MOVEMOVE& THE MANEATER PRESENT

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MOV E • 09.21.12

LETTER FROM THE EDITOR

"I have been a vegan for two and a half years. And I have no signs of stopping. This diet has helped me become the healthiest person I can be."

-Lauren DiTaranto, "Veggie Delight" on MOVE Food

»

"Let’s talk about the acting. It is, in one word, phenomenal. You can say these characters aren’t real, but I’ll never believe you. Luna."

-Paula Ottoni Candido, "Lost in Translation" on MOVE Movies

» "Every page is dripping with anticipation

as the characters try to tip toe around the tragic events and the things unsaid that have plagued their family for years."

-Emily Dias, "A Likely Story" on MOVE Books

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MOVE 9.21.12VOLUME 11, ISSUE 05

Return to your rootsThis year, the Roots 'N' Blues 'N' BBQ festival turns six and seriously brings the beef.

meat featMore barbecue competitors than ever duke it out with beef, pork, chicken and pride.

run with itBurn a bazillion pre-barbecue calories with Roots 'N' Blues' 10K and half-marathon races.

tosh.ohDaniel Tosh's new cartoon kind of just reeks of more controversy.

gone to the dog'sThe scratchy smooth jams of Dr. Dog will make them everyone's best friends.

festival royaltyThe Thin Dimes earned their fest spot as 2012 King of the Roots.

think sharpeEdward Sharpe and the Magnetic Zeros pass up Alabama and Arkansas for CoMo this weekend.

a reverend and his soulLet Al Green's crooning woo you away from Taylor Swift.

straight from our bloggers

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tag your instagrams with #move and @maneatermove

Reading through this week's entries for MOVE's Roots 'N' Blues ticket giveaway was just too darn heartwarming. Not only was I impressed with how many of you actually dare to take dates to the fest (1/3 of which is comprised of the word "BBQ" … like, doesn't barbecue sauce get, well, really messy? Or are you at that cute stage where you'd just wipe it off each others' chins?), but it was also d'awww-worthy to read tweets about how you wanted to singlehandedly complete Mom and Dad's lives by taking them to see Al Green. There was just so much love and affection tweeted left and right, all because of one of the world's most creative festivals making its annual appearance in Columbia.

Because, after all, it's just as Edward Sharpe and the Magnetic Zeros say — despite moats, boats and waterfalls, home (which as semi-nomadic college students, translates to dear CoMo) is wherever we're with the people who still love us, even when we have beef brisket stuck between our teeth. And it's the special music-soaked moments that this weekend offers by the bucketful that give us chance to make the best memories possible with those people.

My first Roots 'N' Blues experience was last year, when in typical freshman fashion, I'd cluelessly (but good-naturedly?) signed up to volunteer at the fest just to see what all the fuss was about. A girl I barely knew from my FIG and I spent the day noshing on free barbecue from generous randos and then winding up working as "security" (I'm 5' 3" … the RNB volunteer coordinator had a sense of humor) for the VIP section, smack dab in front of one of the stages — just in time for Fitz and the Tantrums' headlining set. Ohmigosh, right?

Yes, it was the bomb. But it wouldn't have been nearly as fun (or probably socially acceptable) at all to jam to "MoneyGrabber" all alone — and even now, I look back on that weekend and think of it as the day my FIGmate and I became good friends. One year later, we're both nutso busy and stressed and barely have time to scream, "Hi," at each other across Francis Quad, but cue the nostalgic old timer's eye glaze on this end, because I know we'll always have Roots 'N' Blues.

And you so definitely can, too.

delia cai | MOVE editor

Nothin' new is sweeter than with you»

& our lovely staff

EDITOR/DELIA CAI

DESIGN/SAVANNAH KANNBERG

DESIGNERS/ Haille norris, clayton hotze

» "She’s just being sweet and considerate,

not cowardly. At the very least she doesn’t rhyme "me" with "me.'"

-Kelsey McMullen, "Radio Repeat," on MOVE Food

3 09.21.12 • MOV E

There are some albums you just really, really, really want to like when you first listen to them. Sometimes, you’re blown away at the start. Sometimes it takes a few listens to build that acquired taste, after all. But unfortunately, sometimes, you’re just not that impressed. The latter is what happened to me after listening to Stars’ sixth album release, The North.

After more than 10 years of music-making and a slew of album releases, Stars have consistently made a name for themselves. Their melancholy ballads and creamy, smooth love songs have nestled in the hearts of indie pop enthusiasts, and so naturally, a new album by Stars aroused some excitement. But as I sat down and listened to the album through and through, to be honest, I was pretty bored.

I tried so hard to look for positives in The North, and I did find some. But if a list of pros and cons were to be made, there would be more complaints than praises. The album’s first track, “The Theory of Relativity,” is one of the weakest tracks. Overall, the song has too many elements; things sound muddled and Amy Millan’s warm voice is covered up by far too many blaring synths (how dare they).

“The North,” a slower groove, starts out beautifully. Torquil Campbell’s vocals penetrate through the soft, flowing orchestration to soon be accompanied by the lovely Millan’s harmonies. However, after about the two-minute mark, the song begins to drone on for another three minutes. Thus, “The North” became one of the songs that I could only enjoy for so long.

Similarly, “Do You Want To Die Together?” starts out nicely as well. But wait. Out of nowhere, screeching guitars hit the scene and things get, well, a little loud. The track switches back and forth between laid-back and groovy to loud and, again, loud. And I’m just not quite sure if it works.

On a more optimistic note, there are some bits and pieces of The North that are enjoyable. “Lights Changing Colour” is a gorgeous ballad featuring Millan that doesn’t come across as boring or repeti-tive. “The Loose Ends Will Make Knots” is another standout track. It has a nice use of synth and all 2 minutes and 30 seconds of the song are unique and worth listening to.

Like past albums, The North is, lyrically, fairly sentimental. However, in contrast with their previous album, The Five Ghosts, in particular, The North is more upbeat and much less sad. Lyrics like, “I may look alive but inside I’m dead / Do you want to die together? / Yes, I do” (“Do You Want to Die Together?”) and “There’s been a lot of talk of love / But that don’t amount to nothing / You can evolve the stars above / But that doesn’t make it something” (“Hold On When You Get Love And Let Go When You Give It”) drip with the same sappy, emotion-filled nostalgia like previous albums. But, amidst all of that, there are a few glimpses of hope. On “The 400,” a tense, piano-driven track, Campbell and Millan sing, “It has to go right this time / It’s got to go right.” Oddly enough, “The 400,” arguably the most optimistic track, also happens to be one of the best tracks on the album.

All in all, Stars is still a good band. They’ve consistently put out quality albums, and between the near-perfect vocals of Campbell and Millan, the band has a great sound. But after six albums, did Stars run out of ideas? The North just doesn’t have enough to set it apart from the rest of their albums. There are some gems on The North, but after it’s all said and done, the album doesn’t seem too unique or ear-catching; I was sadly left bored and unimpressed. While it’s nice to see a bit of optimism on the album as a whole (especially after The Five Ghosts), The North, in the end, just doesn’t have the “wow” factor that was hoped for.

