My 5-Year Old Computer Could Do That!
Jennifer Steinkemp at the Albright-Knox
6/10
by Lou Battaglia
Jennifer Steinkemp’s retrospective exhibition of 3-D video installations at the Albright-Knox Art Gallery is something an enthusiast of this sort of unconventional art will appreciate. Steinkemp attempts to defy the traditional experience of an artwork, while also providing a theoretical challenge to the fixed spatial dynamics between art and its viewer. Others might argue that these are computer-generated visual algorithms. Do they require theoretical justification in order for them to be appreciated as high art, or are these towering room-sized installations nothing more than futuristic wallpaper?
There are many levels to Steinkemp’s works. It is immediately clear in such pieces as “Wreck of Dumaru” (2004) and “Loom” (2003) that Steinkemp’s goal is to utilize computer technology and animation to stimulate a disorienting effect from within the viewer’s sensory perception. This effect is most successfully realized in “Jimmy Carter” (2002-2004), a room-sized installation of multi-colored pussy willows that rhythmically sway to a silent wind. By moving around the room and in front of the four projectors, the viewer is able to watch their own enlarged 3-D silhouette magically jump out and then suddenly disappear behind a wash of psychedelia.
In “TV Room” (1998) and “A Sailor’s Life is a Life for Me” (1998), Steinkemp incorporates elements of experimental film and optical art, while supporting these non-narrative images with glacier-like sound textures that give her art the feel of an individually destabilizing experience, rather than an artistically rendered image. Unfortunately, from an aesthetic perspective, most of Steinkemp’s exhibition only proves moderately pleasing or engaging. Without significant aid from theoretical constructs, it is hard to appreciate Steinkemp’s installations as anything more than giant screen savers. For that matter, they’re not all that interesting as screen savers either.
The strength of Steinkemp’s exhibition is in the questions that her works pose about the nature of art and the nature of the viewer’s relationship to it. Conceptually, the Steinkemp exhibition (which runs until June 29) perfectly complements the aesthetically ambiguous “REMIX: Color and Light” exhibition that the Albright-Knox has been developing recently. Steinkemp’s exhibition, however, is ultimately thin on value and difficult to imagine as something of lasting importance.
Don't Rush The Strokes
Snoop Dogg - Ego Trippin
8/10
by Tori Burhans
Snoop Dogg is back with his ninth studio release, and it’s fair to say he’s a changed man. He still flaunts his pimp persona on Ego Trippin, but he throws fans some unexpected inspired curveballs that make the album burst with hot tracks.
Snoop exercises his artistic versatility throughout the almost excessive 21-song album. Risking his street credibility, he shows us multiple facets of his life—the gangster, the ultimate stoner, the sensitive husband and father, as well as the budding creative genius. Combining all these forces could produce a disjointed record, but it somehow works in his favor
The album starts out with “Press Play” a signature jam that has Snoop delivering his lazy, conversational flow mixed over a standard backtrack, juxtaposed with a surprising big band ensemble with multiple trumpet solos. Setting the tone for the rest of the album, it’s clear that this won’t be your run of the mill hip-hop release—it keeps the surprises coming for its entirety. On “SD is Out” he toys with robotic voices and other futuristic sound effects. This “Snoop Dogg in space” vibe continues to the next song, “Gangsta Like Me.”
Without skipping a beat, Snoop delivers the ‘70s-kitsch slow jam “Sexual Eruption” (the triple X-rated version of the ultra popular “Sensual Seduction”). Proving to be a tune any girl can get behind with lyrics like “she gonna get hers before I” and “But it wasn’t no use for me to bust one / Cause I wanted her to have an eruption.” Who said Snoop isn’t a feminist? Maintaining that tone is “One More Chance (Make It Good),” a sexy song promoting respect and love for females. Not every girl is a ho to the Doggfather now, and his maturation shows.
Perhaps the highest note on the record, pun fully intended, is also the most bizarre. Produced by Whitey Ford, more commonly known as Everlast, “My Medicine” is a down-home country Western track with shouts out to “the original American gangsta” Johnny Cash. Fear not faithful fans, Snoop’s not going completely Southern. The song is an ode to reefer, proving he’s the same rapper even with banjos as his beat.
The rest of the album is torn between the remaining components of D-O-Double G’s life. He balances being the penultimate ladies man, taking home girls from the club on “These Hollywood Nights” and “Let It Out,” and the introspective family man on “Never Have to Worry” and “Why Did You Leave Me” seamlessly. Despite jumping all over the place, Ego Trippin is a well-rounded album that has anthems for any type of rap fan.
