Griff an entertaining and absurd speaker: Hip-hop weekly

Posted by Jenna Postler

From Nov. 1-5 the Hip-Hop Alliance sponsored "Hip-Hop Culture Week." As an avid hip-hop fan, I was extremely excited for Tuesday Keynote Speaker Richard "Professor Griff" Griffin of famed rap group Public Enemy.

I was shocked that Griff was speaking on campus, given that he was involved in controversy. Before the release of "It Takes a Nation of Millions to Hold Us Back" Griff gave interviews to UK magazines on behalf of Public Enemy, during which he made homophobic and antisemitic remarks. Griff was kicked out of the group, but later invited back. Nonetheless, I was excited to hear what Griff would speak about.

His lecture, titled, "It's Bigger Than Hip-Hop, Beyond Beats and Rhymes: Destroying Hip-Hop's Appetite for Self Destruction" was anything but dull. The artist highlighted the elements he feels are destroying the genre and how current hip-hop deviates from the music that he was a part of in the early-mid eighties.

Griff offered up the following disclaimer: "You aren't going to agree with everything I'm going to say." He then provided the entire auditorium with his phone number, so that we could continue the conversation.

While I understood the initial concept of the lecture, shortly after introducing the title, Griff began to digress from the topic and ventured into a 300-plus slide PowerPoint that touched on sexuality within the media, the Illuminati, the spiritual chakra and blood sacrifices, among many other things. He attempted to link these seemingly unrelated topics into a lecture just shy of two hours long.

Although I have heard some of Griff's theories before, such as Jay-Z being a Free Mason and the Illuminati's subconscious influence on rap music, some of what he presented was just plain absurd. I couldn't contain my laughter when Griff started talking about "demonic people," "witchcraft" and how, "St. Nick is the devil."

At one point the artist contemplated the secret meanings within company logos. During the Q&A following the lecture, when a student asked if some of the things he presented might just be coincidences, Griff responded, "I don't believe in coincidence at all."

Even though most of the lecture was more comical than informative, Griff did express some relevant sentiments shared across the hip-hop community about the current state of the genre. "Hip-hop was the voice of the voiceless, but it isn't anymore. American rap is not helping anyone anymore. Internationally, some artists still have it," Griff said.

Griff lectured that hip-hop used to be comprised of four elements: the DJ, the emcee, the B-Boy and the graffiti artist. Today, he feels that the genre has moved to be solely concentrated on the emcee and, consequently, we are losing three-fourths of the tradition that is hip-hop.

While a certain portion of the lecture was hard to believe, Public Enemy's Professor Griff certainly had opinions on how hip-hop has evolved over the years and provided a night of great entertainment for all those in attendance.

Elliot Smith eternalized: The Turntable

Posted by Eric Shapiro

Suicide may well be the best career move in the cadaver-lined halls of the rock music business, but it also leaves artists who choose to end it all with massive bloodstains on their reputations. Elliott Smith gets tons of respect among indie rock fans and much is made of his morbid, drug-addled lyrics.

It is an understatement to call him a mess and anyone who was surprised by his decision to drive a steak knife through his heart was not paying attention.

But lets look beyond the myth for a minute. Elliott Smith is far more than a depressive amateur poet who killed himself; he is also one of the greatest songwriters and composers of the past two decades. And what better opportunity to reflect on the oft-neglected qualities of his music than with the release of the aptly titled "An Introduction to… Elliot Smith."

"Waltz #2," from Smith's major label debut "XO," is lavishly adorned and may come as a shock to those who have only heard his earlier acoustic work. Its classy piano line and waltz beat are a welcome departure. Smith's songwriting was consistent in form as it was in quality, and "XO" demonstrates that it could benefit from expression in a new, fuller context.

