GLOBAL WARMING—JUST HOT AIR?
The Politically Incorrect Guide to Global Warming and Environmentalism - Christopher C. Horner
3/10
by Katie Young
For those of you who hopped onto the Sabres bandwagon, there’s a new one for you to join—global warming. That’s right kids, embracing the environment is no longer restricted to Birkenstock-wearing tree-huggers. Caring about the devastating effects of carbon dioxide emissions and deforestation is now officially cool. But Christopher C. Horner wants to set all of you “greens” and “alarmists” out there straight. In his book, The Politically Incorrect Guide to Global Warming and Environmentalism, he provides numerous arguments to support the assertion that global warming is, in fact, a myth.
Horner says that global warming isn’t occurring and, if it is, man is not to blame. Global warming was made famous by politicians who wished to control the economy by controlling energy resources. Horner writes, “a naturally driven climate is seized upon to cow a population with fear by governments seeking to expand their powers and businesses itching to profit from Man’s gullibility.” Melting icebergs and frequent, deadly hurricanes are just part of the wave-like climate changes that occur over thousands of years. He goes on to claim that the debate about what actually causes global warming never occurred. Instead, scientists quickly came to a general “consensus.” Therefore, according to Horner, it is still unknown if carbon dioxide emissions are actually responsible for increased temperature changes.
Horner’s economic and political arguments are stronger than those dealing with sciences. In writing about species extinction, he asserts that this occurrence has been inflated, and that many facts are actually guesswork. He fails to address topics such as the rates of deforestation or water pollution, two problems which are certainly plaguing our environment.
One of the people Horner bashes most is former Vice President Al Gore. He accuses him of misleading his supporters, leaving out pertinent facts in his arguments, and having “gone Hollywood.” While Horner criticizes Gore’s rhetoric, he’s guilty of doing the same thing—presenting certain facts in an attention-grabbing fashion to back up his own argument. While not quite as annoying as everyone’s favorite Republican enthusiast, Ann Coulter, it is just as flashy.
Horner’s book emphasizes that legislation such as the Kyoto Protocol (an international amendment to reduce greenhouse gas emissions) is unattainable, and would be detrimental to the economy.
Invested too much in the economic aspects of the situation, Horner tends to ignore the plethora of scientific studies on global warming and delayed environmental conservation, all of which are current and burning issues.
ESPIONAGE AND CAMOUFLAGE
Breach
7/10
by Shane Frasier
With the film season’s low point in gear, it’s hard to find a movie that is halfway decent. Studios know that winter is a natural deterrent for leaving the house, so the movies they release are less-than-mediocre affairs. However, it’s good to know that movie makers are willing to take a risk by releasing respectable movies this early on in the year. Breach is one such venture.
Breach is the true story of the capture of America’s most notorious double agent, Robert Hanssen (Chris Cooper). Hanssen sold secrets to the Russians during the Cold War, which compromised many lives and cost the US government billions of dollars. The story follows Eric O’Neill (Ryan Phillipe), a budding government surveillance operative with dreams of becoming an FBI agent. Once he is pulled from duty, O’Neill is told he is to work for Hanssen, a job that eventually turns into spying on him. As the story continues, you witness a truly depressing change in Hanssen. He’s a villain, but not one of those that you see in Bond films. He’s human, and though it isn’t always easy to see, he does have a good side. You can’t help but feel some pity towards him once you’ve seen and heard his life story.
There are several things that make Breach worth your while. For one, Chris Cooper gives one of the flat-out best performances of his career (rivaling his appearance in Adaptation, for which he won an Oscar). He provides multiple layers for his character to embody, which leak Hanssen’s true pain and anguish. It’s not easy talking about Oscar buzz this early on in ‘07, but Cooper gives it his all, and it’s a performance that would have been a given for the Best Actor race this year. Laura Linney also delivers a terrific performance as Phillipe’s boss, providing strong versatility for her character. Director Bill Ray (who did 2003’s Shattered Glass) does a good job of creating tension in the right spots, and the pace at which these parts are held, combined with Cooper’s performance, makes for some truly nail-biting scenarios. What really eclipses the entire film is the final ten seconds. For a film not meant to be in the horror genre, they sure did a great job of creeping you out right before you leave the theatre.