The North: So close, but so far away

JACKSON FARLEYon Stars’ new album

FEEDBACK

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Roots ’N’ Blues ’N’ BBQ Festival returns for its sixth year

It’s that time of year again, y’all. Thousands of people will head downtown today and tomorrow to jam to the blues and nom on some ‘que at the sixth annual Roots ‘N’ Blues ‘N’ BBQ Festival.

“A lot of things have stayed the same,” festival director Jessica Brown says. “A lot has changed.”

Brown and a small group of volunteers are always making little tweaks and changes to the festival year to year. This year, there will be more watering stations as well as a reorganization of the festival space to accommodate larger audiences.

The festival’s fame certainly increases each year, as festivalgoers came to Columbia from 33 different states, plus Canada, to attend the shows.

The festival has hosted some big names in the past, such as Fitz & The Tantrums as well as Mavis Staples. This year brings Al Green, Edward Sharpe and the Magnetic Zeros, and Wanda Jackson.

Brown says she and her team try to improve the lineup each year to bring bigger names to Columbia.

Like last year, the festival will have three stages, two of which require paid admission. The festival introduced paid admission three years ago and charged $35 for a one-day pass and $60 for both days in 2011. This year, the prices have bumped up to $55 and $75, respectively.

The free area, the KOPN Community Stage at Flat Branch Park, features mostly local acts and is also where the winners of the barbecue competition will be announced. The BBQ competition area is also open to the public.

For festival-goers with smartphones, there is a free “Roots ‘N’ Blues” app that provides a map, each stage’s lineup and a “My Schedule” feature that will keep track of specific shows the user wants to attend.

The barbecue competition is the largest the festival has ever had. Sixty-five teams will compete for cash prizes and bragging rights, but their food is not for sale. There will be plenty of barbecue vendors on site, though.

Junior Brian Reitz is returning to the festival after first attending in 2011. Though he gets his tickets for free through his work at The Blue Note, he said he would have paid to go this year anyway.

“I’m really excited to see Al Green, Edward Sharpe and the Magnetic Zeros and Believers,” he says.

Reitz says he has been to other music festivals where he knows more of the performers, such as LouFest in St. Louis, but he enjoys the setup of Roots ‘N’ Blues more than others.

“It’s comfortable, and it’s cool being able to stand on Eighth Street and watch someone that people paid hundreds of dollars to see at Madison Square Garden,” he says.

The festival begins at 5:30 p.m. Friday and 11 a.m. Saturday.

With bigger names and more BBQ than ever, the festival returns to rock CoMo.

alex stewart | senior staff writer

TICKET INFO

BY THE NUMBERSlocal artists and acts have performed in the festival since its inception

1-day general admission: $55Weekend pass: $75

Tickets are available at rootsnbluesnbbq.com, The Blue Note or the MSA/GPC Box Office. Gerbes and Dillons stores also sell tickets.

22336550,000

states festival-goers traveled from for Roots ‘N’ Blues last year

record-breaking number of teams participating in the barbecue competition this year

expected attendees this year

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BBQ village

Roots ’N’ Blues village

Ticketed entrances

Stages

KOPN Community StageFRIDAY5:45 p.m. – Believers7 p.m. – Vulvette8:30 p.m. – �e Flood Brothers SATURDAY11 a.m. – Blues in the Schools and TJ Wheeler2 p.m. – �e Mojo Roots3 p.m. – BBQ winners announced3:45 p.m. – Todd Day Wait’s Pig Pen5 p.m. – Don’t Mind Dying6 p.m. – �e Hooten Hallers7:15 p.m. — �e Hipnecks

Mpix StageFRIDAY6 p.m. – �e Del McCoury Band8 p.m. – Monophonics10 p.m. – Edward Sharpe and the Magnetic Zeros SATURDAYNoon – �e �in Dimes1:20 p.m. – Donnie Walsh and the Downchild Blues Band2:40 p.m. – Music Maker revue4:20 p.m. – Mountain Standard Time6 p.m. – Trampled Under Foot7:45 p.m. – John Mayall9:30 p.m. – Al Green

MO Lottery StageFRIDAY5:45 p.m. – Joe Lovano Us Five7:30 p.m. – Rodriguez9:30 p.m. – Marty Stuart and His Fabulous Superlatives SATURDAYNoon – Elizabeth Cook2 p.m. – Deke Dickerson and the Ecco-Fonics3:30 p.m. – Pokey LaFarge and the South City �ree5 p.m. – Eilen Jewell6:30 p.m. – Wanda Jackson8 p.m.– Sara Watkins10 p.m. – Sam Bush

CAIT CAMPBELL | GRAPHICS ASST.

Find your way around MANEATER FILE PHOTO

Taj Weekes of Taj Weekes & Adow performs during their set at Roots ’N’ Blues ’N’ BBQ in September 2010.

4 MOV E • 09.21.12

chantelle moghadam | reporter

evan lydon | reporter

»

I am a very competitive person. I absolutely hate losing, and I do whatever possible to keep that from happening. I blame my days spent playing soccer and competitive swimming on this drive to never lose. This competitiveness surfaces in every part of my life, not just sports — on assignments, tests, in a casual volleyball game and at the rec, I am always driving to be the best. This can be helpful when working out in a large group, like what I did last week.

Last year, I always loved going to the TigerX classes at the rec because of the large variety of classes offered. Whether it was hardcore cardio, dancing, weight training, cycling, yoga or Pilates, I could always get a good workout and have fun while doing it. And since they were group classes, I got to compete and force myself to jump higher and kick harder than the blonde twig next to me.

Since I started doing Insanity about three weeks ago, I really haven’t had time to go to a TigerX class, but last week with the first round of exams, my sorority sisters and I majorly slacked on Insanity. Another friend asked me to go to either sunrise cycling or sunrise yoga with her, and I was planning on it … until my alarm went off at the crack of dawn, and the world around was quiet and unmoving. Naturally, I went back to sleep for a few more hours before my 8 a.m. biology discussion.

After I dragged myself all the way across campus to discuss cell membranes and mitochondria and slacked on early morning yoga, I decided I needed to be productive and not sleep until my next class. I had an organic chemistry test the next day, so I knew working out had to be done in the morning before my brain could handle any talk of dimethylpropane and cyclohexanes. I checked out the schedule online and saw that power class worked into my schedule in the next hour, so I got my workout clothes on and dragged one of my roommates with me to the rec to get our power on.

I had taken the class multiple times last semester, but I was unsure about the instructors and what to expect with this class. We started out with a two-lap warm-up jog around the indoor track, and I was feeling pretty good. “I got this,” I thought. I’ve done Insanity, so I can get through anything!

What failed to cross my mind was how I, well, hadn’t done Insanity, or any workout for that matter, in five days. And trust me, it showed.

