Veg S.O.U.P. has recipe for successful campus productions

Cothurnus provides students who are interested in theater with many opportunities for getting involved and indulging in performing arts on and off campus. A hugely important aspect of the organization is its subcommittee and creative outlet Veg S.O.U.P., which sponsors entirely student-run theatrical productions. Senior Meg Sexton is the chair of the organization, acting as a liaison between Cothurnus and Veg S.O.U.P.

The petition process is what begins this dynamic, once a particular play or musical is passed by the committee and scheduled.

“There’s a lot of stuff that we look for in a petition,” Sexton said. “Directorial ability is ideal, because Veg S.O.U.P. is something you turn to once you’ve had experience and acquired a set of skills for it.”

Student directors are required to take and pass Directing I to petition for their own production. Members of the committee are most likely to approve plays petitioned by dedicated directors with a tight and organized production team.

On top of these factors, budgetary restraints are considered and regulated, with “ … $700 or so for a play and about $1,000 for a musical, which covers everything from lights and sound to publicity and royalty payments,” Sexton said.

Veg S.O.U.P. maintains a controlled collaboration between the committee and the production; using production meetings to work out kinks, observe rehearsals and keep up a general flow of communication with Veg S.O.U.P.’s liaison.

Aside from the technical and administrative consistency of its stages of production, Veg S.O.U.P. is effective because it places its emphasis on student creativity and autonomy from faculty.

Since the group’s primary space for performance is currently the Robert Sinclair Black Box Theatre, it lends itself to expansive ideas and increased intimacy with both the audience and the members of a production. Veg S.O.U.P. is an outlet for experimentation.

“Of course we have to be flexible when it comes to using the department’s equipment and allotting time to performance spaces,” Sexton said. “But concept-wise, artistically, we have complete freedom. Veg S.O.U.P. is a good place for testing things out, because we’re still in the learning stages of our careers.”

Widening media landscape offers honest depictions of sexuality

With Nymphomaniac, director Lars von Trier challenges audiences’ preconceived notions of what cinematic sex should look like. What results is something revolutionary in terms of gender and sex in the modern entertainment apparatus. What makes this film so significant and timely is that it subverts gender notions – or rather eliminates them altogether – and delves into the nature of sex and desire. Charlotte Gainsbourg’s Joe is the protagonist, who enters the complex world of sexual intercourse and erotica early on in her life, from competing with her friends for male attention to losing her virginity to Shia LaBeouf’s “bad boy” character Jerôme.

Such a blunt portrayal of female sexuality is rare in mainstream film. Most films depict female sexuality as a delicate counterpoint to the cavalier nature of male lust. Here, we get a woman who experiences the callousness and self-loathing traditionally associated with male sexuality as a result of her recursive desire for non-committal relationships.

Sex in the modern cinema can be gratuitous or vaguely poignant. Usually we get quick cuts of exposed backsides and caresses of the skin, montages of ambiguity and idealized body visuals. On the other hand, there’s just nudity and provocation for the sake of it. With more shows like HBO’s “Girls,” which has been noted for its frank depiction of sex, and films like Nymphomaniac being produced, sex on screen is becoming more realistic, and thus more complicated and honest.

Often in film, we are led to see fornication as either stimulating or romantic, depending on the situation. However, being that the gender roles in von Trier’s latest push against convention, it’s difficult to adjust to what should be a mere “fling” or a more intimate session of “love-making.” Either way it doesn’t matter, for sex here is raw and gritty. It’s real and uncomfortable and often grotesque.

Nymphomaniac portrays sexual intercourse as frightening and alien. Paralleling Joe’s rejection of emotional attachment, we as viewers are detached from our cemented reactions to sex. We are now alienated from a very human thing, and our conventions of it are shattered, which brings up some very interesting questions. The contemporary mainstream would never stoop to such bare realism. Furthermore, it’s arguably impossible for anything like it to ever be considered “mainstream.”

Most would assume Nymphomaniac’s method of showing real sex to be gratuitous and borderline pornographic, when really it’s not a very enjoyable or erotic type of sex that is being depicted. It’s something that is deeply affecting and unsettling, and says a lot about society and human psychology.

It further subverts cinematic conventions of sex by not just showing lust as something condemnable, but rather as something that can truly transform someone. It gives a human quality to the types of “whores” and “temptresses” that are always shoved aside to make room for the purity of romance and “true love.” von Trier presents intricate and still very much human alternatives to these mainstream motifs in Nymphomaniac, discarding gender-based and sexual stereotypes while doing so.

It seems that dramatic portrayal of sex is becoming less inherently or noticeably “dramatic,” for a more honest alternative to filming the primal act is emerging and gaining prominence. With unique television programming – that is, the ones that can get away with such explicitness, like HBO and Showtime – the possibilities for sexual behavior and gender orientation are becoming more expansive and, above all, believable.

Dark, gruesome dramas get away with murder

If you’re tired of conventional, episodic crime shows like “CSI” and “Law & Order,” look no further; NBC’s best non-comedy series ever “Hannibal” and HBO’s crime-thriller powerhouse “True Detective” are taking TV dramas in a grim, yet absolutely compelling direction. “Hannibal” is a highly stylized and elegantly shot adaptation of Thomas Harris’ novel Red Dragon. The show follows eccentric, troubled FBI investigator Will Graham as he looks into gruesome – yet tastefully sophisticated – homicides from the perspective of the killers. He is being led astray and framed, however, by culinary enthusiast, reputed psychiatrist and cannibalistic serial killer Dr. Hannibal Lecter. It’s grisly but beautiful – there’s something of a dark artistry present.

On the other hand, there’s the gritty, barebones “True Detective,” specializing in ultra-realistic visuals along with equally surreal and literary content. The show features Matthew McConaughey and Woody Harrelson as Rust Cohle and Marty Hart – protagonists who make a Heart of Darkness-esque descent into a sanctuary of the occult.

The casting for each series has reached near-perfection. Mads Mikkelsen – who played Le Chiffre in Casino Royale and collaborates closely with Drive director Nicolas Winding Refn – brilliantly plays Hannibal with an unnerving sense of composure and machine-like nature, rivaling the performance of original Hannibal Anthony Hopkins in The Silence of the Lambs. Co-star Hugh Dancy is an excellent and very vulnerable Will Graham, and both he and Hannibal play off each other in an entangling game of cat-and-mouse.

In the first season of “True Detective,” McConaughey and Harrelson gave some of the best performances of their careers. Harrelson’s complex adulterer was overshadowed by the even more intricate and brooding McConaughey, whose character is probably the single most compelling persona I’ve seen on TV in years – dare I say of all time.

While “True Detective” does arguably deal with more disturbing subject matter regarding ritualistic child murders and sacrifices, I would argue that both shows are equally unsettling. While they portray darkness and cynicism using different aesthetics and foci, they both utilize them effectively. “Hannibal” makes use of highly complex psychiatric and medical terms while bringing art, cuisine and culture into the mix to probe the minds of serial killers and schizophrenics. Conversely, “True Detective” uses very domestic – but still complex – issues for Hart and extremely misanthropic, existential reflection for Cohle.