"Alameda," "The Biggest Lie" and "Pictures of Me," all from "Either/Or," are above average Elliott Smith songs, which is to say subtly creative and immediately recognizable. "Between the Bars" is a career highlight, perhaps because it strays a bit from the artist's usual faire. The guitar on "Between the Bars" is restrained and placid, allowing its haunting melody to infiltrate your brain.

"Needle in the Hay," from Smith's self-titled debut album, is one of the most well-known songs in his discography due to its appearance in Wes Anderson's indie classic "The Royal Tenenbaums," ironically during a scene where one of the main characters attempts suicide.

"Last Call" is one of the album's less memorable tracks, but it's interesting to see what Smith can do with an electric guitar when he's in the mood.

"Angeles" lifts the quality back up to standard Elliott Smith level, beginning with one of his greatest guitar lines. The fingerpicking in this song would make Nick Drake proud.

"Twilight," in contrast, is sappy, boring and forgettable; it is the one downright bad song on the album, demonstrating that Smith's emotional delivery can be cloying when his songwriting isn't up to par.

"Angel in the Snow," my personal pick for the best song Elliott Smith wrote, is rare in that it is easy to appreciate the first time you hear and only grows more hauntingly beautiful with each listen. It captures Smith's ability to pour numerous, seemingly incompatible emotions into one song, creating a mood that is simultaneously indescribable and immediately recognizable. Very few artists can so effectively convey feelings in their music without sounding forced.

Elliott Smith's songs adhere to your brain because their initially familiar chord progressions veer off and resolve in unexpected, uniquely satisfying ways. All the while, his ethereal vocals twist and turn to accommodate the guitar. Smith is always careful not to allow drums, bass and other instruments to distract from the elegant simplicity of his vocal melodies and his guitar.

Elliott Smith's songs, while influenced by artists of the past, are highly individualistic creations that contain more depth than is immediately apparent. His personality is one of contradictions, and his music accordingly blends seemingly incompatible feelings and mindsets: melancholy and cheerfulness, compassion and selfishness, child-like innocence and world-weary cynicism.

Fans and critics will always ponder how Elliott Smith would have progressed creatively had he not given up on life, but thankfully we are left with a full and varied discography consisting of both LPs and thoughtfully-arranged compilations like this one.

Eric is a junior who loves rock music in all forms. You may see him around campus in a band T-shirt listening to his iPod and looking unapprochable, but rest assured he is quite friendly and will usually only attack when provoked.

Overshadowed lives: Estamos Aqui' in Case Gallery

Posted by Audrey Nelson

Skidmore College's "¡Estamos Aqui!" ("We Are Here") exhibit in Case Gallery celebrates the Latino immigrant population in the Saratoga Springs area.

Through the Latino Community Advocacy Program of Saratoga County Economic Opportunity Council, this documentary photography project displays 11x17 black and white photographs, both digital and film, taken by individuals in the Latino immigrant population. Each photograph includes a description from the photographer, and each represents an aspect of their daily lives. This is the fifth annual exhibit of this project.

"The goal of the project is to overcome all of the barriers preventing the voices of immigrants themselves from being heard and allow them to come forward and hopefully, through the photos, engage with members of our community," said Krystle Nowhitney, coordinator of the Advocacy Program.

The photos depict everything from family members to a child's baseball game to the horses that many of the photographers work with. "In every photo too, I think there is a sense of pride. Whether the photo is of bicycles or women cooking, the images represent a sense of pride in who they are, the work they do and the opinion or view they may be presenting," Nowhitney said.

The Latino population in the Saratoga Springs area plays a large role in the town's renowned horse racing season, making it no surprise that the exhibit mostly displays images of the horses and the track. Each photograph is accompanied with a description from the photographer, often in Spanish and translated into English.

Many view the horses they work with as symbols of beauty, which is reinforced in the descriptions. Carlos Cotrina, who works as an exercise rider at the racetrack, wrote of his photograph depicting two horses looking over at a third, "the other two horses are admiring the beauty of this mare."