After our jog, we finished up the warm-up with a quick stretch, and then we wasted no time getting into the heart of the workout. We started out with circuits where we did a series of five different exercises for 45 seconds, each with a 15-second rest. We repeated the circuit two times, and after the second time, I was convinced my arms had turned to Jell-O. I accepted the fact that I would never be able to lift my arms above my head again.

And lucky me! We still had 25 minutes left of class, which we filled with a few more laps around the track and other drills, a few straight from Insanity. When the Insanity drills came along, my competitive edge kicked in. I told myself to suck it up and get through the workout; I knew these drills and I could do them better than the instructor, who was definitely slacking off.

Overall, the class was a great workout, and I left feeling accom-plished and ready to face the rest of my day. I had a flashback moment to high school and that conquer-the-world feeling after a morning practice. I will admit I love my sleep and hate having to give it up, but I just may have to finally give sunrise yoga or cycling a try. After a 10 a.m. workout, I had the energy to crush my organic chemistry test. Who knows what I could be capable of after a 6 a.m. workout?

ABBIE WENTHEon the early morning workout

ONE STEP AT A TIME

The only thing possibly harder than chemistry

The Flood Brothers are a blues duo with a gritty, boogie-rock sound inspired by their experiences traveling the country and playing music. From being paid in drinks and bar food to driving 30 miles in a blizzard, the lead men, Gabe Meyer and Jake Best have earned their stripes.

Meyer and Best attended the same high school and were friends growing up in Hannibal, Mo. The two began playing together right before college in 2000. After performing in Wyoming, the duo was frequently featured at Packer’s Roost, a small bar in Montana where outsiders rarely treaded.

“They told us, ‘You can’t go to Packer’s Roost, they’ll eat you alive,’” Meyer says. “We walked in to screaming and mugs being shattered, so we screamed right back.”

After playing their first set in Montana, the guys became popular among the locals.

“We never got paid for any of those shows out there, but we could definitely order up a mess of chicken gizzards at 1 in the morning after every show,” Meyer says of the early gigs.

Upon returning to Missouri, Meyer and Best met Kent Burnside, grandson of Mississippi hills blues master, R.L. Burnside. Along with Dan Burnside on bass, they toured the U.S. extensively as Kent Burnside and the New Generation. One night, when performing at Legends in Chicago, they played “Champagne Blues” with club owner and blues guitar legend, Buddy Guy.

“We had Wes Martin on bass that night,” Meyer says, “So it was these three guys from Hannibal, Mo., and R.L. Burnside’s grandson, next to Buddy Guy in a purple shirt, a cowboy hat and a suede duster … it was an incredible moment.”

Playing at Legends also inspired their curious name: The Flood Brothers. Meyer credits the name to a Chicago trash company.

“I saw that on the side of a dumpster out back behind the bar, and I knew it had to be our name,” he says.

The Flood Brothers performed with the Burnsides for several years, until reverting to their two-man power duo. They recently released a first album, Flood Type, which is the culmination of 10 years of work. Meyer says it is a musical pinnacle.

“Every song is a different story in our lives, from a different time,” he says.

In Columbia, Meyer and Best have been working separate jobs and playing locally since 2008.

“Columbia is great,” Meyer says. “We played Mojo’s two weeks ago and are excited for Roots ‘N’ Blues this Friday.”

Meyers looks forward to future albums.

“We hope to have a second album out soon, and we really want to be touring by the end of summer,” he says.

With a decade of experience and a benchmark album, The Flood Brothers will boogie down this Friday alongside other greats, Al Green, Sam Bush and John Mayall.

Roots ‘N’ Blues is a tale of two festivals, one new and one old, one part Bonnaroo and one part Grand Ole Opry. In experience’s corner is Marty Stuart, the country music legend who will be performing Friday with his band, The Fabulous Superlatives.

Marty Stuart has the confidence of a man who knows his identity. He is a classic, blue-collar country music singer through and through, and he knew it well before anyone else. His passion for music overshadowed school and by his 13th birthday he had dropped out to start touring with Lester Flatt, who recognized his talent and served as a father figure to the young Stuart, according to MartyStuart.com.

“I truly had the luxury of training at the feet of a master,” Stuart says. “I grew as a musician and a performer with Lester ... He taught me the most important thing is to respect your fans.”

Stuart heeded this; he has never been one to believe his own hype. He says he understands that musicians cannot exist without demand and no one is above the market.

“It’s so easy to be blinded by the bright lights and forget that the fans made all this possible,” Stuart says.

This might sound like a platitude, but Stuart’s musical resume speaks to his sincerity. Behind his flamboyant nudie suits and his flammable pompadour hair is a man who speaks for the salt of the earth and has never forgotten his roots.

Flatt may have been Stuart’s country music father, but Stuart bears far more resemblance to his father-in-law Johnny Cash. Stuart and Cash are two men cut from the same cloth — highly talented, devoutly Christian and deeply conflicted. Marty joined the Man in Black after Flatt’s death in ‘79, and both men became lifelong friends, bonding through a shared friction between their faith and their outlaw lifestyle.

“I am absolutely a contradiction,” Stuart says. “We all were. It’s a daily struggle between light and dark.”

Stuart split with Cash in ‘86 to pursue a short-lived solo career, which ended in ‘87 when Marty was dropped by Columbia Records because of poor album sales.

“That was the darkest period of my life; I was going through a divorce and everything I released didn’t seem to go anywhere,” Stuart says. “But it forced me to sober up, which was truly a blessing.”

Stuart returned to his home in Mississippi, reunited with his old childhood band, the Sullivans, and gradually began working his way up until he got a record deal with MCA and dropped his first hit “Hillbilly Rock.” It was an instant success and reignited Stuart’s career.

“It was like I had finally been accepted into the club,” he says. Since its release, Marty has had five albums go gold and one platinum.

He married his childhood crush and Grand Ole Opry star Connie Smith and has become an Opry curator of original country music, keeping the classic sound alive in an industry that has all but abandoned it. He is a pillar of original country music and, while he is short of seniority at the event by about two decades, he is as close as you can come to “roots” at this festival.

The Thin Dimes, or better known as this year’s “King of the Roots‚” consists of five musicians who came together in a rather unorthodox way. Usually, a band forms because members have a similar taste in music or musical vision. While that is not the case with The Thin Dimes, it’s part of what makes them unique.

Frontman Nick Pence and bassist Nate Pence are brothers, but Nick met the rest of the band members various other ways.

“Long story short, it wasn’t one vision,” Nick Pence says. “(Hannah Satterwhite) grew up singing folk tunes. Paul (Rhodes) and I were trying to get away from blues for some reason and now went back to it. And Kevin (Cheli) studies jazz, but now he plays washboard also, so it’s kind of a whole mix of everything.”

The resulting mix of instruments, including piano, bass, guitar and vocals, display The Thin Dimes’ distinct range of sounds.

As for the competition process for the title of King of the Roots, the members say the recurring theme was surprise at their success. While Nick Pence says that he and the rest of the band learned to manage their expectations, they were still in shock about winning.

