arizona daily wildcat - oct. 21 - wildlife

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WLJustyn DillinghamArts Editor

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Jazz Ensemble launches seasonINSIDE

Best reading spots on campus‘Naked, Juliet,’ and zombies too

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dailywildcat.com/wildlife

wednesday, october 21, 2009

When Teresa Mazzarella studied abroad in Europe, she hoped she could travel the coun-try as well. Instead of spending an excessive amount of money on a hotel or hostel, Maz-zarella decided to engage in a more culturally stimulating route by staying in the home of a local whom she had never met before.

This is the basic idea behind couchsurf-ing, a global phenomenon launched in 2004 that provides weary travelers an opportu-nity to rest on random couches. The project provides an alternative to hostels or hotels and allows the traveler to explore the city through the eyes of those who live there. Through Web sites like couchsurfing.org, people can seek out homes to sleep at while away from home.

Victoria Klocko, a junior majoring in French and German, feels that sharing a house with someone she’s never met is the best way to get around.

“You are staying in their house, so you are staying in their personal space and you are learning about their personal life,” she said. “It is not just the city that you are staying in but also the people, and it is really neat to be able to share that intimacy with them.”

Couchsurfing.org’s database holds over a million people yearning to connect with fel-low travelers across the globe. Each member has a profile where they post information about themselves, references from other couchsurfers and information about staying on their couch.

“When you are looking for a host, you are not just looking for someone to stay with; you are looking for someone who has similar interests,” Klocko said.

Mazzarella feels the same when it comes to bringing people into her own home. “I don’t want to host someone like a hermit,” she said. After Mazzarella’s stint in Europe, she felt the need to host people herself.

“I wanted to give them that experience,” she said. “(Our host) put us first and wanted us to have a good time; it makes you want to do nice things for people.”

Couchsurfers can also get involved within their own community by attending events in their area. Klocko, who also holds week-ly meet-ups for fellow members of the site, said they are the best way to get involved for those who are wary of letting people stay in their homes.

“It is good way to get to take baby steps,” she said. Although the range of people who participate in the meet-ups vary, they all have one common interest: traveling. “You know that you can trust them, and in the end they are really good-hearted people,” she said.

That openness contributes to the trust that people have on the site. Laura Reyes, a nurs-ing senior, also thinks people need to go into the situation with an “anything goes” attitude. “I think you have to be a really open person to do it,” she said.

It’s also a convenient alternative for those who are looking to save a few bucks while exploring the world.

“Whenever I go travel I want to save as much money as I can,” Reyes said. “I think it’s a great way to travel, especially for students.”

When Mazzarella went to Europe, she was looking for the same thing.

“All my friends were looking at hostels and I was just like, ‘you guys are spending so much money,’” she said.

Klocko also raved about the benefits of staying on a couch versus the experience of a hostel. “A hostel is literally a boarding house,” she said. “You go there, you sleep, there is maybe breakfast and you might meet a few people.”

The personal experience is what Klocko was initially attracted to. “You don’t get to know the city as well as if you are stay-ing with a host,” she said. When in England, Klocko went out on a limb and tried out her first couchsurfing experience. Klocko was stuck on the other side of the city from her hostel, and decided to give her newfound friend, whom she met on couchsurfing.org,

a call. She said he was completely willing to host her last minute and even offered her ex-tra clothes.

“Couchsurfing beats everything, hands down,” she said.

To become a member, couchsurfers fill out profiles and gain references vouching for their ability to host other people. Members also have the opportunity to turn down surf-ing offers or state that they only want to grab a bite to eat with the traveler instead of hav-ing them sleep in their home.

Mazzarella suggests checking out the home before staying there. “You can go for the day and see if they are cool or not, and just say that you have somewhere else to stay if you are uncomfortable,” she said. However, users of the site swear by its legitimacy. Although some people who request to surf a couch might not have any friends or references, hosts are encouraged to turn people down if they feel bothered.

“You have to be oblivious to not know those people are out there,” Mazzarella said.

Reyes also likes the way the organization is set up. “It gives you a pretty good perspective of people,” she said.

Despite the stigmas, the organization is dedicated to bringing the global community together. With ways to get involved within the community and meet people from different cultures, couchsurfing.org has got the idea of bringing people together down pat.

Klocko feels that the benefits outweigh the risks. “What is the harm in it?” she said. “I am building community globally and locally.”

When my friend Kelli Horan called me, I only had a vague idea of what I was get-ting involved in. By the time I finished

helping her and her crew of friends, I had been made a sappy cliché and dismembered for it — and in 3-D, no less.

The Loft Cinema is hosting a competition to see who could make the “best” grindhouse movie trail-er. The Loft handed fake movie titles to 24 teams on Oct. 9, and they were each tasked with creating a two- to three-minute trailer within 48 hours.

“Grindhouse” is a term for movie theaters that showed exploitation films, which often involved massive amounts of violence, destruction, gore, drugs, sex and nudity. More often than not, these grindhouse movies had low budgets, cheap dia-logue and bizarre titles such as “Ilsa, She Wolf of the SS” and, more famously, “Night of the Living Dead.”

I was aware of the competition and the fact that

Entering the Loft’s ‘Grindhouse’

GRINDHOUSE, page B6courtesy of loftcinema.com

Ashlee Salamon/Arizona Daily WildcatLaura Reyes, a nursing senior, shows off her couch on Oct. 20. Reyes is a member of CouchSurfers.com and allows people who visit Tucson to crash on her couch for free.

By Alex Gendreau Arizona Daily Wildcat

Students build global community by hosting strangers on couches

Making the perfect trailer with bratwurst and a syrup syringe

The Inside Scoop

By Steven KwanArizona Daily Wildcat

B2 • wednesday, october 21, 2009 • arizona daily wildcat

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“Just be optomistic and not judgemental, and you’ll be fi ne.”— Kenzie Martin, international studies freshman From her boyfriend at ASU, his advice on rushing sororities

next year.