Breach does what many espionage films have done before, but overwhelms its predecessors with Cooper’s outstanding performance. Despite some boring performances from Ryan Phillipe and Caroline Dhavernas (playing Phillipe’s wife) and some hokey, boilerplate family drama, Breach winds up a winner. If you’re in the mood for a government thriller, or just want to see a strong performance and an ending that gives you the heebie-jeebies, Breach will do you right.
THE GIRL ON FIRE FLICKERS OUT
Factory Girl
5/10
by Tara Sullivan
After all the media coverage about Sienna Miller’s supposedly amazing portrayal of Andy Warhol’s most tragic muse, Edie Sedgwick in Factory Girl, I was, to say the least, incredibly intrigued. As a fan of both Warhol and the ‘60s art culture he emerged from, I was excited to see the drugs, sex, and Campbell’s soup cans light up on the big screen. Although a little hesitant about the fact the gamine Brit Miller would be playing the troubled socialite, I still thought the film had a chance. Boy, was I mistaken.
A little background about the film’s main character is vital to understanding any of it. Believe me, it won’t ruin anything. Edie Sedgwick was a young socialite from a troubled background. Her closest brother hung himself and her father was sexually abusive. Upon walking in on her father having an affair with another woman, she tells her mother. Instead of getting her help, Edie is quoted on Warholstars.com as saying, “They gave me so many tranquillizers I lost all my feelings.” Edie lands in an institution at age 16 for anorexia, which she struggles with her entire life. She ends up at Cambridge Art School but leaves shortly thereafter for New York. The rest is history—kind of.
It is hard to make a good movie about someone so elusive, and Edie was just that. She personifies the “live fast, die young” lifestyle which is tricky to make a cohesive film about. Miller does look strikingly like the actual Edie, but throughout the movie, it is obvious something is missing. The real Edie (you can go to Girlonfire.com to see videos) had a certain something that Miller doesn’t get quite right. Guy Pearce’s depiction of the voyeuristic, cruel genius Warhol, however, is dead on. He nails the blank, listless stares of the artist and showcases all of his eccentricities.
Despite some marginally good acting, the movie fails. Trippy, speed-fueled parties at Warhol’s Factory are mere blurs on the screen, and although Edie was a star of Warhol’s movies, little about them is explained or revealed. The main focus of the film is Edie’s descent into drug addiction; I’d say she is either doped up or nude nearly 75 percent of the 90-minute length. Edie’s infamous affair with the legendary Bob Dylan is merely glossed over. Dylan threatened to sue if his name was used in the film, so his character, played unsuccessfully by Hayden Christensen, is simply referred to as “Musician.”
Unless you have an extensive knowledge of the mid-‘60s socialite and art culture, Factory Girl will just seem like a disconnected and muddled depiction of a messed up girl. Actually even if you do know about Warhol and his entourage, the movie will still disappoint. It’s a damn shame that a potentially great idea for a film was left in drug induced shambles.
BAD TO THE BONE
Ghost Rider
3/10
by Matthew Dashkoff
In today’s sad, sad world, there is really only one truth we can hold on to: a flaming skeleton riding an out-of-control motorcycle is still really cool. Now, give that same skeleton the power to turn people’s brains to molten mush and seduce babes with huge racks, and it’s starting to sound like my longtime fantasy. You would assume that a film like Ghost Rider, which features all of the above, would meet a man’s lowly expectations, but Mark Steven Johnson’s production was easily the worst I’ve ever seen.
Based of the popular Marvel comic, the newly-released Ghost Rider not only spoiled my dream forever but also solidified my theory that Nicolas Cage is a giant, talentless clown. We’re talking about the same guy who starred in World Trade Center last year. First he takes part in a pathetic attempt to recount what was the biggest tragedy on American soil, and then he plays the role of an angry skeleton gone ablaze. What a pretentious bastard.