The competition included two rounds: first, all competitors had to submit a profile for their band. Then, selected bands competed in a regional competition within their city. For The Thin Dimes, that meant

playing in St. Louis. Though they did not expect to win, they went on to compete at The Blue Note in the second and final round, which, of course, they also won.

“We were outside The Blue Note with another band, and (the emcee) was really nervous because she didn’t want to announce the winner because she hates doing that, so she was kind of ranting for a second and said ‘OK, well, I guess I’ll tell you guys who won.’ So that kind of killed the moment,” Nate Pence says.

Columbia local and Thin Dimes vocalist Hannah Satterwhite says she remembers feeling like she was going to explode from the news.

“We were all just hugging and it was really cool,” says Satterwhite, who has been to every Roots ‘N’ Blues ‘N’ BBQ Festival in the past.

“It’s a big deal for me because, growing up here, that’s one of the biggest things going on in Columbia,” she says. “It’s Roots ‘N’ Blues and True/False. And so I was always going to them and always felt really at home there, and I never thought I would be playing in it, ever.”

How The Thin Dimes became ‘King of the Roots’

the thin dimessaturday, noon, mpix stage

MARTY STUART AND THE FABULOUS SUPERLATIVESfriday, 9:30 p.m., mo lottery stage

The million-dollar haircut graces Columbia

COURTESY OF KEVIN W. DINGMAN

COURTESY OF ADAM SMITH

COURTESY OF BROCK WILLIAMS

Marty Stuart and The Fabulous Superlatives add a measure of maturity to an otherwise youthful festival.

Flood Brothers boogie at Roots ‘N’ Blues

FLOOD BROTHERSfriday, 8:30 p.m., kopn community stage

5 09.21.12 • MOV E

Last weekend, the newest installment of the “Resident Evil” franchise, Paul Anderson’s “Resident Evil: Retribution,” infected theaters around the world. Based on box office scores from last weekend, it would seem most theaters were quickly quarantined to prevent this movie from making contact with anyone. Unfortunately for me, I slipped a 20 to a guy in a hazmat suit and snuck under the barrier of caution tape to get a chance to see it. In hindsight, I should have taken this week off.

The only redeeming feature of this movie was that it wasn’t “The Words.” And that’s coming from a guy who lists “zombie movie enthusiast” on his applications. Hell, I even listed it as an extracurricular for college applications (don’t ask how I got into MU). I guess I could comment on how “Resident Evil: Retribution” helps advance the zombie movie genre, or how it has great action sequences, but I won’t, just in case my pants suddenly catch fire in The Shack. You know, because I’d be maliciously lying to you.

To be honest, you might actually contract a disease while seeing this movie. It’s called “chronic ‘what?’ face.” Symptoms may include: hands randomly flailing toward the screen, tilting of the head in attempts to comprehend what’s happening, squinting eyes in disbelief and having a constant look of confusion. This all really stems from one important question Anderson had to answer when directing the film: Is it better to have a solid, linear plot or a series of slow-motion sequences with random expositional dialogue that just kind of glosses over what’s supposed to be happening? He chose the second one. If this was a Milgram Obedience Experiment, he would have received a shock right about then.

The entire movie takes place during a period of two hours, which feels like several hours to the viewer and seems like 30 minutes to the characters, because at least half of their time is spent moving in slow motion, which apparently doesn’t affect the speed at which time is moving. Not that I’m an astrophysicist, but their concept of time just doesn’t add up. There’s maybe 45 minutes of movie if the slow-motion scenes were in normal motion. And that’s not counting the time when bullets, rockets and whatever else are being shot at them (by zombies, because they have guns now, apparently) are moving in slow motion, and the characters simply aren’t. I’m also not a ballistics expert, but I don’t think you have enough time to shoot out the floor from under you between the time a rocket is fired at you and when it reaches you. Major “‘what?’ face” moment.

And I’m not just bashing it for not having a plot, or for not following the generally accepted laws of physics. I really enjoyed “The Expendables” series, which falls loosely into the same genre of “raw action” movie. But if you spend more time wondering how the hell an event just happened than thinking about how awesome that event was, something is wrong. The “Resident Evil” series continues to prove it has no idea how to make a successful, action-based movie. Somewhere, Bruce Willis is walking barefoot through glass and crying.

Even the horror elements were the same “sudden zombie appears with loud noise!” sequence over and over again. The more “badass” zombies never really seem like a threat to Alice (Milla Jovovich), and the entire existence of Jill Valentine (Sienna Guillory) just sucks.

“Resident Evil: Retribution” gets 1 1/2 shots to the head out of five, simply because I refuse to give it a score worse than “The Words.” Save your money for “Looper,” “Dredd 3D” or “End of Watch,” all coming out soon. Hell, if you want to see a good horror movie, go rent “Cabin in the Woods” and thoroughly enjoy 95 minutes of your life instead of spending them wondering why “Resident Evil” is still a movie franchise, and why it (spoiler alert?) will probably have another sequel.

‘Resident Evil’ franchise still barely alive

COURTESY OF DAVID MCCLISTER

JOSH SIPPon the franchise that just won't die

REEL REVIEWS

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This reverend ain’t your average reverend.I might know, seeing as my dad is a reverend, and I can assure you, although

his musical renderings are more than adequate, they do not compare to the soulful lyricism of Al Green.

If you’re just tuning into an Al Green album for the first time, you, good sir or lady, are in for a fine treat. Al Green’s style is the holy trinity of music: a perfect blend of soul, blues and a dash of gospel.

What is soul, you ask? Pick up an Al Green album to find out. Right now. Soul doesn’t do things halfway: when it’s sad, it’s sad, but when it’s happy, it’s happy —- hence Al Green’s song "Love and Happiness" versus "I’m So Lonesome I Could Cry." There’s really no guessing to the emotions of these songs. He really lays it all down for you … if you catch my drift.

Just because he sets the emotions of the songs pretty straightforwardly, that doesn’t decrease the quality of his execution in portraying these emotions. The range of his voice varies just about as much as one’s emotional journey when listening to Green’s discography.

"Even today, nobody has range like him," ?uestlove says on Green's WME Entertainment talent profile.

I would take it one step farther to argue that especially today, nobody has range like Green. With people running around singing crazy songs such as "Call Me Maybe," which maybe has six different tones throughout the whole song (if we’re being generous), it’s refreshing to pop in a song with a little more diversity in tone (and original lyrics, and more funk … I could go on and on and on).

Soul is an underrated genre among most contemporary teens. However, everyone can really relate to all of the songs that Green sings. In fact, it might show something a little about his character compared to singers of today since he sings "Let’s Stay Together," a drastic contrast in not only content but also style to the popular song "We Are Never Ever Getting Back Together." Even just the titles contrast the stick-with-it, can-do-it attitude of the son of

a sharecropper compared to the instant gratification attitude of a young pop star of today.

If you are headed to the festival and you only have a few minutes to sample a little bit of Al Green before you head out to chow down and get your blues on, I suggest listening to "Let’s Stay Together," "Let Me Help You" or "How Can You Mend A Broken Heart."