“Got any other sexes on a stick you wanna invite?”— Astrid Huseby, wildlife conservation senior From her female friend Devin, on inviting more guys to their

party Saturday.

“Hurry we can creep on Schup.”— Marissa Reyes, chemistry junior To coordinate with her friend Arianna the stalking of another friend.

“He accepted he accepted Omg god LITERALLY answered my prayer.”

— Arianna Kousari, molecular and cellular biology sophomore Her friend Marissa met a “hot guy” last weekend who recently

accepted her Facebook friend request.

“Why did you tell mireya to tell me not to call you dude too … do you think I don’t get it already!”— Israel Lopez, business junior His female friend calls every guy “dude.”

“Slackline Douglass now.”— David Rudolf, Spanish senior Telling other slackliners where to meet.

— compiled by Steven Kwan

Around town

WEDNESDAY, OCT. 21“The Good Girls.” Also known as “Les Bonnes

Femmes,” this 1960 French New Wave classic was directed by Claude Chabrol, who also directed 1968’s “Bad Girls.” Guess his opinion changed in eight years. 7 p.m. The Loft Cinema, 3233 E. Speedway Blvd. $6 general admission; $4.75 for Loft members.

Mean Beans, Ethos and Vine Street. Your week-ly dose of weirdly-named bands at Plush. One week, the program will just read “Jones, Smith and Adams.” Doors open at 9 p.m. Plush, 340 E. Sixth St. $5.

THURSDAY, OCT. 22Mozart. He’s on the program at the UA Wind

Ensemble and Wind Symphony’s second concert; sadly, “Rock Me Amadeus” isn’t. Also included are works by Kurt Weill and Dmitri Shostakovich. 7:30 p.m. Crowder Hall. $5.

Art.if.fact. This newly formed dance project performs at 7:30 p.m. today and Friday. We in-clude this partly because it sounds cool and partly because “Art.if.fact” is just fun to type. Stevie Eller Dance Theatre, 1713 E. University Blvd. $20 gen-eral admission; $12 for students.

FRIDAY, OCT. 23“The Diary of Anne Frank.” You read the

book in high school, now see the play. Or rath-er, you should have read the book, unless you

were in that weird class that spent the whole year analyzing “Lord of the Flies.” Arizona Repertory Theatre’s production of the clas-sic continues today, Saturday and Sunday, the last day. 7:30 p.m. Friday and Sunday, 1:30 p.m. Sunday. Tornabene Theatre. $28 general admis-sion, $26 with senior or military discount, $19 with student discount .

Poetry Reading: Juliana Spahr. This poet works in a genre known as ecopoetics, which she describes as follows: “A poetics full of systemic analysis and critique that questions the divisions between nature and culture while also acknowledging that humans use up too much of the world.” But you already knew that, right? 8 p.m. UA Poetry Center. Free.

Mark Growden with Marianne Dissard.Judging from his MySpace page, this singer sure likes having himself dramatically photographed, hands in pockets, in front of blurry buildings. But he’s probably good anyway. All ages. 9 p.m. Solar Culture, 31 E. Toole Ave. $7.

SATURDAY, OCT. 24Why? “What’s the name of the band?” “No,

‘Why?’ is the name of the band.” “Why is the name of the band, what?” “No, ‘what’ is not the name of the band. ‘Why?’ is the name of the band.” “I give up, why is the name of the band?” “Now you’ve got it.” “I have?” With Au and Serengeti & Poly-phonic. All ages. Doors open at 6 p.m. Hotel Con-gress, 311 E. Congress St. $12.

Fourth Annual Zombie Walk. The only place in town where you can dress like a zombie and collect canned goods for a food drive. Well, in theory you could do that anywhere, but this is the only place in town you’ll fi nd a lot of people doing it at once. All ages. Visit www.tucsonzombies.com for more information. 7 p.m. Stone Avenue and Franklin Street. There’s also an after-party at Club Congress starting at 8 p.m., but it’s safe to say that if the world was hit by a comet tomorrow, there’d be an after-party at Club Congress that night .

George Lopez. You’ve seen the show, now see the man. 8 p.m. Tucson Music Hall, 260 S. Church Ave. Tickets range from $42 to $62; visit

tickets.tucson.com for more information.

SUNDAY, OCT. 25“All’s Well That Ends Well.” Yeah, right.

This acclaimed version of the Shakespeare clas-sic comes to Tucson beamed from London’s Na-tional Theatre. 1 p.m. Sunday, 7 p.m. Monday The Loft Cinema, 3233 E. Speedway Blvd. $15 general admission; $10 Loft members.

Blind Pilot. They hail from Oregon, just like all cool people. Or at least that’s what they tell you in Oregon. With The Low Anthem. Doors open at 8:30 p.m. Plush, 340 E. Sixth St. $10.

MONDAY, OCT. 26“Green Green Water.” According to the

UANews this documentary portrays how “clean and green” energy in the U.S. comes at the expense of devastated indigenous com-munities in Northern Manitoba. We’re sure that’s important and all, but don’t they ever make documentaries about kittens playing with crumpled-up pieces of paper? 7 p.m. - 9 p.m. Aerospace and Mechanical Engineering building, Room S202. Free.

TUESDAY, OCT. 27Art Brut. This English and German indie

band are in town to promote their latest al-bum, Art Brut vs. Satan. Since they’re still standing, we presume that Satan lost. With Princeton and R’Cougar. 7 p.m. Hotel Con-gress, 311 E. Congress St. $10 in advance; $12 day of show.

The Ditty Bops. If you love the Andrews Sisters, you’ll love this banjo-plucking duo from Los Angeles. If you don’t love the Andrews Sisters well, jeez, what’s wrong with you? With The Silver Thread Trio, who are said to be infl uenced by Gillian Welch and The Carter Family. Doors open at 8:30 p.m. Plush, 340 E. Sixth St. $12 in advance; $14 day of show.