The Ghost Rider, as the opening sequences reveals, is a fearless cowboy chosen every few hundred years by the devil to perform his evil deeds. In this case, Johnny Blaze, a world-famous motorcycle stunt performer, is tricked into selling his soul and is damned to morph into a burning skeleton in the presence of evil to collect on the moral debts of the wicked. The plot of this movie features a melodramatic Blaze, sore from when the devil deceived him and killed his dad, learning to control his new powers and old fears by transforming himself into a merciless killer hell-bent on exterminating all that is corrupt and evil in his path. When the devil’s son tries to take over Earth (what a novel concept), Blaze is forced to seek advice from a former Ghost Rider. But once he is reunited with his old flame, the sexy Eva Mendes, Blaze has a hard time balancing his duties as a bounty hunter with his desire for the newly rekindled love.
Basically, this movie fell to every familiar stereotype of a bad film: cheesy characters, vague, pointless themes, ludicrous and unnecessary plot twists, and a similarly depressing finale. There is no doubt the special effects were impressive, and the Ghost Rider’s voice was definitely badass, but the casting and script were so overwhelmingly pathetic I nearly walked out.
So, after being disappointed four minutes in, there was really only one thing that could have kept me awake other than the guilt I would have felt from sleeping through a nine dollar movie—Eva Mendes’ full, tan, perky breasts, which stole the spotlight in nearly every scene. They may have been semi-clothed, but any man will agree, all it takes is a nice pair to keep you awake and attentive.
I give Ghost Rider a three out of ten: one for the flaming skull, and one for each of Eva’s knockers.
UNCHAINED MELODY
Karaoke Fridays - Tudor Lounge
10/10
by Jason Bauers
As much as I enjoy the city of Buffalo, I will freely admit that options are somewhat limited as far as weekend entertainment is concerned. I am sure that many of you have often found yourselves asking, “What am I going to do this Friday night?” Likewise, I am equally sure that you have found yourselves answering along the lines of “get drunk.” Yet even intoxication tends to lose some luster after a while, so why not spice up your drunken Friday nights with a healthy dose of karaoke at the Tudor Lounge?
Located on the corner of Franklin and W. Tupper, the hole-in-the-wall that is the Tudor Lounge looks grossly out of place nestled between two high-class restaurants. Do not let appearances fool you! There is certainly more fun to be had belting out your favorite Foreigner tune inside of the Tudor than elegantly dining at Rue Franklin, the French restaurant next door.
The festivities usually begin around midnight, and run until 4 a.m., but you would be best advised to show up between 12:30 and 2:30, the peak fun hours. If you are planning on singing, be prepared for a long wait. When the bar is packed, it can take as long as an hour to get your name called. However, your moment in the spotlight tastes that much sweeter when you’ve waited all night for it. It is also highly unlikely that you will be able to sing twice, so anyone looking to overindulge him or herself in narcissism may want to find another karaoke bar.
The size of the crowd fluctuates from week to week. Although a dead bar lacks the energy of a packed room, it enables the would-be karaoke performer to sing more frequently.
The bar features an extensive book of songs, in which even the most casual music fan is bound to find something worth performing. The drinks are also relatively cheap, averaging around $3, if you’re interested in that kind of thing. The bar even has Southern Tier’s IPA on tap, a perfectly acceptable beverage for the snooty beer connoisseur.
Not the performing type? Do not fret, as being an observer can be just as enjoyable. There are characters abound at the Tudor Lounge who consistently provide first class entertainment. Whether you are witnessing an avant-garde rendition of R.E.M’s “Losing My Religion” performed by a fifty-something businessman, or an impassioned performance of Alanis Morissette’s “You Oughta Know” as sung by a hammered karaoke regular, rest assured you will leave the Tudor Lounge with a smile on your face.