Ariel Alvarez, from Guatemala, currently works as a groom but dreams of becoming an exercise rider. Of his photograph, "The Tranquil Mulberry Mare," he wrote, "I liked taking this picture of this horse because of how she looked. She looked very beautiful as if she was sleeping… I hope people think that she is beautiful since it seems that this animal is in a place where no one bothers her."

Every year for the project, the EOC organizes a series of photography workshops, provides cameras and organizes a jury of volunteers to select the photographs to be displayed in the exhibit. Volunteers also matte and frame the photos and schedule exhibits throughout the community. Photographer Skip Dickstein led the workshops, and also processed the final photos.

When students in EOC's English as a Second Language class and students involved with the Latino Community Advocacy Program were told about the photography project, they were skeptical.

"Most students had never done photography before, and some were a little skeptical that they had the ‘talent' or ‘ability' to be successful. We assured students that no experience was necessary and that the point of the classes was so that they could learn," Nowhitney said.

"Latino immigrants, particularly those working in low-wage jobs behind the scenes, are often overlooked. During a time when the debate over immigration in the U.S. is becoming increasingly hostile toward immigrants, it is important to present alternate representations," Nowhitney said.

The sale of photographs and note cards benefits Saratoga EOC's Latino Community Advocacy program. The exhibit will run until Nov. 15.

From a hiss to a boom: Phantogram and Snakes Say Hiss play Skidmore

Posted by Kara Clark

The Student Entertainment Committee's concert on Nov. 6, featuring Snakes Say Hisss and Phantogram, proved that Skidmore and Saratoga Springs have acquired some bragging rights. Despite difficulties with the sound system, both bands enthralled the audience and made their musical presence known.

Snakes Say Hisss opened the show, equipped with the obvious, but appropriate green drum set and green guitar. The instruments that appeared on stage were only half of the act. Extra synth and bass were played through speakers from the band's iPod, a feature that slowed down the set's overall flow and increased time between songs.

Lead singer Jamie Ayers, clearly intoxicated, writhed about the stage, frequently collapsing to the ground to do some more slithering. Ayers even attempted a stage dive, which, although successful, could have been omitted for everyone's safety and overall peace of mind. But in spite of any sloppiness, the electronic rock trio provided an aggressive, energetic set, captivating the crowd with venomous songs like "Talk." Ayers spat, "I'm a lesbian savant and I'm the only guy I know who'll give you what you want."

Or at least, that's what it sounded like he was saying. Problems with the sound system began during the middle of Snakes Say Hisss's set. Sound levels were constantly unbalanced, and at some points during the show Ayers couldn't even be heard. The singer continued to slur some sort of apology into the mic, which was followed by a pregnant silence, during which technicians were probably scurrying to resolve the problem. Thankfully, the majority of the sound issues were resolved before Phantogram's set began.

Like Snakes Say Hiss, Phantogram's music has electronic elements, but the second band also uses hip-hop style drumbeats, ambient noises and ample sampling. While on stage, keyboardist Sarah Barthel was constantly in motion, her left foot stomping in unison with the kick drum. Josh Carter swayed back and forth, plucking out complex melodies on his guitar to match Barthel's synthesized drones. Both halves of Phantogram attacked their instruments with precision and vigor.

Unlike the band that preceded them, Phantogram provided a more diverse set of songs. Audience members either danced frantically or simply swayed in time. The beat of "Futuristic Casket" and the baseline of "Bloody Palms" inspired movement, while "Mouthful of Diamonds" demanded contemplation of it's thoughtful lyrics.

The concert attracted an audience diverse in age. In addition to students and locals, a handful of senior citizens could be spotted at the show. While this was a little off-putting at first to the average Skidmore student, it's pretty impressive that they were there at all.

While both groups were enjoyable to watch, Phantogram stole the show. Coincidentally, the band is on the verge of significant popularity; Music magazines such as "Spin" have begun recognized the band's obvious talent.