— compiled by Justyn Dillingham

What was your last text?

OUR PICK

“I Was a Teenage Feminist.”

To be followed by “Teenage Feminists Conquer Pluto.” OK, just kidding. This is a seri-ous fi lm by documentarian Therese Shechter about the current state of feminism. 7 p.m. - 9:30 p.m. Student Union Memorial Center, Gal-lagher Theater. Free.

Hardcover Fiction1. “The Lost Symbol” by Dan Brown2. “A Touch of Dead” by Charlaine Harris3. “The Help” by Kathryn Stockett4. “The Professional” by Robert B. Parker5. “The Last Song” by Nicholas Sparks

Hardcover Nonfiction1. “Have a Little Faith” by Mitch Albom2. “Arguing with Idiots” written and edited by Glenn Beck, Kevin Balfe and others3. “True Compass” by Edward M. Kennedy4. “Where Men Win Glory” by Jon Krakauer5. “The Murder of King Tut” by James Patterson and Martin Dugard

Paperback Nonfiction1. “I Hope They Serve Beer in Hell” by Tucker Max2. “Three Cups of Tea” by Greg Mortenson and David Oliver Relin3. “Glenn Beck’s ‘Common Sense’” by Glenn Beck4. “The Glass Castle” by Jeannette Walls5. “The Tipping Point” by Malcolm Gladwell

Paperback Advice1. “New Moon” by Mark Cotta Vaz2. “What to Expect When You’re Expecting” by Heidi Murkoff and Sharon Mazel3. “The Five Love Languages” by Gary Chapman4. “The Love Dare” by Stephen and Alex Kendrick with Lawrence Kimbrough5. “Hungry Girl 200 Under 200” by Lisa Lillien

Graphic Novels1. “Bloom County: The Complete Library, Vol. 1” by Berkeley Breathed2. “Fables: Deluxe Edition, Vol. 1” by Bill Willing-ham and Mark Buckingham3. “Absolute Promethea, Vol. 1” by Alan Moore and J. H. Williams4. “Batman: Cacophony” by Kevin Smith and Walter Flanagan5. “The Wonderful Wizard of Oz” by Eric Shanower and Skottie Young

— courtesy of The New York Times

Bestselling Books for the Week of Oct. 21, ‘09

WEDNESDAY, OCT. 21

B3 arizona daily wildcat • wednesday, october 21, 2009 •

Strolling through the Tucson Museum of Art’s exhi-bition, “Ansel Adams: A Legacy,” provides visitors with a renewed view of the photographer’s life through his many famous prints, and an opportunity to see the tex-tured graininess and rich tones in their intended sizes.

It’s easy to forget how modern the work of Ansel Adams can be. Natives of the Southwest and espe-cially of Tucson are constantly inundated with reduced prints of his well-known landscape photographs. His techniques, approach to subjects and theory of visu-alization have been absorbed so thoroughly into con-temporary photography that the experience of con-fronting his work comes as a surprise.

It’s difficult to overstate the importance Ansel Adams had on photography and his influence on the art world. In addition to being one of the seminal photographers of the 20th century, Adams was an educator and advo-cate on behalf of photography and the environment. His photographs provided visual ammunition for ar-guments to preserve the national parks and their surrounding wildernesses. Adams was also responsible for the creation of the UA’s Center for Creative Photography and its un-paralleled collection of his work.

The exhibition begins with one of Adams’s most striking and famous photographs, “As-pens, Northern New Mexico (vertical).” This 1958 photograph is larger than some of the portraits on display. It towers over incoming visitors with its ghostly visage of aspen trunks floating in a world removed from humanity. It serves as an apt representation of Adams’s efforts to find the abstract in nature.

As the exhibition gently slopes its way down-stairs, each set of photographs represents different aspects of Adams’ life and become increasingly ab-stract. Some of his lesser-known photographs show the overwhelming presence of nature in the face of urban areas, as in 1959’s “The Golden Gate.” The fa-mous bridge of his birthplace is dwarfed by massive white and gray clouds as it becomes just another feature of the hillside landscape.

Adams’ love of music — he was trained as a pianist — reveals itself in many of his photographs. There is a silent visual rhythm that comes through how he cap-tured the subject through his lens. The 1940 San Ma-teo County Coast, Calif., sequence is a series of five photographs of a beach from the top of a cliff. Viewed one after another, the dark waves vary in shape and tone in accordance to its own tempo, and the only constant is the beach shore. In the 1953 “San Fran-cisco From Twin Peaks,” the city is splayed out across the photograph. The hilly land gives the city a swing that is anchored by a street that bisects the view.

There is a surprising, yet appropriately small, sec-tion devoted to his portraits of friends and influenc-es. Subjects include his friend and fellow photogra-pher Edward Weston, artists Georgia O’Keeffe and Jose Clemente Orozco. Despite its air of formality, the arresting image of Tony Lujan, governor of the Taos Pueblo, stands out from the series. As he does with his other portraits, Adams takes a close shot of Lujan who is clad in traditional clothing and looks into the camera with quiet pride.

The exhibition ends with photographs mostly taken during the late 1960s, in which it can be difficult to discern the original landscapes. In a sense, these ab-stracted landscapes draw a parallel to traditional and modern Chinese landscape paintings. The artist’s con-ception and interpretive vision of what’s there matter more than a realistic duplicate of the subject.

As with those paintings, small reproductions cannot do justice nor compare to the power of the original art-work. “Ansel Adams: A Legacy” reminds us that calen-dars and poster prints are nothing like the real thing.

Time flies. The holiday season is near. Traveling to and from Tucson is upon us. So to help you out, the Arizona Daily Wildcat is looking out for you and your

driving habits. From random to recent, we’ve compiled an assortment of mu-

sical adrenaline that can help keep you awake while driving on the highway. Whether you’re passing through the Outlet stores in Casa Grande, Ariz. or pacing yourself through Picacho Peak, driving on the In-terstate-10 stretch between Tucson and Phoenix warrants your undivided atten-tion. And to narrow it down for you, since the end of the decade is near, we’ll choose songs from 2000-2009.