EMERGENCY FLOTATION ALBUM
Do Make Say Think - You, You’re a History in Rust
6/10
by Elina Vaysbeyn
Do Make Say Think is a strong band name. It implies force and action, improvisation and ingenuity. It’s unfortunate that their album, You, You’re a History in Rust, could not deliver the same power. Do Make Say Think originated in Toronto in the mid-‘90s. They have toured in the United States and Europe and have developed quite a following. I expected a really groundbreaking release based on their underground reputation, but what I heard wasn’t exactly monumental. The record is made up of post-modern instrumentals, with none of the deconstruction.
The first track, “Bound To Be,” began with light percussion and high chords placed abstractly throughout. The guitar strumming sounded like vibrations that slowly faded away into oblivion. It was airy and light, almost like a buoy, swaying slowly this way, then that way; nice and relaxing. “A With Living” was the only track that incorporated lyrics, which automatically makes them a crucial part of the album. The soothing chugging train rhythm led us through the beginning. The chords became deep and more breathy as a low-pitched voice sang along to them, Tom Waits-esque. It was a very melodic production interspersed with taut string sounds, like a harp pulled too tight.
“The Universe!” kicks some energy into an otherwise mellow, acoustic, and airy sequence. It’s just like it sounds, with an exclamation point after every beat. Every note was emphasized by the strength of its decibel. The execution of “The Universe!” was interesting. It sounded like a siren or an alarm, but one in the distance, not blaring from outside your window. It incorporated sounds that had a sense of urgency.
“A Tender History of Rust” was quite similar to “Bound To Be” because of the dreamy expansion and contraction of the instrumentals. They all blended well together, but that may have been part of the problem. The songs started to sound like one another, morphing into one long orchestral performance with varying paces. “Executioner Blues” actually wound up into a high pitched buzz, like a swarm of threatening bees, and then descended into a gloomy, static-filled, underwater tunnel. This watery tunnel amplified and distorted the music all at once.
Most of these songs are light enough to be floatation devices. The concept behind this kind of music is great, but sometimes the theory doesn’t manifest itself in its creation. I think my initial excitement about You, You’re a History in Rust was thwarted by my inability to tell the songs apart. Instrumental groups have to work extra hard because they don’t have lyrics to get their point across. That effort is important, and appreciated, but the end product should stand for itself.
NOT A TERRORIST THREAT, BUT A LYRICAL VET
Gr& Phee and Rhyson Hall - Detained @ the Border
10/10
by Victoria Burhans
Ever since President Bush introduced his plan to tighten border security with Mexico, or even as far back as the post-9/11 security crackdown across Canada, the government has been giving people a difficult time when it comes to crossing any border. Now, imagine if Canada adopted these harsh conservative methods. With their new concept album, Detained @ the Border, Rhyson Hall and Gr& Phee rap about what it would be like if the Peace Bridge wasn’t so peaceful and if US Anti-terror laws applied to all borders.
Appropriately launching the album with “Do You Have Anything to Declare?,” Hall and Phee entertain us with a humorous reenactment of their border woes. Contrasting these two bomb-ass MCs with a nasally, assuredly white patrolman, the song offers up a scenario all UB students are familiar with. Questions like, “Do you have anything to declare?,” “You both from the US?,” and “How long do you plan to stay here?” are followed by powerful rhythms with industrial drumbeats. The lyrical dialogue goes sour, with the officer accusing Hall and Phee of carrying guns and smuggling drugs into Canada, to which they reply “Bringing trees to Canada is like sand at a beach.”
The next border that Rhyson Hall and Gr& Phee tackle is that between making it big and working for minimum wage. Teamed up with OEN Garde, “W-2” is an easily accessible Buffalo anthem. “And to the tick-tock and you stop / everyday we a slave and we punch the clock / tock-tick and you don’t quit / I ain’t trying to be homeless or broke as shit” is the hook that is repeated in between each artist’s personal experience working as janitor, construction worker, or any job that’s less than desirable. On a similar note, “Still Raw” is an inner conflict with the rappers. Hall declares, “I should have been a statistic, but I ain’t good at math / Try and find the straight and narrow, walking a crooked path” as the back-track is scratched by a pro. Mixing battle rhythms with the chaotic scratching, it’s hard to not bounce your head to this one.