These series add a new level of poignancy and intellectual stimulation to crime drama while subverting the conventions of the police procedural. They either break free from it altogether or bend it in unique ways, making the characters more complicated and the perpetrators more enigmatic.

“Hannibal” gets away with literal murder on a primetime network that is incredibly regulated by censors. Whether it’s a massage therapist paralyzing her patients, lobotomizing them as they watch without feeling the pain; a victim’s back being ripped in two to resemble angel wings; a mural made of human corpses – it’s gripping, unsettling and its quality feels more so on the level of HBO than of NBC.

“True Detective” is more grit and realism as opposed to the artistic tableaux of “Hannibal,” but both are praised for their cinematography, writing and acting. They are bringing crime dramas to a zenith that television has never before seen, setting higher standards for viewers and producers alike. After watching these shows, you won’t want to watch other crime dramas. Odds are they just won’t cut it.

Without NASA, how will Americans learn about space?

Since the dawn of space travel, interest and investment in exploring the beyond have significantly dropped. Astronomy is on the fringes of pop culture, only catching our interest when it’s in science fiction or extraterrestrial sightings. But this is just pulp for voyeurs to digest, exemplifying disconnect from the need to go deeper into exploring our own universe. Let’s face it, space exploration is extremely costly and needs a multi-billion dollar budget to function even remotely well. Results are dependent upon technology and equipment, which in turn are dependent upon money. Furthermore, the support for these expenditures and subsequent missions comes from us, the public. The periodic governmental budget cuts for National Aeronautics and Space Administration only get worse, further alienating – no pun intended – the space program and the public’s attention for such matters.

In an article for Slate.com, astronomer Phil Plait describes how the White House is affecting the popularity of space programs through its cuts.

“One of NASA’s shining triumphs is public advocacy, from creating educational products to garnering public interest in the overall mission of exploring the Universe,” he said. “This cut seems to align with the bizarre notion of taking the educational efforts away from NASA and giving it to outside museums and the Department of Education.”

Plait goes on to critique this fiscal decision as detrimental to the organization’s relationship with the public, deeming it “a big mistake.”

The newly proposed cuts undermine everything Plait describes. As a result, collective interest is fading; most interest in these programs now comes from astrophysics courses at universities and from academics.

Essentially, unless you’re studying astronomy or actually working for a space program, there’s not much out there to quench your thirst for space exploration info. Even more so, space travel is no closer to reviving itself as a public interest topic because of the political suppression and alienation encapsulated by increasing cuts to NASA’s already truncated budget.

For now, those who want to learn about their nation’s space programs are forced to subsist on tidbits of news here and there. We occasionally hear about the return of a space probe or the discovery of a new extra-solar planet, but these stories then fade from the news cycle as quickly as they appear.

In place of authoritative information on the universe beyond our planet, the public has turned to pop culture. Programming on the History Channel and FOX Network has popped up to pick up NASA’s slack. Recently, astrophysicist Neil deGrasse Tyson has taken up hosting duties for a Seth MacFarlane-produced sequel to “Cosmos: A Personal Voyage,” the beloved PBS documentary series from 1980. “Cosmos” gives viewers a compelling look into space travel and the phenomena of our universe, but ultimately cannot replace the actual, scientific research that informs such programming.

The revival of “Cosmos” has thus far enjoyed a warm reception. If only the public interest in space exploration could translate into an expanded budget for NASA, this discussion would not be necessary. An expanded budget would increase the amount of quality information out there about the universe. Regardless, public outlets persist in redefining comprehensible astronomy.

Songs you should be listening to: Elliott Smith

The late, great Elliott Smith was a complicated human being and artist, from his unique, multi-layered techniques to his very soft and murmuring voice that articulated vibes of depression and raw poetry. He ultimately succumbed to odd cases of paranoia and drug addiction, eventually committing suicide by stabbing in 2003. An Oregon resident, Smith rose to popularity and acclaim with his wide range of musical talents, playing several different instruments in addition to the guitar. On his self-titled album from 1995, he utilizes a heavy presence of acoustic guitar, which proves very effective and even experimental in the songs – for it’s a fact that most studio albums dealing with the alternative/rock genres feature mostly electric guitar riffs and the like.

This raw and stripped-bare aesthetic on Elliott Smith makes it quite dark, although I would argue that it does a great job at tackling issues of depression. Regardless, it’s one of his better and more memorable albums because it subverts the alternative to suit Smith’s vision.

The album kicks off with his most famous track “Needle in the Hay.” It’s an intoxicating song that gives me the chills every time I hear it, especially when used beautifully in Wes Anderson’s The Royal Tenenbaums during a scene of attempted suicide involving Luke Wilson’s character. Additionally, for a loyal cover that does the piece justice, look to YouTube sensation PewDiePie’s rendition.

Much like theater practitioner Jerzy Grotowski, who spoke of stripping bare the theater and its mode of presentation in Towards a Poor Theatre, Smith strips bare this musical genre and its conventions. He gives us a “poor” alternative album, complete with raw emotion, drug implications, cynicism and so on. His vocals are perceptibly cracking and longing and whispery, and although he was known for this, it’s particularly prominent in Elliott Smith because of its intimate acoustic accompaniment throughout.

Smith went on to contribute to scores and soundtracks for short films and, most notably, Gus Van Sant’s Good Will Hunting. For the Oscar-winning feature film, he recorded “Miss Misery,” for which he received an Oscar nomination for Best Original Song, and an orchestral variant of his own “Between the Bars” in collaboration with the film’s composer Danny Elfman.

Smith is a talented and tragic artistic persona from recent memory. His experimentation and need to distinguish himself while effectively representing his individuality can be traced throughout his work. His music is not only great for studying or taking scenic road trips, but also for creative inspiration and even therapeutic purpose.

Unfortunately for Smith, he could not be saved by his own work, but hopefully that work and expression can save others.

“Needle in the Hay” is perfect for getting your feet wet with Smith’s music. If that powerhouse track doesn’t do it for you, then nothing will. He is a great musician of the recent past and deserves to be heard for years to come.

Dynamic backstage trio takes final bow

Professor of theatre Randy Barbara Kaplan along with seniors Kim Olsen and Rachel Prell have worked together on three productions in the past, but the group will end its Geneseo run after Hanoch Levin’s “The Lost Women of Troy,” an adaptation of Euripides’ “Hecuba” and “The Trojan Women.”

Director Kaplan and assistant director Olsen serve as co-choreographers for “Lost Women” while stage manager Prell oversees the technical responsibilities of recording the actors’ blocking and taking line notes.

Prell tries to avoid wasting time during rehearsals. As the stage manager, she keeps track of both paperwork and the actors themselves.

“Pretty much the entire cast remains on stage for the whole play,” she said. “It’s not like everyone’s present at the same time; different cast members come in at various times to go over their scenes, and I have to make sure that all runs smoothly.”

No stranger to technical theater and stage management, Prell is right at home with Olsen and Kaplan.

“We’re the core rehearsal team, and we stuck together,” she said.

Kaplan has directed Greek tragedy and culturally styled theater before, but for “Lost Women,” she’s changing it up a bit. The play follows Trojan women after the fall of Troy as they are taken prisoner by the Greek armies and allocated as commodities among the triumphant soldiers, but Kaplan hopes to avoid tying it down to these particular circumstances.