• “XR2” by M.I.A. (Kala): High energy ’80s-style hip-hop electronica alongside a murky bass

line makes this a keeper to tear out of the Phoenix metro area.

• “Trust a Try” by Janet Jackson (All For You): This song may have to be turned down because of the high energy guitar riffs throughout. No kidding, this song makes you have to consciously ease off the gas pedal.

• “Top Back” by T.I. (King): Turn your bass and volume all the way up on this one. The bass will thump through your heart while scaring off other drivers around you. Hey, you’ve got places to go and people to see.

• “Bombs over Baghdad” by Outkast (Stankonia): Quick-paced and amusing. The challenge is to try to rap along, keeping up with the cadence of Andre 3000 and Big Boi. That in itself is enough to keep you awake.

• “So Ambitious” by Jay-Z feat. Pharrell (The Blueprint 3): While not as fast-paced, this mid-tempo melody is engaging enough to make you say “Hey” along with Pharrell. Good for nighttime driving into the city.

• “Good Life” by Kanye West feat. T-Pain (Graduation): ’Cause if they hate, then let them hate and watch the speedometer rise up.

• “Wanna Be Startin’ Somethin’” by Michael Jackson (Thriller): Come on. You can’t deny the energy in the song — especially when you get to the “Ma ma se, ma ma sa, ma ma cum sa” part.

• “Paralyzer” by Finger Eleven (Them vs. You vs. Me): Enjoyable chorus, appealing lyrical content, and fantastic musical arrangement. Add to long drive playlist? Check.

• “Imma Be” by Black Eyed Peas (The E.N.D.): The energy will never die as long as you play this bumping bass-filled track.

• “Fly Away” by Lenny Kravitz (Lenny Kravitz: Greatest Hits): Technically, since the greatest hits album came out in 2000, this song makes the cut for our list. Highly recommended song for the road. Just don’t fly too fast past the photo enforcement cameras.

Songs you shouldn’t play on the highway: • “Successful” by Drake featuring Lil Wayne and Trey Songz (So Far Gone): Drake’s smooth, introspective cut is a good offering; head-nod inducing.

But you just might head-nod yourself to sleep.

• “Hung Up” by Madonna (Confessions on A Dance Floor): Sure, she’s a living legend. But despite the swirly, up-tempo disco vibe, the song be-

comes background noise.

• “A Lack of Color” by Death Cab for Cutie (Transatlanticism): A sweet lullaby? Yes.

• “Smack That” by Akon feat. Eminem (Konvicted): Kudos to the catchy chorus. But the song’s popularity may induce boredom,

causing you to tune out while driving.

• “Apologize” by Timbaland featuring OneRepublic (Shock Value): Sorry, but this one’s an eyelid-drooper.

• “Unpredictable” by Jamie Foxx feat. Ludacris (Unpredictable): Sexy song. But does sexy keep you awake? Hmmm, well …

• “Sunday Morning” by Maroon 5 (Songs About Jane): Our goal is to get you to where you have to go so you

can wake up to see the next morning.

• “Come Away With Me” by Norah Jones (Come Away With Me): This is a really good song with silky,

haunting vocals. But it’s too chill for the long road ahead.

• “Telephone” by Erykah Badu (New Amerykah, Part 1, 4th World Wonder): Love Ms. Badu. Her

charismatic voice alone should keep anyone awake. But this seven-minute song doesn’t do it.

• “Can You Believe” by Robin Thicke (The Evolution of Robin Thicke): Love Mr. Thicke, too. His smooth, mellifluous voice on this lovely song however, will make you yearn for coffee.

Songs that will keep you awake(or put you to sleep)

on road tripsBy Ada Dieke

Arizona Daily Wildcat

“Ansel Adams: A Legacy” continues until Feb. 14.Tucson Museum of Art, 140 N. Main Ave.

520-624-2333Tuesday - Saturday, 10 a.m. - 4 p.m.

Sunday, noon - 4 p.m.Closed Monday and major holidays

General admission $8, Students (13+) $3First Sunday of the month is free to all

photo by Ansel Adams/courtesy of Tucson Museum of ArtGolden Gate Headlands from Lincoln Park, San Francisco, 1950 © 2009 The Ansel Adams Publishing Rights Trust

Exhibit does justice to photographer’s legacy

By Steven Kwan Arizona Daily Wildcat


WHAT ARE YOU

Dale Lusk -Transferred from University of New Mexico

theartcenter.eduCALL 325.0123

The Art Center isaccredited like a universityso transferring your creditsis not as complicated as you think.

Bachelor of Arts Degrees: Animation • Graphic Design • Illustration Advertising & Marketing • Interior Design • Landscape Architecture

Accredited by The Higher Learning Commission and a member of the North Central Association www.ncahlc.org 800.621.7440

accredited like a universityso transferring your credits

Adam Hensel - Transferred from

University of Alaska Anch

orage

Jessica Youde - Transferred from University of Arizona

WHAT ARE YOUWAITING FOR

WHAT ARE YOUWHAT ARE YOUWAITING FOR?

LOTSJessica

PEOPLEWHAT ARE YOUDO IT.

TSPLELELELELELE OF

Bachelor of Fine Arts Degrees: Studio Art • Photography

PERFORMING ARTS

Care for a little piece of Lon-don culture here in sunny Tuc-son? Then check out National Theatre Live’s production of Wil-liam Shakespeare’s “All’s Well That Ends Well” at The Loft Cinema on Oct. 25 and 26 at 1 p.m. and 7 p.m., respectively.

The classic comedy was fi lmed in high defi nition during the per-formance on Oct. 1, when it was broadcast to over 11,000 viewers across the United Kingdom. Screen-ings continue throughout the world until Oct. 31.

