Ponder the Giraffe wins Battle of the Bands, will open spring concert

If you were in the MacVittie College Union on Thursday Feb. 4, you would have heard music sounding throughout the building—and not the usual soundtrack playing over the loudspeakers. Instead, live music was performed in the Union Ballroom by Geneseo students during this year’s Battle of the Bands. The competition featured seven performances: Donner Dance Party, Shelly the Cat Collective, Full Body, The Scarecrow Show, Allison Altschiller—who was the only solo performer of the night—Ponder the Giraffe and Woodrow Chillson. All performances ranged in style and genre and the bands competed not only for the first place prize of $500, but also the opportunity to be the opening act at the spring concert.

All of the seats set up in front of the stage were filled, but by the end of the night, those who stayed for the whole concert were up dancing, swaying and clapping along to the music. With a relaxed and conversational vibe filling the ballroom, the audience members seemed to feel welcome at the event. Not only were the bands’ usual fans in attendance to show their support, but also interested music lovers who were just there to see something new on the Geneseo campus.

The sounds varied from Shelly the Cat Collective’s mellow and quirky ukulele and electric guitar combo to Full Body’s hard rock jams. The well known Donner Dance Party opened with their funkier half-math sound, while Woodrow Chillson—the band that closed the show—played more classic rock ballads that evoked nostalgia of a time past.

A couple covers of popular songs were played, but most of the performances were of entirely original music. Shelly the Cat Collective even played a song dedicated to the school: “SUNY Geneseo.” The song mentions feelings and landmarks that are familiar to students, such as being lost in physics class, suitemate troubles and The Statesmen. Woodrow Chillson’s cover of Barenaked Ladies’ hit “Old Apartment” ended the concert on a high note and excited people to vote for their favorites.

At the end, eager attendees were given ballots to vote for the winner and the clear crowd favorite—alternative rock band Ponder the Giraffe—won the big prize. Ponder the Giraffe is popular around the Geneseo campus, playing casual weekend shows at local venues along with fellow bands Donner Dance Party and Woodrow Chillson. It’s been a big year for Ponder the Giraffe; the band embarked on a mini-tour this past January and had one of its songs played on a Buffalo radio station. The win was just another shining accolade for the group.

Congratulations were in order for the members of Ponder the Giraffe, but there seemed to be no hard feelings between performers. The Geneseo music community is known for its extremely supportive nature—there is room for any talent to make their way into the spotlight, just as many of the bands that performed at Battle of the Bands have done.

Although Ponder the Giraffe will open the spring concert, all the performers played well at this great platform for some of Geneseo’s most talented and creative musicians to share their work.

GCP exhibits seasoned talent in “Cuckoo’s Nest”

The Geneseo Community Players performed their adaptation of “One Flew Over the Cuckoo’s Nest” on Friday Feb. 5–Saturday Feb. 6 at York Central School’s Ivan F. Hilfiker Auditorium. This is far from the first time “One Flew Over the Cuckoo’s Nest” has been adapted. Ken Kesey published the original novel in 1962, the play was first performed in 1963 and Miloš Forman’s film starring Jack Nicholson came out in 1975. The GCP’s production, however, is unique.

“The version you’re seeing you’ll never see anywhere else ever again,” director Blaine VanRy said.

“One Flew Over the Cuckoo’s Nest” tells the story of a ward for men in a mental hospital in the 1960s. Played by Chris Norton, newcomer Randle McMurphy arrives fresh from prison to serve the rest of his time at the psych ward. There, he meets a cast of interesting men.

Among the eccentric characters is Harding—portrayed by Mark Hopkins—who is the apparent homosexual leader of the ward. Cheswick—played by Gene Scherline—wears his pants as high as they can go, constantly shuffling around the ward. Sefelt—played by Taylor Yelencsics—and Fredrickson—played by Jamond Billyard—are usually laughing together at an inappropriate joke, while Billy—played by Jake Feltham—is a nervous young man who speaks with a stutter.

VanRy explained that the show follows McMurphy’s conflict with the cold, calculating Nurse Ratched—played by Ingrid Bergquist—who exerts her power over the men of the ward. This power dynamic is part of what drew him to the show.

“It’s just a story about power: the struggle between man and the institution,” VanRy said. “It doesn’t matter what time period it’s set in—it’s always going to be a theme that everybody fights against.”

Ratched uses her authority to pit the men against one another. During their group therapy sessions, she launches them into a “pecking party” where the men gang up on each other “like a bunch of hens.” To subvert this dynamic, McMurphy finds ways to challenge Ratched, from watching the World Series against her orders to throwing a party at the ward.

McMurphy eventually plans to escape the ward with Chief—played by Toby Drowne. Ratched reaches her breaking point with his insubordination and has him lobotomized. To put McMurphy out of his misery, Chief smothers him and then escapes the ward to flee to Canada as the two had planned.

Another exceptional aspect of GCP’s production is its cast, which VanRy described as “phenomenal.”

“It’s a really good mixture of old pros that have been doing this for 40 years and some newbies that have been in zero shows or two shows,” he said. “It’s a really diverse cast.”

Everyone on stage had charisma and chemistry with each other and they brought the characters to life with ease.

Bringing a renowned classic like One Flew Over the Cuckoo’s Nest to the stage is no easy task, but VanRy and the GCP did it expertly. From the set design to the lighting to the cast, the show was a beautiful ode to Kesey’s characters.

Although VanRy noted that it isn’t “a happy story with jazz hands,” “One Flew Over the Cuckoo’s Nest” is a timeless tale about the power struggle between individuals and institutions—a tale that the GCP masterfully showcased.

Square Dance brings all ages together in lively tradition

Under the direction of lecturer of music and caller James Kimball, Geneseo’s String Band Square Dance concert kicked off on Saturday Feb. 6 at 7 p.m. in the MacVittie College Union Ballroom. The night was filled with attendees of all ages—kids, students and adults alike—dancing in flannel shirts and cowboy boots, moving to the rhythms and tunes of the string band. Kimball and the Geneseo String Band are not new to performing at square dances. They have performed at multiple other dances, including one at Honeoye Falls Middle School on Friday Feb. 5.

Kimball and the band, however, were not the only musicians present during the night. Carol McClellan—a Geneseo education alumna—called two songs alongside Kimball. According to Kimball, McClellan was able to call and be familiar with the dances because she grew up in a family that enjoyed square dancing.

Additionally, the string band had about four non-student musicians accompanying them. Although Kimball admitted that he prefers a mainly student-focused band, he added that he enjoys having experienced musicians from outside the campus to join in and help them cover events.

Kimball explained that he started the string band around the time when he first started teaching at Geneseo in 1976. He emphasized that he wanted the ensemble—much like the square dance event—to be welcoming to all levels of talent.

“[I wanted a] kind of ensemble that could absorb both beginner and advanced players at the same time,” Kimball said. “It could be four, five or six people or it could be 20 people. It’s expandable and it can play these informal events or something more formal. So it sets it apart from more traditional ensembles in colleges and high schools.”

Forty years later, the band is still going strong, varying in size and skill while playing multiple events on campus and around the Geneseo area. The string band covers other receptions around campus and they have attended the Geneseo Rotary Summer Festival.