“I want [“Lost Women”] to be intercultural,” she said. “We’re going for a timeless effect, to comment on the abuse of women’s bodies during wartime.”

The choreography parallels the energy of traditional Greek tragedy, with expressive gestures and large movements. To help with this style of reaction, Kaplan introduced the cast to the grotesque, avant-garde form of Japanese dance called butoh.

“It’s a visualization of the insanity of our world. I know most will look at it and say ‘Hey, that’s so over-the-top and unrealistic,’ but that’s how it fits in with the ancient tragedy gestures, and it really has a great effect on the audience in that sense,” Kaplan said.

Despite the production’s bittersweet atmosphere, Kaplan remains optimistic.

“Just like there’s a trinity of women in the play, [Olsen and Prell] and myself are a trinity,” she said. “There’s no chain of command; it’s just a fluid triangle. And although I’ll be very sad, I feel like when this show closes I will have been successful in accomplishing my final job as teacher: the acknowledgement of my students going free.”

“Lost Women of Troy” will run from April 30-May 3 at 7:30 p.m. and May 4 at 2 p.m. Tickets are $10.

Album Review: Satellite Flight

KiD CuDi presents SATELLITE FLIGHT: The Journey to Mother Moon is currently among the top slots on iTunes’ 10 best-selling albums list. Full of ambient, cosmic beats and a slightly too consistent aesthetic, Cudi’s latest is surprisingly down to earth and cerebral in its metaphysical lyrics and mind-altering tunes, yet it struggles to pass as a respectable album. “Destination: Mother Moon” is a short intro that kicks off the album; this technique has become very prominent in not just hip-hop but all variants of contemporary music, from Childish Gambino to Young the Giant. This first track cements the atmosphere to follow, with an otherworldly composition absent of lyrics.

It is in the second song “Going to the Ceremony” that we finally get to hear Cudi’s voice, complementing stellar guitar riffs and a classic Cudi vibe that fans will gladly recognize. It is the most detached of the album and probably its best. This rap-rock anthem with a touch of spacey jive is made even better by the rapper’s alliterated, fast-hitting wordplay; it is the zenith of SATELLITE FLIGHT.

The titular track “Satellite Flight” brings some more of Cudi’s voice but cannot live up to track two, becoming a burden to listen to with its incessant moaning, distorted rambling and slurred lyrics that surround a pretty lackluster chorus.

“Copernicus Landing” is a four-and-a-half-minute track that shouldn’t be so long, being that it’s just more of what the intro initiated. It seems more transition-based and therefore unnecessary because it’s excessively drawn out. Here lies the principal downside to the album: Its aesthetic is the focus, drowning out Cudi’s distinctive voice and talent with ambience and psychedelic indulgence.

There are too many instrumental songs without lyrics, making the project seem illegitimate as a feature album from a well-known rap artist. The entire 10-song album could be condensed to two or three songs, and the synthesizer-heavy tracks could be made into short little snippets to transition from song to song because they’re all quite similar in terms of sound.

“Too Bad I Have To Destroy You Now” is the only other stand-out track on the album. It has a hip-hop feel that still abides by the overall cosmic aesthetic – something that not even “Going to the Ceremony” pulls off. It’s slightly bluesy with an overarching electronic dance music orientation – different, but vital to the album as an art piece.

SATELLITE FLIGHT overall feels underdeveloped or misguided as a hip-hop/rap album, and Cudi himself is arguably the least prominent component of its content. It would work better as a transitional or supplemental piece to a greater album of his. This kind of consistency does not work as a standalone product and would benefit from taking a supporting role to Cudi’s next work.

Unfortunately, it’s labeled as Cudi’s fourth “studio album” and so stands under the criticism of being very underwhelming in that sense. I predict that the album will continue to climb the charts in its misdirected mediocrity until enough people are disappointed.

Animated feature holds building blocks for success

All of you “mature” teenagers and adults out there who think you’re too cool to see The Lego Movie, please drop the act. This film is hilariously random and witty and will make anyone’s day. Indulge your inner desire for goofy humor and sit back for one of the funniest rides of the year. When it was first announced as a film in development, The Lego Movie had me skeptical. I can finally put all that incredulity to rest now after having seen the final product that’s handled with tender love and care by directors and writers Phil Lord and Chris Miller, the creative duo behind other comedy hits such as 21 Jump Street and Cloudy with a Chance of Meatballs as well as the upcoming 22 Jump Street.

The film’s unique animation style is one that doesn’t need getting used to because it’s so crisp right from the beginning. The best description I can give is that it’s kind of like a cross between computer animation and stop-motion, which certainly sets it apart from most animated features that are released these days.

One of the few criticisms for the movie, however, is that this style lags in particular forms, including ocean water and smoke, especially because the animation portrays the accurate movement of these substances but they are simultaneously made out of Lego parts, which can look very awkward. Again, this is only a minor problem because it’s not very frequent, but it’s still noticeable.

The only other notable flaw is the film’s length, which temporarily undermines its fast-paced amusement and comic genius, but that being said, it seldom hits a dull point.

Let’s get to the principal components of The Lego Movie, which are its cast and humor. From Will Arnett’s brooding and ubiquitous Batman to Jonah Hill’s Green Lantern, who irritates Channing Tatum’s Superman at every turn, to Liam Neeson’s split personality Bad Cop/Good Cop, there is so much to enjoy in this movie.

Chris Pratt, from “Parks and Recreation,” voices the protagonist Emmet Brickowski, an average construction worker who is mistaken for the “Special.” He is pulled into a grand prophecy that will save the Lego world from its dull, commercial and monotonous dictatorship headed by Lord Business, a great antagonist voiced by Will Ferrell. Brickowski’s development throughout the film ultimately leaves audiences with a charming message about creativity and individuality, adding a deeper layer to the film’s chaotic hilarity.

Among others who pop up are Morgan Freeman as an old wizard, Charlie Day as a space ship-obsessed astronaut, Elizabeth Banks in the leading female role of Brickowski’s love interest and Batman’s current girlfriend Lucy, and Pratt’s “Parks and Recreation” co-star Nick Offerman as a cyborg pirate. They all lend laugh-out-loud bits to the film’s rapidly paced plotline. Ferrell even shows up again as himself, in the flesh, in an unexpected live-action sequence that parallels his character in the Lego world.

The Lego Movie is so fun and funny and full of talent that it’s almost impossible not to like. Its humor is very adult-oriented while still appealing to children in the long run. Additionally, its ambient, thumping score is composed by Devo front man Mark Mothersbaugh and features an overwhelmingly upbeat and catchy song “Everything Is Awesome!!!” performed by Tegan and Sara and The Lonely Island.

