The Word: Best of August 2013

The Word August 2013

THIS ISSUE: Ben Affleck as Batman

Miley Cyrus

The Butler

Fox Sports 1

Taylor Swift

Tom Petty

Kendrick Lamar

And Much More ‌

Table of Contents Give Ben Affleck a Shot at Batman – He Just May Surprise You (Philip Price) …. 3 Ben Affleck as Batman Is Not the End of the World (Julian Spivey) …. 6 10 Most Anticipated Movies for Remainder of 2013 (Philip Price) …. 7 Michael Reagan’s/Conservatives’ Issues with ‘The Butler’ Unjustified (Julian Spivey) …. 13 Movie Review: “The Butler” (Philip Price) …. 16 Movie Review: “Elysium” (Philip Price) … 19 Movie Review: “The Way, Way Back” (Philip Price) … 21 Movie Review: “Drinking Buddies” (Julian Spivey) … 23 Fox Sports 1 Debuts with Good Events, Less Than Stellar Studio Shows (Julian Spivey) … 25 ‘Broadchurch’ Features Fascinating Case, Intriguing Performances (Julian Spivey) … 27 ‘Big Brother’ Racists Still On Show Over a Month Later … Is this Damning Sign for America? (Julian Spivey) … 28 Lindsay Lohan Should Leave Spotlight Behind, Learn to Live Like Normal Person (Aprille Hanson) … 30 Album Review: “The Gifted” by Wale (Kellan Miller) … 32 Album Review: “Born Sinner” by J.Cole (Kellan Miller) … 35 Song Reviews (Kellan Miller & Aprille Hanson) … 38 If Miley Cyrus Wants to Be Adult She Should Act Like It (Aprille Hanson) … 41 Tom Petty is Right About Modern Country Music – And Some in Nashville Can’t Handle It (Julian Spivey) … 43 Kenny Rogers at 75: Career of Good, Corny Hits Makes Rogers Somewhat of an Oddity (Julian Spivey) … 47 Game Review: ‘Animal Crossing: New Leaf’ (Robert Haynes) … 50

Edited by Julian Spivey Additional Editing by Aprille Hanson & Wendy Spivey

Note: All of these pieces were previously published on thewordwebzine.webs.com

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Movies Give Ben Affleck a Shot at Batman … He Just May Surprise You

By Philip Price

God ... Talk about REALLY BAD casting ... And now begins the second downfall of the Batman series ... the film after this will probably introduce Robin ... then Batgirl! I am NOT seeing this movie if he is in it. There are over a million better choices, they could have picked someone off the street at random and made a better choice.

If you are taking in these sentences as my reaction to the recent news that Zack Snyder, director of “Man of Steel” and its upcoming sequel that will feature Batman, has cast Ben Affleck as the caped crusader well, you would be wrong. First of all, because this wasn't my reaction (not even close) to the initial announcement and second because, despite the fact they are reactions, they are not aimed at Affleck. No, all of the above comments were made on various websites anytime between April and August of 2006. The person on the receiving end of all this criticism was Heath Ledger. When it was announced director Chris Nolan had cast the charismatic Aussie in the role of Batman's most notorious nemesis there was no shortage for cries of blasphemy or people proclaiming no one would ever measure up to Jack Nicholson from Tim Burton's 1989 film which in itself caused controversy by casting an actor known mainly as a comedian to play a vigilante that dresses up like a bat. As we all know now, both of these decisions turned out to be pretty well gauged and the people behind the scenes actually did have a pretty good idea of what they were doing. The argument will naturally be made here that Snyder is no Nolan (no, he isn't) or Burton (debatable; both have a flair for placing style over substance) and that he doesn't really know where he wants to go with this new incarnation of Superman and has simply placed Batman in the center of it to make the transition from stand-alone super hero films to crossovers more convenient for the folks over at DC to put together a Justice League film that might finally put them on track with what Marvel studios has now been doing successfully for over five years. If that is true the fan boys crying foul at the hiring of Affleck certainly stand a better chance of being proved right, but I'd like to believe that with the point Affleck is at in his career he sees something in this project that he can bring to the table. A fresh and interesting version of the Batman we've yet to see on screen before. Regardless of what direction this ends up going though, judgment should be reserved until July 17, 2015 and not a day sooner.

The bigger question still boils down to: Was Affleck a good choice?

Clearly this is a very subjective question and one that people will bring all sorts of examples and justifications into to serve as proof as to why he may or may not make a good dark knight. For me, there 3|Page

is a very clear way of looking at things. Yes, it may seem like the "easy" choice as Affleck is one of the bigger stars to emerge and remain relevant in the last two decades and though his career had very early ups, some serious downs and a fair enough middle ground along the way he has certainly come back in a way no one expected him to. Quietly making his directorial debut with 2007's “Gone Baby Gone” the actor Ben Affleck was still trying to shake the after-effects of the one-two punch that were 2003 and 2004. In those two years he made “Gigli” (a movie I've never seen, but is considered one of the worst films of all time), “Jersey Girl” and “Surviving Christmas.” All three of these films were panned by critics and left out in the cold when it came to box office receipts not spelling good fortune for Affleck's future.

2003 was also the year of “Daredevil” and going back to watch that film you can see that it's not THAT bad and the trouble certainly wasn't in Affleck's performance, but in the direction of Mark Steven Johnson. The guy had only made one film prior to the big budget super hero flick and he simply didn't know what to do with it all. There are some good ideas in there, just as there were in his follow-up, 2007's “Ghost Rider,” but instead of casting someone like Affleck he went with Nicolas Cage. Matt Murdock is a different kind of hero than Bruce Wayne, that is clear. Still, both are very layered, compelling characters who have equally rough backstory's and come out on the other side seeking some type of revenge or leverage. It is easy to compare two comic book heroes, but it is in how their alterego's are portrayed that truly defines how far they will go to see good win out over evil. Affleck was able to convey both the pain and physical presence of the character only failing overall because Johnson's unstable world with which he existed in was a bit of a mess. The good things that came out of these years though is the fact they made Affleck step back and look at his career, where he wanted to go from there and how he needed to make that happen. That he has come from that to where he is now should do nothing but lend good faith to his casting as Batman.

Not only does he now have a starring role in what will no doubt be one of the biggest movies ever (no exaggeration) but he also has built a better relationship with the studio that released both “The Town” and “Argo” (which will likely allow him the freedom to make more films like “The Town” and “Argo” in between Bat gigs). Taking this role and signing on for more than one film, as is now being reported, means Ben Affleck is not just going to be back on top for making well-received movies and starring in his own films, but he will be starring in films he isn't in control of, but will be of guaranteed box office success. This is something Affleck hasn't truly been able to do as an actor since his downfall early on in the millennium. Since re-evaluating his career and stepping back into small-scale filmmaking he has, for the most part, stayed out of the limelight of other people’s films except for the occasional venture into small parts such as those in “Hollywoodland,” “State of Play” and as a part of the large ensemble in “The Company Men.” Each of these along with his starring roles in his own films have done well to prepare him for what it will take to make a convincing Bruce Wayne and an intimidating Batman. Simply look at his character in “The Town,” Doug MacRay, the guy is a fierce and intimidating persona that ultimately has a conscious that wants to allow him something more, something meaningful. This soft side only comes out in his most personal moments otherwise he is a stone cold statue of a man that intimidates those he rounds up to do his heists with him. If Affleck can pull this off while wearing the cowl I see no reason why he wouldn't stand to make a fierce enough crusader to satisfy spectators. Not to mention, as Patton Oswalt so eloquently put it, Affleck is an actor who has, "tasted humiliation and a reversal of all personal valences -- kind of like Grant Morrison's "Zen warrior" version of Batman, post-ARKHAM 4|Page

ASYLUM, who was, in the words of Superman, "...the most dangerous man on the planet"? Think for a second and admit that Ben Affleck is closer to THAT top-shelf iteration of The Dark Knight than pretty much anyone in Hollywood right now."

It is an interesting thought. If you can't get behind that or may go as far as to say that sure, he could do fine under the mask, but what about when he has to play Bruce Wayne? That seems like the easier side of things to be honest. Ben Affleck, the celebrity, could probably play Bruce Wayne, the billionaire, in his sleep. Ben Affleck has been playing that role for several years now, but again if you simply go back to his more recent, supporting work you will see that if he is to combine the vulnerability and humanity he showed in “The Company Men” while pairing it with the slick, oily traits of his “State of Play” character he would have a nice balance of the humble and determined Bruce Wayne that Alfred sees and the persona he has to put on for Gotham City. Besides these thoughts, there is the added value of Affleck being able to play things for laughs and while I doubt Snyder won't have any problem retaining the tone of his films that clearly took away from Nolan's Bat-series, there is always a plus side to having an actor who can add the necessary amount of relief from the constant bombardment of actions and heavy themes that this film no doubt intends to offer. Speaking of Nolan, as he is now off shooting his space epic, “Interstellar,” and will be less and less involved in these types of films we can look at it as an added bonus that Affleck will become a part of this universe. Even if you don't like him as an actor you'd be hard pressed to find someone to back you up when calling him a bad director. He has quickly become one of his generation’s best directors and considering many of the complaints for “Man of Steel” were centered around both David Goyer's script and Snyder's direction it can't hurt that with Nolan overseeing less of this sequel that a skilled writer and director who knows how to craft seriously intense sequences and allows character to drive his narratives will be on set giving input.

I wasn't convinced when I first heard the news. I wanted someone, like Christian Bale, who was a bit of an indie actor, not too well-known, but might have starred in a few smaller films that were well-received critically. It would certainly make it easier for an actor of that stature to disappear into the role while someone like Ben Affleck, who is uncomfortably close to George Clooney status. Still, after sitting back and taking in every possible scenario and aspect of the situation I can't help but see how this couldn't at least turn out to be pretty damn good. He has the look, the chops and the intuition as a filmmaker to help craft a truly memorable super hero film. I'll be rooting for him to prove all of those petitioning for his removal right now, wrong come July 2015. Ultimately though, this will be a landmark film simply due to the fact that these two iconic characters will share the live action screen together for the first time and if there was anyone who could possibly embody the caped crusader on screen and force the creative teams behind the scenes to up their game it would be someone like Ben Affleck. If we want a landmark film to match this landmark event, I don't know that anyone in Hollywood could help make that more of a possibility than Mr. Affleck right now.

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Ben Affleck as Batman Is Not the End of the World

By Julian Spivey

It was announced Thursday, August 24 that Oscar-winning director, producer and screenwriter Ben Affleck, who as some of you may know also acts in his free time, was going to play Batman in the sequel to this year’s Superman flick “Man of Steel,” which is due to hit theaters sometime in 2015.

Shortly after the announcement the Internet exploded – not even Batman and Superman combined could’ve saved it. Teenagers and people who don’t realize that they are no longer teenagers everywhere filled the web with mostly vitriol about the announcement. Because to them, you see, Batman is not just a movie or comic book character. Batman is much more than that. Batman is their hero – not figuratively, but literally. These people, known affectionately, but more and more so becoming quite infamously as “fan boys” seem to have little to no life beyond that of their superhuman, cookie cutter heroes. So, when an actor that they seemingly in unison don’t like or think is right for the role like Ben Affleck is given the role they respond like somebody shot their dog.

You probably think based on my two paragraphs already that I hate the currently epically popular superhero/comic book genre of movies. However, this is not the case. In fact, I’ve yet to even get into the craze. I’ve never seen a single movie based on a Marvel or DC Comics character. No Batman, No Spider-Man, No Superman, No Iron Man, No Avengers of any kind. I’m very interested in seeing almost all of the movies that involve these characters, I truly am. I hear some of them are fine pieces of filmmaking. It’s just that it hasn’t been one of my highest priorities. I tend to prefer real-world drama in my films over science fiction or supernatural aspects. No offense meant, but I tend to be interested in storylines that go a little deeper than [insert superhero here] saves world from [insert villain here]. To some this is going to be a sign to stop reading, if they haven’t already, because to them I have no fucking clue what I’m talking about. But, I think this gives me a fresh perspective on the whole thing. Because I don’t hate the superhero/comic book genre – I have no reason to obviously – I’m also not completely enraptured by it as “fan boys” seem to be. I don’t live and breathe for superheroes (nor do I live and breathe because of superheroes).

The problem many “fan boys” - and I realize that term is used for more than just fans of the superhero/comic book genre and I don’t really mean to use it derogatorily, because I have referred to myself as a “fan boy” of other things before – is that they have developed too close of a relationship with their favorite superhero characters. They are so invested in these characters that every little or big thing that happens to these characters like changes in the actors playing them is subject to such meticulous scrutiny and nitpicking. Remember earlier this year when “fan boys” everywhere disgustingly criticized Golden Globe-nominated actress Shailene Woodley, who was named as Mary Jane in the “Spider-Man” sequel, for being among other things “too ugly” to play Mary Jane. That would be wrong under any circumstance, but have you seen Shailene Woodley? If she’s ugly than you need to go back to your anime pillow girlfriend that you live in your parent’s basement with. I thought I knew how serious comic book/movie fanatics where about their superheroes beforehand, but I didn’t know it was this bad and I didn’t know it could be this nasty.

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I am a massive movie buff and therefore I take movies incredibly seriously, but at the end of the day I know that a movie is just a movie. It’s fake. It’s not real. It really has little to no impact on my life. This is something that I fear many superhero “fan boys” are not aware of. I’m afraid some may even think Batman, Superman and Spider-Man roam the streets at night keeping us free from felonious villains.

I can understand not wanting a particular actor or actress to play a certain role. This is something that all movie fans at some point in their lives will likely be dissatisfied with. I can also understand why people would think that Ben Affleck would not be the ideal Batman. Affleck, in my opinion, is not the greatest actor in the world, but unlike what many seem to believe these last few days, he’s also not the worst – not even close.

Playing Batman, is obviously, one of the hardest things an actor can go through in Hollywood at the current moment. Not only because it’s maybe the most beloved character currently in film, but because it was previously played by Christian Bale, an immensely talented actor, who is generally considered the Marlon Brando (maybe Daniel Day-Lewis is a better comparison for today’s generation) of Batmans. In many people’s eyes there has never been a better nor will there ever be a better Batman than Bale, and that’s probably unfair.

Many “fan boys” have already determined in their minds and hearts that Affleck will not be a good Batman and will greatly affect a movie that is not even all that close to being filmed and won’t even be seen for around two years. That’s far too early in the game to be making predictions about a film that likely will break box office numbers regardless of who’s playing Batman.

“Fan boys” would truly be better off if they just sat back, took a breath and played the wait and see game. Affleck could be a horrible Batman or he just might be the greatest Batman to ever grace a movie screen. Either way I can guarantee you this isn’t going to be the end of the world, as some are making it out to be, it’s not even going to be close.

10 Most Anticipated Movies of Rest of 2013

By Philip Price

It has been somewhat of a rough year for film. Although at the time of this writing, I've found two or three films I absolutely loved this year which left a lasting impression on me, several others I could classify as great, but not necessarily anything exceptional. Exceptional is what we are always looking for as we head into the latter part of the year and studios begin to offer up their Oscar bait. 2013 will be no different, but the surprise this year is just how many blockbusters have been saved for the final quarter.

There’s usually one, or two, December releases which stand to be critical and box office champions, but most are more adult fare that do well with critics and have long legs when it comes to box office numbers. While there will be plenty of these kinds of films still vying for a place on the ballot come next February, there are also a fair amount of well-made films which are part of franchises the studios are looking to make a pretty penny on. Whether it be Marvel, young adult adaptations or re-makes there is something for just about everyone on the docket for the remainder of this year. It was a tough task, to narrow down four months of releases to just 10 films. I can tell you that I'm seriously anxious and optimistic for each and every one of them. The way I look at it, the following 10 films are what I would choose to see if I were limited to only that amount for the rest of the year. So here we go...