Kimball specifically noted his excitement for their upcoming 37th annual Pre-St. Patrick’s Day Concert on March 5. This concert will feature both Rochester and Geneseo Irish Dance groups along with the string band’s take on a variety of Irish music.

One thing that Kimball found especially noteworthy about the recent concert, however, was the wide range of ages seen in the audience. He explained how it influenced his choice in picking the music.

“You don’t always know what kind of tunes you’re going to play until you see who’s out there and what kind of dances you can call,” Kimball said. He went on to mention that he tried to choose songs that were easy enough for teenagers and children in the crowd, but also nostalgic songs for the veteran dancers in the room.

“We’re doing mostly dances and tunes that those old-timers would remember from when they were in high school,” he said. “They used to square dance during high school as a social thing—not just a gym class, but a social thing in the evening after a basketball game.”

Through the use of catchy and rhythmic tunes, Kimball and the Geneseo String Band made square dancing an experience for everyone of all ages to enjoy.

Revamped Barbies show acceptance for all body types

The evolution of Barbie is here—and it’s about time. When I was little, I always knew Barbie as the tall, skinny, blue eyed, blonde-haired plastic doll that I loved to play with. Now, Barbie is going to come with different shapes, sizes, eye colors and hair colors. Known as the Barbie Fashionistas Dolls, these Barbies will come in four different body types, seven skin tones, 22 eye colors and 24 hairstyles. Now, kids of all different body types and races will be able to relate to these dolls that they use for imaginary escape.

Playing with Barbies was like flipping through a high-fashion magazine full of gorgeous, skinny, tall models. Though I loved Barbie, I certainly could never relate to her. I was short with brown, curly hair—basically the opposite of Barbie. And even though Barbie is an inanimate object, I admired her and wanted to be—and more specifically, look—like her. But it was impossible for me to suddenly grow into a taller girl and sprout long, blonde hair.

Kids who play with Barbies will be able to relate to these Fashionista Dolls more so than kids of my generation. In an age where you read articles about young kids being ashamed of their bodies and wishing they were 10 pounds lighter, Barbie is making a critical change at an important time.

Growing up in the digital age, kids are constantly influenced by what they see in the media and sometimes it’s hard for me to even believe that kids still play with Barbies when everything has become so technology-based. Time and time again, kids are shown what is considered to be beautiful through the narrow social constructs imposed by the media and this can lead to issues with self-esteem and body shaming.

Barbie, however, is stepping away from pushing only a singular idea of beauty onto kids. It’s vital for the younger generation to recognize that beauty comes in all forms and that accepting your body type is something to be proud of. It’s sickening that toys and the media teach girls and boys to be humiliated by their bodies and that these confidence issues are being perpetuated in kids at such early ages.

Some may argue that the creation of Barbie Fashionistas Dolls is misguided and that it’s purely stemmed from Mattel’s desire for a financial boost. While this may be true, there is no harm in these new Barbies—the ends justify the means. Encouraging kids to be proud of the bodies that they were born with is something to be applauded. It’ll be intriguing to see kids’ reactions to these new Barbies and how they influence their own self-images over time.

From a young age, kids are very impressionable. They’re taking in everything around them from the toys they play with to the programs they watch on television. Barbie Fashionistas Dolls could have the power to set a precedent for other children’s toys in protecting kids from body shaming. If other toys and television shows join Barbie in the quest to show acceptance of all body types and skin colors, then perhaps this would impede the growing trend of low self-confidence.

I’m impressed with Mattel’s decision to develop these new Barbie dolls and I hope that they can inspire a real change in kids that play with them. In fact, I wish they were around when I was a kid and I’m sure many of my childhood friends would agree with this sentiment.

Handler falls short in Netflix series “Chelsea Does”

Netflix debuted the first of a four episode “docu-comedy” entitled “Chelsea Does” on Jan. 23. The show features comedian and author Chelsea Handler as she tackles tabooed, challenging subjects such as marriage, Silicon Valley, racism and drugs in the ground breaking new program. Handler rose to fame as a reality talk show host on the E! Network show “Chelsea Lately” with her unique brand of brash comedy, celebrity gossip and news. Handler also infamously posted a photo last summer on Instagram that showed her riding a horse while bare-breasted, jokingly mimicking a seemingly legitimate photo that Russian President Vladimir Putin had circulated of himself. Handler’s photo “commentary” caused minor controversy and was removed by Instagram for showing her exposed breasts. This led to Handler advocating for the “Free the Nipple” campaign.

Handler lays it all bare in this series, with all of her imperfections as fair talking points. She openly discusses her own drug and alcohol abuse as well as her inability to find someone whom she loves or can see herself marrying.

She even goes as far as to take Ambien—a sleeping pill—and drink at the same time to display the unnerving reality of self-destructive behaviors. The result is a painstakingly long scene where Handler—in a drug-induced stupor—plays Twister and draws a barely comprehensible picture of her family. While the scene was included to add humor to the episode, the result is a sight that seems very out of place and should have been left out of the episode all together due to its lack of relevance to the issue at hand.

Furthermore, Handler—who is known for not shying away from touchy subjects—puts her own personal spin on the world through one-on-one interviews and roundtable discussions with friends and public figures such as Al Sharpton, Khloe Kardashian and Willie Nelson. During these discussions, they touch on personal anecdotes that relate to the topic of each episode.

Handler’s show also includes interviews with non-traditional subjects, including young children. She asks for their opinions on topics such as marriage, as in the episode where she tries to come to grips with her love life—or lack thereof.

At times, the show’s strengths are also its shortcomings. Handler incorporates her brand of comedy into serious topics and while that may be appealing to some, it often ends up feeling like the final product doesn’t do the topics the justice they deserve.

Despite her intention to add her own spin to the series by showing herself off without “fakeness”—the very fakeness that is often prevalent in reality television—Handler’s behavior often seemed forced. This distracts from the exploration of the serious nature of the topics she’s attempting to tackle.

This is not to say the show is a failure, however. The interviews with Sharpton and Nelson are fairly compelling and Handler’s willingness to show her real self is refreshing in an age of reality television that focuses on the fabricated. Admittedly, the show does struggle due to its looseness, with many segments feeling inauthentic.

Handler has made a name for herself by always staying true to who she is and never faking it. She continues that trend in “Chelsea Does,” but this time, Handler doesn’t necessarily hit her mark.

Rihanna’s newest album avant-garde

It has been more than three years since R&B and dance-pop singer Rihanna released her last album Unapologetic. Rihanna’s lengthy hiatus is surprising to many because ever since she released her 2005 debut album Music of the Sun, she has released or re-released an album nearly every year. Her hiatus was broken, however, with her much-anticipated release ANTI. ANTI arrived after various delays and much confusion. With Rihanna switching labels, distancing herself from the spotlight, venturing into acting and avoiding album discussion, many were hard-pressed and clueless as to what her ninth studio album would sound like.

In early 2015, however, Rihanna officially broke her silence. She returned to the music scene by releasing her new singles “Bitch Better Have My Money” and “American Oxygen.” A final single titled “FourFiveSeconds” was also released, with Rihanna collaborating with Kanye West and Beatles legend Paul McCartney. Additionally, Rihanna performed at the 2015 Grammy Awards. Surprisingly, none of these songs actually appear on the album.