The year’s biggest movie so far will have you in tears from laughter and scratching your head at its insanely haphazard mixing of elements and characters. In a world where crocodiles have police sirens on their heads and Gandalf, Dumbledore, a Teenage Mutant Ninja Turtle and Shakespeare are all on a council together, anything can happen, and it’s all insanely funny and satisfying.u

For BuzzFeed, a future of endless possibilities

The onslaught of BuzzFeed quizzes is inescapable. Not only do these quizzes keep our attention when we’re bored, but they also keep us engaged and hooked above all else. Creating content in this vein has allowed BuzzFeed to take become an Internet cornerstone in such a short amount of time. With more executive development, BuzzFeed has the potential to take off and become a legitimate cultural force. From hilarious to outrageous to downright weird, these quizzes are sweeping the Internet. If a user sees a friend getting a funny result for “Which Sandwich Are You?” they are automatically pulled into the same link to take the same the quiz.

Don’t want to write that paper that’s due tomorrow and you’re on a Hunger Games kick? Go ahead and take a break with the “What Would Be Your Fate in The Hunger Games?” quiz. I can tell you now that I got “YOU DIED FIRST.” No surprise there.

With its ever-expanding database of articles, lists and, of course, personality quizzes, BuzzFeed is becoming a pop culture center for Internet users. I can see the site holding an allure for comedy writers, culturally aware young adults or anyone with a good sense of humor, and I can see these individuals flocking to the web site for jobs.

There’s so much room for creativity; most of the result descriptions and choices for each question are so funny and relatable that it’s hard not to think about the writers behind them.

BuzzFeed presents many new opportunities in the increasingly compressed editorial and writing fields, giving writers more creative freedom in and editors the challenge of a diversified body of work.

To persist as a legitimate culture force, BuzzFeed will have to adopt some more durable business strategies. Recruiting prominent guest writers to cover more serious material on a regular basis, much like The New York Times does, would be a great boost in its legitimacy. This would allow the site to draw in an even larger readership.

BuzzFeed has options beyond expanding its editorial presence, too. It could make use of television programming or even a weekly web series to cover topics through a more visual medium.

The website could utilize a format along the lines of E! Network’s “The Soup” or a panel-based discussion show like “Chelsea Lately.” For a more “down-to-business” approach in terms of media issues, one could push for a “Real Time with Bill Maher” style. The more versatile BuzzFeed gets, the more long-lasting it will be.

Not all social networking and viral entities are mindless and uninspired fads. BuzzFeed already has a lot of potential and seems primed to influence. The site has a lot to offer now, but just wait for its evolution into a trusted and ambient media institution. So for now, take a quiz or browse a humorous list and prepare to be offended, confused or amused – or all three at once.

“Wit” confronts disease with scholarly logic, raw emotion

“Hi. How are you feeling today?” This is the ironic first line cancer-ridden Vivian Bearing, played by senior Alicia Frame, said in a devastatingly sarcastic and self-reflective production of Margaret Edson’s “Wit,” presented by Veg S.O.U.P. and Cothurnus. Set in a cancer ward, the Pulitzer Prize-winning play follows the English professor and John Donne scholar in her final hours, as she uses metaphysics and poetic devices to look back on her knowledge-driven life. The directors, seniors Meg Sexton and Kate Mandracchia, utilize the space effectively, covering the entire floor of the Robert Sinclair Black Box Theatre before the audience as Bearing approaches them and even addresses and interacts with the audience directly, making for an intimate experience to connect with her reflection.

Simultaneous dialogue exists, distancing the inquisitive protagonist from the cold, clinical environment that surrounds her. Bearing rambles on about specific terminology and its context and meaning as the doctors ramble on with medical analysis regarding her condition, but without giving weight to the scientific words they use. It’s a strong contrast that really gives us a sense of the gap between doctors and their patients – which later parallels Bearing’s situation with her students.

Additionally, lighting designer junior Lauren Costello supplements this partition with white, flushed lighting for scenes in which Bearing is isolated in her hospital bedroom or “listening” to doctors. Contrarily, a saturated and moodier color holds our attention on Bearing in her moments of introspection and flashback.

According to Mandracchia and Sexton, a production helmed by two co-directors makes for a much different but beneficial collaborative experience.

“[Mandracchia] and I tend to approach things in the same way,” Sexton said. She and Mandracchia are close friends and have worked together before.

“We didn’t have much conflict in terms of directing styles, maybe just in some of the blocking layouts,” Mandracchia said. “But that’s the great thing about having two of us: If certain ideas don’t work, the other can fix it.”

What makes this play is the acting.

“The biggest challenge for me was pulling off those nuances,” Frame said. “You know, it wasn’t even the really big physical moments but those mundane little things, like getting down my facial expressions and what to do with my hands and when to use the morphine drip.”

The atmosphere of a hospital is a hectic one, and so the amount of things that are pulled around the stage and picked up and set back into their proper place for later use is enormous. The actors effectively execute these “nuances,” and having those who portray the nurses double as the running crew is a convenient technique for this very kinetic setting.

In the spotlight with Bearing is hospital fellow and Bearing’s former student Jason Posner, played by freshman Kevin Raleigh.

Posner views Bearing “more as a specimen than a human being,” Raleigh said. He is a knowledge seeker, similar to Bearing when she was still teaching. He comes off as cold and indifferent, viewing her only as a sickness to study.

“He bridges the gap between him as her student and her as his subject,” Raleigh added. “He’s not a very considerate person, but toward the end he definitely has a revelation of sorts, finally seeing [her] as a person.” These two characters provide a powerful contrast and connection alike, giving them more dimensions than initially assumed.

Sexton and Mandracchia said “Wit” should resonate with all audiences, especially college students.

“It’s very accessible, just the themes and experience that [Bearing] goes through,” said Sexton. “It gives a voice to those like her and provides a lens into the real world, to hopefully inspire improvement upon ourselves and sympathy for others.”

Frame offers a different perspective for college audiences.

“The cycle of knowledge is not everything,” she said. “It can really take away from emotion. Sometimes academics just have to take the back seat, you know?”

“Wit” will run at 7:30 p.m. Thursday Feb. 13 through Saturday Feb. 15, with an additional 2:30 p.m. show on Saturday. Tickets are $5.