Church Of Science Fiction
L. Ron Hubbard Presents Writers of the Future
4/10
by Christiano Agostino
Like it or not, published science-fiction writer and Church of Scientology founder L. Ron Hubbard has to be among the most influential cultural figures of the twentieth century. He not only established one of today’s most widespread and thriving religions, with millions of believers all across the globe, but he was also a pioneer in the field of speculative fiction, introducing many concepts commonly used in the science fiction world, such as “space opera” and interstellar travel. He’s published hundreds of fiction works, and remains one of the most translated authors in the world.
Or is that just what his cult worshippers would like you to believe? Hubbard, a chronic self-aggrandizing liar, opium addict, and power-hungry abuser, is widely considered one of the most absurd writers to ever “grace” the shores of science fiction. His out-of-this-world plots and downright boring characters ensured that most of his writing, including the excruciatingly long- winded magnum opus Battlefield Earth, would fortunately fall into oblivion in a matter of months after publication.
His legacy of poor writing is carried on today through a Scientology-sponsored competition for unpublished science-fiction writers and illustrators, called Writers of The Future. It is regarded by some as a valid platform for young authors to showcase their work to big time publishers and it reached its twenty third edition in 2007. The 13 winning entries have been conveniently packaged in paperback format, and are now available on Galaxy Press (a Scientology-controlled enterprise).
Don’t get excited yet, though. As already abundantly proven, Hubbard’s name (be it in religion or fiction) is rarely a synonym for quality, and this collection barely manages to better his endeavors, providing an unfortunate type of sci-fi that is light and rarely entertaining.
A good example is Andrea Kail’s “The Sun God at Dawn.” A script coordinator for Conan O’Brien by day, she should have probably stuck to her day job, as her fiction writing skills are stale at best. The plot (cloning of historical figures for exhibits) is trite, the style repetitive, the editing spotty and weak. Kail’s faults unfortunately pervade much of the writing contained in Writers of the Future as many authors simply lack the restrained simplicity necessary to get across often complex storylines. They also seem overall rather lax in the editing department, letting the stores run for much longer than needed (See Jeff Carlson’s “The Frozen Sky,” a boring fifty page story which could have easily been a tight twenty page piece).
The Church of Scientology is no amateur when it comes to scams, and little can justify the very existence of Writers of the Future, save perhaps making easy cash on the founder’s name. In any case, don’t fall in the trap—save your money for much more deserving, higher quality science fiction.
Main Street's Jazzhole
Bobby McGee's Food & Spirits
6.5/10
by Matthew Hirschel
Walking into Bobby McGee’s Food & Spirits, you get the feeling that you’re in some kind of retro lounge. Situated near the tip of University Heights at 3500 Main St. and nestled in between a McDonalds and the Amherst Theater, it can be a convenient and enjoyable night out on the town—especially if your date is not feeling like double cheeseburgers from the dollar menu again. The dim, calm atmosphere sets a mellow mood and a live jazz show every Tuesday night from 8:30- 11:30 is a weekly treat that adds to the experience.
This bar and grill is not too distinct from others, but still offers its own personalized blend of burgers, sandwiches and meat entrees in the $7-$15 price range. A “Persuasively Pink” beef on weck sandwich—a Buffalo favorite—failed to hook me. As enticing and erotic as the slab of beef sounded, I settled for Bobby McGee’s “Famous Pita Sandwich,” which was overflowing with vegetables and chicken, yet was borderline bland. Overall the menu is decent, but it won’t wow you with exotic entrees or crazy variety.
The owner’s collection of athletic memorabilia and vintage décor hanging from the walls files it into the generic “New-York-Yankees-clad” sports bar and grille category. Nevertheless it’s an enjoyable change of pace from the usual Chili’s, Friday’s, and Applebee’s. Having sat in the lounge and only passed through the main dining room on the way to the dungeon they called a bathroom, I did feel a bit cramped. About 40 people were present at the peak of the show which made it almost too packed. The small tables had me unwillingly playing footsie with all of my dinner-mates, however, the live music and a couple Sam Adams still allowed for an enjoyable time.
Dan Hull has been a staple of the Buffalo jazz scene for 35 plus years, and he makes McGee’s his venue of choice every Tuesday. He is doing his best to keep the once-prominent genre alive. Obviously a master of the drums, Hull surrounds himself with a smooth stand-up bassist and pianist, and a singer who definitely entertained with her smooth, sultry voice and some back and forth scatting with Hull.