ANTI is an experiment and feels much more like an experience than an album. It subconsciously showcases how far Rihanna has come as an artist, where she stands now and how she has once again reinvented her image. ANTI shifts from your “conventional” Rihanna album full of chart-topping hot singles, a variety of reggae-infused melodies and some pop ballads.

Interestingly enough, ANTI manages to complete Unapologetic’s trajectory. With Unapologetic, Rihanna began to venture into the world of unconventional production and complex rhythms with songs like “Phresh Out The Runway” and “Jump.” ANTI takes it a step further, delving deep into diverse genres such as folk, psychedelic and experimental. Tracks like “Woo” mix abrasive beats with grunge-like layered vocals, whereas “Same Ol’ Mistakes” is a cover of Australian psychedelic rock band Tame Impala’s song “New Person, Same Old Mistakes.”

“Work” features Canadian rapper Drake. “Work” ignores all of the hype following Rihanna’s 2015 singles—it creates its own. The song quickly becomes a reggae track, showcasing Rihanna’s prominent Barbadian accent. It is one of the most danceable songs on the album, even though the production still incorporates a soft techno beat.

“Kiss It Better” is introduced with a faint electric guitar. Rihanna follows through with a memorable chorus and layered vocals. While the vocals of the song are classically Rihanna, the meticulous structure of the song is not.

Many songs span from one to two minutes and seem to be intentional cuts, each sounding drastically different from one another. For example, “James Joint” is a vibrant one-minute hymn about marijuana and love, as opposed to “Higher,” which is a two-minute mini-ballad with intoxicated and croaky, heartbroken vocals. It’s also backed by a crooning, noir-esque violin melody.

The highlights of the album, though, lie in ballads, such as the nearly four-minute long “Love On The Brain” where Rihanna uses her voice in an innovative way. Her raspy, jazzy vocals do not even sound like her at certain points.

“Never Ending” is another highlight of ANTI. Had I not known this was a track off of the album, I would’ve thought it was sung by a folk musician. The country-esque vibe of the song is backed by acoustic guitars and soft, light vocals. I found this song distinct due to its sound; it offers a refreshing break from the overarching experimental sound of the album, even though “Never Ending” is ironically experimental within itself; toying with a genre and sound that Rihanna hasn’t explored before.

Though some may not have found ANTI to be worth the wait, I think it is an asset to Rihanna’s discography. No one could have expected what ANTI was going to be like and if that was one of Rihanna’s goals, she surely accomplished it.

ACE Film Fest showcases varied cultures

With every new year comes new opportunities. For the Alliance for Community Enrichment, this means the start of new ways to spread messages of diversity and cultural awareness around campus. The ACE Film Festival achieved just that, displaying five culturally distinct films in Bailey Hall on Saturday Feb. 6. Unwilling to waver from ACE’s mission statement of promoting and encouraging “the growth of a diverse environment for all students in the Geneseo community,” the annual film festival saw some changes this year. Unlike previous years, the event was scheduled for the spring—not fall—and in the afternoon instead of the evening.

Additionally, ACE chose an eclectic variety of cultures to display in the five movies. The selected films were Babies, The Normal Heart, Four Sheets to the Wind, Bride and Prejudice and West Side Story. Each movie was given its own room within Bailey Hall. Viewers could select which movie they wanted to see and when; ACE played each film simultaneously in different rooms.

“We’re promoting this event by showing films that people wouldn’t normally watch on their own time—unless they were extremely curious about it—and I think it went really well,” Student Association Director of Student Affairs and ACE chair senior Jia Wen Zhu said. “We have over five cultures and lifestyles depicted in these films—it’s not just one culture. There’s more than five cultures, even though there are only five films.”

Sophomore Xiuna Lin agreed with Zhu’s sentiment on viewing the selected films. “It brings attention to those movies and their cultural diversity,” Lin said.

While Babies depicts one year of the lives of four babies from all around the world, The Normal Heart explicitly looks into LGBTQ+ issues in the 1980s, specifically focusing on the gritty reality of the AIDS crisis. Bride and Prejudice serves as the Bollywood-style adaption of Jane Austen’s Pride and Prejudice, just as William Shakespeare’s “Romeo and Juliet” inspired West Side Story to be its New York City counterpart. Lastly, Four Sheets to the Wind is a Native American film about protagonist Cufe, who leaves his Native American reservation for Tulsa, Oklahoma.

“You don’t really see that many Native American films on campus, so we thought [Four Sheets to the Wind] would be a good movie to show because there are Native Americans in Geneseo,” Zhu said. “It isn’t as if there are very few Native Americans on campus, so we wanted to do it for them.”

In between films, the audience was given a break to enjoy the food provided by ACE. Additionally, filmgoers could check out the posters advertising the nine clubs involved in ACE, including Black Student Union and Women’s Action Coalition.

“We have the posters outside as a sort of expo so that when the people watching the films come out for a break, they can see what clubs are in ACE and they can sign up if they want to attend them. It’s a nice boost for the clubs,” Zhu said. “We usually have a lot of people sign up, too.”

At the end of the event, ACE gave out free selfie sticks to their participants—although that won’t be the last time. For those who missed the ACE Film Festival, ACE will also be putting on Fashion Fest for a “night of Intercultural Fashion.”

“[Fashion Fest] is very similar to the Film Festival, except it is fashion, instead,” Zhu said. “[Both the Film Festival and Fashion Fest] are about showcasing each culture because ACE is like the hub for multicultural and special interest clubs. Anyone can come and enjoy themselves—from any culture—because that’s just what spreading diversity around campus is about.”

ACE’s Fashion Fest will take place at the Knight Spot on Feb. 20 from 5-7 p.m.

Pussy Riot protests Russian government through music

Russian punk band Pussy Riot released their latest music video “Chaika” on Feb. 3. Made up of 11 women in their 20s and 30s, Pussy Riot has gained widespread acclaim and notoriety as one of the most famous protest groups in Russia. Pussy Riot creates music that advocates for feminism and LGBTQ+ rights, as well as opposition to Russian President Vladimir Putin. In Russia, however, this freedom of expression is not tolerated. Three members of Pussy Riot were each sentenced to two years in a penal colony in 2012 as a result of a live performance of their music video called “Punk Prayer—Mother of God, Chase Putin Away.”

In response to the arrest, “Chaika” is named after Prosecutor General Yuri Y. Chaika—the man responsible for the imprisonment of the members. In a society where freedom of speech is forbidden, Pussy Riot’s efforts to condemn the Russian government’s injustices is commendable.

Time and time again, Pussy Riot continues to make the news. During an incident where two members were imprisoned, the band performed and danced in front of a cathedral in Moscow. The members were jailed upon charges of “hooliganism,” a term used to describe disruptive behavior by rioting, bullying and vandalism. So far, there has been no official reaction from the Russian government on the release of “Chaika.”