“Shameless” analyzes family conflict through clever comedy

Showtime’s “Shameless” is now in its fourth season and beginning to pick up that vibe that it handles so well, despite the absence and estrangement of several main characters.This American remake of the acclaimed British series – much like “The Office” counterparts – follows the Gallaghers, an ultra-dysfunctional family living in poverty. Though brash, crude and very raw in its portrayal of these characters, this dramedy series proves that it still has much to offer in its complex family relationships and Chicago “hood rats” that we simultaneously hate to love and love to hate. It seems there’s a new and quite satisfying trend in TV dramedy: characters being exposed in realistic and gritty fashions. HBO’s “Girls” is another great example, with Hannah Horvath’s “unconventional” body type and vulnerable situations involving nudity, obsessive-compulsive disorder, uncomfortable romantic forays and constant financial instability. This emerging trend proves that TV can, paradoxically, still be glamorous in its unglamorous portrayals of beauty and true human nature in modern society. The real star of “Shameless” is not the enduring Gallagher family as a whole but the character of Fiona. Played by The Phantom of the Opera’s Emmy Rossum, Fiona is technically the protagonist. As the eldest sister of the family, she acts as the woman of the house because her father Frank, played by the terrific William H. Macy, is the epitome of alcoholism. Seriously, this guy is probably the biggest drunk/drug addict of any real person or fictitious character I have ever seen. In addition to Frank’s reckless semi-presence in their lives, the family also consists of two teenagers, one a troubled homosexual who is currently MIA in the fourth season and the other a street-smart but intellectually gifted ladies’ man who scored a full ride to the Massachusetts Institute of Technology. Alongside them are three younger siblings and a network of neighborhood regulars who intermingle with the family frequently. It’s actually pretty difficult for any newcomer to the series to pinpoint who lives in the Gallagher household and who doesn’t. Explicit language spurts from the mouths of prepubescent kids and graphic sex and drug abuse are common in this all-too-real world. Fiona has to fill in for horrendous – pretty much nonexistent – parenting and keep what’s left of her family’s potential in line. But here’s what makes this all so powerful: It’s raw but beautiful. “Shameless” shows a family constantly on the brink of tragedy, yet it maintains a sentimental, if tough, attitude in terms of love and familial closeness. They’re still linked and they’re there for each other – still attached and nostalgic in the end. Despite their dysfunction and pretty screwed up lives, the Gallaghers remain a healthy family at the core, especially since Fiona threw away her shot at being a normal, independent adult to care for them. Even Frank has a heart – and a drug-ravaged liver – and is essentially a harmless, goofy wanderer. Whether Frank is roaming the streets in a drunken stupor and neglecting his struggling family or Fiona is working to keep the kids at least somewhat in school, “Shameless” does not fail to tackle controversial issues in a poignant manner. Gripping drama and brash, raunchy comedy has seldom been done so effectively. It’s one link in a growing chain of similar series, showing a more genuine side of life and the relationships within it.

Theater preview: Spring performances explore psychological themes

“Seussical” – Jan. 24 to 26 “Seussical,” with its energetic music scores and loveable characters, is guaranteed to bring energy to the first weekend of the spring 2014 semester. Directed by professor of theatre Melanie Blood, the musical involves both students and a local children’s choir as the Who Chorus. “Seussical” is written by Lynn Ahrens and Stephen Flaherty, and follows Horton the elephant as he hears a Who, guards a nest and interacts with characters from over eight Dr. Seuss children’s books. Blood described it as “very high energy, very fun and very fast-paced.”

The Puppet Plays – January 26

This one-of-a-kind performance directed by professor of theater Crystal Ferrell is a compilation of four short plays using numerous intricate puppets and a heavy dose of creativity. “The Jabberwocky,” “The Scorpion and the Frog,” “The Myth of the Phoenix” and “A Sock Puppet Song” will be performed using sock puppets, bunraku puppets like those found in Japanese theater, shadow puppets and the “hand-and-rod” style made famous by The Muppets. This 30 to 45 minute production is “something that’s not normally seen on the Geneseo campus,” Ferrell said. A small cast of 17 students, three faculty members and one staff member will produce the plays.

“Wit” - Feb. 13 to 15

“Wit,” presented by Cothurnus and Veg S.O.U.P., is sure to entertain all who attend with its internal drama and thought-provoking plot. Directed by seniors Kate Mandracchia and Meg Sexton, “Wit” is funded, run and produced by students. It follows the life of an English professor who finds out she is dying of cancer. As Blood explained, it “follows her intellectual life and how she deals with limitations of her body.” It is the first of two Veg S.O.U.P. productions in the spring semester, but the time and title of the second production remain undecided.

“The Lost Women of Troy” - April 30 to May 3

“The Lost Women of Troy” is an evocative and informational play depicting the horrors faced by women in times of war, from the Trojan War to modern times. Written by Hanoch Levin, this story is “a condemnation of all sides in the Israeli-Palestinian conflict,” according to the play’s director, professor of theater Randy Kaplan. According to Kaplan, the performance will be an adaptation of this play but focus less on its “geo-political” standpoint and instead attack the broad issue of “how women and their children are not only appropriated but deeply violated by men during wartime.” Geneseo’s Asian American Performance Ensemble GENseng and the department of theater and dance are coproducing the play. Auditions are Jan. 23 and 24.

Engaging children at Keyboard Kamp

Ten local children are preparing for their holiday piano recital, practicing classics like “O Come All Ye Faithful” and “Jingle Bells.” These children might not have had the chance to perform their favorite Christmas tunes, or even pursue music at all, if it weren’t for 10 Geneseo students donating their time and talent as volunteers. Geoffrey Clough organized the program, called Keyboard Kamp, 13 years ago with support from the community and local figures like Geneseo historian David Parish.

The program started as a summer camp and for the children of Livingston County, ages 8 to 15, who had interest in playing piano or the keyboard. The camp was free of charge for students who might not have had the means to take piano lessons otherwise.

In 2003, Clough extended the summer program and created a partnership with Geneseo students. If music students wished to continue their summer camp experience, they could do so throughout the school year with private lessons given by Geneseo student volunteers. In the past three years, Clough added the option of guitar lessons to the summer and full-year programs. He plans to add voice lessons in the future.

Clough also created a system in which the families and the child can meet with their prospective student teachers before the lessons begin in order to see if the match will work.

Student-to-teacher compatibility is important in Keyboard Kamp. Clough recounts the program’s successes with a clear sense of pride, citing four-year-long student to pupil partnerships and students who overcame difficult family situations to achieve huge successes.

“The music lessons are used as a tool to build the bridge between teacher, student and family,” he said. Over the years, Clough has seen a variety of close connections between the county families and Geneseo students.

For two years junior Caitlyn Edwards has taught through Keyboard Kamp, mentoring 9-year-old Geneseo Central School student Regina Cucchiara since spring 2012. Edwards, a psychology major, has been playing piano for 14 years, and she said she works hard to communicate her passion for the instrument to her pupil.

“It’s a learning process to figure out how you can effectively communicate something to someone who hasn’t necessarily had as much experience as you do,” she said.

Cucchiara’s mother Joahn confirmed that lessons with Edwards have ignited a passion for music in her daughter, who sees Edwards “like a big sister.”

“Regina doesn’t want to disappoint [Edwards], so I don’t even have to ask her to practice.” Joahn Cucchiara added.

Most children are beginners, so a student does not need to be an expert on their instrument.

Senior Nathan Trombley hadn’t played the piano since sixth grade when he signed up to volunteer with Keyboard Kamp at Geneseo’s Volunteer Fair. He said that, while he was able to teach his student to read music and play some basic songs, one of the greatest benefits of the program was connecting with the community.

He understands that teaching piano through the program is about more than playing music. It’s about “making a connection – being there as a resource if they ever need any help. Using music to facilitate that, it’s pretty cool,” Trombley said.

The students participating in piano lessons have a recital at 3 p.m. on Sunday Dec. 8 at the St. Timothy Lutheran Church. It is open to the public.

Student choreography shines at Geneseo Dance Ensemble fall revue

Art is fluid across all aspects of life; at least, that’s what the Geneseo Dance Ensemble conveys in its upcoming concert “46Live: Songs of the Body.” In celebration of its 46th anniversary, the ensemble expresses emotion, music and artwork along with choreography by students of the Dance Studies Program.