Al Green performs at 9:30 p.m. Saturday on the Mpix stage at Seventh and Locust streets, where he will "love you for free" … if you have a ticket that is.

mollie barnes | reporter

Al Green: Not your average reverend

Whether times are good or bad, happy or sad, we can all take some comfort in knowing that Al Green will headline Saturday.

COURTESY OF CHRISTIAN LANTRY

Saturday, 9:30 p.m., Mpix stageAl green

After two albums, international touring and a train tour documentary, the huge ensemble that is Edward Sharpe and the Magnetic Zeros has experienced a meteoric rise to fame, transforming them from zeros to heroes.

MOVE: How did you first join Edward Sharpe and the Magnetic Zeros?Nora Kirkpatrick: It was kind of a friend-of-a-friend thing. I met Jade

(Castrinos) and Alex (Ebert) actually at Burning Man. Former to the festival, I was good friends with Jade’s cousin. The band was forming and they asked me to join, and then we’ve kind of been touring for about five years now.

M: You’ve had a strong presence in television and film in recent years, as well. What’s it been like balancing acting and touring?

K: It’s frantic at times, but I have a strong love for both, so I make time for both in my life ... I just try to make them both work as seamlessly as possible.

M: Earlier this year, your documentary “Big Easy Express,” came out about your train tour with Old Crow Medicine Show and Mumford & Sons. What was that like?

K: It was one of the best things I’ve ever done. It was just great to be with so many musicians all in one train, and there were so many different types of music going on. In each car there would be a different genre being played, and it was just kind of music 24/7.

M: Any crazy stories?K: We did have some people jump on the train at one point, and then we

got pulled over by the state police of Texas outside of Marfa … So we had to stop and wait for the cops to say it was OK because I guess people were trying to jump on the train.

M: How does your new album, Here, differ from Up From Below?K: It’s a bit mellower. This is half of 40 songs that we’ve recorded, and

so the other half will be coming out early 2013. The other half of the album is a bit more rambunctious and perhaps closer to what Up From Below was. We split them up this way so they’d feel kind of like a family of songs when they came out.

M: What can fans expect at this weekend's festival?K: There’s a lot of us. So, there’s a lot going on onstage. Seeing the songs

played live and the whole experience, more and more people say, is even better than listening to the album. I would say it’s a pretty fun night.

M: What are some of your favorite songs to perform live?K: I like some of the songs off of the new album that’s not out yet.

There’s one called “High on Love.” There’s one called “The Heart Song” that’s not on any of the albums.

M: What’s next for the band?K: The next album will come out, and then I think we’ll take a little break

and then continue forward. I think we’re focusing on doing more different types of tours, like another train tour, a tent tour, maybe another tour with Mumford & Sons on a boat. We’re gonna try to do more different types of tours as opposed to just the normal tour process to keep it interesting both for us and for the audience and expand the horizons of where you can hear and see music.

tony puricelli | associate editor

Edward Sharpe and the Magnetic Zeros: Q&A with Nora Kirkpatrick

friday, 10 p.m., Mpix stageEdward sharpe and the magnetic zeros

COURTESY OF LAURE VINCENT BOULEAU

MOVE: So what has your Roots 'N' Blues experience been like?

Sam Bush: Last year was a really fun year, because I was basically supplying the St. Louis Cardinals' pep rally, and no one believed me when I said from the stage that I swear they’re going to make the playoffs. People yelled at me, "You’re crazy!” Sure enough not only did they make the playoffs, but they won the whole series.

M: What instruments do you play?SB: I split times between the

mandolin and the fiddle … I’ll probably be breaking out a miniature fender guitar. It’s a four-string electric mandolin.

M: How did you get your start with the mandolin?

SB: I got my first one in the month of December when I was 11 years old with the help of my parents. … I started playing mandolin at 11 and the fiddle around age 13. I was fortunate to be able to channel that

energy at an early age. Sometimes when I’m playing I feel as if I’m 17, but my body tells me differently.

M: When you were growing up, who were you inspired by?

SB: Growing up close to Nashville, we could watch Nashville television stations so I got to watch Bill Monroe on television, Bob Osborne of the Osborne brothers, and Jim and Jesse. My two main influences were Bill Monroe and a guy named Jethro (Burns). … Jethro was an incredible jazz mandolin player, so I learned the jazz from Jethro and the bluegrass from Bill.

M: What are some tour highlights so far?

SB: We started touring in late April. Some of the music highlights though were when we went to the Telluride Festival in Colorado. I’ve been playing there for 38 years now. I also played a whole set with Los Lobos. The most fun is playing live.

sarah leituala | reporter

The Grammy-winning King of Telluride

returns to Roots 'N' Blues for a second

year of dazzling vocals, intense

mandolin skills and bluegrass love.

Q&A with Sam Bush

saturday, 10 p.m., Mo lottery stageSAm bush

6 MOV E • 09.21.12

It’s official: Nintendo’s next console, the Wii U, will be unleashed to the public this November. Hold on while I try to contain my excitement.

Never mind, I yawned instead. OK, so my excitement thermometer toward Nintendo’s newest console is closer to reaching absolute zero than boiling over.

Considering the love I harbor for most things from Nintendo’s past, this is actually a bit of a shock for me to be lacking any real feelings for the Wii U. Just six years ago, I was standing outside of a Target on a Saturday morning in freezing weather with my brother. Well, I considered it freezing, but I’m a Texan who has seen real snow only once in my natural habitat of constant heat. In all likelihood, it was considered fall weather to normal people.

To get my shaking hands on a Wii, I endured the shivering and awkward conversations with adults that centered upon “Where is your mother?” The combination of motion control and promises of new adventures with Mario and Link were enough to set my sights on the system for an early birthday present.

Jump back to today, and my Wii is collecting dust 19 hours away from Mizzou.

In six short years, I had gone through a phase of complete excitement to utter dismissal of Nintendo’s console. I had the typical honeymoon period — complete with sore arms from too long of a bout of “Wii Sports” — with my Wii, but that period hit a wall about a year into my ownership when games that interested me ceased to exist.

Sure, I’ll never forget my experiences playing “Super Mario Galaxy” and “The Legend of Zelda.” In fact, I have great memories of playing “Super Smash Bros: Brawl” with friends and seeing my brother fail at “Wii Sports Tennis.” (I have a great virtual backhand.)

However, once I finished or grew tired of those games, I quickly abandoned my Wii Remote and picked up my PlayStation 3’s controller to return to a console with more games that appealed to me and were interesting to play.

I’m bringing this up because my experiences with the Wii have caused any embers of interest toward the Wii U to be extinguished. The system, finally capable of HD graphics and coming with a fairly revolutionary tablet controller, just doesn’t appeal to me.

What’s worst is that I feel Apple has also helped diminish my former love for Nintendo. A day before Nintendo announced the Wii U’s release date and games available at the system’s launch, Apple revealed the iPhone 5. My geek mind focused on the iPhone so heavily that Nintendo’s announcement didn’t even faze me.