The National Theatre is one of the premier theatrical companies in the world. This show is brought to The Loft and Tucson viewers through an initiative to bring fine art to the people at an affordable price and in a place where it can be easily accessible.

The show itself, Shakespeare’s late-period comedy “All’s Well That Ends Well,” is not one of the Bard’s most famous or best works, but it is nonetheless a fun romp through situations only Shakespeare could make believable.

When the smart but low-born Helena falls for the haughty, aristocrat Bertram, she will stop at no task too ridiculous as she tries to try to secure his love . It is certainly happier than most of Shakespeare’s work, and leaves the viewer with very compelling ques-tions about the nature of pursuit and love.

According to National Theatre’s Web site, “Set against a back-ground of sexism, snobbery and a battle between the generations, Shakespeare’s ALL’S WELL THAT ENDS WELL (sic) turns fairytale logic on its head. A wondrous, bit-tersweet story.”

The actors and the creative team at the National Theatre will un-doubtedly do a wonderful job with the piece, which has received fl atter-ing reviews from London press. Re-viewers noted the lush and creative staging of this production as being of particular note.

Tickets to the showings, 1 p.m. on Oct. 25 and 7 p.m. on Oct. 26, are $15 for general admission and $10 for Loft members. They are available for purchase now at The Loft Cinema, 3233 E. Speedway Blvd ., or online at loftcinema.com.

The UA Studio Jazz Ensemble is hosting its fi rst concert of the year, “Ya Gotta Try.”

“We’re going to be doing a really varied, mixed program, drawing on some of the older big band music, and some of the newer, most cutting-edge stuff,” said Moises Paiewonsky, music professor and director of the UA Studio Jazz Ensemble.

The traditional big band sound will be provided in the concert by pieces such as “Bright Eyes” by Bill Holman , “Back of the Bus” by John Labarbera , and Mike Crotty’s arrangement of Miles Davis’s “Nardis .”

Representing jazz’s contemporary side is “Wyrgly,” composed by Maria Schneider , founder of The Maria Schneider Jazz Orchestra.

“She’s writing a lot of very different music,” Paiewonsky said. “Her music is all very groove-oriented.”

The piece is not a normal big band sound, but a mixture of different

musical aesthetics, he said. “There are points where half the band

is playing in double time and half the band is playing in a half time,” he said. “You get these short bursts and hits in the brass, while the saxes are playing this bluesy, funky, half time thing.”

The subject of the piece is also differ-ent from the normal big band themes.

“The whole tune is based on this dream that she had about a monster,” Paiewonsky said. “It starts kind of fran-tic and hectic and then it gets into this real sad, groovy part, and then it erupts into this climatic thing with the differ-ent times and that’s where the night-mare gets big, and then it ends with a nice little fade-out. It’s representing this nightmare that gets huge and then dies down again.”

As director, Paiewonsky’s main chal-lenge was getting the band to mesh with each other.

“As semesters come in and out, stu-dents graduate, new students join the School of Music, and it’s an audition-based group, so each semester there are new people and it is sort of a challenge

to get the group gelling with each other and to get the group to get a feel for each other, so we can get things tight and so we can play this diffi cult music, so it’ll come across clearly,” he said.

However, Paiewonsky is sure that the concert will be a success.

“When people think big band, a lot of times they think (Glenn Miller’s 1939 standard) ‘In the Mood,’ and they don’t understand that the big band ve-hicle is a lot more than just swing,” he said. “Big band plays ballads, up tempo swing stuff, not just dance music. The big band sounds phenomenal this year, the program’s going to be very exciting, and there’s going to be a lot of variety.”

He also recommends it to those who are looking for a break from midterm studying.

“It’s kind of an uplifting middle-of-the-semester, keep-grinding thing,” he said. “It’s just a nice thing to do, to get away from your studies for one night, and check out a swinging big band.”

“Ya Gotta Try” will be performed on Oct. 21 at 7:30 p.m. Admission is $5. For more information, visit web.cfa.arizona.edu.

By Amanda SeelyArizona Daily Wildcat

Photo courtesy of the UA School of Music

UA Studio Jazz Ensemble presents ‘Ya Gotta Try’

Photo courtesy of nationaltheatre.org.uk

‘All’s Well’ when Loft brings Shakespeare to Tucson

By Anna SwensonArizona Daily Wildcat


WHAT’S GOING ON?WHAT’S GOING ON?

WHAT’S GOING ON?WHAT’S GOING ON?WHAT’S GOING ON?WHAT’S GOING ON?WHAT’S GOING ON?WHAT’S GOING ON? ��

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Nick Hornby’s latest novel, “Juliet, Naked,” is good. It has good lessons, good characters, a good plot. It is certainly enjoyable, and the reader learns a few things while reading it.

But, like all things that are almost com-pletely good, it’s just a little dull.

This is a solid effort from the prolific Lon-doner Hornby, who is loved by readers and critics alike. The story of fictional ’80s sing-er-songwriter Tucker Crowe, one of his few fanatical fans and that fan’s ex-girlfriend, is enjoyable. The language is lovely and Horn-by reveals many uncomfortable truths about the monster that is the Internet.

It’s told mostly from the point of view of Annie, a 30-something English museum cu-rator in a small seaside town who has spent fifteen years dating Duncan, a Tucker Crowe fanatic. Annie is too smart for her job, too good for her boyfriend and too young to feel so old. Duncan is, from Annie’s perspective, a harmless delusional; he devotes his life to a tiny Internet community with the goal of knowing everything and anything to do with Tucker Crowe.

Tucker Crowe is a musician — well, was a musician — before he canceled his tour mysteriously at the height of his popular-ity and remained silent and reclusive for the 22 years following. When we hear the story from his perspective, the Crowe that Dun-can and his community have created is tell-ingly comical.