Chaika was accused of using his power to help his sons acquire a massive business empire while hiding their ties to the Tsapok gang. Pussy Riot’s music video sheds light on the corruption of the Russian criminal justice system, using Chaika as their spotlight. The video illustrates graphic images of people being hanged, waterboarded and burned with hot irons.

The name Chaika—meaning “seagull”—is represented by one of the band members wearing a bird mask. All of the band members were dressed in prosecutor uniforms as well. Throughout the entire video, Pussy Riot co-founder Nadezhda Tolokonnikova raps, “Be humble, learn to obey” and “You wanna get away with murder? Be loyal to your boss.” Lastly, Tolokonnikova is seen eating a golden loaf of bread—a Soviet symbol of corruption.

In an episode of the Netflix original series “House of Cards,” members of Pussy Riot made an appearance. Tolokonnikova, her husband Pyotr Verzilov and Maria Alyokhina are shown in the episode standing up to a fictional Putin—named Viktor Petrov—during a White House dinner where they dramatically pour their drinks on the floor in dissent. Much of the third season focused on the tensions between Russia and the United States—an accurate representation of the actual relationship. During an interview, however, Pussy Riot stated that “real life” Putin is much worse than Petrov on the show.

Russia has a long history of oppressing artists and their expression. Dating back to the 1930s when Russia was part of the Soviet Union, for example, Dmitri Shostakovich was forced to withdraw his Fourth Symphony for fear of being killed by Soviet leader Joseph Stalin.

Unfortunately, not much has changed in contemporary Russia—creating music that goes against the Russian government still continues to be illegal. Pussy Riot has rightfully stirred up much conflict for Putin, Chaika and the rest of the Russian government, however.

Quilting exhibit features nontraditional, intricate aspects of artistic medium

The Bertha V.B. Lederer Gallery held a reception for its first exhibit of the spring semester “Quilt: Traditional/Not Traditional” on Wednesday Feb. 3. The exhibit features quilts made from a variety of materials including fabric, paper, plastic and metal wire. According to Director of Galleries Cynthia Hawkins, the variety of media used in these quilts is exactly what she expected to see in the submissions for the exhibit.

“That’s why it’s called nontraditional,” Hawkins said. “We have unusual material that’s used like traditional cotton … and some are traditional cotton, but the patterning is entirely unexpected.”

“Quilt: Traditional/Not Traditional” features both invited and juried artists. According to the Geneseo website, it’s the school’s first quilt exhibition in eight years.

Professor of geography Irina “Ren” Vasiliev has some experience of her own with nontraditional quilting. “I’m a geography professor and a cartographer but I’m also an artist and I do sort of this kind of stuff,” Vasiliev said. “I have what’s considered nontraditional quilt maps hanging in my office that I made … and this is a nice collection of nontraditional quilts.”

Gallery coordinator senior Britina Cheng noted that she also prefers the nontraditional pieces. “I think the nontraditional quilts are often just a little bit more engaging,” Cheng said. “And the found objects ones with the plastic woven in—I can’t imagine the process they went through just to do it. I imagine the material might have been really flimsy to work with, or just not as sturdy as cloth and that it would be a really tedious job.”

While helping Hawkins to set up the exhibit, Cheng added that she was particularly cautious with Scott Andresen’s fragile, paper-thin found material quilts.

“When I was working with them, I felt I had to be careful … because I was like, ‘How do they put this together?’” she said. “It’s brown paper. What if I rip this? It might just ruin the entire integrity of the piece.”

Several of Allentown, Pa.-based artist Kathy Bachofer’s quilts are also on display. “I’m a programmer, but this is more my passion,” Bachofer said. “I hit 35 and I said, ‘It’s time to go back to school and do what I want to do.’”

Bachofer’s “Abstracted Eucalyptus” is a traditionally stitched quilt, while “Fragmented Structure 2” involved a digital printing process.

“[‘Fragmented structure 2’] was actually a log cabin quilt I made about 10 years ago,” she said. “I put it into Photoshop, just digitally manipulated it and I printed it out … and quilted it.”

Another found object artist—Rebecca Mushtare—used plastic bags and embroidery to send a message about consumer habits in her “Consumption” series. These provocative found object quilts look like paintings from a distance, but the stitching is revealed up close. A sign at the bottom of the particularly direct “Consumption Portrait #5 (Dialogue)” reads, “RECYCLE.”

“[Mushtare] is using [quilting] like a drawing, kind of a narrative,” Hawkins said. “It’s borderline abstract but it has figures in it.”

By contrast, the quilts of Jill Odegaard—who trained Bachofer while she attended Cedar Crest College in Allentown—resemble sculptures almost as they do traditional quilts.

“Even though Jill [Odegaard] is using a weaving method, it’s actually fabric sewn over wire,” Hawkins said. “So that you can mold it so that it has a three-dimensionality.”

In particular, Odegaard’s three-dimensional “Spaces Between” sets a new standard for artistic quilting.

“The way it plays with shadows in the background, it kind of gives it multiple layers with the way the light hits it,” Bachofer said. “There’s just such a depth here, just visually. Where does the quilt end? Does it just continue onto the wall? Is that just another layer?”

While many may view a quilt as a comforting blanket for winter nights, the quilters featured in “Quilt: Traditional/Not Traditional” bring a surprising amount of depth and variety to their art.

“I think that’s what I try to get to in most exhibits is the variety and how nuanced an idea about a certain medium is and how many forms it can take,” Hawkins said.

SPOTLIGHT ON: Alix Seskin

Communication major and art history minor senior Alix Seskin—also known as “Lix Rich”—combines her love for music and film in her job as a DJ. Seskin spends her weekends entertaining and hyping audiences up with her remarkable skills. Seskin explained that her career as a DJ started when she was a freshman spending weekends at the Inn Between Tavern. She noted that she didn’t like the music that they were playing, so she decided to take matters into her own hands. Seskin’s ex-boyfriend sparked her interest in house music and with that inspiration, she decided to purchase a DJ controller and software to begin creating her own music.

Seskin first got a job working at the IB, but after it closed, she started playing at The Statesmen after performing at a party there. In addition to The Statesmen—where Seskin currently works—she also covers some Geneseo Late Knight events at the Knight Spot.

Although she is now well-versed as a DJ, Seskin explained that her talent and passion have only been recently cultivated. “I wasn’t really into music, surprisingly, [during] my senior year of high school,” she said. “And then freshman year, it was just my boyfriend’s influence. Then, on top of that, trying to be my own person and trying to be my own person in college and then I found who I was … I found my niche.”

Seskin noted that her love of DJ-ing is due largely to the gratification she gets from performing and seeing crowd members enjoying the music she plays. “Personally, I’m never in it for the money … but I’m really into it for the music more than anything else,” Seskin said. “I like making people happy and … the high you get off of playing music for people that they love … it’s compensation enough.”

Although she has not really created many original songs, one of her favorite remixes is a mashup between Avicii’s “Street Dancer” and David Guetta’s “Louder Than Words.” Seskin’s favorite artists range from DJ Dillon Francis to Odessa and earlier Avicii. Generally, she prefers to listen to techno and deep house music. Her inspirations for her sound while DJ-ing, however, are a little different.