I read an article covering the Wii U with no expression on my face. I read an article covering the iPhone with a comedic-sized grin. The prospects of both luxury items were worlds apart.

Now consider this: the Wii U and iPhone 5 (the 32GB version) will both cost about $300. Personally, I get more bang for my buck with Apple’s phone than Nintendo’s system.

Maybe if I were still in middle school like I was six years ago, I would be standing outside Target in relatively freezing temperatures eager to see what Nintendo was bringing to the table, but the fact remains that I’m now a college student who experienced the burn of the Wii.

I’m not trying to be so negative toward Nintendo’s step into the present state of games. I’m happy that Nintendo has decided to make their first jump into HD games and a better online experience. In a year or so, if the Wii U really hits all the targets by providing quality games on a regular basis that I can’t play on any other system then maybe my burn will heal.

To the hardcore Nintendo fanboy or girl, the Wii U should be an answer to their high-definition prayers, but my heart doesn’t stop at the thought of a life without Nintendo. Put simply, it’s hard to justify spending money on a system that I have a strong feeling will become a $300 dust collector.

Before reading “Lipstick Jihad” by Azadeh Moaveni, I had only a vague idea of what Iran really was. From reading the news reports in middle school right after 9/11, it sounded terrifying — another “axis of evil” country full of people who were supposed to hate Americans because of “The Simpsons” and our sex-obsessed culture.

I knew what Persia (the ancient name of Iran) was — a magical, exotic land where genies, ogres, princesses and hidden treasures abounded. I just had no way to reconcile the Persia from my bedtime stories with the threatening presence of modern Iran.

“Lipstick Jihad” changed all that. In this autobiography, Moaveni, an Iranian-American who grew up in northern California, describes moving back to Iran in her 20s. She longs for the Iran of her childhood stories, too, and heads back to Tehran to cover Iran’s capitol as a correspondent for Time magazine. In the Tehran of 2000, she finds neither the dreamy vista of Persia, nor the backward wasteland her expatriated relatives have convinced her exists.

Instead, she finds a city. The Iranians who didn’t flee after the Islamic Revolution of 1979 aren’t the soulless caricatures her Californian family members have depicted, nor are they the religious zealots American newspapers seemed to think populate the country. They’re just people.

Moaveni’s parents had left Iran around the time of the Revolution,

and hadn’t been back since. When she told them she wanted to go back to Tehran, they were convinced that “torture and certain death” awaited her. They thought that most of the people who had stayed behind were complicit in the Islamic takeover of the country.

Some of her relatives’ warnings were true. Moaveni describes how a friend was once punished because Moaveni had inadvertently left a bottle of wine in his car. Another time, Moaveni was beaten when the regime-sanctioned police started to disperse a crowd celebrating a national soccer team victory. Public whippings for offenses such as playing Western music or drinking alcohol were common.

Still, life went on. The Iranians whom Moaveni met in Tehran weren’t exactly anti-Western. The toy of choice for little girls? Barbie. One of the biggest draws for Iranian-American tourists? Relatively cheap plastic surgery. One of the most popular stores in Tehran? A homemade Victoria’s Secret (American companies are banned from doing business in Iran; someone had bought an entire store’s worth of Victoria’s Secret merchandise and set up shop on their own).

More than anything, “Lipstick Jihad” is the story of how young Iranians started to take back their country.

In the book, Moaveni describes how during her tenure in Tehran, things got better. When she first arrived in Iran, women were required to

wear dark, “banal and anonymous folds of cloth” whenever they went out in public. By the time she left, girls were venturing out in public in bright clothing with bared toes.

“The laws never changed,” Moaveni writes. “Parliament never officially pardoned color, sanctioned the exposure of toes and waistlines. Young women did it themselves, en masse, a slow, deliberate, widespread act of defiance.”

Moaveni’s book is also an act of defiance. In it, she dares to criticize the hypocrisy of the ruling clerics (one of whom asked her for a “temporary marriage” — basically, a one-night stand). She also criticizes her handlers from the Ministry of Information — the people who interrogate her repeatedly try to make sure she doesn’t report anything too critical of Iran’s rulers.

Moaveni’s story showed me what it’s like to be the Other. In America, she’s seen as Iranian, and sometimes treated as an “axis of evil” crony. In Iran, she’s seen as American, and often treated as a decadent, godless Westerner. Her book cuts through each country’s stereotypes to present a better view of the real people who inhabit them.

Now, in a time when Iran might be on the verge of gaining nuclear capabilities, it’s more important than ever to go beyond those stereotypes. Moaveni’s book reveals that the “axis” country of Iran isn’t just a land of mullahs and mosques — it’s a land of people just like us.

BRENDAN WRAY on Nintendo’s new console

BITS AND BYTES

sara higginbotham | reporter

lauren rutherford | reporter

New console, less excitement

JENNIFER BENNETTon “Lipstick Jihad”

BOOKEATER

Iranian memoirs give us a much-needed point of view

"All-nighter" has a new definition involving sauces and slow cookers: competitive BBQ.

“You have one bite to sell those judges to sell them that that’s the best piece of meat that they got,” says Jay Curry, owner of local meat smoker company Spicewine Ironworks, which took first place for chicken last year. Curry says that after nine years of competition, the company has the barbecue process down to a science and will start preparing for the competition Friday at midnight.

This year, a record 65 teams will compete in four categories (chicken, pork, beef brisket and ribs) for $10,000 in cash prizes, unique painted guitar trophies and the ever-important bragging rights. Most teams enter in all four categories since it’s a requirement to qualify for the coveted grand champion title.

Judging gets cooking Saturday with 77 certified critics, some traveling farther than the competition teams, says festival barbecue coordinator Suzie Naeger. To receive certification, judges must complete a day-long course through organizations such as the Kansas City Barbeque Society. According to KCBS guidelines, meats are evaluated by three criteria: taste, appearance and texture.

With only 30 minutes per type of meat, KCBS-sanctioned judges work briskly, and contestants hope to get a “lucky table,” Naeger says. The lucky table refers to the fact that not every judge samples every team’s meats (talk about having a full belly). As simple as that sounds, there’s one common misconception about the competition: no taste-testing. Sorry folks, popular opinion isn’t part of the judging process. But there will be a ton of local vendors outside of the competition to offer their meats.

Pork Barrel BBQ is traveling from Washington, D.C., and says its meat is smokin hot on the championship’s trail.

“Trophies are really nice for restaurants,” says Heath Hall, president and co-founder of Pork Barrel BBQ.

Former Senate staffers turned businessmen, Brett Thompson and Heath Hall, cooked up the idea for PBB during a late-night Senate budget debate (pork barrel as in pork barrel spending). PBB’s big break came

when Mark Burnett, producer of ABC’s show “Shark Tank,” approached them about being on the show’s inaugural season.

“Almost overnight, our trajectory changed,” Hall says. “Shark Tank” gave the team with the opportunity to appear on “Fox

& Friends” and to strike a deal with New York real estate queen Barbara Corcoran (they’re chillin’ at her beach house next month). PBB even created its own fragrance, Que, to generate publicity.