This isn't to say that Snakes Say Hiss was terrible – but it as more likely that those who attended the concert will remember its headliner, rather than its opener. Phantogram deserves all the recognition they can get.

Amos Lee plays iconic Albany Egg: Let's talk about rock

Posted by Eli Cohen

Philadelphia native Amos Lee is halfway through his countrywide tour to promote his latest album, "Mission Bell," which is due to be released Jan. 25.

Lee's new tour took him to The Egg on Nov. 4. Not just a building, The Egg has become an icon of Albany. Truly an ideal representation of the building's name, the vaguely UFO-shaped building was part of the Empire State Plaza project. The concert hall has welcomed artists such as They Might Be Giants, country singer Emmylou Harris and Hot Tuna.

Lee has received critical acclaim since the drop of his self-titled debut album in 2005. In his latest tour he has been joined on stage by Dave Matthews. Lee is also scheduled to appear at one of Levon Helm's "Midnight Ramble" sessions, an event that is known to attract high-profile guests.

One key component to Lee's success is the sheer number of songs he has managed to get on television. Lee has had tracks appear on "Grey's Anatomy," "House," "Studio 60," "Brothers and Sisters," "Six Degrees" and "ER." All of these hit songs appeared on Lee's debut album, which was produced by folk-singer Norah Jones' bassist, Lee Alexander, and reached No. 2 on the billboards.

Lee's rich, soulful voice and poignant lyrics perfectly compliment the instruments he sings over. His lyrics, aided by his hauntingly beautiful, high voice, tell elegant truths. "Nobody wants honesty when looking at a perfect frame/ play the game/ Nothing could be further from the truth, my love," Lee sings in "Soul Suckers," off the album "Amos Lee."

His songs are well thought-out, simple and striking, as is his ability to move seamlessly back and forth between genres. While many of Lee's songs appear to belong in the folk category, there are undeniable blues and soul influences.

It appears that Lee's new album will fall more under the country banner than previous albums, with guest appearances by country stars including Lucinda Williams and the legendary stoner-hippie Willie Nelson.

Eli Cohen is junior who likes to talk about music.

Renowned author Marilynne Robinson gives Steloff Lecture

Posted by Rachel Kim

On Oct. 29, Skidmore students and faculty attended the annual Frances Steloff Lecture. Pulitzer Prize-winning author Marilynne Robinson received an honorary doctorate of humane letters from President Philip Glotzbach and delivered a lecture on "The Writer in Society."

This was not Robinson's first time at the college. She has taught fiction writing for 23 years at the New York State Summer Writers' Institute that is run at the college. "I have been here for a long time. It's almost like a second home," Robinson said.

Robinson began the lecture with a reading from her novel "Housekeeping," which won the PEN/Hemingway Award in 1980. She then spoke about her thoughts on education. Robinson emphasized the importance of being educated for the sake of truly learning, rather than for becoming more qualified for a job.

She also spoke about the great influence that Latin has had on her writing. Robinson said that she considers Latin to be an important subject that is increasingly overlooked. "If you want your prose to be good, studying Latin is good for you," she said.

Robinson then read from her Pulitzer Prize-winning novel, "Gilead," and discussed the history of Iowa, where she teaches at the Iowa Writers' Workshop.

In fact, to foreground her novel, Robinson researched the history of Iowa. "I discovered a forgotten past, so forgotten even to the people whose past this is," Robinson said.

She noted Iowa's surprisingly liberal history. Women's suffrage and abolition were put on Iowa's agenda long before these issues concerned the rest of the nation. Robinson drew attention to the lack of attention that the middle of the country receives in comparison to the East and West coasts.

Audience members then asked questions and Robinson responded by describing her experience with research and her personal writing process.

Robinson remarked that her memory is her best tool and finished the lecture by emphasizing the importance of writing. "You learn so much about what your mind is and realize how much deeper you and your thoughts are," Robinson said.