“When I was growing up, [my family] always listened to a lot of Michael Jackson, a lot of funk and a lot of Grateful Dead,” Seskin said. “So I was always growing up around nice guitar riffs and stuff like that, so I’ve really liked to listen to funk mixed with house.” Seskin specifically cited artist Griz as one of her current funk inspirations.

Seskin’s unique spin on DJ-ing with funk stems from a desire to celebrate both music and creativity. “I love using [funk in DJ’ing]. I think it’s the perfect song to get people up, but also dancing,” she said. “It’s actual music because people are playing saxophones and doing the drums and it’s not just technical DJ toggling.”

Seskin added that her favorite part about DJ-ing is seeing the reaction she gets from audiences. “You get such a high from just vibe-ing off the people at the bar and then playing what they want to hear,” she said. “You hear the screams like, ‘Oh my God, I love this song,’ and you’re just like, ‘Yes I did that, this is me.’ And it’s such a nice feeling, making people happy.”

Although she enjoys her hobby as of DJ-ing, Seskin plans on attending film school next semester for cinematography. She added that she hopes to combine her love of both film and music to possibly combine them by making music videos. “Music is such a great starting off point for everything I want to do in the future,” Seskin said.

Whether it will be through film or music—or both—Seskin’s distinct artistic presence will certainly continue to entertain audiences in her future adventures.

Local gallery illustrates unique perspective on Depression era

Located at the top of Murray Hill, Livingston Arts’ New Deal Gallery acts as a time capsule to the 1930s that allows viewers to revisit the Great Depression. Every inch is a testament to a time past; filled not only with colorful oil paintings but also relics of 1930s culture. When you first walk into the gallery, you are greeted by a cozy sitting room, complete with a sofa, record player and copy of Emily Post’s popular book Etiquette. On display this season is the “Changing Landscape: Architecture in American Scene Painting in the 1930s” exhibit. The exhibit is compiled of just a handful of the gallery’s 200 works from the Great Depression era.

President Franklin D. Roosevelt’s Works Progress Administration commissioned all of the works in the exhibit. WPA was a program that was devised as a part of FDR’s New Deal, which was meant to lower the unemployment rate in America and to help to counteract the effects of the Great Depression.

The goal of the “Changing Landscape” exhibit is not only to showcase how 1930s American scene painters “depicted their surroundings, including the architecture in landscapes,” but also to show the viewer the variety of “technique, style and the depiction of architecture within a changing landscape” in paintings that were all created in the same time period.

And the works do indeed represent vastly different places, seasons and activities. From Claude A. Patterson’s 1937 “Midsummer Day”—with its primarily blue-green pallet and yellow houses that stand out—to R. Emmett Owen’s 1937 autumnal “Old Mile Worthington,” the subject of these paintings are nature scenes and views of small river front towns.

The overall vibe of the gallery is peaceful and nostalgic as you walk through the three rooms, glimpse at paintings in their original wooden frames and read about artists whose day is long past, yet still preserved as a critical part of American history.

Although the paintings that are the focus of the New Deal Gallery were created during the Great Depression—which was no doubt one of the most difficult times that Americans have experienced—the paintings on the walls of the gallery do not depict hardship. Instead, they evoke a sense of quiet serenity and progress. For example, William Shulgold’s 1936 “New Jersey Farm” depicts a well-tended and thriving farm and Ray Kadowaki’s 1936 “Country Construction” shows men diligently building a house in the woods.

FDR’s intentions for the New Deal and WPA are well-achieved in the New Deal Gallery. The works and historical artifacts in the gallery accurately explain to modern audiences what daily life in 1930s America was like—despite the struggle over the Great Depression—and how the New Deal was instrumental in getting people back on their feet.

Without the help of the New Deal, not only would the artists featured in the gallery not have had the opportunity to keep painting, but we also would not have the chance to see 1930s America documented so beautifully.

Riviera showing of Mockingbird highlights timeless motifs

The Geneseo Riviera Theater presented the classic 1962 film To Kill a Mockingbird on Saturday Jan. 30. Robert Mulligan directed the film, which was an adaptation of Harper Lee’s Pulitzer Prize-winning novel. The Riviera Theater maintained its original 20th century feel after Don Livingston and Jim Sullivan purchased the property in 2013 and reopened it. This feeling has been especially preserved with the ornate designs on the walls and the theater’s classic movie nights. While viewing To Kill a Mockingbird, it felt as if you were traveling back in time—as if you were dropped in the 20th century and going to see a movie was a big deal.

To Kill a Mockingbird is set in a small town in Alabama during the 1930s. This is a story of the highly respected lawyer Atticus Finch—played by Gregory Peck—putting his career on the line when he agrees to represent an African-American man, Tom Robinson—played by Brock Peters—who is accused of rape. But more importantly, it is a bildungsroman told from the perspective of Finch’s daughter Scout Finch—played by Mary Badham.

As this trial proceeds, it becomes increasingly more apparent to Scout Finch that there is no way that Robinson could have committed this crime against Mayella Ewell—played by Collin Wilcox Paxton. It is particularly appalling when Atticus Finch makes it clear to the all-white jury that the injuries Ewell sustained were ones for which Robinson, who had an injured left hand, could not have done.

Scout and her brother Jem Finch—played by Phillip Alford—mature throughout the film into more understanding individuals. Boo Radley—played by Robert Duvall—is, at the beginning of the film, a kind of superstition; someone to fear. But by the end of the movie and after the trial has finished, Radley has transitioned from a sort of ghost to a human, in Scout Finch’s eyes.

To Kill a Mockingbird portrays the nature of good and evil within humanity. Scout and Jem Finch grow from innocent children who believe all people are inherently good to mature adults who recognize the prevalence of discrimination. They must incorporate what they learn from Robinson’s trial into what they understand about the world—including the existence of social inequality, which remains relevant even today.

To Kill a Mockingbird has enjoyed somewhat of a revival since the 2015 publication of Lee’s sequel Go Set a Watchman, which documented a different side of Atticus Finch and has proven to be controversial. Atticus Finch was shown to have conflicting views about equality and segregation, which changed the way some readers viewed the nature of his character. Many people were disappointed that the man whom they believed to be a sort of moral compass had different, harsher views than those he expressed in To Kill a Mockingbird.

This film is a must-see classic, dealing with issues still relevant today. To Kill a Mockingbird documents a loss of innocence, which is something that everyone who watches will be able to relate to.

“Grease: Live” lives up to expectations, incorporates modern flair

Fox aired “Grease: Live” on Monday Jan. 31 to an audience of 12.2 million viewers. I’ve been a fan of Grease since I was just three years old; needless to say, I was tremendously excited to see how this live show went. I was not disappointed. John Travolta was my first crush. I loved his swagger as Danny Zuko in the Grease film, as well as his believable dual personality and his good looks and charm. I was pleasantly surprised to hear that Aaron Tveit would be portraying Zuko in “Grease: Live” because I was familiar with him as both a Broadway and television actor. I knew Tveit had the looks and pipes to represent this character, I just questioned his ability to portray the Zuko persona.

I would say that Tveit did Travolta justice in his portrayal of Zuko. He wasn’t quite as convincing as a bad boy type because Tveit is a bit softer in nature, but it’s no easy task living up to Travolta’s original portrayal.