To experience this music to the fullest, order a higher priced beer and smoke a J on the way. You’ll feel the bass up and down your spine and learn why jazz and cannabis went hand and hand back in the 1920s. The singer asking the giddy, mostly grandparent-aged crowd if they were in the mood for something “sleazy” was another highlight. In its entirety, Bobby Mcgee’s jazz nights are a good enough time to consider a return trip. Maybe next time I’ll see how “persuasive” this roast beef is.
Fancy Schmancy
Edible Arragements
4/10
by Elina Vaysbeyn
Edible Arrangements might sound like a place to buy some fruit rollup underwear, or chocolate body lotion, but in reality, it’s far from that. Best of all, your grandma will love it. Mine did. Edible Arrangements specializes in sending bouquets of fresh fruit. Next time you think about sending a cheese and sausage basket or gifting a three-month beer club membership, consider how awesome it would be to watch your cheeseburger-gorging friend go head-to-head with a giant fruit centerpiece. You can take a look on their website, ediblearrangements.com, to see more, well, edible arrangements.
When my grandma answered the door to be greeted by a mailman behind a mountain of flower-shaped delicacies, she gasped and sighed like we’d given her the best present ever. In a matter of hours, however, things took a turn for the worst. We suddenly realized someone was going to have to eat this fruit before the cat did. Who would reap the spoils? As much as we all love luscious, savory strawberries, the impracticality of this gift really eclipses its sweet, succulent-y goodness. Whether you have a naughty pet with sharp little claws and an unstoppable magnetism to all things edible, or you just can’t get enough friends together to devour this thing before it rots, the basket could turn out to be a pretty big pain in the ass.
The prices are somewhat steep, though the work put into cutting pineapples slices into pretty little daisies definitely plays a part in it. Bouquets range from about $50 to $200 plus. Some arrangements are catered to a holiday like the Easter Celebration ($55-$67), which claims that “your celebration will be hoppin’ with our delicious combination of gourmet, chocolate-dipped pineapple bunnies nestled in a beautiful array of fresh strawberries, cantaloupe, honeydew, grapes and pineapple daisies.” I might call their bluff. Even more amusing are their “I’m Sorry,” “Passover,” and “Sports Fanatic” arrangements, blooming out of baseball and football baskets. I’m not convinced that a fruit bouquet would be the best gift for a “Sports Fanatic.” Some are also made for kids like the “Disney Princess Enchanted Bouquet” or the “SpongeBob Bikini Bottom Bouquet.”
They deliver from their closest business locations, two of which are in Orchard Park, and Williamsville, but are also available for pick-up, should you wish to deliver this bomb yourself. They have stores around the US, Canada, the UK, and apparently, Dubai. I’m not surprised though; that place has an indoor ski resort, of course they’d have fruit bouquets.
Sounds Like Spring
Kathleen Edwards - Asking for Flowers
8.5/10
by John Schnitter
Kathleen Edwards is an artist that even iTunes has a difficult time defining. Her first album was placed under the folk genre, her second was listed as alternative, and her latest album, Asking for Flowers is described as country, even though all three albums have a similar sound. This Canadian songwriter’s unique sound, which seems as majestic and wide-open as Canada itself, combined with her ability to craft powerful stories and create vivid images with her lyrics, makes Kathleen Edwards an artist not to be overlooked.
Many of Edwards’s songs are about women dealing with difficult relationships or circumstances. The album opens with “Buffalo,” a song that uses the October Storm of 2006 as a metaphor for a relationship beginning to grow cold. Edwards sings, “The summer months left me alone / But the fall rolled in on the back of a storm / In the night you and I drove / Have you ever seen lightning and snow?” In the title track “Asking for Flowers,” Edwards takes the role of a woman tired of being stuck with a man who refuses to take responsibility. Exasperated, Edwards softly sings, “Asking for flowers / Is like asking you to be nice / Don’t tell me you’re too tired / For ten years I’ve been working nights.”
She chooses to tell stories that loop into lives of different individuals, showcasing their dilemmas, but on Asking for Flowers, Edwards also takes on larger political and social issues. In “Oil Man’s War,” she combines a personal story and political commentary to create one of the strongest tracks on the album. Edwards sings about a member of the U.S. Armed Forces, and his girlfriend Annabel. Bobby is going to be sent to Iraq, but in a Vietnam era-esque move, seeks to escape to Canada with Annabel because he “won’t fight in an oil man’s war.” Edwards powerfully captures the innocence and idealism of these two lovers, all while making a strong statement about the war in Iraq.