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10. “Thor: The Dark World” I'll kick off the list by indulging in my excitement for super hero movies. Since the success of the first “Iron Man” film, it's been clear that Marvel had ambitions for something much bigger. Whether those ambitions were met and surpassed with last year’s success of “The Avengers” doesn't matter, for as soon as it was clear second tier heroes like Iron Man and Thor could turn a profit and contribute to the overall story arc, Marvel President Kevin Feige seemed to jump head first into planning out years upon years in advance, as he's slated about two films per year to follow-up 2011's. “Thor” is next up, and the two trailers released so far instill much more confidence in the film than those that had me worried about our first contact with the Demi-God. While Kenneth Branagh was an inspired choice for bringing his Shakespearean influence to the realm of Asgard, it also felt slightly too tongue-in-cheek when compared to the “Iron Man” films and “Incredible Hulk.” This time around Feige has hired “Game of Thrones” director Alan Taylor and as we've moved past the origin story and essentially seen Thor (Chris Hemsworth) in another adventure it feels time to get to know the hero on a more personal level and put much more at stake for him personally. This sequel is set to center around Natalie Portman's Jane Foster as she is targeted by an ancient race that is led by the vengeful Malekith (Christopher Eccleston). In light of these events and the natural thought there is much more to them, Thor must join forces with his brother Loki (Tom Hiddleston) and fight to save us all from an enemy not even Odin (Anthony Hopkins) can withstand. This all sounds a bit grandiose, but that is what “Thor” is all about and the look and tone of the trailers seem to match those sentiments whole-heartedly. “Thor: The Dark World” also stars Stellan Skarsgård, Idris Elba, Adewale Akinnuoye-Agbaje, Kat Dennings, Ray Stevenson, Zachary Levi, Tadanobu Asano, Jaimie Alexander, Rene Russo and opens in 3D on November 8th.

9. “American Hustle” I was initially surprised to learn David O. Russell would be following-up last year’s crowd pleasing awards winner, “Silver Linings Playbook,” so quickly with another project. Not that this was a bad thing. I really enjoy Russell's style, and his technique seems to be very off the cuff. So, it makes sense that he would get a group of his previous collaborators together and get to work while the fire was hot. If nothing else this movie will be worth seeing for the caliber of the cast it sports. Set in the 1980's and centered around the undercover sting operation known as "Abscam," “American Hustle” is the story of a con artist (Christian Bale) who comes to work for the FBI to root out the corruption that is taking over Congress. Bradley Cooper plays an FBI agent with Jennifer Lawrence as Bale's Long Island housewife while Amy Adams seems to have the most delicious of roles to work with as she plays Bale's lover on the side and accomplice in crime. The first trailer doesn't give much away in terms of plot points or performances, but instead puts its trust in the big names it has on its bill dressed in ridiculously outlandish period wardrobe and hairstyles. Bale has a balding head and beer belly. Cooper looks more like his ‘Hangover’ director Todd Phillips rather than a marquee star. Adams is lucky enough to have her pick of top roles and Russell clearly trusts her after giving her an out of character turn in “The Fighter” to bring what seems to be a sexually charged vixen with a brain to life in this film. Lawrence is simply on fire with both this and the second ‘Hunger Games’ film out this fall; her name will be even more prominent than it was in her Oscar-winning campaign last year. This will be her third collaboration with Cooper and I was hoping to see more of their “Serena” by now, but it seems it might be smart to delay that now with this film already picking up steam. The film also stars Jeremy Renner, Louis C.K., Michael Pena and Jack Jones. “American Hustle” opens in limited release on December 13th before going wide on December 25th.

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8. “Oldboy” Ten years ago director Chan-wook Park adapted the Japanese comic book (or manga), “Oldboy,” for the screen. I have yet to see this original adaptation of the material, but have heard nothing but excellent things. What makes the prospect of checking this out even more enticing (besides the fact I also enjoyed Park's English language debut, “Stoker,” earlier this year) is that Spike Lee has re-made the film or adapted the material into his own motion picture. I plan to see Park's version of the material before venturing out to see the latest incarnation, but based on the red band trailer released last month I am immensely excited to see what Lee has in store for us. Working with a top rate cast, that includes Josh Brolin, as Joe Doucett, an advertising executive who is kidnapped and held hostage for 20 years only to be released for no apparent reason, is an intriguing premise that could hook anyone. The fact that the story follows Doucett after he is released and sets out to get revenge on his mysterious captor makes the idea of delving into this world all the more enticing. There are naturally many other layers that the film hints at which we are not exposed to yet, but based simply on the premise I was immediately hooked and ready to buy my ticket. The footage only reinforced that desire. I'm not a huge fan of Lee's, but I can appreciate the reasons he's come to be acknowledged. I feel his ambition, more times than not, overshadows his effort, but what matters is you can feel the effort there and that certainly seems to be true in this more commercial piece. I'm also happy to see Brolin in more awards-contender type material (especially after duds like “Jonah Hex” and “Gangster Squad”). It is also important to note the supporting cast features the likes of Sharlto Copley, Elizabeth Olsen, Samuel L. Jackson and Michael Imperioli. As the poster still states, “Oldboy” was initially scheduled to open on October 11th and was then pushed back to October 25th. The studio, FilmDistrict, will now widely release the film on November 27th.

7. “Inside Llewyn Davis” If there is one consistent force in filmmaking besides big guns like Martin Scorsese, it is that of Joel and Ethan Coen. After being absent for three years, the writing and directing duo will return this year with “Inside Llewyn Davis.” If this wasn't already shaping up to be one of the more interesting and promising Oscar seasons in recent history, this film might be closer to the top of the list. Still, numbers aside, I am very much excited to see what the Coens have crafted this time around as they've taken on the 1960's Greenwich Village folk music scene. The titular character as played by Oscar Isaac (who seems perfect for the role he’s given, seems to incorporate music into many of his characters, just take a look at “Won't Back Down” or “10 Years”) is a frustrated musician simply trying to make his way and a living off what he loves to do, yet seems to continuously come into contact with insurmountable obstacles, some of which are of his own doing. The film premiered at the Cannes Film Festival earlier this year and received rave reviews which only upped my anticipation for the film. As much as I love film, and I truly do, there is something about music and the story behind songs that truly mean something that cut to my soul even more. I've always believed the greatest tool in a director’s arsenal is a strategically placed song, and this film seems it will have ample opportunity to prove this theory right. In the 13 years that have passed since the Coens brought us “O Brother, Where Art Thou?” it seems they have been pining for a way to revisit the marrying of music and film, and they’ve found their outlet in this portrait of an artist. Davis, like so many in that day and age, were looked over while paving the way for the ones we came to call legends, such as Bob Dylan. If you've seen any of the trailers you immediately get the tone and mood the film is going for, and it seems to perfectly encapsulate the time period and the emotional roller coaster the lead character is going through. I'm anxious to see this film with no hesitation as to if I 9|Page

will be satisfied or not. It is almost guaranteed the film will be great, if not excellent. That the soundtrack will be a must have, is just icing on top. The film also stars Carey Mulligan, Justin Timberlake, Garrett Hedlund and John Goodman. “Inside Llewyn Davis” opens December 6th.

6. “12 Years A Slave” After 2011's “Shame,” director Steve McQueen received a serious bump in recognition along with his star Michael Fassbender. The two have now re-teamed for a third time. Though I haven't seen their first film, 2008's “Hunger,” it seems they will again be tackling a tough subject many would rather ignore, or pretend isn't as bad as distance would have us believe. As with “Shame,” “12 Years a Slave” seems a film I am more keen to be engaged by rather than one I will enjoy. It will inevitably be compared to last year’s “Django Unchained.” However, it is evident from the first trailer that McQueen’s film will be less an exercise in genre and revenge fantasy and more a film attempting to do justification to one man’s life. It was interesting to hear Spike Lee's comments on “Django Unchained,” even if I don't think they were very valid. If he wanted to give an informed opinion on the film he would have actually seen it, but it seems simply because Tarantino approached a sensitive subject matter in a way Lee disapproved of he didn't care for it in spite of the fact the film offered a harsh and honest view at the realities of slavery and made a black man the hero of the film. I'm curious to see if Lee will see McQueen's film as he is a black director taking on the subject and how he might respond. The film is based on the autobiography of Solomon Northup as played by Chiwetel Ejiofor. Northup was an educated, successful, and married black man in 1853 who was kidnapped and forced into slavery for over a decade. The trailer sets a very serious tone, one filled with angst and all the emotions that word carries with it as McQueen seems intent on creating a true to life atmosphere that keeps us on the edge, giving us a persistent feeling of worry as the plantation owners no doubt did with their slaves. It will be a tough film to watch, but as with “Fruitvale Station,” it seems it will inevitably be a very important one to see. “12 Years a Slave” also stars Benedict Cumberbatch, Paul Giamatti, Quvenzhane Wallis, Sarah Paulson, Paul Dano, Scoot McNairy, Garrett Dillahunt, Alfre Woodard, Dwight Henry, Michael K. Williams and Brad Pitt and opens on October 18th.

5. “The Secret Life of Water Mitty” Many people are quick to jump on the Ben Stiller-bashing bandwagon. To a certain extent this is understandable, the guy hasn't had a solid hit in almost five years as both “The Watch” and “Tower Heist” under-performed at the box office, and his last Fockers outing didn't do as well as expected and was completely trashed by critics. While his voice work in the ‘Madagascar’ series doesn't really do much for his credentials, his ‘Night at the Museum’ sequel did well enough in 2009. It was Stiller’s last directorial effort, 2008's “Tropic Thunder,” which really gave Stiller a solid box office hit (especially for a completely original film and one that was very meta and could easily have excluded itself from more mainstream audiences) while also being a hit with critics, garnering Robert Downey Jr. an Oscar nomination and ending up on several peoples “best of” lists at the end of that year. With that in mind, it is with great anticipation that I welcome the next film Stiller has decided to direct and star in. I first saw the trailer for “The Secret Life of Walter Mitty” with no knowledge I was about to see it and it blew me away. The footage literally gave me chills and hinted that Stiller and his team were up to something more, something truly affecting. As a re-make of the 1947 Danny Kaye film which in itself was originally based on the 1939 James Thurber short story the film centers around Stiller's eponymous lead character, a LIFE magazine proofreader, who is unable to stand up for himself, and therefore retreats to 10 | P a g e

a fantasy world where he becomes the exact opposite of his real self. On these quests he seeks to find a missing image taken by a photographer played by Sean Penn. I was also happy to see that Kristen Wiig will play a major role as the love interest and that, despite all the awards talk already swirling around it, Stiller seems to give a truly heartfelt yet restrained vision of a man who is seeking what we all need out of life: satisfaction. The film was just announced as the New York Film Festival Centerpiece which will have its premiere on October 5th, a full two months before it hits theaters meaning Fox seemingly has a large amount of faith in the picture, and I hope rightfully so. “The Secret Life of Walter Mitty” also stars Adam Scott, Shirley MacLaine and Patton Oswalt and opens on December 25th.

4. “Gravity” As the opener of the 70th annual Venice Film Festival and just recently added to the Toronto International Film Festival's line-up, director Alfonso Cuaron's “Gravity” is one of the more widely anticipated films of the year. It seems we have been waiting forever for the chance to see the film, and now that it is finally getting closer it seems as surreal as the visuals we've been treated to in the film’s trailers. The film was originally scheduled to open last year but was pushed back so that more time could be spent on the visual effects. Before the additional work on visual effects, the film went through several casting changes. Actresses such as Angelina Jolie, Marion Cotillard, Scarlett Johansson, Blake Lively and Natalie Portman were courted before landing on Sandra Bullock. Robert Downey Jr. was also originally signed on to play Matt Kowalsky, but was replaced by George Clooney when he had to drop due to scheduling conflicts. The film has been noted as a kind of passion project for Cuaron who, if you don't recognize his name, made the best Harry Potter movie in “The Prisoner of Azkaban,” as well as the excellent 2006 science fiction film, “Children of Men,” with his breakout hit in the States being 2001's “Y Tu Mama Tambien.” The director is also well known for his use of long, unbroken shots and he seems to be shooting for the moon on this one. “Gravity” is said to open with a 17 to 20 minute long shot with other long shots throughout the film. The two hour film is said to contain only 156 shots while in comparison the average two hour movie usually consists of nearly 5,000. As a big fan of the science fiction genre and of filmmakers who have the ability and vision to push the limits, I am extremely anxious to see how well this film turns out. It could very well be one of those defining moments in cinematic history as the film alone seems bigger than any of its individual parts. The expectations for the film aren't really based on cast, or even the story that centers on an astronaut who is stranded alone in space after a catastrophic event, but more about where the movie might take us. “Gravity” opens in 2D, 3D, and IMAX 3D (which I will be spending the extra bucks to see it in) on October 4th.

3. “The Hunger Games: Catching Fire” While I have littered this list with many highly respected, Oscar worthy films, it is time for me to allow my inner conformist out and tell you that two of my top three most anticipated films for the remainder of the year could be classified as blockbusters and that this third one is the second in a series of film adaptations of popular young adult novels. I have no shame in this. With my love of film and attempts to take seriously the intelligent and thoughtful directors of today, it is hard to deny the pure thrill of some of the larger scale, studio fare. Especially, when it seems to be as well made and labored over as this sequel to Gary Ross's invigorating 2012 adaptation of “The Hunger Games.” While many will criticize that film for its over-use of shaky cam and shoddy special effects (and it's true, it has both), it also created a visual world that new director Francis Lawrence was clearly able to build upon. I have read all of the books and am a fan of each, but ‘Catching Fire’ is far and away my favorite so I have more 11 | P a g e

justification beyond how spectacular the trailer looks for how excited I am about this film. ‘Catching Fire’ will pick up in the after math of the first film which has a subtle uprising across the poorer districts causing a few issues. What the second installment really centers around though is the "Quarter Quell" in which past winners of the games are forced to fight to the death. Like the promotional campaign for the first film they have kept any footage of this new set of games completely out of the trailers and will hopefully continue to do so in order for it to be a completely new and thrilling experience when audiences see it on the big screen for the first time. What the "Quarter Quell" really contributes to this new installment though will be the expansion of the character roster. Past winners include Beetee, Cashmire, Enobaria, Brutus, Wiress, Gloss, Mags, Johanna and of course, Finnick. This sprawling ensemble cast will up the ante as far as stakes and relationship dynamics go while ‘Catching Fire’ has a more obvious influence on the events that happen in ‘Mockingjay’ than the first installment has on this one. The film stars Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Sam Claflin, Elizabeth Banks, Woody Harrelson, Donald Sutherland, Philip Seymour Hoffman, Jena Malone, Jeffrey Wright and Amanda Plummer. “The Hunger Games: Catching Fire” opens in IMAX and traditional theaters on November 22nd.

2. “Anchorman: The Legend Continues” It was hard not to place this film at number one. In the summer of 2004, I was 17 years-old and was getting ready for my senior year of high school. Will Ferrell wasn't a household name, but was already a legend to those who followed ‘SNL.’ In 2003, he'd made serious leaps forward with the release of both “Old School” and “Elf.” However, it wasn't until Ferrell teamed up with long-time ‘SNL’ writer Adam McKay, who co-wrote the script and then directed the “Anchorman: The Legend of Ron Burgundy,” that the now comedic juggernaut would really leave an impression. It was the film which let the world into the universe of the Frat Pack, while giving us countless pieces of dialogue that we quoted over and over again that school year and in the almost 10 years since its release has only grown more and more adored as a kind of cult film with which many can identify. McKay and Ferrell would go on to create “Talladega Nights: The Ballad of Ricky Bobby,” “Step Brothers” and “The Other Guys” together; all of which are comedies I could watch over and over again. These films present Ferrell in his element doing what he does best. It is as if no one can better utilize Ferrell than his long-time collaborator and so it is with confidence that I am highly hopeful and optimistic for the sequel to the one that put them on the map. With the return of Ron Burgundy in “Anchorman: The Legend Continues,” it seems the entire news team have encountered new challenges as the networks enter into 24 hour news cycles and youthful anchors (as represented by James Marsden) threaten the gangs place at the top of the totem pole.

Along with Ferrell, pretty much everyone in the core cast has returned including Paul Rudd and Steve Carell, now much bigger stars then they were when the first film came out, as well as Dave Koechner and Christina Applegate; though if the trailer is any indication Mr. Burgundy may have moved on to someone new. What else I like about the trailer is that it hardly gives any story information or jokes away. It plays off the recognition factor and psyches up the audience with a few samples while leaving much to the imagination. While it is inevitable we will get at least one more trailer for the film, I hope the marketing team is smart enough to know the name and cast alone sell this movie and there is no need to divulge a large amount of information. The film also stars Kristen Wiig, Dylan Baker, Meagan Good, Greg Kinnear, Harrison Ford and countless other big names in cameo appearances. “Anchorman 2: The Legend Continues” opens on December 20th.