Professor of dance Jonette Lancos serves as artistic director, curator and producer of the performance as well as mentor of student choreographers in the development of their pieces.

“Each [student] digitally records each rehearsal,” Lancos said. “We discuss how to successfully communicate their concept through original movement material and knowledge of the craft of choreography.”

In addition to Lancos’ consultation, two outside dance educators and assistant professor of dance studies Mark Broomfield ‘94 advised student choreographers on their works.

After much preparation, the performance brilliantly illustrates emotional expression and the students’ affinity for dance.

“Heartstrings” by student assistant senior Stephanie Willmarth commences the performance, with dancers gracefully flowing in pale blue dresses. The women in this contemporary ballet piece happily leap and pirouette in accordance with the levity of the music.

By a sharp exhale, the dimmed stage lights are awakened with the beginning of senior Erin Girard’s “Out of Many, One.” Throughout the piece, dancers embrace the power of namaste, a yogi principle that acknowledges the common energy within all of us. The dancers even seem to breathe together, as they often collectively gather and separate on stage. Speed and energy dramatically increase in both the music and movements halfway through, as if to communicate namaste’s enduring importance throughout life’s many moods.

The next act “Hindsight,” choreographed by senior Jennifer Levy, has dancers adorned with translucent purple skirts. At one point, all performers exit but two, who then empower each other’s brusque movements to match the drama of the background piano. Soon, the rest of the dancers return, and all slowly approach the front of the stage as the lights fade out to end the piece.

Following that is “Illumination of Self,” which imparts the power of artistic expression across varying modes. In exhibiting their final projects, members of the Dance Composition class interpret design elements and principles present in paintings and translate them into dance. The choreography remarkably expresses the students’ interpretations of works such as Vincent van Gogh’s “Starry Night” and Georgia O’Keeffe’s “Deer Horns.” This piece is the only one in the concert conceptualized by Lancos.

Dancers of the next piece, senior Megan Killea’s “Filtering Light,” resemble a ballerina forest in their turquoise dresses. They act as elegant trees shedding scattered light onto the stage. As the piece progresses, light becomes more pronounced. The ladies conclude in joined stance, their unified figures receding with the lights.

In a bold switch of attitude, senior Ashley Palacios’ “She Is …” expresses feminine vigor by way of dauntless poise. The piece opens with the fierce beat of a brass band and silhouettes standing against a red backdrop. Performers execute high leaps, sassy shoulders and unapologetically confident circling of their hips. At times, the dancers strike vogue poses, all separate but in saucy concordance with one another.

The audience is then transported to a dream-like state induced by junior Michelle Graham’s “Talking in My Sleep.” Exemplifying a bad dream, the dancers adopt nightmarish motions. The music then becomes more ambient, prompting performers into peaceful pirouettes, kicks and somersaults. Viewers are not left sleepy but rather in trance.

Because the program, according to Lancos, was organized to build “in energy and choreographic diversity,” the final piece acts as a sendoff that unifies the entire concert. “Kwaherini,” choreographed by student assistant senior Emily Wagner, begins with a tune and mood similar to the first performance. Kwaherini roughly translating to “goodbye” in Swahili, the piece pairs energizing music with joyful cartwheels and jumps. The dancers’ enthusiasm, however, serves to effectively convey the true significance of the Swahili word, which means “go well.”

“46Live: Songs of the Body” motivates viewers to discover the emotionally unifying medium of dance. The concert runs Thursday Dec. 5 to Saturday Dec. 7 at 7:30 p.m. and Sunday Dec. 8 at 2 p.m. in the Alice Austin Theatre. Tickets are $10 and available at the Student Association Ticket Office.

Album Review: Common Courtesy

A Day to Remember is somewhat of an anomaly in the rock music scene. Perhaps this is due to the fact that the band is known for perfectly meshing bubblegum hooks with crushing breakdowns and screams, leaving many to define its sound as “popcore.” I couldn’t think of a better genre myself, and the band is in full tradition on its newest album Common Courtesy. After a long stretch of trouble with its record label, the band eventually released the album independently, and you can tell that the events of the past few years have changed the band a bit. The album has a softer tone, so much so that the “core” part of its sound almost sounds out of place. Where the album shines is in the formulaic songs the band is known for, and this is not a bad thing.

The first song “City of Ocala,” is a straight up pop-punk rager. It’s a great way to begin the album, on which the production sounds great. It’s fun, nostalgic and a standout across the album for sure.

The next two songs are also highlights. “Right Back at It Again” and “Sometimes You’re the Hammer, Sometimes You’re the Nail” are both very stereotypical A Day to Remember songs, but they are among the best songs on the album because the band is so successful at crafting songs like these. They’re hooky as hell; they have breakdowns where you would expect; they’re just fun.

The album stagnates a bit after this, but already there’s not as much screaming as previous records, and there are a number of softer numbers, such as “I’m Already Gone,” “I Surrender” and “End of Me.” This is certainly not an unwelcome change, as these songs are well crafted and melodically sound. Lyrically they’re not bad either, but it’s kind of jarring after what we’ve expected from the past. They still deserve a listen, however, and those who are not a fan of the harder edge of A Day to Remember will really dig these tracks.

The songs that really do throw down are “Violence (Enough is Enough)” and “Life Lessons Learned the Hard Way,” with the latter sounding like a cut off a Lamb of God album, strangely enough. The rest of the album floats in this area of popcore safety, so when the heavier hitting tracks come out, they feel jarring and don’t quite seem to fit in. This isn’t inherently true, as the band has to stay true to its post-hardcore roots, but for whatever reason, the group chose to only include a couple of these tracks instead of alternating between sounds.

The final tracks “The Document Speaks for Itself” and “I Remember” are both great ending tracks that bring back that A Day to Remember sound. The former track has an absolutely wonderful breakdown, while the latter is a nostalgic look at the past, with five minutes of the nine-minute track devoted to banter between bandmates about memories of being on tour. There is quite a bit of banter after some of the tracks on this album, which provides a unique look at the process of recording the album and the band’s inner dynamics.

Common Courtesy is a good A Day to Remember album. The band has softened up a bit but still knows how to bust out a hook-laden beast of a song. You’ve got to stick with what you know, and the band seems to be just fine at doing that. This album is worth a listen for sure, and even if you don’t like all of it, chances are you’ll find something that will grab you and make you want to rock out.

Hip hop artists should reconsider offensive lyrics

“Couldn't wait for gay parade so you can drag it, George used to flip, went from hitting skins to sucking nigga’s dick, George better get a grip.” In 1991, A Tribe Called Quest rapped these lyrics in the song “Georgie Porgie.” Society in general has become more accepting in regards to LGBTQ-plus people. Monday Nov. 18 was the 10-year anniversary of Massachusetts being the first state to legalize same-sex marriage. The anniversary represents how far society has come in regard to acceptance. Unfortunately, as the times change, some facets of culture still fall behind. Although “Georgie Porgie” was written 22 years ago, hip-hop culture really has not progressed all that significantly.

Hip-hop artist Frank Ocean came out in 2012 before releasing his latest album. At the surface, this seems like great advancement in the hip-hop community, but unfortunately it falls short.