Although many of Edwards’s songs are heart-wrenching, she adds in just enough light-hearted songs to elevate the mood of the album. In “I Make the Dough, You Get the Glory,” Edwards sings from the point of view of a person in a band who believes she does all the work, but gets none of the credit. She adds a nice whimsical touch of humor to this track, singing, “You’re the buffet, I’m just the table / I’m a Ford Tempo, you’re a Maserati / You’re the Great One, I’m Marty McSorely / You’re the Concorde, I’m economy / I make the dough, but you get the glory.”
At heart, Kathleen Edwards is a powerful storyteller and her superb vocal abilities make those tales even more compelling. Asking for Flowers is her strongest album yet—an emotionally charged work that is both thought-provoking and enjoyable to listen to.
The Best Kind of Pain
Super Smash Bros. Brawl (Wii)
9.5/10
by Ryan Mallette
Nintendo Wii dropped one of their biggest bombs for the system this month with the release of Super Smash Bros. Brawl. The highly anticipated fighting game is in its third installment this time around and has quickly grown to become one of Nintendo’s most beloved franchises over the past decade. The basis of the game is simple; you control one of Nintendo’s famous characters and beat the living hell out of your opponents.
The Smash Bros. series is a dramatic departure from the fighting genre mold. Rather than having a health bar that depletes until death, players get a percentage rating that increases when the player is hit. The goal is to knock the other character completely off of the screen; the higher the percentage, the further the character flies. The simplicity of Super Smash Bros. Brawl’s game play makes it one of the easiest games to just pick up for beginners, but the fighting engine is also very intricate, making it attractive to the hardcore gamer as well.
There is a character for absolutely everyone in this game. All of the most famous Nintendo characters battle it out, including Mario, Link, Pikachu, and Samus, and even some not-so-famous ones, like Pit from the classic Nintendo game Kid Icarus and Lucas, from the sequel to Earthbound, Mother 3. For the first time in the series, Nintendo has also included some characters that were not created by them, with the appearance of Sonic the Hedgehog and Solid Snake from the Metal Gear series. Gamers can finally settle the epic battle of their youth between Mario and Sonic.
Also new to the series are items called “Assist Trophies” and a character-specific finishing move called the “Final Smash.” Once obtained, the assist trophy calls forth a computer-controlled character to aid the player in battle. These characters are also throwbacks to many of Nintendo’s classic series. A character’s “Final Smash” is obtained by breaking the randomly appearing “Smash Ball” item before anyone else. The final smashes are flashy and powerful, and many will enjoy the complete 180 these moves can cause to what seems a surefire win for an opponent. Serious players will likely turn the item off after a short period of time as some of the characters’ moves can come off as unfair advantages in such a highly competitive battle. Luckily, all of the matches in Super Smash Bros. Brawl can be tuned perfectly to the player’s liking. Even controls are fully customizable this time around with support of all four of the Nintendo Wii’s control input methods.
Smash Bros. is an absolutely perfect multiplayer game, but for the lone gunman the series has been struggling to deliver. Nintendo’s answer to this is the brand new, eight-hour long, adventure mode dubbed “The Subspace Emissary.” The mode includes basic platform game elements with a constant enemy onslaught, occasionally slowing the action for a more drawn out boss battle. There are times when the repetition of the mode is absolutely staggering and tedious, and other times when, thanks mainly to the mode’s absolutely beautiful cut-scenes, it is the most epic thing to ever grace a Nintendo console. Nintendo adds a nice character building system and co-op play to the mix, making the mode a little more interesting even during its most monotonous times.
Players can also take the fight online for free via Nintendo’s Wi-Fi connection. Unfortunately, Nintendo shoots this mode in the back with the Wii’s total lack of voice chat and friend list system. Gamers must exchange a game specific “friend code” in order to play each other. There is no way to invite friends into your match, or even see if they are playing the game unless they are specifically in the online mode, making it a hassle to just get three other friends to play. It’s a system that is unacceptable in an Xbox live era, and Nintendo would benefit greatly by learning from its competitor. Players still have the option to play random battles with people they are not friends with, but the matches are only two minutes long, which is not nearly enough time for a proper brawl. It all works, but is extremely impersonal, an atrocity for this type of game where heckling your friends is the best part.
All missed opportunities aside, Super Smash Bros. Brawl is still one of the best games you will ever buy. The multiplayer experience is second to none and the game is absolutely chock-full of features that will keep you constantly coming back with something new to do. There are 35 characters overall and a staggering 300-plus song soundtrack, including dozens of re-orchestrated, beloved, classic Nintendo songs. Super Smash Bros. Brawl is a game that will only become stagnant once its own successor is released, and is well worth every penny. Oh yea, Jigglypuff is still around—lame.