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1. “The Wolf of Wall Street” When the first trailer for Martin Scorsese's latest debuted it took me completely by storm by being the polar opposite of anything I ever expected from the legendary director. The film was always on my radar given the fact it would mark the fifth time star Leonardo DiCaprio and Scorsese would collaborate, but I had no knowledge of the source material or what the tone of it might be. “The Wolf of Wall Street” is based on a memoir by Jordan Belfort, a drug-addicted, party boy stockbroker indicted in 1998 for security fraud and money laundering who served a 22-month sentence in federal prison. With that kind of story you might expect the film to be a rather serious drama that, as a Scorsese picture, may highlight the party boy image briefly but follow his time in the court system and in prison more thoroughly for a look at the life of a rich, white male who loses everything and how the dark side of wall street led to his downfall. Instead, what we were delivered was a trailer that highlighted that party boy image and how much fun Belfort and all of his friends were having making millions of dollars a month. What might even be more refreshing than the unexpected tone is the performance given by DiCaprio. We have all grown accustomed to the actor being a very serious persona, a workaholic who pours large amounts of himself into every role and after the one two punch of playing such a despicable man in “Django Unchained” and the extremely restrained Gatsby in Baz Luhrman's interpretation of F. Scott Fitzgerald's classic this past summer, it is a bit of a relief that he has done a one-eighty and is pop-locking his way to what may be the most outlandish and unexpected role of his career. This role could very well lead him to that Oscar he has deserved for so long now. The pleasures don't stop at DiCaprio though, the film also stars Jonah Hill, Kyle Chandler, Jean Dujardin, Margot Robbie, Jon Bernthal, Rob Reiner and Matthew McConaughey, who, if you haven't seen the trailer, continues with his career renaissance as he seems to have a small, but scene stealing role. “The Wolf of Wall Street” opens on November 15th.

Michael Reagan’s/Conservatives’ Issues with ‘The Butler’ Unjustified

By Julian Spivey

Michael Reagan, son of former President Ronald Reagan, saw “Lee Daniels’ The Butler” and he was not a fan.

Reagan is displeased with the way the movie portrays his father. In a column syndicated in newspapers across America, Reagan said that the movie portrays his father as a racist, among other issues he has with the film, writing: “Portraying Ronald Reagan as a racist because he was in favor of lifting economic sanctions against South Africa is simplistic and dishonest. If you knew my father, you’d know he was the last person on Earth you would call a racist.”

Now, while I seriously doubt President Reagan was the “last person” on Earth you would call a racist, I digress, because I’m not going to call the President a racist – I don’t know whether he was or not and 13 | P a g e

kind of doubt he was – but I am confident enough after seeing “The Butler” to announce that I believe Michael Reagan is completely full of shit.

I wonder if Michael Reagan and I saw the same movie. Hell, I wonder if Michael Reagan actually even saw the movie. At no point during watching “The Butler” did I ever think, “Hey, Ronald Reagan was a racist” or “Hey, this movie totally paints Ronald Reagan as a racist.” You know why? Because it simply doesn’t.

Michael Reagan is right about the movie including his father’s lifting economic sanctions against South Africa being in the film. Reagan wrote: “My father’s position on lifting the South African sanctions in the ‘80s had nothing to do with the narrow issue of race. It had to do with the geopolitics of the Cold War.” Sure, the South African scene is likely there to draw comparisons between the struggle the U.S. faced during the civil rights movement and the struggle of apartheid in South Africa. However, this scene does not paint his father a racist, merely a politician. I’m not sure if director Lee Daniels had any ulterior motive here, but I certainly didn’t read it to say “Reagan was a racist.”

In fact, if the movie is trying to claim that President Reagan was a racist than it frankly does an extremely horrible job at doing so.

In the movie when White House butler Cecil Gaines (based on the real life story of Eugene Allen, and played by Oscar-winner Forest Whitaker) is giving President Reagan (played by Alan Rickman) his resignation the President makes it very obvious he’s sad to see Gaines leave, even telling him that he considers him a part of his family.

What?

How racist of him!

Also, in the film it is President Reagan who finally gets Gaines and the rest of the black White House staff the same pay and benefits as the white White House staff.

Do these particular things sound like something a man who is supposed to be racist would do? I don’t think so.

“The Butler” doesn’t make President Reagan out to be a racist, merely a politician.

Yet, Michael Reagan takes the opportunity to blast “liberal Hollywood” for doing so: “Despite what Hollywood’s liberal hacks believe, my father didn’t see people in colors. He saw them as individual Americans. If the liberals in Hollywood -- and Washington -- ever start looking at people the way he did, the country will be a lot better off.”

I wonder if “liberal Hollywood” became “liberal Hollywood” before or after his father was making movies there, but again I digress.

Maybe Michael Reagan needs to start looking at movies in a different way, because I think he’s completely misread this one. Maybe he just wants to take this time to point the finger at evil liberals.

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Maybe he just wants his father portrayed as the Conservative God that many today seem to believe he was.

Michael Reagan’s misplaced irritation is not the only thing that has conservatives riled up about “The Butler” regarding the Reagan family. Many are outraged and appalled that Jane Fonda appears in the movie as First Lady Nancy Reagan. I wonder how much of that outrage is simply because Fonda is in the film or because she’s playing the beloved wife of the Republican Party Messiah.

The hate for Fonda is nothing new; people have been doing it for 40 years – it just always seems unfounded and the farther removed this country becomes from the Vietnam War the dumber and dumber this hatred seems.

Ike Boutwell, a theatre owner in Kentucky, is refusing to show “The Butler” in his theatre because it features Jane Fonda or “Hanoi Jane” as haters love to call her. Boutwell trained pilots to fly in Vietnam and said: “I trained hundreds of pilots to fly, many of whom Ms. Fonda clapped and cheered as they were shot down." He added: “To add to this, I just really think it’s a slap in the face to have a person of treason portray a patriotic lady, Mrs. Reagan. I just think that is throwing gas on the fire.”

Boutwell, like many who hate Fonda, don’t ever seem to get the entire picture. Yes, Jane Fonda protested the Vietnam War, as millions of others did. But, she seems to receive hatred that others don’t, probably because she’s one of those “liberal Hollywoods” and gives a face to the Vietnam protesting that people can hate. I’ve heard rumors for years that Fonda did truly horrifying things like give American secrets and P.O.W. messages to the enemy or that she spat on soldiers (in fact, it is actually Fonda who has been spat on by a Vietnam veteran, which people don’t seem to mind). These rumors are not true and a little bit of research would prove it, but why use facts when they don’t suit your point?

The only thing that Fonda ever did was being caught in an unfortunate photograph on an anti-aircraft gun, for which she has a reasonable explanation. I sincerely doubt that she has ever “clapped and cheered” as American soldiers were killed, as Boutwell claims. If so, why would she have been involved with Vietnam Veterans Against the War? Did I mention that Fonda only appears in “The Butler” for literally one minute of the movie’s 132 minute runtime?

The fact that people would boycott a movie over somebody who barely appears at all in a film is ridiculous. The fact that somebody would try to keep others from seeing that movie as Boutwell is doing by refusing to show it in his theatre is downright disgusting and uncalled for censorship.

People simply need to get over their hate for Jane Fonda. She didn't approve of the Vietnam War. So what? So many of the things you think or claim she did during her protests are inaccurate, anyway. Her protest of a war (that literally millions protested too) doesn't mean anything and everything she's done since is invalid. Get over it.

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“The Butler” is a really good movie based on a story (based meaning not 100 percent accurate, which people need to learn) that many people should and need to hear about. However, thanks to Michael Reagan’s mistaken perception of something about his father that simply isn’t there and many people’s overblown hatred of a decision a woman made over 40 years ago many are refusing to do so. That’s sad.

How about instead of listening to Michael Reagan and hating on a woman that appears in one minute of a two-plus hour film you simply go to your local theatre (except for Boutwell’s in Elizabethtown, Ky.) and see for yourself? You are allowed to make up your own mind, after all.

Movie Reviews ‘The Butler’

By Philip Price

Though not initially overcome with excitement for this project, the good word of mouth and box office success increased my interest in the latest from director Lee Daniels. This lack of excitement doesn't come from anything more than the fact I didn't really enjoy Daniels' last effort, “The Paperboy.” I completely expected to be intrigued by that film as it seemed a modern film noir with plenty of genre elements at play with solid actors like John Cusack and Nicole Kidman doing interesting work, but instead it was a disjointed mess of a movie that not even the renaissance of Matthew McConaughey could bring out of the gutters. With “The Butler,” Daniels has decided to take on a different beast entirely and tell a historical drama but from the point of view of a quiet perspective, someone who stood in the rafters and saw time pass, decisions be made and did little on his own accord to influence those decisions other than simply be who he was. That he continued to fill a subservient position for such a period of time did more to change the hearts of those he never imagined and seemingly much more than the countless sit-ins and protests that we hear about when schooled on the Civil Rights Movement. While “Lee Daniels' The Butler” is littered with stars, recognizable faces, names and historical events it is first and foremost the story of a man not many knew of before this film shined a light on and Forest Whitaker does a superb job of bringing that man’s story to life. Add in the elements of his oldest son taking the opposite route and becoming entangled in those events we now recall with shame as played by up and comer David Oyelowo, and an imperfect marriage that is only come to be appreciated in the correct way with the necessary passing of time and perspective as portrayed so effortlessly by Oprah Winfrey, and you have a very engaging, very interesting film. Just because a movie is "based on a true story" (which if you do a little reading, you'll find much of this film has been manufactured) and concerns an exceptional human being doesn't mean the film based on him or her will come out the same way. “Lee Daniels' The Butler” is not a great film necessarily, but it is a good one and yes, an important one.

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Beginning in 1926 and introducing us to the eponymous butler as a young man, Whitaker narrates us through the life story of Cecil Gaines. There is a startling sequence in the opening segment that shows us the death of Cecil's father (David Banner), the aftermath it inflicted on his mother (Mariah Carey) while ultimately leading him to the early experience that would shape what he would become as a grown man. Taken in by Vanessa Redgrave's plantation owner Annabeth Westfall, a young Cecil learns how to serve and be present in a room without the people he is serving being aware of him. When Cecil comes to an age he realizes he must leave his farming roots if he wants to meet a fate different than his father’s, he makes his way into town and scores a job at an up-scale hotel which would eventually have him recommended for a job at an even fancier hotel in the Washington D.C. area. It is at this job he meets his wife, Gloria (Winfrey), and secures the right attitude and level of skill that gets him the interview at the White House. The film moves through these early years rather quickly and this is understandable as the real meat of the film is Cecil's time spent in the house of the President. We also learn in the early exposition that Cecil and Gloria have two sons, Louis (Oyelowo) and Charlie (Isaac White, Elijah Kelley), both of which will go on to influence the relationship between their mother and father more than they likely ever thought possible. As the hook of the film is that Cecil remains a butler at the White House for such a period of time that he experiences firsthand the terms of several Presidents and their dealings with events of that time, we also have the opportunity to meet each of these historical figures as portrayed by more than capable actors doing fine work. Whether it is Robin Williams as Dwight D. Eisenhower, James Marsden as John F. Kennedy, John Cusack as Richard Nixon Liev Schreiber as Lyndon Johnson and Alan Rickman and Jane Fonda as Ronald and Nancy Reagan, none of these actors are on screen for more than five minutes or so, and they understand the story isn't about them which is only for the best as it touches on their relationship with Cecil and allows Whitaker's performance to shine through which highlights the inner-conflict he experiences through what he does for a living and the cause for which Louis puts his life on the line.

As much as we, the audience, would be able to get in touch with the events taking place in the real world through news reports and conversations between the Presidents and their staff the presence of the fictional Louis gives Cecil a real stake in the events occurring while allowing the film itself to deliver both a firsthand account of these events as well and that of the removed feeling Cecil has despite feeling connected to it due to Louis' involvement. It is a nice way to contrast the difference in treatment towards African Americans in different parts of the country in the 1960's as well as making these historical events hit closer to home in terms of dramatic tension created for the film. I'm not here to investigate how much of what occurs in the film is based on the fact of Eugene Allen's life, but there is an immediate urgency of needing to know the facts of how much of what we just witnessed is true and how much as layered on for dramatic effect. In doing this you will find out that there are some pretty drastic differences that I won't spoil here, but will be interested to watch unfold as to how much it changes the audience’s reaction and feelings toward the film.

On its own, the movie does a fine job of getting us to care about these characters and the plight both Cecil and Louis face. Arguably, Louis is as much a leading character as Cecil, and the film functions as a dueling debate of how to approach and deal with situations and ultimately what approach might be tougher to make at the time and which might pay off more in the long run both in terms of success and of course in terms of meaning when taking your own life into consideration. As Louis, Oyelowo displays some of his best work growing from a young and angry teen to a revolutionary leader at the side of Martin Luther King, Jr. and in the wake of events such as the burning of the Freedom Riders bus. Sure, it is already a bit inconceivable that two otherwise obscure people would play such important roles in the history and shaping of the country, but the way in which screenwriter Danny Strong has constructed and mirrored the two experiences here gives us the most engaging aspect of the film. Especially poignant is 17 | P a g e

one scene where Daniels intercuts between Louis and a group of his classmates staging a sit in while his father prepares the table for their President. It exemplifies best the point that “The Butler” is trying to make in that there are as many different ways to look at culture, behavior and justice concerning race and the people it was happening to as there is any other subject and this layering of moments purports the inherent power of the story in its finest form.

Beyond all of this though, what really upset me about the film was that as the time passed (the film is two hours and 12 minutes long and justifiably so) the rhythm of it became more and more by the numbers. The film covers such a massive amount of time that it essentially covers every major American event of the last century whether it is the aforementioned Civil Rights Movement, Kennedy's assassination, Watergate and Vietnam. We see each of these events through the eyes of Cecil, and as he grows older we seem to become more and more distanced from the material. For a director like Daniels, I didn't expect this to happen as he is typically keen to be very showy, sometimes cheap in his execution but at the very least he keeps things interesting. As we near the latter part of Cecil's life here and especially in his interactions with Nixon and LBJ, there is a sense of having scenes simply to show what happened at this point in time while not necessarily digging into the small details and interactions of the relationship between Cecil and the President as was displayed with Kennedy, but there is a bit of a last ditch effort to create an extra layer of drama after Cecil and Gloria are invited to the state dinner by the Reagans. This felt slightly contrived as I was watching the film and though I wondered where this new thought process was coming from it makes all the more sense when you leave the film and read about the fact vs. fiction of the story and why this storyline is present in the first place, which again I won't spoil, but is ultimately a tool to resolve another fictionalized storyline.

“The Butler,” as stated, certainly has its moments, but it is never able to rise above what felt like a typical bio-picture taking us from one section to the next of a life where we already knew the outcome and it still failed to pack the consistent emotional heft expected from a story that literally had a central figure who lived a more fascinating life and met countless historical figures during critical times in history than you could probably compromise experiencing in 10 lifetimes. There is added value in the appearance of Lenny Kravitz and Cuba Gooding Jr., who work alongside Cecil in the White House and give us a better glimpse at the day-to-day of what these servant’s lives were really like, but never does it dig as deep into the unknown, the behind-the-curtain type experience I hoped for. The real butler was certainly a man truly served by the election of Barack Obama in 2008, and his legacy is rightly put in stone with this film, but if his legacy is truly served by the quality of this film is a question all its own. Is it a valid question when many would argue that the point of the film is both to entertain and educate? I think it is, as it owes its hook to a specific man, a man who truly left a lasting effect with quiet force.

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‘Elysium’

By Philip Price

“Elysium” is as much a disappointment as it is a success.

While director Neill Blomkamp's first feature came out of nowhere, with no sense of expectation and no precedent, it is because not only of the success of that film, but the quality of it that the bar was pretty high for his sophomore effort. I was especially intrigued by Blomkamp's second effort due to the way he was able to integrate such a strict science fiction plot into a documentary-like style in “District 9.” The worlds were blended so seamlessly to the point the audience was able to accept that this was not only an allegory for apartheid, but was a finely crafted, emotionally poignant piece of filmmaking. While much of that could also be applied to “Elysium,” the difference unfortunately comes in the latter part of that description.

While there are ample amounts of allegorical messages and high-tech science fiction, there isn't an element in the film which hits an emotional connection with the audience. Not having that connection makes this film less memorable than the director’s previous film. What makes the movie just as much a success is the fact that despite all of this, it still represents some of the better things about large scale filmmaking in today's world. Blomkamp made “District 9” for a reported $30 million, but Sony gave the director a reported $115 million for his follow-up, and to this great advantage the director created a fully encompassing world that gives the film real scope, real consequences, and a platform big enough to tell a story that parallels the issues of immigration and health care in today's world. Of course, the more money you have, the more extravagant the film can be. But, what seems to have been lost in the process is the personal touch, which was such a crucial element in his debut feature. All of this is to say, while I thoroughly enjoyed myself in terms of pure entertainment value (there are a few great fight scenes, interesting characters and a bevy of baddies), I was hoping for a more compelling story, something that might move me, affect me, or leave me thinking about the film days later. What we have is an average action flick, more in the vein of “White House Down” and “2 Guns,” instead of a film that has aspirations bigger than delivering thrills in the form of explosions.