Frances Steloff, a Saratoga Springs native, originally endowed this lecture series as a way to bring outstanding literary and artistic talent to the college. Steloff was a well-known patron of writers and founded the Gotham Book Mart in New York City. She also collected numerous books and pieces of literary memorabilia, most of which she donated to the college.

Since its start in 1967, the lecture series has been delivered by many respected authors including Gwendolyn Brooks, Anaïs Nin, Joyce Carol Oates, Arthur Miller and Margaret Atwood.

Exploring 'Death of a Salesman'

Posted by Julia Leef

The unique production "An Exploration of Death of a Salesman" ran from Oct. 21 until Oct. 31 in the Skidmore College Blackbox Theater.

Rather than simply revive the play, guest director Phil Soltanoff had the student actors precisely mime and lip sync the movements and lines of the original actors from the 1966 Lee J. Cobb TV production of the show.

According to the director's notes in the playbill, Soltanoff was fascinated by the video because "this recording represents something very rare — a glimpse at the original stage cast performing the play ‘live.' It allows us to witness actors from a golden age of American acting doing their thing in precise detail."

Soltanoff aimed to help student actors find a connection with their characters through imitation, while learning how famous actors like Lee J. Cobb went about their art. "Perhaps imitation, much like using baroque instruments to perform J.S. Bach, can put us in touch with some sort of original ‘sound' of the piece. And maybe the student actors can learn something about The Method through a video apprenticeship with the masters," Soltanoff said.

During the performance, television screens showed the original "Death of a Salesman" from 1966 while the actors mimicked the movements, emotions and even facial expressions. The actors' lip synching was nearly perfect. Watching them and their television counterparts, one could only wonder at the long rehearsal hours it must have taken to perfect this challenging task of imitation.

The set underwent constant changes throughout the course of the performance. However, it was not simply a matter of changing the setting to adjust to a new scene. Each shift in direction, each rotation of the set, which consisted of a rectangular platform, was deliberately made to mirror the movements of the camera on the televisions.

Eventually, the actors had a chance to let their own voices be heard. In the final scene the televisions were put away and the audience heard the students' voices for the first time, witnessing their own personal touches on the characters.

Colleen Hughes '11, the assistant director for "An Exploration of Death of a Salesman," said that she enjoyed working with Stoltanoff, learning from him about the importance of details and how to use the space provided on stage. "Nothing on stage is insignificant. For instance, a simple plank of wood can be just as important as the actors' gestures," Hughes said.

Hughes plans to use the experience she has gained through this performance in her future endeavors with theater. "I think that I will take forward with me Phil's attention to detail, his vision of sculpting space rather than just staging a play and the possibility of merging different media and art forms," Hughes said.

The student actors spoke highly of their experience in this play. For some, like Varak Boronian '14, "An Exploration of ‘Death of a Salesman'" was their debut at Skidmore. Boronian spoke about how the cast came together and worked hard to make the show a reality. He also described the knowledge he gained by working with the original video.

"We all got the chance to study these experienced master actors and the choices they made for these characters. As a young actor, this is especially rewarding because it gave me a chance to compare what Gene Wilder, who played my character, Bernard, in the video, chose to do and what I would have done instinctually," Boronian said. He said he looks forward to his future theater experiences.

"Death of a Salesman" has lived on through its many revivals by dedicated actors and actresses. The Skidmore take on this show creates a mixture of the old and the new on stage for the entertainment of the audience. Viewers can commend the connections made between the students and the masters, and admire the performance for its unique approach to acting.

Downside to leaks: Hip-hop weekly

Posted by Jenna Postler

There is a sad, but undeniable truth within the music industry; music will be leaked. Unreleased songs make their way onto radio airwaves and, inevitably, into your iTunes library.

While it may seem awesome to have the new Diddy song a few months before the album comes out, lately leaking has gotten out of control. Every week new songs crop up all over the Internet, and most are of poor quality.