Even with all that success, PBB shares sentiments with Spicewine's Curry about the true value of competition.

“If you have the trophies, they can’t give you anything later in life,” Curry says. “It’s the friends that you make at the contest that really count .”

Although, the competition is still pretty important. “There are a lot of great barbecue teams in this area,” Curry says. “It’s

gonna be a dogfight.”So, Spicewine, PBB and all you other barbecue master hopefuls, may

the odds be ever in your favor. Or, in the barbecue world, may you hear your name called last.

This Saturday, an estimated 1,500 runners will gather at Flat Branch Park to participate in the Roots ‘N’ Blues ‘N’ BBQ Half Marathon and 10K race.

Runners in the 10K compete for the $1,000 prize, and everyone else will be running toward the tasty barbecue and Miller 64 at the finish line. If pulled pork sandwiches aren’t the main draw, all participants should come to enjoy the live rhythm and blues tunes along the way.

“The course is very nice, and we expect that people are going to do well,” says Patrick Hanson, coordinator of the race from Ready Set Results. “Since there is prize money offered, elite athletes from across the state are coming in, as well as some regionally.”

The race will begin at Flat Branch Park and encompass campus and downtown before finishing back at the park. The half marathon will commence at 7 a.m., and the 10K begins at 7:30 a.m.

If you are just now realizing that you have the ability and stamina to run 13.5 miles, it isn’t too late to sign up for the race.

“Just come on down before the race, and we’ll have entry forms,” Hanson says.

Festival director Jessica Brown is excited about the changes that have been made to the race this year.

“We’ve been listening to the fans, so little things, like more water stations, will be available,” Brown says. “It’s always really fun. There’s music along the course -- they run through the festival downtown and even get free shirts and sandwiches at the end"

This is the fourth year running (pun intended) of the festival races. Proceeds will go to the Blues in the Schools program, which allows children at Grant Elementary and West Elementary to learn about the history of blues music and perform at the festival.

Paul Gandy, a student at Greenville College in Greenville, Ill., is coming out to Columbia to compete this weekend. He’s no stranger to the running world since this is his fourth half-marathon, and he’s only 20.

Although Gandy says he’s feeling somewhat nervous about the race, he’s definitely excited and wants to do his best.

“I’m not exactly fast, but I want to beat my last time and do really well,” Gandy says. “I’m also really excited to get off my campus for the weekend.”

Welcome to CoMo, Gandy. And to all those running Saturday: keep calm and dash toward the brisket.

May your name be called lastLocal and D.C. teams face off this weekend.

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Roots ’N’ Blues ’N’ Running

GRAPHICS BY CAIT CAMPBELL | GRAPHICS ASST.

COURTESY OF JENNIFER BRAND THROWDOWN

PORK BARREL BBQ TEAM

7 09.21.12 • MOV E

I would say it’s hard to believe that we’ve already been in classes for a month, but a quick glance at my calendar reminds me otherwise. Lately, I’ve definitely been feeling the crunch of the first round of exams. Of course, I know I should be spending my afternoons studying for that next test, but every now and then it’s nice to take a break, courtesy of Netflix.

A movie with good costumes can give you countless ideas for ways to reinvent your own wardrobe, so if you’re after a diversion that could leave you sartorially inspired, look no further than this list of classic fashionable movies. Added bonus: they’re all available for instant streaming.

It’s been a few years since we’ve seen obvious ‘80s influences from the runways, but that doesn’t make 1988 cult classic “Heathers” any less worth your time. The dark comedy expertly weaves sinister elements into a high school background, and the film’s four protagonists probably inspired every other clique that ever decided to coordinate outfits. Although the linebacker shoulder pads in the girls’ blazers are best left in the past, the bold color and print combinations are still admirable in 2012. Also, don’t miss bad boy J.D.’s attire —- his long black coat gives him a signature look that parallels James Dean’s iconic jacket and tee combo in “Rebel Without a Cause.”

Fast-forward not quite a decade, and there’s “Clueless,” a ‘90s teen take on Jane Austen’s “Emma.” Protagonist Cher’s outfits change almost as often as her cheesy catchphrases, and her preppy ensembles are a serious contrast in the otherwise grunge-dominated 1990s high school set. Cher is another character who knows how to rock a blazer, and her gauzy blouses and bright red mini-dresses are still perfectly lust-worthy even though it’s no longer 1995. If you ever feel like channeling the French, take note of Cher’s affinity for perfectly shaped sweaters and accessories like headbands and berets. On the other hand, if the latest gadget from Apple is your idea of a perfect accessory, you’ll at least get a chuckle out of Cher’s massive cell-phone and pixelated outfit design software.

Confession time: I’m a huge nerd for “The Great Gatsby,” in novel form at least. While it’s basically impossible for any movie to match the beauty of F. Scott Fitzgerald’s prose, the 1974 movie adaptation’s costumes come close. Mia Farrow, who plays Daisy, makes it clear that it’s essential for every girl to own at least one little white dress, and her sparkly evening gowns will bring out the magpie in anyone. Floppy hats and featherweight scarves will have you longing for summer again, and Robert Redford’s (Gatsby) immaculately tailored suits (he gets extra points for pulling them off in white) are the pinnacle of dapper. If you’re seriously into ‘20s fashion, mark your calendars for summer 2013, when Baz Luhrmann’s new adaptation, starring Leonardo DiCaprio, is set to hit theaters. The costumes promise to top the previous film’s —- Daisy’s dresses are designed by Miuccia Prada.

Although not a movie, AMC’s “Mad Men” (starring MU graduate Jon Hamm) is definitely fashionable enough to be worth your time. The 1960s-set show moves in real time, so styles change quickly -— in the latest season, cuts were noticeably sleeker and pants on women more commonplace than they were at the show’s early days. Look to Betty (possibly the world’s most fashionable housewife) if you’re a fan of pristine skirts, dresses and perfectly coiffed hair. Secretary Joan’s style is slightly more risqué but completely enviable if you’re the type to already want to shop for your first job out of college. If you can’t get behind a Gatsby-esque white suit, Don Draper’s signature charcoal number may be more to your viewing pleasure.

Netflix is by far the easiest source of movie procrastination, but if you’re willing to put in a little more effort into your movie watching, try tracking down a copy of “Rear Window,” “An Education” or “The Devil Wears Prada” for even more fashionable diversions.

Find fashion in film

COURTESY OF TIM NAVIS

CLAIRE BOSTONon procrastinating with style

STYLE FILES

zach sullentrup | reporter

September has brought a flurry of music to The Blue Note. A good deal of hype surrounds the arrival of Odd Future, which creates fun, raw and socially controversial hip-hop, and Hoodie Allen, one of the many Caucasian rappers attempting to carry the torch that Marshall Mathers set ablaze over a decade ago. Both the bizarre SoCal skaters and the Long Island hipster-hopper have a lot of energy to their music, and both attracted lively crowds. But for those with mellower ears, there is San Franciscan Tycho, known to his parents and the federal government as Scott Hansen.