Julianne Hough—who played the gentle Sandy in “Grease: Live”—was a perfect fit because she seamlessly emulated a combination of apprehension and purity. I was impressed by her vocals because I had never seen her sing before, but she is no match for Olivia Newton-John, who played Sandy in the original Grease film.

Hough is best known for her ballroom dancing skills—her career took off as a professional dancer on “Dancing with the Stars.” Directors Thomas Kail and Alex Rudzinski did an excellent job incorporating her talent into this adaptation through an additional scene of Sandy nailing her cheerleader tryouts. This doesn’t happen in the movie—in fact, Sandy can barely do a cartwheel in the film—but it made sense to showcase Hough’s dance skills and to add a new flavor to Sandy’s character.

To me, Vanessa Hudgens stole the show in her portrayal of rebellious Rizzo. Hudgens wiped away my preconceived notions of her being a soft-spoken good girl based on her previous role in the High School Musical franchise. I had my doubts about Hudgens being able to represent a girl struggling to find herself while also acting like the leader of the Pink Ladies, but Hudgens surpassed my expectations. She was sassy and cool, all the while being fearful about the uncertainty of her future. Overall, I genuinely believed her character.

What was so impressive about Hudgens’ performance was the way she was able to nail it while dealing with a personal tragedy. Just hours before the show, Hudgens received the devastating news that her father had passed away after battling cancer. She performed the show in his honor and I feel that he would have been proud of her incredible performance.

“Grease: Live” was no easy show to execute. There were multiple stages—both indoor and outdoors—resulting in the cast having to take golf carts from stage to stage. Miraculously, the show went without any obvious glitches and the cast made smooth transitions from scene to scene.

The costume changes were impressive as well. Most notably, Marty’s transition from her nightgown to a fancy dress and back to her nightgown happened in only a matter of seconds in “Freddy My Love.”

The actors, stage crew and everyone else involved with the show were faced with a very difficult task in putting on “Grease: Live” and I think everyone collaborated to put on a wonderful live performance. I knew it was unrealistic to think that it would be identical to the Grease film, but my expectations remained high. I was definitely left feeling satisfied after watching “Grease: Live,” and if I’m being completely honest, there were even some tears shed as it brought me right back to my childhood.

Hinds’ debut album enthusiastic, dynamic

Spanish indie rock band Hinds released their first album Leave Me Alone on Jan. 8. The all-woman four-piece hails from Madrid and has played music throughout Europe since 2014. The band played numerous shows in America in 2015—including 16 shows at the South by Southwest festival—and have a few American dates lined up for their 2016 tour. Hinds is a perfect mix of grungy, yet fun; they are cute, yet intimidatingly tough rock. The opening track “Garden” is one of the best songs on the album, giving a strong introduction to the band’s style with its punchy guitar riffs. Singer and guitarist Carlotta Cosials starts the track with her attitude-filled and whiny—in a good way—vocals with, “How many secrets [do] you have that keep you smiling that way?”

Later in the track, Cosials and second singer and guitarist Ana Perrote enthusiastically scream together, “Show me the game/show me the rules again/because I’ll play it, I’ll play it, I’ll take it now”—making it irresistible to sing and dance along to this song in your bedroom.

The track “Castigadas En El Granero” has the best chorus on the album. Perrote and Cosials sing back and forth, with Perrote singing about the cows and corn in the granero—meaning barn—and Cosials—in her effortlessly sultry voice—responding, “I know you’re hearing that voice … a smoking roll… daddy let me go… oh father let me go.” The track is a perfect rock ‘n’ roll hit reminiscent of The Vaccines or punk band Jawbreaker Reunion.

The next track “Solar Gap” is where Hinds really shows its musical and artistic talent. The song is two minutes of dreamy instrumental, making you feel like you’re floating on a cloud. The track’s emotional simplicity makes it stand out from the upbeat tracks on the album.

My favorite track on the album is the playful “Bamboo.” Bassist Ade Martín starts off the track before an explosion of guitar and drums. Once again, Cosials and Perrote choreograph their vocals, bouncing from Cosial’s coy, “I want you to call me by my name when I am lying on your bed” to Perrote’s, “How could I show you without looking freaking mad/that I am not always gonna be around?” The song feels familiar and relatable while still being naturally fun and quirky.

The track “And I Will Send Your Flowers Back” feels like a bittersweet complement to “Bamboo.” It carries an air of melancholy from lost love as the pair sings, “And I’ll send your flowers back/What goes around comes around.” If “Bamboo” tells the story of a flirty new fling, this track is the ending chapter of the relationship. It feels raw and honest—almost like your best friend giving you tough advice after a break-up.

The last track “Walking Home” ends the album on an upbeat and positive note. The dynamic instrumentals—especially drummer Amber Grimbergen’s catchy beat—make this track unique and original.

Hinds feels down-to-earth and easy-going, yet you can tell that they take their music very seriously. It is such a pleasure to discover female musicians who are easily on their way to global success.

Children’s book backfires after depicting misconstrued slave life

Due to public backlash, Scholastic has halted publication of its controversial children’s book A Birthday Cake for George Washington, which was released on Jan. 5. The book—written by Ramin Ganeshram and illustrated by Vanessa Brantley-Newton—tells the story of George Washington’s slave Hercules, who is in the midst of baking Washington’s birthday cake. Told from the perspective of Hercules’s daughter Delia, the story has garnered criticism from its depiction of slavery. The illustrations of smiling slaves—all working for Washington—suggests that they enjoyed their work.

Ganeshram reminds readers that her book is based on real events. Hercules and his daughter Delia were, in fact, real, and Washington was their master. The book neglects to mention, however, that rather than enjoying his work, Hercules escaped from Washington’s estate on Feb. 22, 1797—Washington’s 65th birthday. Additionally, Delia and her siblings were never freed and lived the rest of their lives in slavery.

Despite criticism, some individuals continue to stand by the book. For example, vice president and executive editor for Scholastic Trade Publishing Andrea Davis Pinkney said that Hercules and Delia’s joy is not about slavery, but in “what they created through their intelligence and culinary talent.” The National Coalition Against Censorship also released a statement in which it asked critics of the book to reconsider whether its withdrawal is really a “win.”

Pinkney further noted that the book provides parents and educators with “a way in” to discuss the issue of slavery with children. “A Birthday Cake for George Washington does not take slavery’s horror for granted,” Pinkney said. “On several occasions, the book comments on slavery [and] acknowledges it.”

The book, however, fails to recognize the true brutality of slavery in the United States. The truth of slavery is a difficult thing for children to understand in the first place. With contradictory illustrations of slaves happily baking for their master, the book will only further confuse children.

Although the author and illustrator may have meant well, the book was clearly misguided in its execution. Many individuals took to the Internet to express their distaste for the book—responding with #slaverywithasmile—and helping to bring the institutional implications of A Birthday Cake for George Washington to light.

Many have criticized the children’s book for being a palatable portrayal of slavery for white children so that they don’t have to face the true reality of slavery. Others have drawn attention to other children’s books that depict “slavery with a smile”—such as A Fine Dessert by Emily Jenkins—while recommending books that show slavery as Hercules and Delia truly experienced it, such as The Invisibles: The Untold Story of African Slaves in the White House by Jesse J. Holland.