As a fan and avid consumer of music, I can understand why one might not want to wait weeks or months for his or her favorite artist's album to come out. Finding rough music by a new artist is always exciting, but at what cost?

For example, Kanye West's upcoming album "My Beautiful Dark Twisted Fantasy" is set to be released Nov. 22. Production on the album began in early 2010 and, as of present, most of the tracks have already hit the Internet. An early, unfinished version of the first single "Power" was leaked onto the Internet on May 28.

Having heard most of the album online already, is it even worth buying when it is officially released in November?

While some fans may appreciate having free sneak previews to songs, many still value the finished product, packaged and official. West commented on the track leaks via his Twitter account in late September.

"It would have seemed like since I give free music every week even the lowest form of human being would respect that enough not to leak unfinished songs from my real album," West tweeted.

Is this just the age that we live in, that society cannot wait for the real thing? Is this the cost of the Internet? Whatever it is, artists are getting angry that their art is not only being given away freely, but before it is even finished.

After a track from Dr. Dre's "Detox" album leaked this past year, Dre expressed his anger towards hackers, not fans. The album, which has been in the making for over a decade, has been hailed as the most anticipated album of all time in any genre. In August, Dre spoke to VIBE magazine about the leaks, "The most painful part about it is that I'm passionate about what I do so people should hear it in the right form.... Somebody actually hacked into our e-mails, so that made our red flags go up."

If anything can be learned from these leaks, it is that artists must be more careful about protecting their products. Most often, the work is accessed by breaks in technology.

The downside to leaks not only lies in compromised quality, but in the fact that the release dates of artists' albums are pushed back by record labels to prevent further leaks. Artists are forced to delay the release of their albums in order to record new, un-leaked material.

The best thing that we can do as consumers and music fans is to ignore these leaks. The wait for that new single may seem intolerable now, but we must have faith that the finished product will be worth it.

Jenna Postler is a sophomore from rural Vermont who knows what's hip (hop).

Soundgarden goes underappreciated

Posted by Eric Shapiro

Soundgarden is more than a footnote in rock history and the handful of widely known Soundgarden songs hardly constitute an accurate representation of the band's sound.

These days, Soundgarden is best known for the hit singles off its 1994 release "Superunknown." "Blackhole Sun," perhaps the band's most famous song, was brought to the attention of post-Generation Xers by Rock Band. "Fell on Black Days," "Outshined" and "Jesus Christ Pose" have also achieved varying degrees of popularity and remain mainstays of rock radio.Front man Chris Cornell went on to form Audioslave with Rage Against the Machine guitarist Tom Morello and even co-wrote the theme song to the 2006 James Bond film "Casino Royale."

However, next to Nirvana and Pearl Jam, Soundgarden is considerably less well known. Ironic, considering it was supposed to be the band that catapulted grunge into the mainstream.

Greatest hits album "Telpehantasm" provides some much-needed context. The first two tracks "Hunted Down" and "Hands All Over," taken from debut EP "Screaming Life" and LP "Louder Than Love" respectively, showcase Soundgarden's earlier sound, essentially a heavier, dirtier, Melvinized version of the cock rock that saturated the radio decades before.

On the former track in particular, Cornell is a dead ringer for Robert Plant. Soundgarden and its peers in the Pacific Northwest underground music scene shunned the sexism and over-the-top excesses of classic rock.

However, if you strip away the fuzz from the band's guitars, the band isn't all that different from a musical standpoint, especially early on. "Outshined" and "Rusty Cage," both from "Badmotorfinger," constitute a major leap forward, incorporating a wider range of influences from funk to psychedelia and concentrating more on hooks. Johnny Cash even brought out the unlikely country song buried in "Rusty Cage."

Then there are the requisite tracks off Soundgarden's most commercially successful (and perhaps best) LP, "Superunknown." Lesser-known tracks "My Wave" and "Spoonman" hold up just as well as the aforementioned ballads "Black Hole Sun" and "Fell on Black Days." Hell, the same can be said for nearly every song on "Superunknown."

