

UCLA’s SLAM!, or Student Leader Advocates of Music, is holding its quarterly concert on Thursday evening in Kerckhoff Hall at the Charles E. Young Grand Salon. Mind the Gap will be the headlining band for the show.

SLAM! Spring Concert Thursday, 7 p.m. Kerckhoff Grand Salon, FREE

for ma nce A l ice Gua n sa id she believes the program is a powerful positive influence for students. “Music brings people together,” Guan said. “That sense of community motivates students to do better in all things. Being in a band is sort of like (being

in) a family.” L a st yea r, t he prog ra m began to include quarterly concerts to promote its message of mentorship through music, attract volunteers and provide an environment for UCLA bands to perform together. A local L.A. band, Mind the Gap, will headline this quarter’s concert, along with several other student groups. One student band that originated from the halls of Rieber

Terrace, The Internship, will perform new original songs at the show. The band’s bass guitarist, second-year environmental science student Kyle Graycar, said he believes music plays a critical role in the development of creative thinking. “I’m lucky that my parents thought it was important for

SLAM! | Page 7


dailybruin.com/ae | a&e | Wednesday, April 25, 2012 | DAILY BRUIN

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ESPINOSA | Discovering his true interests from page 6

ern and, once he graduated, UCLA’s Dance & Spirit Club. repertoire to not only playing Espi nosa took a year off instruments, but also using from dancing his senior year his body and voice. to focus on his studNow, he leads and ies and his goal of teaches the same graduating. A fter It was an show choir that he graduation, Espiwas a member of easy pick. ... He’s nosa said he didn’t just 10 years ago. k now whet her or “ I t h i n k s h ow one of the cleannot p er for m a nce choir was the first est dancers I’ve was the direction decision I made as ever seen.” he wanted to take a young adult away career-wise. Evenfrom what my parMegan Lawson tually, he decided ents ... instructed Fanny Pak member to pursue dance by me to do, so I think taking classes and that was a big performing in other defining moment for me,” Espi- productions such as “America’s nosa said. Got Talent” and Disney’s “ElecOnce admitted to UCLA, he TRONica.” started performing with onWhen audition season for campus organizations such as the show came around, Fanny Samahang Modern, NSU Mod- Pak was invited to re-audition

and Espinosa was asked to join the group. “It was an easy pick. He’s been dancing in Matt’s class and has done performances with us for years now,” said Megan Lawson, a member of Fanny Pak. “He’s one of the clea nest da ncers I’ve ever seen.” According to Espinosa, preparing for each night’s show is a process in which, rather than tackling the weekly challenge, the group begins with a fun idea and then incorporates it into its routine. “Instead of thinking in that mentality of ‘Eh, we have to come up with an eight-count,’ it’s more of an ‘Oh that makes me laugh, why don’t we work it into the routine?’” Espinosa said.

c o u rt e sy o f

REMOTE LIFE

SLAM!

from page 6

from page 6

season drops, fingers hovering above the play button? Will we be willing to wait after each episode to catch up and discuss the show’s progress? I can see it now, gorging ourselves on Bluth debauchery, discussing at the end and having nothing left until a reunion show 10 years down the line. Maybe I’m officially old technology-wise and am lamenting an attack on what I consider the correct way to watch TV. Like most “Arrested Development” fans, I actually first watched the show online. MSN.com had all three seasons, and I was instantly hooked. I sat down and watched them all by myself at the family computer, inhaling episode after episode. In a way, this season drop on Netflix isn’t so different than most people’s existing relationship to “Arrested Development.” There isn’t any proof that people will want to wait around to see what happens. After all, that’s the reason the show went off the air in the first place. While I can’t be certain of the power of “Arrested Development” spread across several weeks, I know that a season drop will be more bitter than sweet. I’m already mourning the moment the Bluth family goes back into hiding. There’s no reason to rush it.

me to learn an instrument,” Graycar said. “It’s a really important part of someone’s education.” Members of the SLAM! band will also perform, including percussion ist Derek Ta n. Ta n, a fourth-year physiological science student and the current SLAM! president, said he was drawn to the program when he found it hard to fit music into his busy schedule. “When you’re in college, it’s hard to find time to play music. ... With SLAM!, music is a now a big part of my college life,” Tan said. Guan said she believes that SLAM! not only enables volunteers to mentor kids through music, but it also allows them to maintain their own musical passions. She also said she thinks that it provides a way to de-stress amid the

PAUL SAKUMA/ t h e

a s s o c iat e d p r e s s

Online movie provider Netflix plans to release the new season of the comedy show “Arrested Development” all at the same time online.

Borrowing from the eloquent Gob Bluth, has Netflix made a huge mistake? Will you be watching all 10 episodes of “Arrested Development” the day they come out? Email Suchland at ssuchland@media.ucla. “Remote Life” runs every Wednesday.