The good news is there is a lot going on here, and lest I gave the wrong impression, a fair amount of substance in the story being told and an obvious degree of craft in the way the plot is executed. We are introduced to Max (Matt Damon doing the solid everyman act he has perfected) who, as an orphaned child, dreamed of escaping the overpopulated and ruined earth for the pristine, man-made space station known as Elysium. This space station is filled with the wealthy and privileged who live a luxurious lifestyle while strict laws are enforced that prevent the citizens of earth from living there. That isn't to say people don't attempt to reach the coveted Elysium. Among many other things, they have devices known as med pods which can presumably cure anyone of anything that might be affecting their health.

These med pods become increasingly more important after Max is exposed to a deadly amount of radiation and is reunited with his first love from the orphanage, Frey (Alice Braga), who has a daughter suffering from Leukemia. Max seeks out an old employer called Spider (Wagner Moura) who says he will be able to get Max to Elysium, but only if he first extracts information from the cerebral storage device contained within John Carlyle (William Fichtner) which will give them the leverage they need over the officials presiding over the space station. It turns out Max and his gang were onto something much bigger as Delacourt (an interesting Jodie Foster), the Elysium official in charge of immigration, has made 19 | P a g e

a deal with Carlyle which may or may not unlock more than Spider or Max ever bargained for. Add into the mix a kind of rogue assassin named Kruger (Sharlto Copley) at the dispense of Foster's Delacourt, and you have plenty of obstacles for Max to overcome as he makes his way to save himself and Frey's daughter. It is easy to see how all of these layers could come together to form a complex story that also takes its cues from issues facing people today. While it certainly does all of this, it does it at the expense of embracing more clichés than finding new ways to convey the ideas.

It is a movie that has so much going on while never seeming to delve as deep as necessary, or go the road less traveled, to make the point it really wants to make. As, the film opens we are given a fleshed out world, one that is as busy and populated with real people as the makers want to have us believe. We meet Max, and we understand he is going to be our lifeline into the film, but we still don't feel necessarily zeroed in on him as much as we are more thoughtfully watching his story play out among the thousands of people around him that have similar struggles. As the film moves along, we get ever closer to Max and more in tune with his emotions as the details begin to get more and more personal. There is such a juxtaposition between the ruined Earth and prestigious Elysium that we come to understand why the people of Earth resent those on the space station, but is everyone on Elysium as devious and evil as Delacourt? That could very well be interpreted as my opinion coming from the point of view of the one percent, but I assure you that isn't the case and as it seems the wealthiest of people might be able to afford their stay on Elysium, we are never afforded the chance to see any other opinion than that of Delacourt's. If it is any kind of consolation, President Patel (Faran Tahir) seems to have a much less intense approach to the illegal immigrants, yet is still insistent on keeping them out. Not only would this have been of more interest and created a more fleshed out world in the space station, but it would have created more interesting dynamics between the haves and have-nots, if the politics of it were more complex than simply allowing for everyone to have what the privileged already do. This kind of simplification is what the movie suffers from as well. Despite Damon playing Max with a strong amount of vigor and having a fierce opponent in the truly charismatic Copley that plays menacing like no one’s business, the end result is less than satisfying in that it doesn't feel earned. There is so much going for the redemption of Max and the other fairly well conceived characters that it is disappointing when their fates don't seem equal to their journey.

As said before, Damon is always a strong presence and he brings what he can to the somewhat slim arc of being selfish to selfless, but what is most impressive is the ferocity with which he approaches the action scenes. We haven't seen him be this physical since the last ‘Bourne’ picture and he really brings it here, especially when captured in the way that Blomkamp has decided to shoot the film. He uses a very frenetic, handheld style while down on Earth, and keeps cameras on dollies and cranes while overseeing the massive landscape of Elysium. The caliber of the supporting players doesn't hurt either as both Braga and Copley deliver memorable turns, with Copley obviously having the more “meaty” role. Where the performances come to a kind of laughable hamminess though is with Foster. She is doing the Will Smith/“After Earth” thing where she takes on a strange accent and in turn makes it hard for me to take her as a serious authoritative figure. I can't decide if Blomkamp wanted her to go this route, or if he was simply so overwhelmed by the star power Foster has and his relative amateur status as a director that he was too scared to tell her differently, but either way what Foster has done here isn't something that helps the overall consensus of how I feel towards the film. My favorite parts of the film were the science fiction elements, as they have created some really interesting gadgetry the characters are able to use, and the production design on the actual space station is beyond spectacular, but ultimately the story and character aspects aren't as interesting or involving as I had expected.

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The action scenes are fine enough and are surprisingly not as numbing as you'd think given this is another apocalyptic action film coming at the end of summer, but as a science fiction film with something to say, some weight to the story, there is more that goes to waste here than there is to be relished and discussed on the ride home, which is what good science fiction should lead to.

‘The Way, Way Back’

By Philip Price

Writers Nat Faxon and Jim Rash who penned “The Descendants” together in 2011 have teamed up once again to both write and direct their first feature “The Way, Way Back.” I was slightly disappointed it's taken this long for the film to reach my neck of the woods as I've heard nothing but great things and completely adored their aforementioned collaboration (“The Descendants” was my second favorite film of 2011). It isn't easy to tell early on what the appeal of the film might be. It is slow to start and almost irritating the way in which each character is adherent to the dominating characteristics given to them by the script. Whether it is Steve Carell's prickly dirtbag Trent or our protagonist Duncan (Liam James), who not only doesn't stand up to his mom’s new boyfriend, but doesn't seem willing to try and talk or develop relationships with those who have no ulterior motives.

He somehow manages to come across several people willing to open up to him and start a conversation, but it's clear he is simply an awkward kid in his early teenage years reeling from the realization of what a divorce brings with it and is finding it hard to fit in with people who seem to be anything but other objects who will do nothing but eventually let him down as his parents have done. The key to understanding what “The Way, Way Back” is hoping to achieve is to feel some kind of empathy with Duncan. Like George Clooney's Matt King in “The Descendants,” Duncan is coming to terms with a kind of tragedy and trying to learn from it, eventually discovering that he's been missing out on a lot in life and that it's now time to make up for lost time and go on from this point with a different perspective with hopes of being who he wants to be and not what others necessarily expect from him. It is a classic coming-of-age story we've seen countless times before, but seeing as each and every single person goes through this process (to some degree) it is a story we can all latch onto. How well the story is executed is what makes trying to capture nostalgia on screen successful or not and “The Way, Way Back” just happens to be very well executed.

Complimenting this well-worn story is the fact that it takes place during summer. There seems to be no better season for nostalgia than the one where everybody, especially teenagers, are seemingly free yet searching for something to hold onto. We are introduced to Duncan as he sits in the back seat of Trent's station wagon facing the opposite direction, literally watching the distance between what he's accustomed to and the unknown get further and further apart. Duncan's mom, Pam (Toni Colette), and Trent's daughter, Steph (Zoe Levin), are both asleep as its evident they've been on the road for quite some time and Trent begins asking Duncan a series of questions to probe how the awkward teen sees himself. Instead of attempting to do this in subtle way though, the entitled Trent decides he can get Duncan to where he wants him to be by being a bully. This inevitably does more harm than good making Duncan resent Trent not only for trying to take his dad’s place but by the simple fact he is pretty much a 21 | P a g e

jerk about everything. Once arriving at Trent's beach house we are immediately introduced to his newly divorced and consistently drunk neighbor Betty (Allison Janney) who also has two children. Susanna (AnnaSophia Robb), the exception to the rule of girls who hang out at the beach in bikini's who takes an interest in Duncan for more than just the idea they have the pain of dealing with divorced parents in common. There is also Peter, (River Alexander) a confident, cross-eyed kid who Betty mercilessly picks on and pawns off on Duncan in hopes that he makes friends past his action figures. Besides Betty, Trent has a small group he typically hangs out with when at the beach that includes Kip (Rob Corddry) and Joan (Amanda Peet). Duncan quickly begins to feel like an unnecessary wheel no matter who he keeps company with. Attempting to escape these confines he stumbles upon a water park straight out of the ‘80s and is run by stalled adolescent Owen (Sam Rockwell). It is in this dated water wonderland that Duncan finds solace in its quirky features and fellow co-workers, a place he feels comfortable, but more importantly feels like home.

It is in this sprawling cast (and I've yet to mention the likes of Maya Rudolph as well as Rash and Faxon themselves) that breathe life into the characterizations that bring an honest portrayal of family dynamics to the screen. It was admittedly odd when first catching the trailer to see Carell playing opposite his persona and giving a nasty turn. Though his time is limited here, we recognize his type as soon as the "family-to-be" reach their destination and he begins passively bossing people around while clearly on a constant power trip that gives him a disfigured picture of himself. As Rockwell's Owen states later in the film, it is his own shortcomings that he angrily projects on Duncan. Colette has become so good at her American accent and at playing these motherly figures that the whole thing feels second nature at this point. The difference between her and another actress playing this role though is that when the film shifts into more dramatic territory she has the chops to bring it and when “The Way, Way Back” hits that emotional high point it is her character we watch to see who she really is when life puts a challenge in front of her. The script asks her to be passive and typical until a defining moment and Colette handles it with pleasure, demonstrating why she can be as much a character actor as she is diverse in starring roles such as Tara Gregson. The real scene-stealers here though are Janney and Rockwell. Each of them sling their comedic dialogue with no holds barred, delivering it perfectly in tune with the emotional core of what stage their characters are at in their lives. Both have issues, Janney's Betty is attempting to continue routine after it's already been broken by her divorce and Rockwell's Owen is resisting growing up; hoping the longer he holds on to the nostalgia of the water park the longer he can continue to feel like a teenager. The truth hits him in the winter and he is clearly intelligent enough and has plenty of perspective to realize he can't capture what made those summers so memorable for much longer without becoming anything more than sad. He sees his future in Caitlin (Rudolph) who manages the park along with him and through helping Duncan in his struggle for normalcy he comes to realize what he needs to do to make his current days just as meaningful as the good old days.

What I enjoyed most about the film though was how its story didn't ever resort to its conventions to pass the time, and it never strayed too far from its focal point, only showing enough of the supporting characters to inform the feelings and decisions of our main character. As I said in the beginning, Duncan at first comes off as slightly irritating, not willing to give anyone a chance at breaking his sulky mood.

Fortunately, the movie gets going just in time to avoid criticisms of slow pacing and gives Duncan more to do than be sad. Not only is it when he scores the job at Water Whizz, but as he begins to develop a relationship with Susanna. This aspect was the one that I was afraid might feel the most contrived. The whole girl next door thing has been done to death and that she might be the perfect match for our hero makes it all the more cliché, but the timid and genuine chemistry between Robb and James make it 22 | P a g e

work. They aren't immediately forced into an awkward situation as much as she needs someone to have a real conversation with (I mean, she reads books while the other girls read magazines! Hello!), and he is so scared that if he talks too long he's going to mess up so in turn he keeps it short and she becomes all the more intrigued. James, who hasn't had a major film role and definitely not a leading role like this before now, gives Duncan a believable arc as he transforms from the introverted teen we meet in the opening moments to the more assertive young man we get by the time the credits begin to roll. It is hard to see the performance when it seems the actor might be very similar to his character, but there are certainly choices going on here that might not have been made and highlights that might not have come through did James not have some real talent in being able to convey actual human emotion in front of the camera. “The Way, Way Back” won't win any awards, and it may only leave as much of an impact as it did during the summer months, but ultimately it is a truly heartwarming tale that is as authentic and bittersweet as it is unoriginal and predictable. A testament to the fact it's not the destination, but the journey that matters.

‘Drinking Buddies’

By Julian Spivey

Joe Swanberg’s “Drinking Buddies” feels like the kind of low-key, down-to-earth, naturalistic movie that people always seem to want to make right after graduating from film school. That’s a compliment, just in case you’re confused, as this is the type of film many go to film school in the first place to create. I doubt many go into film school thinking they want to be the next Michael Bay. And, thank God for that.

Swanberg’s film, which he also wrote (but it has been reported that it’s mostly improvised), follows two work buddies — Luke (Jake Johnson) and Kate (Olivia Wilde) — through a short span of time as they deal with their respective relationships to Jill (Anna Kendrick) and Chris (Ron Livingston) while also maintaining a realistically flirty friendship.

The film follows the typical trope of “will they or won’t they” with Luke and Kate, but it works better than most because of the unbelievable chemistry that Johnson and Wilde share. It’s a naturalistic view on how close friendships between men and women can quickly jump to something more — and the impact that might have on the friendship as a whole. Johnson and Wilde were perfect casting for these roles.

Believe it or not, I’ve been mostly unfamiliar with Wilde’s work and was pleasantly surprised here after she seemingly has done panned movie after panned movie in her career. Johnson, I believe, could be one of film’s great up and comers (and has already proven to be so on television as the irascibly funny Nick Miller on Fox’s sitcom “New Girl”). Johnson appeared in a supporting role in one of my favorite movies of 2012 — Colin Trevorrow’s “Safety Not Guaranteed” — in which he nearly stole the entire film with his devastating portrayal of a thirtysomething longing to go back in time and re-do or re-live 23 | P a g e

important portions or moments in his life. He’s one of the funniest guys around at the current moment, but also has a great knack for naturalistic drama. I firmly believe that we’ll be seeing good things from Johnson for some time.

Anna Kendrick and Ron Livingston do fine work here, as well, as the significant others of Luke and Kate, but never shine as brightly as Johnson and Wilde. Part of the reason why is that because Johnson and Wilde have such a perfect chemistry together that Kendrick and Johnson and Wilde and Livingston don’t seem like they should ever be together — which isn’t really a critique, because it’s a lot of the point.

I was mesmerized by this film’s realistic feel the entire time I watched it so much that I wasn’t surprised when I found out afterward that it was mostly improvised. Swanberg reportedly had a basic outline and just let his actors go for it. This goes back to what I said in the opening of this review about it being the film people wanted to make in film school. It’s stripped down to the basics of filmmaking and there’s something so incredibly refreshing and interesting about that.

The only thing working against “Drinking Buddies” is that I think it’s a film that has specific audiences, meaning that many might feel turned off by it. I think it’s a film that if you watch as a film buff, particularly a fan of indies, for technical aspects — how it was accomplished and what not — that you’ll come out feeling refreshed like I did. It somewhat feels new and original in that it feels so low-scale and improvised. It’s also a film that I think will work for those who can identify with Luke and Kate, particularly those who’ve been in a similar situation (which is likely a good portion of film viewers).

The ending of the film is one that is likely to leave many viewers disappointed — and I felt that it was too rushed — but I think it ultimately works in that it’s a realistic ending to a realistic movie.

“Drinking Buddies” can currently be seen on both pay-per-view and via iTunes for $10. If that price is a little too steep for you (it’s cheaper than if you saw it in theatres, though) it’ll definitely be worth the viewing when it comes to a RedBox near you.

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Television Fox Sports 1 Debuts with Good Events, Less Than Stellar Studio Shows

By Julian Spivey

America’s newest cable network Fox Sports 1 (along with its far-less talked about sister channel Fox Sports 2) debuted in mid-August giving sports fans another option to the sports mega-giant that is the ESPN family of networks.

FS1 debuted on Saturday, August 17 with programming that far exceeds your typical sports network debut – a live NASCAR Camping World Truck Series race and a major Ultimate Fighting Championship (UFC) mixed martial arts fight featuring one of the sport’s biggest stars Chael Sonnen. That night the network also debuted “Fox Sports Live,” its competitor to ESPN’s nightly news and highlight show “SportsCenter.”

Over its first couple of weeks the network has continued to air live sporting events like soccer, boxing and more NASCAR and UFC and will continue to grow its live sporting events into the near future with college football starting up this week, Major League Baseball coming to the network in 2014 and both NASCAR’s premiere Sprint Cup Series and major golfing events like the U.S. Open coming in 2015.

There’s no doubt in my mind that FS1 is set when it comes to sporting events, if not already than certainly in the upcoming couple of years. This live programming will instantly boost FS1 to the second most watched cable sports network obviously behind ESPN, but ahead of competitors NBC Sports Network and CBS Sports Network, which have been around longer, but don’t really have major live sporting events.

Fox Sports 1’s biggest challenge early on is going to be trying to attract sports fans to its studio shows like its flagship program “Fox Sports Live.”