Still, it is the latter two classics that elevate Soundgarden beyond the reductive label of grunge and into the ranks of truly exceptional rock musicians.

With the exception of Nirvana, none of the bands that comprised the early 90s alternative rock "movement" tackled depression and hopelessness better. That's more than a minor accomplishment in a mainstream rock environment that until recently, even at its most starkly emotional, proved reluctant to delve into the darker side of human nature.

In the shadow of its masterpiece, follow-up LP "Down on the Upside" is easy to dismiss as a lackluster swan song. Nevertheless, songs like "Burden in my Hand," "Pretty Noose" and "Ty Cobb" are hardly indicative of complacency. The deft combination of acoustic and electric guitars weathered by a rougher production than on "Superunknown," achieve a distinctive and memorable character.

Soundgarden will probably always be the least known of the big four grunge bands despite its greater role in pioneering the grunge sound and opening the door for its underground contemporaries to cross over into the mainstream."Telephantasm" serves as a worthy summation of the band's legacy and a reminder that the sub-genre didn't start and end with Pearl Jam and Nirvana.

Eric is a junior who loves rock music in all forms. You may see him around campus in a band T-shirt listening to his iPod and looking unapprochable, but rest assured he is quite friendly and will usually only attack when provoked.

Balancing music and text: Albany Symphony Orchestra plays Zankel

Posted by Samantha Hoffmann

On Oct. 22 the Albany Symphony Orchestra and actors from the Capital Repertory Theatre treated the college's Arthur Zankel Music Hall to a wonderfully animated performance.

The main event of the night was the playing of Felix Mendelssohn's incidental music to Shakespeare's play, "A Midsummer Night's Dream." An additional treat to open the concert was the world premiere of three melodramas, also based on scenes from "A Midsummer Night's Dream."

The orchestra's performance of all four works left very little to be desired. The precision and emotion shown by each individual player culminated in an enveloping quality felt throughout the entire hall. Pairing the music with the talented acting of the Capital Repertory Theatre players and the humorous use of explanatory charts and sarcastic commentary made the whole performance entertaining and enjoyable.

Being treated to three new compositions allowed the audience to feel like Goldilocks, sampling melodramas rather than porridge. The first composition put too much emphasis on the music, the last put too little emphasis on the music and the middle composition balanced the music and text "just right."

Melodramas are comprised of music and spoken text, which is an unusual element for composers to work with. Each approach showed a different way of balancing music and text.

Lukas Olejnik's "That Fire Which Burned the Carthage Queen" put great emphasis on the musical passages, which made the intervals between each line of spoken text almost too long. Consequently, it was difficult to follow the storyline since by the time one line was said one had easily forgotten the previous one.

Shen Yiwen's composition, "How Happy Some O'er Other Some Can Be!" showed a more symbiotic relationship between music and text. The equal balance allowed the listener to appreciate both elements as well as notice how they worked in conjunction. Shen put ironic twists on excerpts from Mendelssohn's incidental music to emphasize the text's themes.

Right after the actress playing Helena spoke of her foiled marriage plans with Demetrius, the orchestra played a distorted version of the famed Wedding March, taking the jubilant first few chords and twisting them into hectic unhappiness.

Benjamin Pesetsky's "Pyramus and Thisbe: Burlesque for Orchestra" took full advantage of the comical, disastrous elements of the play within a play. In this melodrama, there was more emphasis on the actors and the text, while the music took a back seat. Even though the acting was entertaining and the audience clearly enjoyed the use of gimmicks, such as hats and cross-dressing, it seemed as though something was lost by the music having such a small role.

Playing a work as famous as Mendelssohn's "A Midsummer Night's Dream" can be very nerve-wracking since most people attending such a performance have their own idea of how the piece should sound before they enter the hall. If the Albany Symphony Orchestra members were nervous however, they never showed it.