The Daily Bruin: BEST ALL-AROUND DAILY STUDENT NEWSPAPER

in 2006 & 2003 by The Society of Professional Journalists

FRANK MICOLETTA | MTV

Fanny Pak made their television debut in season two of MTV’s “America’s Best Dance Crew” and is the first group to return back on the show to compete for the winning title.

c o u rt e sy o f

ALICE GUAN

A member of UCLA’s Student Leader Advocates of Music teaches high school students guitar. SLAM!’s quarterly concert is on Thursday.

chaos of homework, midterms and papers. Accordi ng to Tan, SLA M ! ’s efforts affect more than just stu-

dents’ musical education. “We act as role models,” Tan said. “We use music to empower these students to become leaders.”

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dailybruin.com/ae | a&e | Wednesday, May 2, 2012 | DAILY BRUIN

Coming to a column finale

SPEAKS OUT A&E contributor Jeremy Wong asked some UCLA students what they listen to when they want to de-stress. Here’s what they said. Isaura Ramirez Third-year, sociology “I love to listen to R&B. … I just feel like it calms me down. The waves are so relaxing. (One song I like is) ‘Superwoman’ by Alicia Keys. It’s just very inspirational. The words are deep, and it talks about hard-working women and I like to think I’m a hardworking woman.”

Kirk Wang Postdoctoral, chemistry “Country. Keith Urban, Taylor Swift. (I also like) Avril Lavigne. First song I listened to from her is ‘Complicated.’ It’s really good. … Every song from her albums is very good.”

Brisa Lopez Fourth-year, comparative literature and Spanish “I listen to everything, but lately, for midterms, I’ve been listening to house music like Cascade and Tiësto. I like the beats. … It’s kind of cool because I’m reading or studying, and I don’t get distracted by any lyrics.”

Christina Hernandez Third-year, sociology and Chicano studies “To release stress I usually listen to Spanish music. I think, since I used to listen to it with my parents since I was younger, I’m used to it now and it helps me relieve stress now. Right now, I like Aquellos Ojos Verdes.”

VIDEO: More music from Spring Sing performers

After devoting time and care to both television and writing, ‘Remote Life’ comes to an end

Finales are led up to with zealous press, fanatical theorizing and the fear that a single episode won’t be able to achieve all you need to say goodbye to the world you’ve come to know. The finale episodes of “Boy Meets World” SAMANTHA SUCHLAND and “Gilmore Girls” meant tying up college careers and relationships while also letting us know what these guys and gals would be up to for the rest of their lives. Or until we here’s nothing more excitcan convince them to return for a 20-year ing than a series finale. reunion (I’m talking to you, Ben Savage.) While the beginning of May is a little There are other shows that I haven’t premature to talk about finales, let alone watched for years that I will grow more and series finales, I do have a point. more obsessed with as the finale episode Mainly it’s that this will be my last column grows closer. for the year. The other reason is that I’m I skipped out on the final two seasons of obsessed with series finales. So what better “Lost,” but sat rapt with attention to see how way to bring an end to “Remote Life”? everything ended. You might be wondering how one can All right, so that’s an unfair example. be obsessed with series finales. I promise There were a lot of people who wanted to it’s possible. There’s something know the end of “Lost,” but gave about a finale and all the hoopla up somewhere around “The that surrounds it that has me Others.” Oh you made it past The best sitting in front of my TV, popcorn “The Others”? Good for you. bowl in hand and Wikipedia page and hardest finales Of course, the best and hardopened for a quick refresher are those for your est finales are those for your course. favorite shows. The ones you’ve favorite shows. After devoting so much time stuck with throughout the years to a television show and generally The ones you’ve and aren’t completely ready to caring more than is healthy about stuck with through- say goodbye to, even though the a group of fictional people, the network or creators are saying out the years. finale is the episode that has to it’s time. do everything. It’s got to tie up These are bittersweet finales, loose ends, answer the will-they-won’t-they but they’re also the most memorable. They’re question, throw a few curve balls and give a the ones we have the most fun watching sense of finality while also providing an idea because we care the most. of where these characters are going in the On that note, thank you for reading future. “Remote Life” all the way to these final When I was 9, I counted down the hours to sentences and for sharing in my unhealthy the finale of “Home Improvement” for some obsession with television. inexplicable reason. It was the first time I I hope that all of your favorite shows have watched a TV show’s curtain call, where the satisfying finales and that none of them cop cast takes a final bow, and I saw the set and out with a dream sequence twist. the actors for what they were. I also remember being frustrated that I still didn’t know If you would like to chat about anything what Wilson’s face looked like. But mostly I television for the last time contact Suchland at remember the finality of that moment. ssuchland@media.ucla.edu.

REMOTE LIFE

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Can’t wait until Spring Sing? Catch a preview as five of the performing acts – The Ten Thousand, Yuki A Band, Alto, Halle Charlton and Courtney Randall – perform songs from their repertoire and explain the stories behind them. Watch the videos at dailybruin.com/video

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Remote Life - television column