Duncan believes Crowe to be an enig-matic genius who has 100 unreleased songs, contributes to young indie-rocker albums and looks like a caveman, among other lu-dicrous and uncorroborated claims. In fact, Crowe is just a regular 50-something guy living in Pennsylvania, lamenting his youth and his many divorces. It’s a bit deflating for the reader when we discover who Crowe really is, but that is Hornby’s point: we al-low ourselves to invent other people, even the ones close to us. The Internet just makes it easier.

Crowe writes to Annie about an article she posted online criticizing his new al-bum, Juliet, Naked, an acoustic edition of Crowe’s most-loved breakup album, Juliet. They become e-mail friends, and through a set of unlikely-yet-believable circumstanc-es, Crowe visits Annie in her small, sad seaside town.

It’s a story of wasted time, good intentions

and the vast cavernous ways people are dif-ferent from how we conceive them. There are many delightful aspects to the book, in-cluding Crowe’s six-year-old son, Jackson. All Hornby’s characters are relatable and believable, but this spunky youngster is es-pecially fun.

The book is about middle-aged people, and though Hornby does an admirable job making the story both interesting and re-vealing for readers of all ages, the book itself feels a bit washed-up. From the sparse cover to the almost-unkind ending, the book has more brains than heart, and can feel a bit cold. Hornby depicts characters who are very much like real people. As a result, the reader judges them and may not like them — just like we all do with real people.

“Juliet, Naked” is another enjoyable, re-warding read from the always-reliable Hornby. But readers might be left wishing he dressed the story a bit more lushly and afforded “Juliet” just a bit more love.

Boy meets girl. Boy turns out to be vampire. Girl gets turned on.

Fans of Stephenie Meyer’s “Twilight” franchise will no doubt be familiar with this plot arc, but in “Thirst,” the newest tale of supernatural love from unabashed South Korean director Chan-wook Park, romance is only half the story. The unexplored realm of vampire morality takes center stage in this gory, philosophical tragedy of unrequited love. “Thirst” is as touching and thought-provoking as it is downright disturbing.

“Thirst” is the story of Sang-hyun (played by Song Kang-ho of “The Host”), a devout priest who takes a sabbatical from the hospital at which he volunteers to submit his body to a secret vaccine research lab trying to snuff a deadly disease. Things get bad, as they often do in secret research labs, and as Sang-hyun lays dying, his caretakers inadvertently transfuse vampire blood into his ailing body.

You’d think that constitutes medical malpractice, but Sang-hyun, Christ-like as he is, turns the other cheek. When he reenters the world, he must find a way to quench his newfound blood-lust without compromis-ing his outstanding religious morals. He realizes that sanguine sustenance is not the only thirst gripping him anymore: for the first time in his life, Sang-hyun can no longer ignore his thirst for the pleasures of the flesh.

After a chance reconnection with his coquettish, childhood friend Tae-ju, Sang-hyun is forced to reex-amine everything he believes in, and whether he can go on existing as a priest and a thirsty, blood-sucking beast simultaneously.

If the plot sounds a little odd and off-putting, don’t worry — it is. But Park is an expert at turning the odd and off-putting into irresistible cinematic beauty. His “Vengeance” trilogy is probably the most relevant ex-ample. Comprised of “Sympathy for Mr. Vengeance,” “Oldboy,” and “Sympathy for Lady Vengeance,” the

films each take a different perspective on humans murdering other humans for the sake of honor, justice, or just plain revenge, all told through densely symbolic imagery, lush cinematography and an almost poetic narrative style. “Thirst” shows a significant maturation from all of these films, with every single shot — wheth-er it’s an extreme close-up of a pair of dirty shoes or a panoramic long-shot of a towering cliff-side over a roaring ocean — being worthy of appreciation.

There is, in fact, very little in the film that isn’t worthy of thoughtful analysis. Recurring water mo-tifs and outrageously wet sound-effects that double for both love-making and blood-sucking, com-pound Sang-hyun’s thirst for blood and carnal plea-sure. Black and white imagery plays endlessly at the questions of subjective good and evil that underline the narrative and even the title is overloaded with latent meaning that cannot be fully appreciated until the film is watched or re-watched.

The only place “Thirst” suffers is in the duration of both certain scenes and the film at large, a problem that Park has in the majority of his work. The pre-liminary lovemaking between Sang-hyun and Tae-ju is dragged out to an almost awkward length, and the film could easily end thirty minutes before the apocalyptic finale, during which Park offers a per-fectly acceptable conclusion that just didn’t satisfy his directorial ego for whatever reason.

Ultimately, though, “Thirst” is an endlessly mean-ingful commentary on love, mortality and morality that begs with equal measure to be analyzed and ap-preciated. The dialogue is sardonic and hilarious, the score is entrancing, and the romance is nothing short of touching — a mid-act scene in which Sang-hyun leaps across darkened rooftops with Tae-ju beam-ing in his arms puts the grade-school puppy love of “Twilight” to a blood-soaked shame. Though a little excessive, and understandably hard to get into if for-eign films and paranormal gore aren’t your cup of tea, “Thirst” will leave you thirsty for a second viewing.

Photo courtesy of collider.com

Korean vampire romance closes coffin on ‘Twilight’

RATING:

By Brandon Specktor Arizona Daily Wildcat

Hornby’s ‘Juliet, Naked’ enjoyable, if bare

Culture Center

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Nick Hornby“Juliet, Naked: A novel”Riverhead Hardcover$25.95

Dorm buildings can have an eerily institu-tional atmosphere, even in the light of day. This weekend, Yuma Residence Hall is taking that freaky feeling one step further.

Starting Friday, the basement and boiler room areas of the dorm will undergo a transforma-tion from dwelling to drooling for the annual Haunted Dungeon.

The Haunted Dungeon follows the premise that zombies have taken over Tucson. In the chaos, dorm buildings are being turned into makeshift safe houses for students to wait out the infestation. Yuma is one of these dorms, and the basement proves to be the most fortified and defendable part of the building. However, it would appear that it may not be as secure as anyone guessed.

“Zombies are a big theme this year,” said Yuma hall director Ross Dubois.