Journalist for The Huffington Post Ernest Owens, not happy with Ocean’s coming out, wrote that Ocean “released his music video ‘Pyramids’ and it is back to the same regurgitated overtly heterosexual usage of deformed and abstract female strippers and the lust and degradation.”

Ocean is a part of the rap group Odd Future, whose songs constantly contain homophobic lyrical content. In his 2011 solo album Goblin – 20 years after “Georgie Porgie” – Odd Future frontman Tyler, the Creator used the word “faggot” and many variations of the word 213 times, according to ColorLines.

This begs the question as to why so many hip-hop artists put emphasis on their homophobic views. Why would Tyler, the Creator so frequently repeat words offensive to the gay community? Hip-hop is a musical genre that formed in the black community. Analyst Carissa Froyum claims that black Americans are more represented in the lower economic classes; therefore, homophobia is a way for black men to raise their masculinity.

This puts more pressure on people who are both black and LGBTQ-plus because they have to deal with the struggles that both communities face. When rappers’ lyrics contain homophobic content, it sends an alienating message to LGBTQ-plus black people.

Owens said that Ocean “has continued to accept being the token in an industry that continues to perpetuate the stereotype for what societal black masculinity is.” Ocean is not paving the way to acceptance in hip-hop; instead, he is allowing it to continue.

Although rappers may not be as homophobic in their lyrics as A Tribe Called Quest, it is still a major aspect of hip-hop music. It acts as a way to promote ones masculinity, and by doing so oppresses LGBTQ-plus people. The problem is that this music is so highly popular and so very few people care or notice that the lyrics are very damaging. People blindly listen to this music not thinking about the implications that derive from the lyrics.

Tyler, the Creator, when addressing his homophobic content and the use of the word “faggot” in an interview, said, “We don’t think about that shit. But I don’t hate gay people. I don’t want anyone to think I’m homophobic.” He later added, “We’re just kids. We don’t think about that shit.”

Movie Review: Catching Fire

Katniss Everdeen and her competitors do not disappoint in Catching Fire, the second installment of the Hunger Games trilogy, but the film doesn’t burn much brighter than any other flashy book-to-movie adaptation. In Catching Fire Katniss is forced to face the horrors of what she experienced on a tour through each of Panem’s 12 districts. She has earned food and wealth for her family at the cost of the death of other tributes. President Snow, dictator of Panem, realizes Katniss’ act of defiance is the previous film – attempting suicide with her fellow competitor Peeta to skew the games – has sparked revolution among the districts. A special anniversary games is set in place called the Quarter Quell to squash the hope of freedom from the capital, and Katniss, Peeta and a group of other previous victors are forced to fight one another for survival.

These films are clearly crafted to be adaptations of the novel rather than offshoots or reinterpretations, and Catching Fire proves to be a better movie than the first. The franchise continues to expand the Hunger Games universe cleverly by giving the audience perspective outside Katniss’ point of view that is missing from the book. This film should be the standard for novel adaptations.

The initial shots of the film are nearly gorgeous. Dialogue-focused shots rapidly cut not only the shots but also the tension, reducing the impact of the scene. Other elements such as special effects or impressive scenery make up for this deficiency.

The Capital contrasts the quiet and dreary nature of the districts, which does wonders for creating and often expanding the world of the novels. Costumes paint the portrait of Capital culture colorfully just as the first film did.

Nearly each role is properly cast; Jennifer Lawrence makes a convincing Katniss. Both Peeta and Gale return for the more-complex-than-usual love triangle, and both deliver a compelling but not overly impressive performance. One scene with Gale and Katniss when she leaves the district borders on trashy romance, but Liam Hemsworth makes for a convincing stubborn and headstrong Gale, as Josh Hutcherson makes for a vulnerable and conflicted Peeta.

Minor characters carry the movie. Effie continues to be a fan favorite with outrageous behavior and an almost campy level of comic relief for the audience. Caesar functions as a horrific satire of popular reality TV hosts, glamorizing and obscuring human suffering and the death of children in favor of functional celebrity gossip.

Unfortunately, Finnick Odair’s character is drastically miscast. In the novel, he is a tragic, emotionally vulnerable Romeo-like persona with a softer, boyish appeal.

The film portrays him physically and emotionally as a hardened, macho tough guy, which is problematic for future plot points and exposition let alone composition in the present film.

The tragic moments of the film are the strongest. The audience relives the horror of the reaping. The scene in which Katniss apologizes to Rue’s family and district is the most powerful and poignant in the franchise so far as a holographic floating effigy of Rue brings forth all the pain from the first film to get the audience back in the headspace of the characters.

This sequel is likely to be the best of the films in the series, for its compelling emotional appeal and lore related expansions. The greater moments in the film remind us that the technical elements could have much more finesse. Overall, Catching Fire is only slightly above average, sprinkled with a few compelling moments, as a two-and-a-half-hour blockbuster.

Winter movie preview: Talented directors define upcoming genres

Out of the Furnace – December 6 Previews for the film Out of the Furnace convey a typical action-adventure film, but it definitely has more to offer.

Out of the Furnace is the story of Russell Baze, played by Christian Bale, and his attempt to seek justice for his brother who disappears into a ruthless crime ring after returning home from a tour in Iraq. The film also stars Woody Harrelson, Casey Affleck, Willem Dafoe and Forest Whitaker.

The prominent appeal of the film is the raw, gritty and utterly realistic acting performances. Early viewing critics say the essence of Bale’s performance is bare and haunted and the film is one of the best acted of the year.

Out of the Furnace is directed by Scott Cooper who, despite his diminutive filmography, garners praise for his 2009 film Crazy Heart.

American Hustle – December 13

American Hustle is founded on more than just its all-star cast – it has an all-star director too.

American Hustle is the story of a clash between a brilliant con man and his partner, an FBI agent, a politician and his wife during the execution of one of the largest scandals in fictional history.

If it’s not the cast, which includes Bale, Jennifer Lawrence, Bradley Cooper, Amy Adams and Jeremy Renner, that sells you on seeing American Hustle, then surely director David Russell is the straw that broke the camel’s back.

Russell doesn't have a single “rotten” film, according to Rotten Tomatoes, in his career.

The Wolf of Wall Street – December 25

Martin Scorsese’s newest classic opens Christmas Day. Based on the memoirs of Jordan Belfort – a real-life investment banker convicted of stock market fraud and manipulation – it stars prolific Scorsese collaborator Leonardo DiCaprio as Belfort, and follows his exploits in the high-profile banking world.

The Goodfellas director has a knack for grand stories about power, money and corruption, and this dark comedy with a 179-minute running time and a stellar cast that includes supporting actors such as Matthew McConaughey, Jonah Hill and The Artist’s Jean Dujardin, looks to be another masterpiece for the Scorsese canon.

With a script by Boardwalk Empire-creator Terence Winter and a cinematic legend at its helm, The Wolf of Wall Street has virtually no potential of falling short.

Inside Llewyn Davis – December 6

From a different generation of film legends, the Coen brothers – Joel and Ethan Coen – have produced oddball black comedies like Fargo and The Big Lebowski and award-winning dramas like No Country for Old Men. They are extremely versatile in style and genre and masters of dialogue in their screenwriting. There is no doubt that this next feature will add yet another layer to their body of work.