A Birthday Cake for George Washington is more than just a children’s picture book. It is yet another way in which the history of the mistreatment of black Americans has been watered-down or rewritten. Giving children a book that boils a complex and important issue down to a simple and untrue image won’t help to educate them. Instead, it continues to perpetrate false perceptions about slavery and allows continued complacent behavior in the face of the racism that is still very much present in America today.

British exhibit examines taboo subject

In today’s day and age, death is a topic that is hesitantly discussed. Considered to be a bleak and depressing matter, many people are uncomfortable talking about something so inevitable. The Bristol Museum and Art Gallery in England provides a fresh, enlightening perspective to the subject of death, however. In its new exhibition called “death: the human experience,” the museum displays objects from around the world that relate to death in different cultures. The exhibit also features an examination regarding the controversy surrounding euthanasia.

The exhibition is divided into five categories: symbols of death, stages of death, attitudes to death, human remains and science and ethics. One of the key displays is the Ghanaian fantasy coffin, shaped like a lion with luxurious lining on the inside. Ghanaian fantasy coffins are hand crafted by specialized carpenters and are considered works of art.

In Ghana, the Ga people are famously known for their elaborate funerals. The Ga believe that when one dies, their life continues on in the next world. They also believe that ancestors have the power to influence living relatives. In order to ensure that they leave on good terms, the Ga people hold extravagant funerals honoring their dead. The stunning orange coffin on display is certainly a highlight of this exhibition.

As mentioned earlier, an important matter that this exhibition covers is the issue of euthanasia. Many European countries such as the Netherlands, Belgium, Ireland and Luxembourg have legalized human euthanasia. England is currently contemplating passing a “right to die” law, based on the principle that people have the right to take their own lives.

The exhibition displays the mixture of drugs that are given to people when they are ready to die, accompanied by a square of chocolate to get rid of the taste. Videos of people talking about their views of euthanasia are displayed on the wall and a reflection room is provided to give people a quiet place to ponder their thoughts on the matter.

An exhibition about death will inevitably have more graphic displays alongside the more informative and beautiful ones. In order to shield the more sensitive eyes, these displays are placed behind closed doors. The displays deal with topics such as premature deaths and ritual murders—certainly not topics for the faint-hearted. Giving people the choice to view displays that are potentially upsetting enables the exhibit to omit certain triggering aspects without taking away from the exhibit.

The last display in the exhibit pokes fun at the entire topic of death. Titled, “Reincarnation Study,” it features professor and artist Don Celender asking the question, “In which form would you like to return?” Humorous answers such as, “Blonde with a high soprano voice,” end the exhibit on a lighter note.

Since its opening weekend in October 2015, the exhibit has attracted approximately 36,000 visitors; proving that “death: the human experience” is hugely successful in turning a dark subject matter into something to reflect upon. Furthermore, it recognizes the diverse traditions that accompany death.

In hopes of encouraging more open discussions on the subject of death, the exhibition will continue to show until March 13.

Cymbal app grants new space for sharing music

With the tight grip that cell phones and technology have on our society, social media applications are more popular than ever. Additionally, the desire to cash in on the creation of the next Snapchat or Instagram is higher than ever—Snapchat co-creator and CEO Evan Spiegel and Instagram CEO Kevin Systrom each have a net worth well over $100 million. This desire to create the “next big thing” and profit handsomely has spurred a huge increase in the production of apps. One such individual hoping to capitalize on this movement is Gabriel Jacobs, who, along with Amadou Crookes and Mario Gomez-Hall, launched an app called Cymbal in spring 2015. Cymbal was created when all three were undergraduates at Tufts University and is now gaining mainstream traction.

Cymbal is an app that allows the user to post one song—your “Cymbal”—at a time, which can then be seen by all those who follow you. Along with their personal Cymbal, users are able to see the postings for all the people who they follow and they can listen to, like and save other users’ Cymbals. Currently, the app has integration with music apps Spotify and Soundcloud, allowing users the option to search the catalogs of these apps to find almost any song out there.

Cymbal is fairly straightforward with three main components: a music search page, a personal profile page and a homepage where users can view others’ Cymbals. This simplicity resembles that of Instagram, but instead of sharing photos, users share songs—represented by corresponding album artwork on the app. Cymbal’s basicness makes it easy to use; avoiding the clutter and learning curve often found in other social media apps. Cymbal also gives users the option to connect with their Facebook and Twitter accounts, making it simple to find and follow your friends.

Many verified accounts have joined Cymbal since its release in spring 2015, most notably rapper Pusha T, music reviewer Anthony Fantano—also known as The Needle Drop—and record label Def Jam—all of which regularly share music with the app. There are also many accounts dedicated to posting music from different genres such as hip-hop and indie, allowing users even more avenues to discover music.

When a user posts a song, you are also able to see who else posted the song; then you can get recommendations on who to follow based on that song. If you are the first person to post that Cymbal, you get a trophy and your profile will pop up as the first person that posted the song whenever someone else posts the song. This feature adds to the social aspect of the app by allowing users to connect with people on the app who they may not know, but who share a common musical taste.

Cymbal’s premise as a place to share, discover and interact with friends and favorite musicians about music makes this an appealing new addition to the world of social media. As it was released under a year ago, the app is continually being updated to fix issues and to add new features. With a growing community of users and interest from companies that have also invested in Snapchat and Yik Yak, it seems that Cymbal is on the path to success.

Cymbal is currently available on the Apple App Store and is beta for Android, meaning it will soon be available for that platform as well. With Cymbal, you don’t have to tell your friends that you heard that song before it was cool—now you can actually prove it.

“Nine” offers unique spin on creative process

Geneseo’s department of music presented an impressive performance of the musical “Nine” on Friday Jan. 22 in Wadsworth Auditorium. Director and choreographer professor of English and music Melanie Blood opened the performance with a few words in remembrance of seniors Kelsey Annese and Matthew Hutchinson. Blood stated that those involved with this musical were asked if they still wanted to continue with their performance of “Nine” and the group decided that it would be best if the show went on. “We hope our art can be healing for our Geneseo community,” Blood said.

Maury Yeston originally wrote “Nine” in 1973 and Arthur Kopit later adapted it into a book. The story is based on Federico Fellini’s Academy Award winning film 8 1/2. The original Broadway production opened in 1982 and won five Tony Awards, including Best Musical.

“Nine” follows the creative imagination of the filmmaker Guido Contini—played by junior Jordan Bachmann—as he struggles with writer’s block while trying to write a new film at a Venetian spa in the early 1960s.

Besides facing the pressure of this deadline, Contini struggles to maintain a good relationship with his wife Luisa Contini—played by senior Alexandra Salerno—and to let go of other women with whom he has had affairs, including Carla Albanese—played by junior Beth Ohman—and Claudia Nardi—played by senior Samantha Clowes.

According to Fellini, people live on three levels: “the past, the present and the conditional—the realm of fantasy.” This musical clearly exemplified these three levels. At first, it was with ease that these three were separate, but as the musical progresses—along with the pressure on Guido Contini to create and finish his new film—the three levels become more intertwined.