Tycho has been Hansen’s musical alter ego since 2002, and a decade of working toward his vision of down-tempo shows and the musical progress he has made and in his artistic evolution. Eleven months ago, he released the Dive LP, a 10-track effort that brings to mind the feeling of standing in the Atlantic while watching the summer heat flicker and bounce off a strip of asphalt. This feeling becomes apparent from the very beginning of the album as “A Walk” encompasses and massages the consciousness with a matrix of synthesizers and sleepy drums. The album’s eponymous single is perfectly placed amongst its comrades and provides a peaceful high that is eventually resolved through “Epigram” and “Elegy." As with all chillwave releases, there are some dry spots where Hansen struggles to maintain movement and energy, but as a whole he mixes in many different melodies and musical elements. His

waves of sound are the accompanying soundtrack to a relaxing beach vacation, perhaps on a hammock with a significant other and a cool, refreshing beverage.

Mr. Hansen’s performances are renowned for their live instrumentation, abstract visuals and syncopated lighting displays. As one would expect from a man who makes feel-good music designed to up the listener’s vibes, his shows are designed to be welcoming to anyone in the mood for a night of intelligent dance music and the sort of calm energy that one associates with the nicer parts of the Bay Area and its inhabitants' patronage of various medical dispensaries. Attendees to Mr. Hansen’s performance at The Blue Note will also be treated to the sounds of opening act 18 Carat Affair. They are similar to Tycho’s music in that both create sounds meant to fill the room and echo from floor to ceiling. However, while Tycho usually makes music that starts with a central theme and then manipulates it to become a new entity, 18 Carat Affair stacks recordings and synths on top of each other to create complex puzzles of sound that ring of 1980s elevator music with better drums.

But really, who says you can’t teach an old dog new tricks?With well over a decade of experience under their belt, the

members of Dr. Dog are no stranger to the indie music scene and the importance of change.

On its seventh full-length album, Be the Void, the Philly-born band pushes its potential while still maintaining its seemingly flawless formula for folky indie rock with genuine pop sensibility and lo-fi influences.

“On our older albums, we sort of went in without any real idea other than that we had a whole bunch of songs, and we wanted to figure out which ones worked and which ones didn’t,” bassist/singer/founding member Toby Leaman says. “With Be the Void, the songs we gravitated towards were the ones that sort of felt good immediately.”

However, Be the Void also boasts somewhat of a different recording technique than the band's previous records. The band used mostly live takes of songs in an attempt to capture the energy and, uh, bite of its live shows.

“The sound came out of the process," Leaman says. "Because we were blasting through these songs, the record has more of a raw sound.”

Since the band first started in 1999, it has consistently made records that display its powerful brand of jangly indie rock, while still allowing room for growth.

However, Dr. Dog has very recently reached its full potential as a live band. Now touring as a six-piece indie rock machine, Dr. Dog is stronger than ever on the touring front, and judging by the long list of tour dates on the band's website, it isn't slowing down anytime soon.

“We’ve always had a pretty raucous live show,” Leaman says. “It’s always been a goal of ours to make sure the live show has a lot of energy because

that’s the point of coming to see a band. Touring has changed pretty drastically, but we’re still aiming for the same goal.”

Even though Dr. Dog is at the peak of its career, the members have never tried to please anyone but themselves, unapologetically making albums and playing shows the way they want. At the end of the day, their own satisfaction with their work is what really matters. If the many Dr. Dog fans of the world are happy as well, then everyone wins.

“We’ve always done our own thing and what feels right to us," Leaman says. "The only thing that makes any difference to us is us."

“We’re Dr. Dog. For real," the band’s Twitter bio boldly proclaims. If there is anything the members of Dr. Dog have learned as a band since the turn of the millennium, it’s that they should simply let the music do the talking.

When it comes to master of raunch Daniel Tosh, would we expect anything less than scores of cartoon woodland animals humping each other?

The answer to that is no, we would not, and that is exactly what you get when you watch the opening sequence of the pilot episode of “Brickleberry,” Tosh’s newest executive producer gig.

The new Comedy Central animated show follows around a bumbling group of rangers in the fictional Brickleberry National Park. Also in the

mix is Malloy, a domesticated bear cub who’s kind of an asshole, voiced by Tosh.

Other voices on the show include Kaitlin Olson of “It’s Always Sunny in Philadelphia,” Jerry Minor of “Eastbound & Down,” Tom Kenny from “Spongebob Squarepants” and Dave Herman from “Futurama.”

Waco O’Guin and Roger Black, the show’s creators, writers and executive producers, conceived the idea of “Brickleberry” through O’Guin’s father-in-law, a park ranger whose nickname is Woody.

Kenny, the voice of Woody on the show, says he met the “real-life Woody” at the show’s premiere party a few nights ago.

“He’s nothing like the ranger in the show,” Kenny says. “When (Woody) watched the show, he said, ‘This could end my career as a forest ranger!’”

Minor, who plays Denzel, a black park ranger who is scared of the woods, says he tries not to take offense by the stereotypical qualities his character portrays.

“I have to turn my judgment off,” he says. “I know what the show is, everybody gets it, and I don’t take offense personally at anything in the script. I’ll admit it, its pretty stereotypical.”

The actors have formed a consensus about the offensiveness of the show and of adult TV in general: go big or go home.

“In the post-'South Park,' post-'Family Guy' era, if you’re going to make people raise eyebrows, you gotta push harder and go further than five years ago,” Kenny says. “I really respect the show for going for it. If you’re gonna push the envelope, why not go ahead and shred the shit out of that envelope?”

Minor says that the show’s association with ever-controversial Tosh is also likely to boost its success.

Following Tosh’s rape joke disaster a few months ago, some thought the show would shy away from outlandish and extremely offensive humor. They thought wrong. In fact, Malloy, Tosh’s character, is raped in the first episode.

Kenny says the show was not edited for content after Tosh’s offensive remarks, and he commends the producers for standing their ground.

“I think that’s a great decision and the only way to go,” Kenny says. “Once you edit because of one person who heckles, it’s a slippery slope. If you’re gonna go some places, you gotta go there 100 percent.”

Tosh defended the offensive nature of “Brickleberry” with his usual off-putting bluntness after showing a clip on his show “Tosh.0” back in July.

“Do you know why that’s not offensive?” he asks. “Because they are drawings.”

The show premieres at 9:30 p.m. Tuesday.

WHEN: TUESDAY, SEPT. 25DOORS: 8:30 P.M., SHOW: 9:30 P.M.WHERE: THE BLUE NOTEPRICE: $15

alex stewart | reporter

Old Dr. Dog, New Tricks

Daniel Tosh’s ‘Brickleberry’ to premiere Tuesday

william schmitt | reporter

The ambience of a slow DiveSan Franciscan Scott Hansen

brings his brand of downtempo electronica to Columbia.

»

The show follows a dysfunctional group of park rangers and a talking bear.

»

COURTESY OF CHRIS CRISMAN

COURTESY OF COMEDY CENTRAL