“Code Brown” ends the album on the same note it started. Harassment and racial discrimination are at the center of this song featuring Zone de Northstar, OEN Garde, and Bogustice. Though the sound is much different, it’s hard to not compare this to Jay-Z’s “99 Problems” because of the corny sounding police officer (read: “pig”) harassing the MCs. The warrior trumpets, light piano, and massive beats string the song along, which ends with a punch line from a Daily Show skit.
Detained @ the Border is full of tight tracks and genius lyrics. Each song will find you bobbing your head and absorbing the sound. The concept album is redefined, with each song being about the trials and tribulations of being on the edge. Hall and Phee’s lyrical skills are refined, making for a great album.
GIMME THE LOOP
Keller Williams - The Town Ballroom
10/10
by Charles Wiff
Are you ever standing in the crowd at a show, staring at the performers onstage, thinking, “Hey, I could do that! What’s the big deal?”
That thought didn’t cross a single mind last Thursday, when one-man-band Keller Williams brought his unique style of music to a not-quite-packed Town Ballroom. The crowd was already pumped after witnessing the epic second period battle royale from the Sabres game projected onto a big screen, and both spirits and a number of patrons were high as the screen retracted to begin a night few Keller initiates would forget.
It was my first time seeing Keller, but I’d been listening to his live material for some time. Let me assure you: seeing is believing. For the first ten minutes of the show, Keller didn’t appear to be much more than a white guy with an acoustic guitar. His complex strumming and chord patterns were impressive, but listening to the same set of strings all night would get a bit tiring.
Thankfully, Keller had some tricks up his sleeve. He played a rhythmic guitar line a few times, perfecting the tempo. Then, with a movement of his bare foot, Keller looped his acoustic so those few measures played over and over, and slung his axe across his back while moving stage right to a standing bass guitar. Reaching around it, he laid down a funky bass line, and then looped that with a toe. Then it was over to a drum pad, where a few taps of the fingers created all the cymbals and snare he needed. Keller would also beat box, toot out horn-like sounds from his lips, play a number of guitars distorted in a number of ways, mash some keys, and sing, all in one song, all looped together to create a virtual band. I’m sure we’ll all agree that loops are cool, but I’ve never seen anyone do it so flawlessly and with such effect as Keller. He even harmonizes his own vocals.
The music itself was fairly laid back. Though the lyrics are simple they are as catchy as hell, and the bouncing rhythm he maintains even when on a single acoustic guitar will have your whole body bobbing involuntarily.
As mentioned, Keller opened with an extended guitar solo that showcased his improvisational prowess right away. He seemed to roam through most of the first set, before kicking out a powerhouse second round of tunes that included amazing renditions of “Above the Thunder” and “Best Feeling.” Throughout, covert cameras beamed images of Keller’s fancy fingerwork onto an ovular screen behind him, making the room seem a lot more intimate than it actually was. An encore sing-along of Sublime’s “What I Got” sent everyone home with a wide smile.
There isn’t anything to complain about when it comes to Keller’s music, and when combined with his onstage performance, the experience is nothing short of exhilarating. If you’re nearby a show, check it out. You will not be disappointed.
YOU WON’T GO BLIND
Anaïs Mitchell - The Brightness
6/10
by Danielle Westfall
Anaïs Mitchell has a lot to say. The Brightness is full of sporadic, scattered-subject tunes, all of them written by the Vermont native. Righteous Babe released an odd collection of songs this time. The songs on The Brightness have many of Anaïs’ personal and political views attached to them. She writes and sings about a wide variety of subjects, from loving strangers, to the story of the Epiphany, to Greek Mythology. I’d label this music as the kind you’d listen to while chilling on your front porch smoking.