One might wonder whether a residence hall haunted house will prove creepy enough for UA students’ tastes.

The first time Dubois heard about the Haunted

Dungeon last year, he was working at Coronado Residence Hall and assumed that the student-run haunted house “would probably be boring, and not scary. But I really got freaked out.”

“We cranked it up to 11 this year,” said Yuma Hall Council president Oliver Beres. “The people who work down there get scared going down there in the dark by themselves.”

Students from Maricopa and Yuma dorms will be working the dungeon during the show, which is a volunteer effort and philanthropic event. Funding for the sets, props and costumes came from Yuma’s Residence Life budget. A donation of a mere two cans of non-perishable food gains visitors entry into the dungeon. The canned goods will then be donated to a local food bank. Whether haunted houses are your idea of good entertain-ment or not, you can still give to a good cause and maybe get a thrill for your contribution.

Be forewarned, though; in the event of an actual zombie takeover, the dorm might not be your best refuge. A break-in would be almost inevitable.

“There are too many entrances (to Yuma). I don’t think it’s one of the places on campus I’d want to be, in a zombie situation,” Beres said.

Dorm-turned-dungeon gears up for zombies, philanthropy

Photo courtesy of Yuma Hall CouncilCaroline Hogan, left, John Roesler and Tyler Green stare down visitors to Yuma Residence Hall’s 2008 Haunted Dungeon. This year, the theme for the dungeon is Zombie Safehouse.


By Marisa D. Fisher Arizona Daily Wildcat


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No neo-psychedelic band can continuously hit the mark as frequently as Oklahoma City’s Flaming Lips have. Since their start in 1983, The Flaming Lips have released album after album of eccentric noise-pop which is so deliciously odd that fans are left yearning for more every time. Their longevity has paved the way for other ex-perimental weirdos whose only goal is to make strangely addicting music.

Embryonic, The Flaming Lips’ latest install-ment, completes the acceptably strange package the band has to offer. As with 1997’s Zaireeka, Embryonic bundles madness and horror into one hour-long, space-themed odyssey. The acid-rock extravaganza shows The Flaming Lips at their raw best. Songs like “Watching the Planets” and “See The Leaves” embody the quintessential mood that The Flaming Lips have so desperately needed in the last 10 years. They have released an album that trumps their musical endeavors within the last decade.

The post-apocalyptic sense of reality produced by Embryonic allows frontman Wayne Coyne to eerily talk about life and death as if they were

disposable topics. Embryonic provides a nostal-gic experience, with a style that looks back to Zaireeka and 1999’s The Soft Bulletin. Yet it also invites you to hop in the DeLorean, take it up to 80 mph, and sneak a peek into a future filled with continued success and an ahead-of-their-time musical genius.

On its 2007 self-titled debut, A Place To Bury Strangers’s sound was indebted to The Jesus and Mary Chain and My Bloody Valentine, with a dash of Nine Inch Nails for good measure. (Indeed, these influences became clearer when they per-formed with the Mary Chain and NIN in concert.) Songs were swathed in tuneful feedback and machine-like drumming with vocals from Oliver Ackermann that sounded as if they reverberated their way through a me-tallic underground chamber.

Now this Brooklyn, N.Y., band has returned with its sophomore effort, Exploding Head, and a new home, Mute Records. Not much has changed since the band’s debut. There’s still the lingering presence of the original shoegazers, massive feedback, wall-crumbling loudness and the dark, somber atmosphere.

But there are minor changes that make Exploding Head a worthwhile follow-up. Ackermann’s voice is clearer, that is, you can now make out what he’s saying without destroying an eardrum. The sound is more pol-ished, yet it still retains its aggressive feedback. Songs tip more toward melody than noise while still proving

to be surprisingly danceable at times. (It sounds as if the band has absorbed some lessons from New Order — never a bad source of inspiration.)

Exploding Heads sounds like a classic holdover from the early 1990s that has reappeared to re-mind us that there can be pop music within the white noise.

Parody rock is a danger-ous game. While a good way to get attention and call out the superficiality of mod-ern genres, a song that’s “funny” seldom doubles as a song that’s “good.” Such is the plight of I Told You I Was Freaky, the newest studio re-lease from New Zealand’s snarky satirists Flight of the Conchords, a collection with a clever art of impersonation, but little lasting value beyond the first round of chuckles.

Freaky is composed of 13 parodic tracks, 10 of which have been featured on the Conchords’ popular HBO show of the same name, prior to the album release. That in itself should be an indicator of whether or not this album is for you: longtime fans of the Conchords will probably be disappointed by the lack of original material.

That’s not to say there’s nothing worth liking about the album. The advent of Au-totune has exploded since the Conchords’ previous re-lease, giving them a wealth of new fodder for their satiric singles. The disenchanted club song “Too Many Dicks (On The Dancefloor),” for ex-ample, maintains the steady electronic beats, overzealous Autotuning and lyric vulgar-ity of modern pop, but re-places the idyllic “get crunk and get laid” narratives with comic cynicism: “Too may dudes/with too many dicks/too close to my shit/too hard to meet chicks.” If you find that sort of thing funny, then this album is surely worth a listen, but bear in mind that the jokes are not going to get any funnier after you hear

them once, and you should plan accordingly when star-ing ponderously at the album cover at the iTunes Store.

Some other album high-lights are the introductory track “Hurt Feelings,” which has been available via iTunes since it debuted on the telly in February. Bret and Je-maine assume their rapper alter-egos while categorizing all the things that shake the diamond-studded hearts of hip-hoppers, including be-ing recommended a woman’s wetsuit by an insensitive store clerk.

One of the only tracks that could potentially stand alone as a song of some substance beyond blatant comedy is “Rambling Through the Av-enues of Time,” which chan-nels dreamy, longing lyrics akin to troubadours like Billy Joel and Bob Dylan. As Bret recalls a lost love with woo-ing lyrics, Jemaine provides snide asides that ground the

song in the comedic tone of the album at large: “She looked like a Parisian river (what, dirty?)/ She looked like a chocolate eclair (that’s rare)/ Her eyes were reflec-tions of eyes (oh, nice)/ And the rainbows danced in her hair (aw yeah).”