“Fox Sports Live” is a little bit of a mixed bag from the start. The show features two uniquely talented and funny co-anchors in Jay Onrait and Dan O’Toole who’ve been immensely popular over the years on a Canadian version of “SportsCentre” that aired on Canada’s The Sports Network (TSN). The duo immediately rival any of the best anchors over at ESPN’s “SportsCenter,” which is saying quite a lot, but the show suffers from an unusual format. It’s almost two shows in one. It would be kind of like if ESPN’s “SportsCenter” and “First Take” melded into one. The highlights portion of the show is fine as is, but the panel discussion format hosted by former ESPN talent Charissa Thompson with past athletes Andy Roddick (tennis), Donovan McNabb (football), Ephraim Salaam (football), Gary Payton (basketball) and Gabe Kapler (baseball) as opinionists is out of whack.

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The panel on Fox Sports Live is given the biggest topics of the day to debate and give their thoughts on, but it comes off as a little weird for sports fans to see a guy like Roddick talk about Alex Rodriguez on steroids or a guy like Payton talking about the latest story out of the NFL. Most fans seem to prefer actual experts on a particular sport talking about that sport, for instance Roddick talking about tennis or Payton talking about the NBA. It’s a unique idea the Fox Sports network executives had, essentially turning novice fans into panelists, but I’m not sure it will catch on.

As negative as that might sound about “Fox Sports Live,” it is actually the network’s strongest original show thus far. It frankly looks like Emmy Award winning material next to FS1’s other big original series “Crowd Goes Wild,” which airs Monday through Friday afternoon. “Crowd Goes Wild” is hosted by longtime television legend Regis Philbin, who was an awkward decision to host a show from the very beginning, but Fox Sports was likely looking for big name recognition to drive people to the show. Regis may well have driven people to the show, but the show itself has probably driven many of the viewers away. “Crowd Goes Wild” is also a panel show featuring former British sports television personality Georgie Thompson, Wall Street Journal columnist Jason Gay, comedian Michael Kosta, former NFL player Trevor Pryce and has heavy social media aspects from Katie Nolan. Gay is really the only person who seems to have any business being on a show like this. Thompson tries her best to moderate the entire thing – though shouldn’t that be Regis’ job? Yes, but he’s obviously just the face/name of the show – but things are just too wacky and seemingly disjointed on the show. Kosta is instantly one of the most annoying figures on sports television trying to bring comedic aspects to the show, but failing almost every time. “Crowd Goes Wild” is like a really bad version of ESPN’s “SportsNation.”

Fox Sports 1’s other programming is typical sports cable network stuff: NASCAR Race Hub (previously on the Speed Channel), Fox Soccer Daily, UFC Tonight and Fox Football Daily. All of these shows are like something you would see on ESPN and basically will draw people who either like the talking heads on these shows or who don’t care much for the ESPN counterparts, especially when it comes to Fox Football Daily.

Fox Sports 1 would be smart to add daily or nightly shows during the MLB and NBA season for fans of those sports, like ESPN has with “Baseball Tonight” and TNT has with “Inside the NBA,” but I’m not sure there are any plans to do so at this time.

Fox Sports 1, like all new television networks, simply needs time to grow more than anything else. If fans give the network that opportunity within a few years it might grow into a network capable of truly competing with ESPN, which is something all sports fans should want regardless of their feelings toward ESPN because competition leads to a better product all around.

If I were to grade FS1 on their first couple of weeks on the air on an A-to-F scale I would currently have to give it a decent C grade, which I’ll admit is mostly for their coverage of their live sporting events. The network does need to look into ways to improve upon their original studio shows, which I’m sure they will do if the ratings aren’t where the network thinks they should be. It’s probably way too early in the game to worry a whole lot about that right now. I have hopes Fox Sports 1 will continue to grow into the future and be a major player in the cable sports world. Only time will tell.

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‘Broadchurch’ Features Fascinating Case, Intriguing Performances

By Julian Spivey

If you’re a fan of crime shows, but aren’t a fan of the “crime of the week” aspect that many crime procedurals throw at you, then BBC America’s splendid and nicely crafted “Broadchurch” might be for you.

Chris Chibnall’s series, which debuted on the U.K.’s ITV earlier this year and recently made its American premiere on BBC America, opts to follow one crime for its entire season, instead of a new one every episode as you’d see on most shows of its ilk.

I’ve been desperately waiting for a series to do such a thing (I know AMC’s critically acclaimed, but ratings challenged “The Killing” does, but I got behind the ball on that). I’m a big fan of crime shows and love a good many different types of them, whether it’s the super-serious “NCIS,” the campy “Castle,” the unique and badass “Person of Interest” or the low-key, almost Western-y “Longmire,” but as with most network shows (with the exception of cable series “Longmire”) these series follow your “crime of the week” format, although all have the occasional arc story. A&E’s “Longmire” is one that I thought and hoped might become more serialized, but has not managed to do so throughout its first two seasons.

Serialized crime shows seem like they would be hard to succeed with, which is likely why you don’t see them more often, because you have to keep the show exciting and interesting by throwing out numerous twists, possibilities and complications along the way. The most important aspect of a serialized crime show is that the crime has to be extremely interesting in the first place, or you’ve lost viewers almost instantly.

“Broadchurch” is excellent at throwing out the twists, possibilities and complications throughout its first few episodes (the first three have aired thus far in America), but it takes its time in doing so. I find this admirable and think it helps set intrigue for the denouement of the series, many fans — particularly those preferring “crime of the week” stories — will likely find it tedious and boring.

“Broadchurch” is about the murder of 11-year-old Danny Latimer in the small, tight-knit seaside town of Broadchurch. On the case is recently named Detective Inspector Alec Hardy, played by the immensely talented and intriguing David Tennant, and Detective Sergeant Ellie Miller, played by the equally talented Olivia Colman. Hardy is trying to get back in the groove of things after screwing up a major murder case at his previous position. Miller resents Hardy for receiving the job that was promised to her and also has to come to grips with dealing with a case that hits close to home, as she’s friends with the Latimer family and her son was best friends with Danny. This working relationship between Hardy and Miller is one of the finest aspects of the series, as the two supreme actors get to play characters that rub each other like sandpaper.

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The supporting cast that features Andrew Buchan and Jodie Whitaker as Danny’s grieving parents – and possible suspects – and Arthur Darvill, as the local reverend (and also possible suspect) are incredibly adept at their roles. Basically every character in the series, except for Hardy and Miller (although she actually could be), are possible suspects in this whodunit, which makes for a fascinatingly tense watch.

Chibnall has crafted a supreme mystery — that I hope is not spoiled for many before the finale airs in America, as many already know the ending from its original run overseas — with fine acting performances, especially from Tennant.

The series has been picked up for a second season (surprisingly, as it was only intended to be a one off)

by ITV, which is set to air over there sometime in early 2014, with a hopeful return to BBC America in mid-to-late 2014). Five episodes remain on the show’s first run in America and this titillating caper is setting up for a big and likely surprising finish.

“Broadchurch” can be seen on BBC America on Wednesdays at 9 p.m.

‘Big Brother’ Racists Remain on Show Over a Month Later … Is This Damning Sign for America?

By Julian Spivey

I don’t watch the CBS reality series “Big Brother.” I figured I’d get that out of the way immediately because 1.) I don’t want people seriously thinking I watch that stuff 2.) I don’t want people complaining that I don’t really know what I’m talking about as far as the game goes, because I honestly don’t have any more clue than what little I hear my girlfriend — who is an avid fan of the show — talk about.

I’d like to go about my life as if “Big Brother,” and most reality television for that matter, doesn’t exist, but the show has made that impossible over the last month-plus with its controversies regarding race and other topics.

It’s been over a month since “Big Brother 15” contestants — 22-year old college student/model/apparent aspiring Klan lead Aaryn Gries, 32-year old beauty pageant coordinator GinaMarie Zimmerman and 31-year old railroad conductor Spencer Clawson — made numerous racist and offensive comments on the show. Since that point there have been numerous evictions made on the show, but not a single one of contestants who made racist or insensitive remarks, especially ringleader Aaryn, have been evicted.

That’s a pretty damning sign for current race relations in America.

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If you lived in a house with multiple racists wouldn’t you want to do everything in your power to kick those people out of the house as quickly as you could, even if it might not be the best move you could make in the strategy of the game? I know I would.

In not doing a single thing to kick Aaryn and her racist cohorts out of the “Big Brother” house, the fellow contestants are essentially saying that either they don’t have a problem with the comments/actions of their fellow housemates or it’s simply not as important to them as winning a silly game — albeit one worth many thousands of dollars. It’s disheartening and likely telling that none of the other houseguests had the courage or forethought to kick these racist/offensive people out of the house, especially after a month. It’s even more upsetting that some of the contestants are even rallying around some of these racist/offensive contestants and being friendly with/to them, according to my girlfriend — again you couldn’t get me to watch this tripe, especially now given its propensity for racism/offensiveness.

I wonder if “Big Brother” failing to oust its racist/offensive houseguests and its seemingly OKness/friendliness toward them is synonymous with the way America treats or reacts around racism? Are we either blind to it or supportive of it as a nation in general?

This continuing story reminds me of a great scene in the classic Sidney Lumet 1957 courtroom drama “12 Angry Men.” In that movie there is a part where the other jurymen have had enough of juror 10’s (played by Ed Begley) constant bigotry and one-by-one they all turn their back on him, ignoring him until he finally realizes he’s not getting anywhere with them and realizes his own hatred and is essentially shutdown for the remainder of the case; his thoughts no longer having merit among the group. The scene is one that is maybe not in line with the naturalism of the rest of the movie, but is placed there to quite obviously prove a point and one that in 1957 — apparently as well as today — is worth making. It’s there to point out that this type of racist behavior/thinking should not be tolerated.

This moment from “12 Angry Men” is one that 56 years after the movie’s release I think should’ve been replicated in real life among the “Big Brother” houseguests. Every single one of them should have put their foot down and not have rested until every single one of the racists were evicted from the house.

It was the perfect opportunity for a group of people with America watching their every move to say, “We don’t condone this and will not accept this kind of behavior.” However, all of the “Big Brother” contestants are either looking out for their own well-being or are perfectly fine with the racist attitudes within the house to do a damn thing about it.

The “Big Brother 15” contestants have failed America when it comes to their attitudes or acceptance of racism — maybe we shouldn’t be surprised from a group of people on a reality television program, but maybe their attitudes and acceptance of racism is proof of a bigger issue within the nation as a whole.

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Lindsay Lohan Needs to Leave Spotlight, Learn to Live Like Normal Person

By Aprille Hanson

When I was little, the 1998 Disney remake “The Parent Trap” was one of my favorite movies. I was mesmerized by how this little red-headed actress around my age could play two roles, taking on both parts of the twins so flawlessly. Looking back, it still amazes me, though I haven’t seen the movie in years.

In 2004, I did my teenage girl duty and saw “Mean Girls,” starring that same little red-headed girl, only “little” wasn’t accurate anymore. She was now a young actress.

She was 18 years old and critics predicted a strong career ahead for this childhood star.

She uprooted herself to Los Angeles, the land of opportunity for young starlets. Imagine for a moment your own teenage years, and don’t lie – we all had our rebellious moments, whether large or small scale.

Now, think about if you had millions of dollars to blow on your rebellious streak. It would mean disaster for many, and that’s exactly what happened to Lindsay Lohan.

She moved to L.A. with no parental guidance, and fell into the wrong crowd, partying it up with booze and cocaine and whatever other drug concoctions fell in her path. Instead of camera shots on the big screen, she racked up mug shots.

Nine years later, after multiple trips to jail and her sixth stint in rehab for her addictions, she opened up to talk show queen Oprah Winfrey on her interview show, “Oprah’s Next Chapter.”

It was a classy and tasteful move for this actress that everyone is quick to write off as a total failure because up to this point, let’s face it; it’s the only picture we can paint of her.

And it’s not because she was a child star. Many young people in the spotlight, from Neil Patrick Harris to Taylor Swift, are staying on track, making history for their work, not their mistakes.

Every time I saw a headline of Lohan heading off to jail, then getting out early because of “overcrowding” (AKA: the get out of jail free card for the rich and famous) I cringed. Locked in a jail cell is what she needed – away from everyone and everything that was bringing her down. Moments like that is when I felt bad for her because if she was just the average druggie on the street, she would have been sitting in that jail and potentially have gotten the gusto to turn her life around.

As she told Oprah, it’s actually what she wanted: “I think it was just to have some peace and just have no choice but to just sit and be … I’ll never forget that moment (of being sentenced).”

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It’s easy to think of Lohan as a caricature, a punch line and another child-star stereotype. It’s not unfair to peg her life like this because that’s what it’s become. But what is more heartbreaking is the reality – she’s a kid who didn’t get a childhood with parents more interested in the spotlight than their own child’s well-being. Surprisingly, in a rare turn of maturity from Lohan, she told Oprah that she doesn’t blame her parents for how she turned out. Better to let go of the bitter and blame and focus on the recovery.

Focusing now on prayer, meditation and her own recovery, Lohan swore that she was “different.” She has turned over a new leaf and wants to get her life on track.

How does she plan to do it? In the very place where it all went wrong – right in front of the camera.

Oprah’s OWN network will air a reality docu-series about Lohan putting her life back on track in 2014. In my mind, it’s the worst thing she could possibly do. She needs to disappear from the public spotlight, retreat to an island or another country, live in a bungalow and just learn how to live a normal life.

However, I’ve never lived the life of a superstar. All she’s ever known is partying and work. If this is the way to heal, to control for once what’s put out about her in the media, then maybe it’s a shot worth taking.

I may tune in and watch with the rest of those curious about where this young actress is really going.

Maybe it’s a false hope that people can change and make the right decisions in life, no matter who they are.

Or, maybe it’s simply that having an update on my phone pop up about that once little red-haired girl now dead in her late 20s would just be too heartbreaking for my inner child.

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Albums ‘The Gifted’ by Wale

By Kellan Miller

Music, television and sports; these are a few of Wale’s favorite things. And speaking of the latter, the rapper’s career thus far most resembles that of the fresh-faced NFL quarterback than the legacy of John Coltrane. Wale first garnered major attention for himself with the release of “The Mixtape About Nothing,” a clever “Seinfeld”-themed tape in which the rapper mostly criticized the unimaginative world of mainstream hip hop. The tape, and its follow-up “More About Nothing” were critically acclaimed, but similarly to the mild viewer response “Seinfeld” received in its early seasons, Wale has had a difficult time transitioning to an official position atop hip hop’s pantheon. His highly anticipated debut album, “Attention Deficit,” showed all the marks of a player containing the talent to be a potential superstar, but ultimately unsure of himself, leading to terrible decision-making in the pocket. Like a young quarterback eager to live up the billion-dollar contract he signed, Wale spread himself dry attempting to showcase his musical versatility rather than master any particular skill-set. Wale began in hip hop purgatory, no doubt a great lyricist but lacking an identity. As is often the case with rappers, Wale’s first album was disappointing in comparison to his critically acclaimed mixtapes. The album wasn’t a complete wash by any means, with quality tracks like “Beautiful Bliss,” “Diary,” “Chillin,” to accompany Wale’s duller moments. But these were mere notches in the ‘W’ column rather than triumphant Robert-Griffin-III-in-his-opening-day-against-the-New-Orleans-Saints statements fans knew the DC native was capable of.

Things took a turn for the better when Wale made one of the more publicized hip hop moves in recent memory by literally taking his talents to the port of Miami, signing with Rick Ross’ label Maybach Music.

Wale amassed a whole new legion of fans with his brilliant lyrical performance on MMG’s “Self Made Vol. 1.” Although hype inevitably increased, Wale’s “Ambition” was only a slight improvement from his first effort. During his sophomore season, Wale had stretches of brilliance, such as “Don’t Hold Your Applause,” “So Focused,” “Legendary” and “Ambition.” However, his successes were weighed down by his ehhhh performances, like “Double M Genius,” “Miami Nights” and “Illest Bitch,” which were further weighed down by the god-awful, 5-interception-benched-by-4th-quarter performances like “Slight Work.” When the smoke cleared from “Ambition,” fans were left with a messy hodgepodge of greatness, ehhh-ness and good ol’ fashioned ridiculousness. Once Wale announced the release date for “The Gifted,” many wondered aloud whether he would finally be able to construct an album that sparked all the way through.