This minimalist dramedy stars Oscar Isaac as the titular lead character, a fictitious folk musician who makes his way through that specific music scene in New York City during the 1960s. The Great Gatsby’s Carey Mulligan and music legend Justin Timberlake take on supporting roles and contribute to the film’s awesome soundtrack with some great folksy rhythm.

Album Review: The Marshall Mathers LP 2

Eminem is one of the best-selling musical artists of all time and widely considered one of the best rappers alive. He is capable of both fun pop culture satire and beautifully depressing reflection on his past. Since his darker 2010 album Recovery, his collaboration with Dr. Dre on the single “I Need a Doctor” and his reunion with Bad Meets Evil partner Royce da 5’9” for their 2011 EP Hell: The Sequel, Eminem has crafted his newest masterpiece The Marshall Mathers LP 2, the “sequel” to his renowned 2000 album. “Bad Guy” gets the album off to a great start with an intoxicating chorus and some hardcore verses that promise Eminem is back and means business as usual. A few songs down the list is “Berzerk,” the album’s first single, which harks back to old school Slim Shady with a fun, adrenaline-fueled you-only-live-once attitude. It’s a very nostalgic ‘90s throwback track that was a genius choice of a song to introduce the LP to the public. Next comes an all-rap, all-Eminem opus. “Rap God” is the rapper’s show-off track, in which he flaunts his Busta Rhymes-style fast rapping and wordplay skills, and it’s a pleasure to listen to. It’s epic and egotistical but without being pretentious. “Rap God” is Eminem getting up in your face but in good taste. First it was the hit single “Love the Way You Lie” on Recovery, and now it’s “The Monster,” Eminem’s second powerhouse collaboration with Rihanna that has competed for the top spot on iTunes for quite some time now. “Love Game” is a bitterly hilarious romp on relationships and cheating. It’s Eminem going off on romance and backstabbing affairs, and it’s a very funny, fun track that is one of the best songs on the album. Kendrick Lamar only adds to its greatness by delivering some rapid-spitting verses and an awesome chorus that has a bluesy feel to it. Unfortunately, the slew of perfected hits comes to a slackening point with the track “Headlights,” featuring a rather lackluster chorus by fun. front man Nate Ruess. I’m a huge fan of Ruess and the band, but this collaboration does not work. One of the closing songs, included on the deluxe edition bonus disc of the LP, is “Beautiful Pain,” in which Eminem delivers decent verses but is overshadowed by the chorus of Australian pop singer Sia, who also steals the spotlight in David Guetta’s “Titanium” and Flo Rida’s “Wild Ones.” Sia has a beautiful voice and a knack for hard-hitting choruses; for her part alone, this is the best song on the album. The Marshall Mathers LP 2 is a very meticulously crafted album, the wordplay being outstanding and almost uncanny. Furthermore, its major collaborations are mint, hit singles; there’s no doubt about it. “The Monster” has already peaked at number one on the charts, and the others are bound to get there soon enough. Then there are the rap-heavy tracks like “Rap God” that emphasize Slim Shady’s talent more than anything. Despite this, I must cite the “hit singles” as a flaw, for they overshadow Eminem and seem to be carrying the bulk of the material. The focus seems centered on these catchy collaborations and not as much on the artist of the album, unfortunately. In addition, Eminem has stated that his frequent use of homophobic slurs is intentional and to prove a point, but they seem too subtle and misguided to get across such a message to everyone. Many will take offense to them. Overall, Eminem’s newest album is a near-masterpiece with throwbacks to his older work and a nice blend of emotional depth and fun energy. It’s definitely worth a listen or two or three.

Pioneer artists redefine musical genres

Despite cliches in the mainstream music scene, there are musical artists on the front lines of pop culture and media who defy all sorts of expectations. Most artists are in some way different from one another, but there’s always that one band or solo musician who steps outside the box of a genre and becomes an innovator and a pioneer. Here are several popular artists in their respective genres that bring something new to the table.

Lorde

This pop rebel princess has an indie vibe, but her songs are very catchy, very emotional and of great quality in both content and sound. She displaces herself from mainstream pop artists like Britney Spears and Katy Perry. Not to say these artists are bad, but they’re certainly not risk takers or innovators like Lorde, a 17-year-old New Zealander who’s sweeping the charts. Her debut album Pure Heroine is a wonderful achievement, and it is “pure heroin” indeed.

Lady Gaga

If Lorde is pop’s rebel princess, then Lady Gaga is its rebel goddess. Her sound is very “pop,” much more so than Lorde, but she’s definitely an innovator. Gaga’s dark, macabre style is refreshing and exciting not to mention her controversial music videos, live performances and her fashion sense. Who can ignore her incredible displays of meat dresses and lobster headpieces? That's the whole point: to garner attention, which is quite genius actually. Gaga is not the first to do this, but she’s definitely advanced it. Her new album ARTPOP combines artsy homage and reverent mockery with thumping beats and catchy ‘90s-esque compositions.

Kanye West

He’s ubiquitous and despised, but it takes a good artistic eye to see past these shortcomings and realize his brilliance. As a hip-hop artist, West started out as a conventional but likable rapper. Since then, however, he’s moved into the experimental realm, that of highly controversial and polarizing albums, specifically My Beautiful Dark Twisted Fantasy and more recently, Yeezus. These albums overflow with art and passion and are seemingly created in the dark corners of West’s psyche. Unexpectedly, West has been a cited influence on Lorde, who performed an awesome cover of his song “Hold My Liquor” at one of her concerts. Like it or not, Kim Kardashian’s baby daddy is unique, and he’s dramatically redefining the rap genre.

Arcade Fire

Now here’s a weird bunch. This group is composed of many members with instrumental versatility and odd haircuts, but it has become a very popular indie rock/alternative band. Arcade Fire has made several appearances on Saturday Night Live and had its hit song “Wake Up” featured in the trailer for the 2009 film Where the Wild Things Are. These eccentrics make for a very unique sound by combining multiple types of instrumentals and vocals. The band is certainly at the forefront of the indie music scene.

Deadmau5

While Zedd is dominating the music industry with his catchy beats and producing credits, Deadmau5 remains on the fringes of the electronic/house scene, producing tracks that are at times so beautiful that they deserve to be considered among the all-time greats. Take “Strobe,” for instance, his 10-minute opus that starts off with mellow pianistic odes and escalates into a full-fledged epic of synthesizer. He’s had his moments of fame and success, but he’s not avaricious for such commodities. He’s more of a creative type of DJ, and his music is truly beautiful for rather frowned-upon genres such as house and electronic. Honestly, I never thought I’d be honoring a DJ for his artistry and creativity, but here it is, and it’s well deserved.

HAIM

It could be considered indie, but this uber cool, all-girl band is a rock ‘n’ roll powerhouse, and its fan base grows by the day. Since its collaboration with rapper Kid Cudi on his album Indicud – released in April – and its recently released debut studio album Days Are Gone, HAIM has been stirring up a lot of buzz. The group’s interesting incorporation of rhythm and blues with indie-style rock makes HAIM a band to look out for.