Geneseo’s department of music included the inventive and creative use of video projected onto the back of the stage in order to enhance the distinctions existing between these three levels and to better portray Guido Contini’s world of fantasy.

Another goal of this musical was to create deep and compelling female characters; characters that don’t rely on their relationships with Guido Contini to define who they are. One striking example of this is when Luisa Contini recognizes that her husband is suffering from creative block, which she feels she is unable to help him with. Luisa Contini knows of her husband’s affairs and calls Nardi, thinking that since she can’t seem to inspire Guido Contini that maybe one of his mistresses can. This shows the great extent to which Luisa loved and cared for Guido Contini because she was able to, in a sense, “let him go,” since that was what would benefit him the most.

As Nardi then visits Guido Contini, he tells her, “You were my inspiration.” She replies, “I wasn’t your inspiration. That was always you.” This scene instills a renewed sense of confidence in Guido Contini.

At the end of the musical, Fellini’s three levels grow even more intertwined. When Guido Contini sings “Nine/Long Ago” with his younger, 9-year-old self, the tension that has been rising throughout the play due to Guido Contini’s struggles against the pressures of time as he nears the deadline for his film seem to dissipate. He appears to accept the passage of time and allows his younger self to conduct the final song.

This musical offered a very interesting take on the creative mind and how that mind never stops working and creating—sometimes even distracting one from reality. Those involved with “Nine” offered the Geneseo community a wonderful, thought-provoking performance which examined things that we all face: the tyranny of time and how to discover the line between reality and fantasy.

Panic!’s sound evolves on new album

Fans of Panic! at the Disco are well aware that the band’s sound has evolved dramatically over its decade of existence. For instance, the folky ambiance of their sophomore album Pretty. Odd is a great departure from their pop-punk debut A Fever You Can’t Sweat Out. Panic! at the Disco has also seen many members come and go. Notably, the band’s last album Too Weird to Live, Too Rare to Die! is the last in which drummer Spencer Smith appeared, leaving front man Brendon Urie as the only remaining original member of the band.

Because of the loss of Smith and the previous album’s disappointing lyrics and forgettable songs, I was apprehensive about the release of their fifth studio album Death Of A Bachelor on Jan. 15. I was pleasantly surprised, however, by Urie’s complex and memorable lyrics, vocal diversity and catchy instrumentals.

The album starts off strong with “Victorious.” It sets the mood for the rest of the album, building the feeling of power and excitement on a fun night out with lyrics like, “We gotta turn up the crazy/Living like a washed-up celebrity.”

The second track “Don’t Threaten Me with a Good Time” doesn’t disappoint, either. Beginning with a sample of The B-52’s “Rock Lobster,” its lyrics tell a story of waking up after a night of debauchery. The unique lyrics and explosive chorus are strongly reminiscent of the band’s debut album.

In the song “Emperor’s New Clothes,” Urie outdoes himself. The catchy line “finders keepers, losers weepers” that repeats throughout the track is sure to get stuck in the listener’s head. The chorus brings to mind ghosts and ghouls from “This is Halloween” from The Nightmare Before Christmas. It’s an interesting surprise that fits the song’s underlying dark vibe perfectly.

The album’s title track “Death of a Bachelor” immediately hooks you with its strong bass line. This song is also where Frank Sinatra’s influence on the album appears most clearly. Urie pays homage to Sinatra’s jazzy croons while simultaneously displaying his own broad vocal range. From a lower intonation on the verses, he seamlessly shifts into a falsetto on the chorus. In typical Panic! at the Disco fashion, the song’s bridge features a synthesized electronic pulse that complements the classic feel of the rest of the song.

One of the album’s most memorable songs is “LA Devotee.” Starting off with a catchy drumbeat, this track is one to dance to and one that could definitely be found playing on the radio. It’s more exciting and engaging than many of Panic! at the Disco’s attempts at accessible pop in the past both in terms of lyrics and beat.

Death Of A Bachelor is, as all of Panic! at the Disco’s albums are, an experiment—and a successful one at that. Even if the last album left you disillusioned, I would recommend giving Panic! at the Disco another chance. I would even go as far to say that beyond warranting a simple nostalgic listen, Death Of A Bachelor has at least a few songs that you’ll fall in love with and have stuck in your head for the next few weeks.

Bowie’s death untimely, leaves lasting inspiration for future musicians

My introduction to David Bowie’s music was rather unconventional. I was in middle school and had recently started listening to Nirvana. Like many Nirvana fans, I was drawn not only to the rawness of Kurt Cobain’s voice, but also the pure emotion that you could feel in the band’s music. Soon after I started listening to Nirvana, I came across their MTV Unplugged in New York album. Cobain is at his purest on that album and the one song that really stuck out to me was “The Man Who Sold the World.” Although the lyrics seemed like gibberish to me, the song was undeniably beautiful and I was instantly hooked.

At the end of the song, Cobain references that it was a Bowie song, so I figured that I should listen to that original version. Once again, I was blown away. Though my preferences in music have changed many times since middle school, I have always had Bowie’s songs on my “go-to” playlist.

David Robert Jones—better known as David Bowie—passed away on Jan. 10 after an 18-month battle with cancer. Just two days prior, on his 69th birthday, Blackstar—Bowie’s staggering 25th studio album—was released.

In typical Bowie fashion, the album was very concept-driven. With Kendrick Lamar’s To Pimp a Butterfly among its influences, Blackstar was a jazzy, dark album that garnered critical praise with its release.

After Bowie’s death, Blackstar gained a deeper meaning. Lyrical references to death and what comes with it are scattered throughout the songs. Death is a common motif in music, but few artists come close to what Bowie achieved with this album.

Blackstar not only explores the notion of death, but tackles it head on. This gives the album a feeling reminiscent of “Hurt” by Johnny Cash, a song he recorded as he was dying. It speaks volumes to Bowie’s love for music that he would spend the last 18 months of his life recording this album.

Bowie was a perfectionist with his music. In a 1993 interview with Bryant Gumbel, he summed up his work ethic: “If I don’t put my all into something that I’m writing, I inevitably feel regrets about it.” This attitude and his view of music as more than just a career allowed Bowie to thrive. Twenty-five studio albums is an impressive feat, but what makes that even more impressive is the sheer amount of good music on each of his albums. He never became stale or boring.

While his songs alone are enough to make Bowie a music legend, he was much more than that. Bowie was famous for his chameleon nature and the flamboyant way he often dressed and acted. He was always himself through and through and never changed to appeal to people.

Bowie illustrated to generations of people that it is acceptable to be your authentic self. His influence in this regard can be observed in musicians like Madonna and Lady Gaga, whose personas are as integral to their music as it was for Bowie.

Bowie’s influence can be seen across the musical spectrum, but to me, the most important of his influences lives within the music of Cobain. Through Cobain’s heartfelt cover of “The Man Who Sold the World,” I was able to find Bowie and all the beautiful music he created. The best part about music is that it allows the artist to live on forever through it.

Thankfully, Bowie left us with an incredible catalog of songs to remind us of his diverse creativity and is sure to inspire generations to come.