From day one of his promotional campaign, Wale was intent on convincing the world of his album’s magnitude. Before the release of “The Gifted,” Wale compiled various interviews from legendary music, entertainment and sports figures the world over in a YouTube series called “The Gifted.” Wale even elected to release the album on June 25, an homage to the release of Jay’s “Reasonable Doubt” album back in 1996. No doubt, heavy Nikes to fill. Regarding his intentions for the album, Wale stated: “I just 32 | P a g e

wanna show range. I proved a lot to my peers and to myself and to my fans so I just wanna take it back to something a little more exciting. When the music was most exciting to me. Kinda like when I was in my best pocket…Just for being swarmed in my own stuff and doing Self Made and all those things. I haven’t had an opportunity to stand on my own sonically as an artist as much as I would like. This new project I’m working on is definitely allowing me to do that.”

With the “The Gifted,” Wale has finally come into his own as not just an emcee, but an artist as well. For the duration of the album, Wale is comfortable in the pocket, and although there are still a few songs that would cause havoc for your fantasy league (“Clappers”), by far the worst thing about “The Gifted” is the album cover. Most tracks are approached with a sort of savage energy, as if Wale is anxious to throw his detractors to the lions, Ndamukong Suh style. Take for instance “Heaven’s Afternoon,” where friendly rivalry abounds as Wale and label-mate Meek Mill try to lyrically outperform each other on the track. Even though Meek does a respectable job, Wale is dynamic. Instead of merely spitting neat little packaged metaphors, Wale uses his Air Jordan 3s to implant himself feet-first in his rhymes, so that the song’s content and others on the album come across as personally relevant to the rapper. The album’s songs spark because they are marked by a confessional aura, sounding as if they came from a deeply personal place, such as “Golden Salvation (Jesus Piece).” Sustained by the chapel drums and specks of piano by producer Lee Major, Wale spits some of the most potent poetry of his career in three equally charged verses about how people use pseudo-faith to mask their materialistic desires rather than seek spiritual serenity: Fears but a tool And Gospel gone commercial pray the purpose isn’t cruel And the workers in the pulpit want they blessings to improve And they stone me on the cross and niggas stone me for the ooh’s And the ahh’s foolish What am I who are ya I’m coming down from the sky cause niggas keep praying to shine Wale, “Golden Salvation” (Jesus Piece) Wale expertly combines his various personas so that the socially conscious prophet, the baller and the lady killer all seem organic productions instead contrived failures. Most of the album abounds in the ambiance of Sunday Morning church service, such as “Lovehate Thing,” featuring newcomer Sam Dew and a sample from fellow D.C. native Marvin Gaye. Speaking of features, Rihanna’s presence on the remix of “Bad” is a little too predictable, and in her obvious mimicry of new artist Tiarra Thomas, Rihanna and the track as a whole is a sorry excuse for the original. Wale’s demeanor on the track suggests that he is purely targeting radio (a fate he avoids with most of the album’s material), rather than fresh in the throes of an introspective confession about bad girls, which, along with Thomas’ amazing vocals and of course, the bed-squeaking, is the brilliance of “Bad.” On that note, the few missteps of “The Gifted” occur when the rapper tries too hard to attain radio glory, such as “Clappers” and “Tired of Dreaming.” Wale is much more effective when he concentrates purely on crafting good songs, like “Vanity,” “Gullible” and “Bricks.” In the latter, “bricks” is not just a slang term for cocaine, but a metaphor for what kids with dreary life possibilities build their escapist dreams upon: music and sports. The finale of Wale’s second verse is constructed exponentially, which each idea building upon the last…like bricks.

From a brick, to a stone, tryna feed for my homie When the powder, turn to power, and the power turn to dough 33 | P a g e

Turning head with yo whip, is it worth what you did?

If a brick is a brick from a brick you can build From a brick to a stone, make a fiend for a homie Turn ? into 4, turn reef to a home Turn the powder, into power, and the power turn to hoes If a brick is a brick, to a brick you can grow Wale, “Bricks” Much has been made of the multitude of features on the record. But unlike French Montana’s album, where overwhelming guest spots are in actuality a grisly cover-up operation for a possibly tone-deaf rapper severely lacking talent, Wale’s presence is not lulled into musical irrelevancy by his extended company. Once again quarterbackin’, the rapper pilots the stage, such as “Rotation,” featuring Wiz Khalifa and 2 Chainz. The high-level lyricism we have come to expect of Wale on mixtapes fuses with a memorable hook. Wale’s elevated talent allows him to dance lyrical circles around his guests, repeatedly rotating his flow to mimic the sway of the song. The distinction is clear: Wale is able to play multiple positions while his competition stick to the same rehashed rhyme schemes that convinced the world to pay attention to them in the first place: Like a nigga out the globe, with a nigga throwed, Like a cornerback in the flat, nigga in the zone Like an ornament on a tree, home in the tree; How you gonna eat? Carnivores need beef; Well I need Beats Wale, “Rotation” “88″ is a very creative track that will probably fly over the heads of anyone unfamiliar with the term sneakerhead. Wale uses a lot of clever references to sports and sports sneakers that would be difficult to fully grasp if you have not previously devoted an ungodly amount of time to the finding and purchasing of expensive sneakers. Still, one of Wale’s strong-points is his ability to be versatile, and like an episode of “The Sopranos,” you can garner the basic meaning of his words without understanding the full thematic significance.

It’s a shame that “The Gifted” may not receive the level of acclaim it deserves, primarily due to the fact that three other major releases (J.Cole, Kanye West, Jay-Z) come within weeks of the album.

Nevertheless, the argument can be made that Wale’s project is the best in terms of quality, cohesion and replay value. While much of the major reviews of “The Gifted” are so far positive, some are critical of Wale’s failure to branch out sonically, like “Yeezus” accomplishes two-fold. However, if Wale hopes to have long-lasting success in the music world, he must first master his immediate post. From beginning to end, “The Gifted” makes a legitimate case that Wale is in tune with what makes him a memorable player in this game, and has tweaked the weaknesses of his arsenal. Towards the end of “The Gifted,” after a poignant poetic display by Wale about the absence of Black heroes, Jerry Seinfeld makes a hilarious appearance as himself, speculating about a future “Album About Nothing.” We can only hope that Wale will build upon this moment, and provide the fans with a classic album about nothing.

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‘Born Sinner’ by J.Cole

By Kellan Miller

Stripped down to its most basic components, hip-hop is beats and rhymes. Excellence in the two almost always leads to long-lasting success, and the most permanent residents of fans’ top five rappers list includes artists that, throughout their careers, excelled in this regard: 2pac, Biggie, Nas (although some beg to differ about the beats part) and Jay. But then there is the intangible “it” factor that rarely gets discussed, and yet is just as vital. In terms of sports, ESPN analyst Skip Bayless refers to “it” as the “clutch gene.” J.Cole captivated the rap world with a series of brilliant mixtapes: “The Come Up,” “The Warm Up” and “Friday Night Lights,” all strong testaments of his lyrical and beat-making prowess. In an era where artists create mixtapes in the same meticulous, quality-controlled fashion as official albums are supposed to be produced, Cole’s “Friday Night Lights” could stack up with the best of them. The tape contains all the ingredients of a successful hip-hop LP, complete with club bangers, booty call themes, lyrical showcases, frank confessions about personal struggles and Drake. More than anything that preceded it, “Friday Night Lights” poised Cole as the carrier of the torch for a new era of rap. Comparisons to legends like Nas and Jay (his boss) popped up in any conversation about Cole, and the release of Cole’s debut album was highly anticipated.

Unfortunately, high expectations usually result in disappointment, and Cole’s debut album, “Cole World: Sideline Story” just wasn’t up to par. Granted, I can’t think of too many songs on the album I would completely regard as trash, but the overwhelming feeling one gets from an intimate track-by-track mining session is only a few fragments of gold. To put it bluntly, once I awoke from the heavy, serene slumber induced by Cole’s album, I immediately phoned Dr. Stuckey to cancel my Ambien prescription.

The “damnit-son-you-gotta-hear-this-shit!” tracks were few and between. That damn “it” factor plagued this album almost into oblivion.

Sadly, “Born Sinner” is akin to a slightly less potent form of Ambien, whereas listening to Mac Miller’s appropriately titled “Watching TV With The Sound Off” is like the Mike-Tyson-blow-to-the-head-in-TheHangover one feels from taking Trazodone. And, judging by the memorable songs on the record, the most frustrating thing about an artist like Cole is that he is capable of so much more. Take for instance the opening track, “Villumanti,” a song that ranks right up there with Cole’s greatest work to date. Not only are the two requirements of hip-hop executed perfectly, but Cole adds the “it” factor as well. The beat punches you right in the gut, and Cole fires quotable after quotable while delivering a heart-felt rant about the pressures of staying relevant in the public eye while remaining faithful to his own intuition as an artist.

“My pops was club hoppin’ back when Rick James was out And all I got is Trinidad James, wait a minute that’s strange Sip a bitter champagne, say “fuck you” If the hoes like it I love it, nigga nigga nigga” After a masterpiece like “Villuminati,” Naively, the listener is immediately convinced into thinking that Cole will finally make the transitions from classic mixtapes to classic albums. This “FUCK YES” feeling 35 | P a g e

lingers a little longer as we transition to the third track, “Land of the Snakes,” where Cole borrows one of the most beloved beats in music history, Outkast’s “Da Art of Storytelling.” It’s almost impossible to mess up a song with this beat to fall back on, and Cole doesn’t disappoint as he once again separates himself lyrically from the majority of current emcees. Just like Outkast’s original, Cole practices the art of storytelling, combining his tale of success with the struggles he faced growing up in North Carolina.

Some hip-hop purists are undoubtedly feelin’ sum type uh way about Cole having the gall to even touch this standard. Of course, Cole is nowhere near the level of Daddy Fatstacks and Andre, but his own rendition of “Da Art of Storytelling” is a burner in its own right. After “Land of The Snakes” comes “Power Trip,” a song which I’m sure you’ve heard plenty of times on the radio. I must admit, although the content of the song is not my usual cup of tequila, the song isn’t bad at all. With an incredibly soothing beat, Cole provides the sequel to one of his most famous songs, “Dreams” off “The Warm Up” mixtape. “Power Trip” is a far cry from the excellent “Dreams,” but the song is great for its intended purpose, a catchy radio track capable enough to temporarily infiltrate the Nicki-Wayne-Drake-FutureRoss hip-hop radio monopoly.

But then trouble comes, most ironically, with the track “Trouble.” This is when the effects of Nyquil PM start to kick in, and eyelids become heavy. Things are only exacerbated when we reach the following track, “Runaway.” The bars are quality, the beat is actually pretty good, but this track and “Trouble” are the principle reasons why I am making preparations to submit “The Cole Effect” to Webster’s or Oxford’s Dictionary (whoever pays more).

The Cole Effect: [kohl ih-fekt] n.

Despite seemingly containing all the essential ingredients of a successful endeavor, the product itself induces a severe case of who-gives-a-fuckery when encountered by other persons. This effect usually causes intense drowsiness for the end user.

Thankfully, The Cole Effect disappears temporarily and we are awakened with “She Knows.” Cole is assisted by newcomer Amber Coffman, and Madeline Follin of the New York indie band Cults. The song samples Cults’ “Bad Things” off their amazing 2011 self-titled LP, and Follin’s haunting nursery rhyme vocals somehow jive ingeniously with Cole’s raps about the desire to remain faithful to his “girl back home” in the presence of so many potential female sidepieces: “This is Martin Luther King In the club, getting love With a bad bitch in his ear Saying that she’s down for whatever In the back of his mind is Coretta” The track definitely has potential to become a smash single, and with a little luck from God and Lady Fortune, possibly exile “Tapout” (the most overplayed song in the history of the world) off the charts forever. Anyways, unfortunately after “She Knows” comes more Cole drudgery in the form of “Rich Niggaz.” The only interesting thing about this song is that Cole seems to be complaining about his boss Jay-Z for the bulk of the time: “Niggas can’t front on the flows you got/ But every single verse how much dough you got.” However, this is not a gossip blog so need to discuss conspiracy theories.

Following the “Rich Niggaz” catastrophe, Cole hits a stride in the second half of the album, commencing with “Forbidden Fruit,” featuring Kendrick Lamar. Once again, Cole borrows from the best stuff on earth, this time rhyming over A Tribe Called Quest’s CLASSIC “Electric Relaxation.” ATCQ is my favorite group of 36 | P a g e

all time, but Cole’s track is still a solid piece of music even though it lacks all the greatness of the original. In the song, biblical themes abound, as well as references to females. It’s worth noting here that Cole had a large part to play in introducing Kendrick Lamar to the masses. Surprisingly, Kendrick doesn’t get a verse, and is only involved in the chorus. In fact, the only other person that spits any bars on the album aside from Cole is newcomer Bas on “New York Times,” which also features 50 cent. Along with “Miss America” and “Niggaz Know,” “New York Times” is one of the highlights of the album.

“Chaining Day” has received a lot of hate from critics, probably because of its goofy name, but it is definitely one of the best tracks of the album. If you knew about my addiction to expensive sneakers, then you will probably understand why I identify with Cole’s frank confession about his allegiance to materialism. Jewelry takes the place of sneakers in Cole’s world, and the song is mostly filled with his guilty feelings about his obsession to shiny, shallow objects. The beat is excellent, and so is the content, but the “it” factor is clear and recognizable. It can be located in the final two minutes of the song, where the chords become chopped and screwed, and Cole sings: “Told my momma it’s the last time So don’t take my chains from me ‘Cause I chose this slavery” “Crooked Smile,” featuring TLC, has already started to receive ample play on the radio. With a catchy bass line, and catchy hook to match, Cole speaks about the objectification of women in society and pressures the fair sex is exposed to on a daily basis. The rapper’s advice is to smile in the face of adversity, even if that smile is crooked. Following “Crooked Smile,” comes the realest shit Cole ever wrote in my opinion, the song “Let Nas Down.” As I mentioned earlier, in the early moments of his career, many compared Cole to legendary emcee Nas, and prophesied that Cole would someday become the God’s son himself. However, a lot of fans (including me) discarded these illusions once they heard Cole’s debut album. Apparently, even Nas himself was disappointed in tracks tailor-made for the radio like “Work Out.” “Let Nas Down” is equal parts Cole defending himself for his early career blunders and feeling guilty about, well, letting Nas down. Shortly after the release of “Born Sinner,” Nas released his own reply to Cole’s song, reaffirming his faith in the young artist. All’s well that ends well.

And on that Shakespearean concept, Cole concludes the official album the same way he started, with a song worthy to be mentioned alongside his greatest musical accomplishments. “Born Sinner,” featuring James Fauntleroy, is perfect from start to finish. As a melancholic-sounding piano provides the main sonic impetus, Cole avoids falling into the “rapper role” merely rhyming about money, hoes and clothes, and exchanges this for a deeply personal reflection about his own trials and tribulations as a man. The chorus of the song ties all the sporadic messages (the good, the bad and the ugly) of the album brilliantly into one succinct chorus: “Imma a born sinner/But I’ll die better than that.” The somber feeling is only magnified when a choir chants the chorus at the end, expertly driving the message home.

I know someone reading this will probably think I’m somewhat delusional, because in the case of most songs I have written that they have strong quality. While the delusional aspect can’t be denied in good faith, it has nothing to do with the topic at hand. Some artists are on a higher level than others, and they should be judged more harshly. Anyone that is familiar with Cole’s mixtapes will understand why this album is disappointing, even though most of the tracks are solid, if not amazing pieces of work. It is those zzzzzz moments that prevent this album from being the goldmine that it should be. Hopefully, just in the case of Wale’s third studio album, Cole will connect the dots and release an album where not one single song will let down the fans, Nas or most importantly, me.

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Songs ‘Control’ by Big Sean feat. Kendrick Lamar & Jay Electronica

By Kellan Miller

“Since my new album #HallOfFame is avail for preorder in a couple hours Can I drop something that didnt make the album?! straight rap shit…”

After being subjected to a social media onslaught, to the tune of billions of tweets about Kendrick’s socalled “epic” verse on Big Sean’s latest single, “Control,” I immediately assumed the role of dissenter.

Foolishly, I remained the lone Elmer Fudd-looking old man on the bench doubting the constant chirping in my ear. Hypebeasts, in their very nature, glorify the shit out of something until it becomes shitty.

Usually I’m on the ball when it comes to new music, but I remained a grumpy outcast until about an hour ago when I decided to actually listen. Alas, I was wrong for doubting my fellow SoCal brethren. If you have two functioning ears, there is no room for subjective opinion here; Kendrick Lamar just spit one of the greatest verses of all time.

Clocking in at well over the seven minute mark, “Control” is somewhat of a surprising release from Big Sean for a number of reasons. First, the song is not about controlling yo hoes, or letting them talk to you crazy. Second, the structural DNA of the song retains very little traces of the songs Sean has infiltrated the radio with in the past, which were mainly geared toward money, chardonnay and ass ass ass.