“Song of the Magi,” has a title that speaks for itself. At first it sounds like a Christmas tune, but then Anaïs sings about how easily the three kings enter the wide city gate coming to greet Jesus. It continues with lyrics about lack of peace in the Middle East, “Welcome home, my child/ Your home is a checkpoint now/ Your home is a boarder town/ Welcome to the brawl.” It was strange to me that such a distinctive, almost childlike voice was singing about such a serious subject matter when the songs before this one were mostly about life being simple.
Both “Old Fashioned Hat” and “Changer” were about someone Anaïs knew and loved, yet was a complete stranger to her. “Changer” specifically points out how confused Anaïs is about her old romances. “Speaking of loving you, I do/ I’m telling you stranger to stranger,” followed by, “One minute I’m laughing/ And the next I’m lost.”
The song that caught my attention, though, was “Hades and Persephone.” Not only is Greek mythology a wonderful subject to sing about, but it is at the opposite end of the spectrum from songs about personal plights and disgruntled political statements. Anaïs produced “Hades and Persephone” so that it sounds like two characters rehearsing the lines from a play. At first, Anaïs sings as if she is Persephone. Her voice is soft and delicate over the instrumentals, embracing her femininity. But then, as the instruments get a little louder and a little faster, Anaïs’ tone changes. She becomes fierce and persistent, trying to sound more masculine like Hades.
Anaïs’ sense of music is different from most albums you’ll find in record stores. I applaud artists who cut across the mold, though the finished product may not be the most captivating. These artists at least try to pull us out of an apathetic dream.
I’M HIGH ON Wii
Wii Play
5/10
by Ryan “Moss” Yaeger
On February 12, Nintendo finally released Wii Play, the semi-sequel to Wii Sports, the sporting launch title that comes prepackaged with the system. This long-awaited game features new mini-games for one or two players, and is only available in a bundle with a Wii(Re)mote.
First up, Wii Play features a total of nine time-wasting games—some are fairly fun, while others seriously fail to dazzle. Among the latter is the “Pose Mii” game, in which you reposition your Mii character in one of three stances and move him or her about the screen to fit the silhouetted pose within a bubble for points. Another is the “Find Mii” game, which, as one may expect, challenges you to find a specific Mii, or two or three of the same Miis, in a crowd.
But that’s certainly not to say that the game is entirely without merit. The “Shooting” proves to be immensely entertaining, as one player can lock-and-load with one or two Wiimotes, or play against an opponent to see who is the better sharp shooter. Players take aim at balloons, bullseyes, clay pigeons, soda cans, and alien abductors, as well as the occasional duck, to rack up points. And who can’t help but love “Laser Hockey,” which is essentially air hockey ported to a television screen. Air hockey is a classic, and anyone who disagrees is a communist.
The game also includes a “Billiards” simulator that proves to be fairly accurate. You play by lining up your shot at the target ball, pointing at the cue ball, then drawing back and pushing forward in a motion none too dissimilar from manipulating an actual pool cue. “Fishing” also proves fun and moderately true to real life. You maneuver a fishing pole around a small pond, trying to catch creatively named creatures like the “Touchy Fish,” “Plain Ol’ Fish,” and the “King of the Pond” as their nibbles vibrate the Wiimote, while avoiding negative points from the “Small Fry.”
Some games prove to be rather simplistic and tedious, such as “Table Tennis.” In this game you either play a friend using traditional ping pong rules or, in one-player mode, simply volley back and forth for as long as possible. In “Charge!” players ride a bull down a dirt path, driving with controls similar to those used in Excite Truck and other Wii driving games, attempting to knock down as many scarecrows as possible.
Last is “Tanks!,” in which you maneuver tanks around a battleground in an arcade-style tank fight. This is the only game compatible with the Nunchuck accessory controller, but utilizes only the joystick as an alternative to moving with the Wiimote’s directional pad.
Overall, Wii Play is worth the $10 markup, but only barely. It’s definitely a good choice for anyone in the market for an additional Wiimote, and for anyone lamenting the purposelessness of the Miis. Otherwise, save your $10 for beer money.