Witty lyrics and snappy im-personations notwithstand-ing, I Told You I Was Freaky is a transient collection that doesn’t bring much to the table that hasn’t already been available to determined fans for half a year. The abrupt album, at just over 33 min-utes, is hardly filling enough to warrant a purchase for all but the most diehard Con-chords groupies, though the biting satire and outlandish lyrics are doubtless worth a few hearty laughs. If you’re intrigued, turn to the series first. There you can get all of the music, plus a plethora of visual puns for a well-round-ed parody parfait.

Flaming Lips in top form on latest

RATING:

RATING:

By Alex Gendreau Arizona Daily Wildcat

By Steven Kwan Arizona Daily Wildcat

By Brandon SpecktorArizona Daily Wildcat

New Conchords compilation struggles to maintain flight

Place to Bury Strangers returns to fuzzy, poppy ’80s underground sound

RATING:

Kelli and Phillip — her husband, the direc-tor — had entered. I had told her that I would be willing to help with anything. I assumed I would be helping with sets, props, lighting — all of the technical stuff that would require an extra pair of hands, so to speak. At most, I figured I would be an extra in the background, running around, screaming a lot.

I did help but in unexpected ways. I skipped and frolicked in a park. I had to twirl around with two cameras, pretending they were my lover’s eyes, while the director followed along to make sure I had a good shot.

I spoke saccharine lines of dialogue, smiled my best fake smile and moved stiffly toward Brigid Marshall, who earlier said she was often cast as “the silent pretty girl” for high school productions.

Then I screamed my head off because she

removed one of my precious body parts — with a pocketknife and no anesthesia.

I’m fairly certain the children at the play-ground could hear me while their parents stared, wondering why this guy was yelling as if in pain. Thankfully, none of us had to explain to them what we were doing with bratwursts and a syringe full of cherry syrup.

With my part completed, Kelli and everyone else moved on to the next scene while I went home to catch a movie.

Now I’m just waiting for my IMDB entry to be updated after the trailer premieres, and another one of my lifelong goals will be accomplished.

You can catch The Loft Cinema’s “The Grind-house Movie Trailer Massacre” Tuesday night at 7. Admission is $5. DVDs of the compiled trail-ers will be available at the screening for $10.

Inside an auspicious acting debut

GRINDHOUSEcontinued from page B1

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If you’re over your usual studying and reading spots, read on: Here are fi ve lesser-known places to read, ap-preciate the cooler weather and enjoy the UA. From outdoor gardens to hidden atriums, try out one of these spots any time you’re interested in a change of scenery.

1. Optical Sciences buildingOutside of the shiny new Optical Sciences build-

ing on the UA Mall at Cherry Avenue , the stone, sand and plant landscaping you’ll fi nd is the closest thing to a Zen garden on the UA campus.

The peaceful contrast of glass, gravel and slate makes the benches here a great place to meditate, talk or take a break during your nightly jog around the Mall.

2. Forbes building gardenLocated just south of Old Main across from the

Nugent building , this hidden courtyard is a little oasis of fl owers, green grass and hanging vines that feels very far from the native desert land-scape. Roped off for most of the last year, the sev-eral benches beyond the garden’s arched entry are a peaceful spot to sit and think, read or enjoy the greenery. The garden also features several variet-ies of fragrant roses and is home to some of the most picnic-worthy grass patches on campus.

3. Arts courtyardActually labeled as the “Arts Oasis” on the

offi cial UA map, this area outside the music, art and theatre buildings is fi lled with mosaic benches and statues that double as chairs. The spot has lots of easy outdoor seating and is a great place to appreciate some of the UA’s bet-ter public art. Located just north of the Music building, the area has a sense of the quirky, cre-ative and colorful.

4. McClelland Park buildingAcross the street from Park Student Union, this

beautiful new building has modern architecture you don’t see much on campus and is decorated with colorful squares and inspirational words from UA donors. There are benches, tables and lots of shade in this lesser-known patio area, which would be a great place to study or eat somewhere other than the dorm kitchen.

5. Third floor of the Student Union Memorial Center

OK, so this one isn’t exactly a secret, but the many balconies on the third fl oor offer some of the best views on campus of the surrounding mountains. The balcony on the southeast side, outside of Cactus Grill, has a wide wall that’s perfect for sitting on to enjoy the famous Tucson sunset against Mount Lemmon. The balcony on the northwest side, outside the ASUA offi ces, of-fers a pretty view of north and east Tucson, while the balcony on the northeast side has many tables that are less occupied during rush times than other places in the Union.

The best places to read on campus


Rita Lichamer/Arizona Daily WildcatAli Raza, a biology junior, sits and relaxes while Ofelia Flores, a criminal justice sophomore, completes an assignment for a class at the Student Union Memorial Center. Flores enjoys reading at this location during the morning and afternoon but avoids reading there during peak lunch hours.

Chris Melton, a psychology senior, studies for an upcoming exam Tues-day outside of the Art building where dif-ferent chair sculptures invite read-ers to sit and relax.

Rita Lichamer/Arizona Daily

Wildcat

Ashlee Salamon/Arizona Daily WildcatMagdaleno Perez, Jim McVicker, Toby Johnson and Dave Allen, all animal science seniors, and Edward King, an animal sci-ence sophomore, discuss homework at the Forbes building courtyard for their class in the race track industry program.

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Ashlee Salamon/Arizona Daily WildcatAlex Porter, a media arts sophomore, studies on his computer at the outside commons area next to the McClelland-Park building. This area has many benches and tables where anyone can enjoy a nice book, or just a quick nap.

Rita Lichamer/Arizona Daily Wildcat

arizona daily wildcat - oct. 21 - wildlife

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