However, Sean’s latest mixtape “Detroit” reminded early devotees that the G.O.O.D. music MC still retained a knack for lyricism, and could even get damn near conscious and meaningful when he wanted to. Opening the track, Sean’s verse is impressive on its own, and if it wasn’t for that holy-fuck verse from Kendrick, folks would be busily stuffing their Twitter feeds with delusional comparisons to Jay-Z just off the strength of his content. More than anything though, Sean’s gift is ironically his control, no pun intended. The rapper has some of the most versatile bag of tricks when it comes to flow, and he is able to (pause) eject it at will.

“And I’m over niggas Saying they the hottest niggas Then run to the hottest niggas Just to stay hot I’m one of the hottest because I flame drop And not because I’m name dropping, Hall-of-Fame dropping” But next comes the conjuring. Kendrick starts things off in his standard tone, which has been the source of some criticism in the past for sounding too robotic. Things take a sharp turn at around the 3:21 mark, where Kendrick emanates fire-bar after fire-bar of classic as if he has undergone some sort of exorcism.

Straight rap shit indeed.

“Judgment to the monarchy, blessings to Paul McCartney You called me a black Beatle, I’m either that or a Marley (I don’t smoke crack motherfucker I sell it) 38 | P a g e

I’m dressed in all black, this is not for the fan of Elvis I’m aimin’ straight for your pelvis, you can’t stomach me You plan on stumpin’ me? Bitch I’ve been jumped before you put a gun on me Bitch I put one on yours, I’m Sean Connery James Bonding with none of you niggas, climbing 100 mil in front of me And I’m gonna get it even if you’re in the way And if you’re in it, better run for Pete’s sake” There are just too many ideological complexities and stunning metaphors abounding in Kendrick’s verse to do it proper justice in a quick blog post, but the most stunning thing of all about Kendrick’s verse is what he says during his verse’s finale, which I use as a euphemism here to stand in the place of a more accurate description like the slaughtering you do bestow on your opponent in the TKO stage during those drunken nights playing “Mortal Combat.”

I’m not sure if Kendrick heard the thundering call-to-arms while reciting his verse, but, while temporarily, Kendrick literally finishes them: “I heard the barbershops spittin’ great debates all the time Bout who’s the best MC? Kendrick, Jigga and Nas Eminem, Andre 3000, the rest of y’all New niggas just new niggas, don’t get involved And I ain’t rockin no more designer shit White T’s and Nike Cortez, this is red Corvettes anonymous I’m usually homeboys with the same niggas I’m rhymin’ wit But this is hip-hop and them niggas should know what time it is And that goes for Jermaine Cole, Big KRIT, Wale Pusha T, Meek Millz, A$AP Rocky, Drake Big Sean, Jay Electron’, Tyler, Mac Miller I got love for you all but I’m tryna murder you niggas Tryna make sure your core fans never heard of you niggas They dont wanna hear not one more noun or verb from you niggas What is competition? I’m tryna raise the bar high Who tryna jump and get it? You better off tryna skydive Out the exit window of 5 G5’s with 5 grand With your granddad as the pilot he drunk as fuck tryna land With the hand full of arthritis and popping prosthetic leg Bumpin Pac in the cockpit so the shit that pops in his head Is an option of violence, someone heard the stewardess said That your parachute is a latex condom hooked to a dread Wow. In a few lines, Kendrick name drops the most prominent new emcees in the game, aka his competition. We live in a day and age where hip-hop is so lovey-dovey that rappers tend to shy away from dissing, and instead embrace a nauseating “we’re all in the same gang” philosophy. Kendrick echoed the thoughts of many fans (like me) who remember fondly the days when rappers had no qualms about stating their intentions to eliminate their competition. To be clear, Kendrick isn’t dissing anyone, but he is reinforcing the idea that unlike many genres, hip-hop is a battle when viewed in its purist form. Artists can be friends, and even new artists can be friends (despite what DJ Khaled will have you believe) but at the end of the day rap is a masculine sport, and the idea is to destroy your opponent.

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Drake’s “diss me and you’ll never get a response for it” is completely anti-competition, and Sun Tzu would be horrified. We can only assume that Kendrick will put the fire in the asses of some of these socalled rappers … pause. But like Kendrick says, this is hip-hop and these rappers should know what time it is.

Oh, and I forgot, Jay Electronica also has a verse on this song. Electronica definitely has a solid verse, but in comparison to the other two, it’s by far the worst. SMH. His verse doesn’t deserve discussion, and Kendrick’s only partly to blame. The main reason is because Electronica is quite possibly the laziest rapper in history, yet to release his debut album after creating substantial buzz for himself years ago.

But I guess I can’t blame him too much, as Electronica was recently legally cleared to marry wealthy (estimated worth of $300 million wealthy) British heiress Kate Rothschild. Who cares about music when you are gold-digging at that level?

Big Sean has already made his latest album “Hall Of Fame” for pre-order, but “Control” will not be on it.

Sean tweeted: “This one that didn’t make the album cuz of the sample BUT IT IS NOT no radio shit..

Straight rap… I’m talking 7min shit… Grimey shit.”

Recently, a host of emcees have come out of the works and made diss records in response to Kendrick, and even Sean took to the internet to suggest that his verse was better than Kendrick’s. Even though the man is clearly delusional, Kendrick has no doubt set off a bomb in the industry, and things are shaken up the way Kendrick and the fans wanted.

‘Red’ by Taylor Swift

By Aprille Hanson

Taylor Swift is easily one of the most influential artists in the pop world today. That doesn’t mean she’s great, but it means she has the staying power to keep writing songs and making albums that her fans are going to love.

Let’s get this out first: her 2012 album “Red” is not a country album; not even country-pop. While she may dabble with country artists on the brink it seems (Like Tim McGraw in “Highway Don’t Care”), she has established herself more firmly as a pop artist.

Her latest single “Red” makes for a good pop single. It’s catchy, unique and has a different kind of passion to it than most of the bubblegum pop that she’s written in the past. The song easily includes the most descriptive lyrics she’s mustered up, incorporating an array of colors to match emotions, but also unique imagery: “Loving him is like driving a new Maserati down a dead-end street / Faster than the wind, passionate as sin ending so suddenly / Loving him is like trying to change your mind once you're already flying through the free fall / Like the colors in autumn, so bright just before they lose it all.”

The verses are where her songwriting really shines, while the chorus is more cookie-cutter. Blue is of course losing him, dark grey missing him and then loving him was red. While not very inventive, it keeps a comfortable cushion for the listener between the verses.

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I’ve been hard on Swift in past reviews, but it’s only because of her limiting herself to one theme: relationships. Great artists grow and explore outside of their comfort zone and while I do believe Swift did with “Red,” she didn’t step out of her usual theme. She may have made more pop choices musically and matured in her lyrics, but she’s ultimately still talking about a guy. The only reprieve was “22,” which was a refreshing choice for her.

I can’t say that I’m “red” for Swift, but I can admit, I’m a little “pink.”

Music If Miley Cyrus Wants to Be an Adult, She Should Start Acting Like One

By Aprille Hanson

Throughout most of my 12-almost-13-year-old sister’s childhood, her favorite TV show was Disney’s “Hannah Montana.”

I remember buying her clothes, accessories, etc. that had the show’s main actress, Miley Cyrus, plastered all over them.

That little actress is a far cry from the almost naked, tonguewagging, hip-gyrating freak viewers saw “twerking” it up at the MTV Video Music Awards on Sunday.

My hope is that one of my sister’s friends didn’t show her the video, because if so, my family will need to invest in some serious therapy.

Sadly it’s too late for me.

I’ve seen most of the video and heard the arguments both for and against the performance. I tend to agree with most statements: it was gross and disturbing; it was completely unoriginal (look-up past performances by Britney Spears, Christina Aguilera, Madonna, Katy Perry, Nicki Minaj, Lady Gaga, etc., and you’ll see why it wasn’t anything new); it was inappropriate, even for the VMA awards.

My favorite comment is from pop star Kelly Clarkson, who described her and others who performed as a “pitchy strippers.”

What I don’t agree with is this consensus: Cyrus is an adult. She can do what she wants.

On the surface, yes, that’s correct. But if that were reality, this would be a nonstory. Instead, it’s dominating social media and several news outlets.

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So, it begs the question we need to ask as a society: Why can a performer like Lady Gaga dance provocatively while wearing some barely-there outfit and no one really bat an eye, but Cyrus – who by the way is 20-years-old and is considered a legal adult – can’t?

The answer is simple and while it might not be fair/right/popular, etc., it’s just the straight fact: She was a Disney kid.

Her entire brand was built around this wholesome good-girl that little kids could look up to as a role model.

Lady Gaga is known for being outrageous – that’s how she’s always been, that’s her brand, much like other famous pop singers. It’s true, Britney Spears was a Mickey Mouse Club member, but she wasn’t front-and-center on one of the most successful kid’s shows to ever hit the small screen. It is also true that Selena Gomez and Vanessa Hudgens, other Disney-kids-turned-young-actresses, appeared in the sexually-charged 2012 movie “Spring Breakers.” The difference there (while unfair) is that it wasn’t plastered all over a music awards show for anyone who wanted to tune in. If you went to the theater to see it, you knew what you were getting into and paid to go see it.

Cyrus didn’t have to do “Hannah Montana” or, more accurately, her parents didn’t have to put her in the world of show business at such a young age. But, regardless, here we are. She’s made it clear she does not want to be “Hannah Montana” anymore, but it’s what she will always be known for, even when the dust settles from this latest stunt. That’s really all it was – a marketing stunt.

I hadn’t thought much of Miley before Sunday’s show. Last I checked, my sister is over the Cyrus-hype (thank goodness) and while I rarely follow much pop news, it seems like she just wasn’t gaining much traction in her new “adult” persona.

So, in shedding her Hannah Montana roots, she decided to shed some clothes.

Nothing screams “I’m an adult!” like grinding on a 36-year-old married singer/father (Robin Thicke) with giant teddy bears dancing around. The whole scene was blatant immaturity.

It is similar to Lindsey Lohan’s difficulty in moving past her “Parent Trap” or “Mean Girls” days, but stumbling into drugs, alcohol and Playboy spreads.

Both want to be taken seriously, but have no clue how to do it. And most of the reason that Cyrus will never be looked at the same way as people like Britney Spears is that her talent just isn’t near as strong.

Cyrus was never a great singer and her pop songs are lackluster. Even her shock factor has been overdone.

The only thing she ever had in her corner was being a “good-girl.”

My sister’s generation who followed her is still young and those of us in our mid-20s never really could relate to her music because she was “that Disney kid.” So Cyrus is in this weird area of leaving her old

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fans/self behind and trying to tap into a generation that could care less and regardless of her age, still sees her as the fresh-faced Hannah Montana.

The stunt made it on broadcaster Anderson Cooper’s “Ridiculist.” He said it best, pointing out that what would have been shocking is if she had actually done an original, deep performance that most artists strive to do in their careers.

If Cyrus wants to be taken seriously, that’s the route she needs to take.

Here’s some advice for little Miss Miley: Create a pop song with some depth (it is possible) that garners respect in the music world. Learn to take pride in the fame you worked for and attempt to grow as a person/celebrity to figure out where your place is as an adult is in this industry. You want to be an adult, act like one.

Until then, no matter what, we’ll all think of you as Hannah Montana.

Tom Petty Is Right About Modern Country Music (And Some in Nashville Can’t Handle It)

By Julian Spivey

Tom Petty had some true words recently about the current state of country music.

At a recent concert Petty had described modern country music as “bad rock with a fiddle,” which is pretty spot-on, except there’s not even all that much fiddle in country music anymore, unfortunately. Petty told Rolling Stone magazine: “I hate to generalize on a whole genre of music, but it does seem to be missing that magic element that it used to have. I'm sure there are people playing country that are doing it well, but they're just not getting the attention that the shittier stuff gets. But that's the way it always is, isn't it? But I hope that kind of swings around back to where it should be. But I don't really see a George Jones or a Buck Owens or any anything that fresh coming up. I'm sure there must be somebody doing it, but most of that music reminds me of rock in the middle Eighties where it became incredibly generic and relied on videos. I don't want to rail on about country because I don't really know much about it, but that's what it seems like to me.”

Petty was right, there are good country music acts out there today like Jamey Johnson, Jason Boland and the Turnpike Troubadours, among others, but they’re just not getting played on modern day country radio like the “shittier stuff.”

Country music sometime in the last five to 10 years has gotten more mainstream, I guess you could say, by taking aspects of pop, rock and even occasionally hip hop music and forming essentially a new type of country music. This is quite problematic for many fans of the genre for many reasons, some including 43 | P a g e

that traditional country music singers have been pushed out of popularity and the industry altogether; some really great country singers who used to put out really good music are now all of sudden conforming to the new standard for country music and no longer record meaningful or good stuff; and the music today just doesn’t seem to have the traditional things that many fans loved about the genre in the first place.

New styles and change is something that is commonplace in the music industry and in the eyes of many something that needs to constantly be changing and evolving to remain relevant into the future, but country music is one of those genres (maybe the only one, in fact) that change and evolution comes as painful to many fans. Honestly can you say today’s country music is any better than it was 10 years ago, 20 years ago, 40 years ago? It’s a divide that seems to be split 50-50 right now. But, among the younger generation it’s probably more of the line of 80-20 in favor of country’s new sound, which is all record executives and radio programmers truly care about. In my opinion, this is not a good sound or sign for country music. I’m not sure the genre is ever going to return to a majority of what I would consider good or true country music – I’m just going to have to be content with seeking out and enjoying artists like Johnson, Boland and the Troubadours.

But, back to Petty’s words of wisdom.

The statement which should’ve been taken as helpful advice irritated some within the modern day country music industry, most notably modern country hitmaker Jake Owen. Owen recently told SiriusXM Radio: “It’s unfortunate that he’d make a ridiculous, uneducated comment like that about a format he’s not even a part of. First off, why? That bums me out a little bit … but everybody makes ignorant comments from time to time.”

Sounds like Owen can’t handle the truth very well.

Ignorant and uneducated comments? Wow. Those are some pretty harsh and incredibly inaccurate statements from Owen aimed toward a music legend and rock n’ roll hall of famer. It seems Owen was hurt by an artist he looks up to (he added he was still a fan though) and decided to throw out some truly ignorant and uneducated comments himself.

Yes, Petty may not be in the country music genre – and I may add if he was he’d be far too good to get played on today’s country radio – but, his comments are far from uneducated and even further from ignorant.

Petty is a fan of country music – true country music. Check out his fantastic cover of the Hank Williams classic “Lost Highway.” Or another cover of a Hank Williams song “You’re Gonna Change (Or I’m Gonna Leave).” Or his equally fantastic verse on Hank Jr.’s “Mind Your Own Business.” Or Bill Monroe/Elvis Presley’s “Blue Moon of Kentucky.” Or Conway Twitty’s “Image of Me.” He’s obviously a fan of George Jones and Buck Owens who he quoted above. He also played backup on recordings of Johnny Cash’s “American Recordings” albums, in which Cash covered multiple Petty songs.

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He’s also been someone who country artists have been admiring and covering themselves for years.

Check out Johnny Cash’s supreme versions of “I Won’t Back Down” and “Southern Accents.” Or Pat Green’s recent cover of “Even The Losers.” Or Lady Antebellum doing “Learning to Fly.” Or Glen Campbell doing “Walls.” Or, one of my favorites, Old Crow Medicine Show doing “American Girl.” Or even this one that greatly annoys me just because it’s Taylor Swift, but is actually not all that bad of a performance, doing “American Girl.”

So, Tom Petty knows what country music is – there’s even a great YouTube playlist titled that. And, obviously country music musicians – both good and bad – know that Petty himself knows what country music is – because why else would they identify with it or do cover versions of it? That’s where Owen’s comments really show their own ignorance and un-education, because if he considers Petty an influence than there must have been some connection with country music involved.

Not only has Petty covered country music, inspired country covers of his music and professed to liking classic country music he’s also written and recorded some songs that are basically and truly country songs. The two that come to my mind almost immediately are “Southern Accents,” from his 1985 album of the same name, and “Down South” from his 2006 album “Highway Companion.” Country songs are often Southern songs and many of them either capture the country way of life down South or at least claim to capture the way of life down South. Today’s country music is cliché and stereotypical when it comes to country or Southern living. Ad nauseam you hear today about driving down back roads and drinking beers and going down to the river and watching all the girls shimmy out of their cutoffs. You almost have to call bullshit on much of what you hear today in “this is how country life is” type songs – but, the two aforementioned Petty songs come off as realistic portrayals of Southern life.

Those two songs aren’t the only country-ish songs in Petty’s discography. Listen to something like “Louisiana Rain,” “Something Good Coming,” “Swingin’,” “Wildflowers,” his wonderful cover of the Grateful Dead’s “Friend of the Devil” and much of his Mudcrutch album, especially “Shady Grove,” “Orphan Of the Storm” or the cover of traditional country song “Six Days on the Road.” Hell, “Mudcrutch” could’ve qualified as one of the best country music albums of 2008.

Listen to some of these songs alongside some of today’s biggest “country” hits like Florida-Georgia Line’s “Get Your Shine On” and “Cruise,” Jason Aldean’s “Dirt Road Anthem,” Taylor Swift’s “We Are Never Ever Getting Back Together,” Luke Bryan’s “That’s My Kind of Night” or much of Jake Owen’s recent songs that all sound the same and tell me which is the countriest. If you have any knowledge of country music prior to five years ago it won’t be that hard.

Country music songwriter Odie Blackmon, who is responsible for some of the greatest country songs of the last 15 years like George Strait’s “She’ll Leave You With a Smile” and Lee Ann Womack’s “I May Hate Myself In the Morning,” had a great and intelligent comment on TasteofCountry.com regarding Tom Petty’s comments and Jake Owen’s response.

“Tom Petty isn't jealous of anyone and he certainly isn't uneducated. He's a member of the Rock and Roll Hall of Fame and was in a band that included Bob Dylan, Roy Orbison and George Harrison (he's one 45 | P a g e

of the Beatles just in case anyone doesn't know). He could also talk about Rock/Country/R&B/Pop music with the most knowledgeable of historians and put most of us in the music business to shame. Tom Petty and his music will be remembered and held in high regard long after most of the music of today is forgotten. That's all genres. It's amazing to me how many people talking about this don't get what a legend Tom Petty is. He's a songwriting genius that is admired and copied on Music Row every day. I think he struck a nerve with some folks and that's why they're pissy. I say if you think Tom Petty is full of bull then show him by making legendary music with integrity that also has extreme commercial/monetary success and maintain a loyal fan base for over four decades like he has. Until then we're all just trying to be that good.”

Blackmon hit on something very important in his statement … these artists today were offended by Petty’s statement, because they see the truth in it. They’re either embarrassed that they can’t create the same quality of music that Petty has over his illustrious career or either can and aren’t being allowed to by their record companies (which I think is a great possibility and I know that’s happened to some once great artists who can’t seem to record anything that isn’t shit these days) or are afraid that if they do, it won’t sell and they’ll end up effectively banished from Music Row. In Petty’s statement he holds out hope that some of that past magic can return to country music, but I think he’s being a little too optimistic. Country music has gotten too far along with its current state to go back now. Either you’re in or you’re out when it comes to today’s country genre – sure, every now and then we may get an artist who seems to be able to walk the line of putting out great music that still remains popular among modern country fans like Eric Church – but I unfortunately think we’re more often than not going to be forced to hear something like this or this or this or this or this, because somewhere along the lines this turned into this. It’s not going back. You will continue to see great country music – Jamey Johnson, Turnpike Troubadours, Jason Boland, The Mavericks, Hayes Carll, Kacey Musgraves, Sunny Sweeney, Old Crow Medicine Show, Shooter Jennings – but you’re going to have to search hard for it, it’s not going to be on the radio and it may even be under another name like Americana (Jason Isbell, Shovels & Rope, The Civil Wars). It may even be on the pop charts in the form of something like “Ho Hey” by The Lumineers.

Tom Petty hit the nail right on the head and it’s ruffled and will continue to ruffle some feathers. But, many of us real country music fans know we’re right. Like Mr. Petty, we won’t be backing down any time soon in our support of true and traditional country music.

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Kenny Rogers at 75: Career of Good, Corny Hits Make Rogers Somewhat of an Oddity

By Julian Spivey

Kenny Rogers is an American legend and today he hits the milestone 75th birthday. Rogers is one of the most beloved artists in American music history, but also one who’s often mocked for the cheesiness many of his tunes – including some of his “greatest hits” – are embodied with.

This aspect of his career makes him truly unique, at least for me.

Rogers started out his career in a country-rock band called First Edition – which he would make some of his best music with like the psychedelic “Just Dropped In (To See What Condition My Condition Was In),” which sounds completely different than anything Rogers would do in his country music hit-making heyday of the late ‘70s and early ‘80s. If one were to listen to this song and say “Daytime Friends” or “Through the Years” back-to-back they wouldn’t have any clue the songs were done by the same artist.

In 1968, this song would hit number five on the U.S. pop charts.

The next year the group would have another top 10 in their recording of Mel Tillis’ “Ruby, Don’t Take Your Love to Town,” – in my opinion, Rogers’ best recording – a topical song at the time during the height of the Vietnam War, being about a crippled soldier who gets revenge on his cheating woman.

This song is country music to its core and features one of the all-time great final lyrics.

Shortly after these two songs made them stars the ‘60s would be over and so would the group’s popularity. Rogers would leave the group in the mid-70s and show up as a solo country singer in the latter part of the decade – with his first breakthrough coming in the form of his first number one country song “Lucille,” about a cheating woman looking to hook up with him as the song’s narrator in a bar when her heartbroken, farmer husband comes in explaining how “you picked a fine time to leave me, Lucille.”

“Lucille,” written by Roger Bowling and Hal Bynum, was a break from Rogers’ earlier sound. It was more country than rock – and the psychedelia that infiltrated some of his ‘60s music was obviously left back in the ‘60s. It still worked unbelievably well. The song remains one of his three best recordings of his career – both with or without the First Edition. “Lucille” is a great story song that plays on the timeless country trope of cheating and doin’ somebody wrong. The thing that works so perfectly about it is that it’s told from the point of view of the person the cheating is going to be done with, with that person knowing full well that he would be helping this woman to cheat on her broken down husband. Rogers’ gravelly vocals are among the best he’s ever had on any recording. I’d prefer this over the crisper vocals of something like “Lady” or “You Decorated My Life.” “Lucille” will always been one of the all-time country classics.

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Next in Rogers’ career came another number one single: “Daytime Friends,” which begins this uniqueness to his career. “Lucille” and “Daytime Friends” are similarly themed songs – both cheating songs. Whereas “Lucille” has something interesting going for it (the unique point of view, fantastic vocals ), “Daytime Friends” begins the cheese factor in Rogers’ music, relying on catchiness over quality.

Still, for Rogers this song is mostly forgivable, unlike some of his other songs, mostly from the early ‘80s – I might not always switch the radio station when it comes on.

Rogers continued this odd streak of fantastic and cheese throughout the ‘70s with his iconic “The Gambler” and the sweet ballad “She Believes in Me,” followed by the nauseatingly lovey-dovey “You Decorated My Life” and the sort of badass, but also sort of unforgivably hokey (and strange) story song “Coward of the County” – all of which were popular with radio listeners and hit number one on the country charts.

“The Gambler” will be considered Rogers’ finest work for as long as people remember him – despite me finding ‘Ruby’ to be a superior song. “The Gambler” is one of the better story songs in country music’s history – and it’s a genre filled with fantastic story songs, especially of old – even if it has a chorus that is seemingly sung for all of eternity. “The Gambler” ( written by Don Schlitz) is a good mixture of storytelling meets catchiness between the verses and chorus. The song won Rogers a Grammy Award and has been named the greatest country song of all-time by TasteofCountry.com. It’s clearly not, but it’s still an honor nonetheless.

“She Believes in Me,” written by Steve Gibb, is a song that some might disagree with me on – particularly those who likely aren’t Rogers fans. Some would say that there isn’t a whole lot of difference between something like “She Believes in Me” and “Lady” – and there may not really be – but, something about “She Believes in Me” rings true for me, whereas “Lady” just comes off as overblown cheese and is one of the most annoying tracks of its era. Rogers’ vocal on the very first ‘lady’ of “Lady” may be one of those iconic notes to many music and country fanatics, but it’s always cringe-worthy and radio station switching inducing to me. Rogers is essentially the Lionel Richie of country music and “Lady” was indeed written by the R&B legend. Numerous people would disagree, but I don’t think being the Lionel Richie of country is necessarily a good thing. Back to “She Believes in Me,” though, for a second. The song works for me because I can understand the pain of someone trying to mix their two loves in life – their significant other and their art. Rogers’ vocal is also right up there with his work on “Lucille” as one of the best of his career, with his performance of the chorus being especially powerful. It’s the closest thing to a power ballad I’m ever going to like.

“You Decorated My Life,” written by Debbie Hupp and Bob Morrison, is pretty much in the same group as “Lady” and “Through the Years” in that it’s just too much. It’s too overdone, too lovey-dovey, too cutesy. Again, it’s Rogers being the Lionel Richie of country music. Rogers has done way too much of this type of tripe throughout his career and it has been immensely popular because it makes all the women swoon, but frankly that doesn’t do a whole lot for me. It’s pure sap, but it’s pretty indicative of where country music was at during that period of time. In fact, you probably could’ve switched Rogers songs for Ronnie Milsap songs at the time and not have known the difference between the two. “You

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Decorated My Life” and “What a Difference You’ve Made In My Life” are probably the same song, we just haven’t figured it out yet.

“Coward of the County,” written by the Roger Bowling and Billy Ed Wheeler, is an incredibly awkward song – probably the only song about somebody being gang raped in the entire history of country music.

Probably, and thankfully, it will be the last. It’s another story song about a man named Tommy who everybody had always considered the “coward of the county” because his convict father had told him when he was younger to “turn the other cheek.” However, when Tommy’s girl, Becky, is violated by the entire Gatlin family tree Tommy has to forget all that “turning the other cheek” mess and take care of all those Gatlins – does he kill them or just beat them? “Coward of the County” is the almost unbelievably odd mixture of hokey and badass – something that really sums up Rogers’ career. Not really a bad song, but one I simply can’t listen to anymore.

That brings us to a song that is both universally loved and universally hated, but surprisingly probably more loved. That’s “Islands in the Stream,” the hit duet that Rogers did with Dolly Parton in 1983. The song was written by the Bee Gees of all people, which probably should’ve been enough of a signifier to leave it well alone, but the song became one of the biggest hits of either Rogers’ or Parton’s careers and is generally considered to be the greatest duet in country music history.

Those people are generally delusional. “Islands in the Stream” is simply puke-worthy. One of the sappiest pieces of pop music ever recorded and nauseatingly cutesy; the song represents everything that was bad about that early ‘80s period of pop-infused country music. Something that you would hear in recordings ranging from Dan Seals’ “Bop” to Eddie Rabbitt and Crystal Gayle’s “You and I.” The vocals are fine by both Rogers and Parton and the song is catchy – this is why it was iconic and has since ingrained itself into the brains of people everywhere. One of the greatest duets of all-time? Have those people ever heard Johnny and June Carter Cash’s “Jackson” or Conway Twitty and Loretta Lynn’s “Louisiana Woman, Mississippi Man” or David Frizzell and Shelley West’s “You’re the Reason God Made Oklahoma” (like Rogers’ “She Believes in Me” something that could’ve been too sappy, but ultimately works out).

Maybe the most curious song for me in the Kenny Rogers songbook is “Love Will Turn You Around” from 1982, a song used as the theme to a cutesy film Rogers starred in called “Six Pack.” It’s a song, cowritten by Rogers, Thom Schuyler, David Malloy and Even Stevens, that should be annoying in that it’s clearly very saccharine, but I think it’s something that is ultimately forgiven due to the song’s almost throwback to the First Edition style of music and vocals. It doesn’t have the same yawn factor as “Lady” or “You Decorated My Life” and it’s more happy-go-lucky. Yeah, it’s super sweet, but it passes.

I could say Rogers – who doesn’t write most of his own songs – is a hit or miss song chooser, but all of these songs mentioned after his First Edition days have topped the charts. What it really boils down to for me is simply that some of Rogers’ songs have the “it factor” and some of them clearly don’t, but it remains unusual for an artist to have this many songs that I admittedly love, but also so many songs that I absolutely loathe. I guess I’m the one who’s hit or miss with him – because over the years of listening to Kenny Rogers I’ve learned what to throw away and what to keep from his discography.

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Gaming ‘Animal Crossing: New Leaf’ is Addictive Fun, You Won’t Stop Playing

By Robert Haynes

“Animal Crossing” is a series that, to put it nicely, remains constant in its features. To put it bluntly, it hasn't changed much in its lifetime. Most of what was introduced in the original game still exists 11 years later, and few major gameplay mechanics or features have been added. If you play one game in the series, you know what you're getting into with the others.

With the fourth iteration of the series, “Animal Crossing: New Leaf,” this remains true.

“Animal Crossing” is a life simulator series, where you play as a new resident to a town of your naming.

You take out a loan to buy a house and ... just live. There isn't an objective other than paying off your home loan, which is, itself, completely optional. You can interact with your neighbors and do tasks for them, you can go fishing and insect hunting, you can decorate the interior (and exterior, in ‘New Leaf’) of your house, you can plant trees and flowers, you can dig for fossils, you can play the stock market to make/lose lots of money, and so much more. There are any number of things you can do throughout the day in an “Animal Crossing” game, all of your choosing. Because of this, for better or worse, there is no end to “Animal Crossing.” You just keep playing until you've grown sick of it and attempt to break the addictive cycle of booting up the game every day. And you will play the game every day for a long time.

The game gives you reason to come back even after you've played for months. The types of fish and insects changes from month to month, the appearance of the town changes each season, and there are special holidays and events peppered throughout the year. Those who strive for 100 percent completion will have to play for almost an entire year if they want to see everything. That's real-world time, not arbitrary in-game time. If you begin in July, you won't see everything until June of the next year.

This is all general “Animal Crossing” talk. Everything above is applicable to each game in the series. What ‘New Leaf’ brings to the table are some small, but noticeable, changes that fans will recognize; casual fans of the series won't likely take note. The biggest change is that the player is now the town's mayor.

The player's new position allows him or her to build public works projects around town (a second bridge, a park bench, a street lamp, a campground, an addition to the museum...) and establish ordinances, which affect how things in town are run. If you wake up early each morning and no shops are open, or if you prefer to play late at night after all the villagers have gone to bed, you can establish an ordinance to make everyone rise early or stay up late. These tweaks make ‘New Leaf’ a more player-friendly experience than previous entries in the series.

Other changes are more subtle. Every room in the house can be expanded twice. Perfect fruit will randomly grow on fruit trees. You can choose your pants, shoes and socks in addition to the alreadycustomizable shirts, hats and accessories. Selling items is done at a new shop called Re-Tail, rather than at Nook's shop. You'll be informed that you've caught a bug or fish you've never caught before, keeping you from having to rely solely on your memory. Storage items have increased capacity, which can be 50 | P a g e

accessed several places around town. These are all welcome changes. They're minor, but they make you wonder why it took four games in the series to implement them. The biggest disappointment is that money and pocket capacity haven't changed much. You can still only carry 99,000 bells (the game's currency), and pocket capacity has been increased by a single space. More of both would have been desirable.

‘New Leaf’ is my preferred game in the series. It's not because it does everything the best; it's because “Animal Crossing” is a series meant for portable platforms. It works better on the DS and 3DS because you can take it with you anywhere, or just mindlessly play while watching TV. On platforms like the Gamecube or Wii, you had to set aside time to play, which is a lot to ask from a game that punishes you for missing a day (weeds grow in town, flowers can wither and die, and, in previous games, villagers might move away without you getting a chance to say goodbye). Being able to play where ever, whenever opens up plenty of opportunities for your daily 10-to-15-minute session.

Comparing the DS's ‘Wild World’ to the 3DS's ‘New Leaf,’ ‘New Leaf’ is the better experience. There's more to do, more ways to interact with other players (like being able to see others' houses after Street Passing with them) and, quite frankly, it just looks better. The graphics in ‘New Leaf’ are much crisper than those in ‘Wild World.’ I had a hard time going back to ‘Wild World’ after starting ‘New Leaf’ because things look so fuzzy. I made a mental note of this when playing ‘Wild World’ several years ago, as it was often hard to notice spots on the ground where items were buried. After playing ‘New Leaf,’ it was impossible for me to overlook this problem.

Overall, “Animal Crossing: New Leaf” is the same experience fans have come to expect from a series that has barely changed since its inception. It's fun. It's brainless. It's an enormous time waster. And most importantly, it's an addictive experience you won't put down for months. If you want to play a game in the series, ‘New Leaf’ is the best place to start.

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