The precision and accuracy with which the incredibly fast passages were played, the flawless intonation of the exposed opening chords and everything in between showed only confidence and extreme preparation on the part of each orchestral member. This performance of Mendelssohn's famed piece showed why it is still held in such high regard over 160 years after it was written.

For all of their impressive professional playing, the ensemble's evident sense of humor was a clincher when it came to gaining the audience's high praises. Its format of interspersing scene excerpts and filling in narrative gaps with explanations and commentary was innovative.

The Albany Symphony Orchestra succeeded in keeping the audience interested in both Shakespeare's playful story and Mendelssohn's captivating music so much so that the performers received a standing ovation and spattering of "Bravo!"s at the end of the two and a half hour concert.

Threading 200 years of local history

Posted by Audrey Nelson

Unlike any other form of art, fashion recreates its consumer into a work of art as well. The Saratoga Springs History Museum's exhibit, "200 Years of Fashion in Saratoga Springs" presents this idea elegantly.

Upon entering the second floor of the once high stakes casino, one finds three mannequins, ranging from the 1790s to the 1990s, standing stagnant and elevated against a wall, introducing an ordinary museum experience where viewers admire from a distance.

But the next room immerses the viewer in the scene of a fine boutique where mannequins mingle with museumgoers. Each couture outfit belonged to a prominent woman of Saratoga Springs society, as the town has remained a social base of the rich and famous for over two centuries, allowing viewers to imagine how these women might have lived.

A 5-foot-3 inch mannequin, dressed in a purple two-piece wool day dress c.1889, admires a display of jewelry and hairpieces including ribbons made from the hair of President Ulysses Grant's family. To wear such pieces "were a way of remembering past loved ones," explains an inscription. A shelf above the boutique-like jewelry display plays host to three hats from the late nineteenth century, sitting atop mannequin heads.

Further on, in a jazz-filled room, a grandiose wardrobe displays a vintage bustier and folded blouses. A circular rack holds clothes on hangers, tempting viewers to browse through them, though a sign reads, "Please do not touch the artifacts." Cramped between these latter displays, a mannequin wears Lucy Scribner's 1904 beige, embroidered wool coat.

The chronologically haphazard display prompts viewers to compare women's evolving role from the Victorian era to the roaring twenties and to times as recent as 2008.

Unfortunately, to fully understand the museum's intent, one must buy the exhibit guide, which explains that the "job" of the Victorian woman in Saratoga Springs was to, "elevate the family's social status by making connections throughout the course of the day." Pages later, the guide explains that during the 1920s Saratoga Springs, "was leaving Victorian influence behind and new, liberating styles of clothing were being worn by women."

Though lacking in historical background, the detail in displaying this exhibit is exquisite. The artifacts, furniture, hanging art and mannequins are almost as delicate and exciting as the fashion itself.

Before a three-paneled mirror, a graceful Victorian figure admires her red, embellished, brocade and velvet day dress, her umbrella placed neatly in a vase to her right. Miss Katherine Batcheller lies on a feminine couch next to a tabletop flapper, epitomizing the mélange of decades throughout the exhibit. The scene is enhanced by period furniture and paintings in accord with each of the outfits.

In one of curator Michael Levinson's vignettes, multiple mannequins represent the private dressing room of Katrina Trask, poet and wife of Spencer Trask, who together founded the artist retreat Yaddo. Her often kimono inspired robes — beaded, braided, embroidered and laced — dating between 1910 and 1915, wait as the mannequins glance around the room, deciding which outfits to wear today.

In the hallway, less than a dozen mannequins line the walls. An Issey Miyake pleated orange tunic, paired with Emilio Pucci psychedelic leggings greets you with fashions worn by Mollie Wilmot, Palm Beach socialite and philanthropist who vacationed in Saratoga Springs during the horse racing season. Across the hall is Michele Riggi who wore a glamorous red Cymbeline Paris designer gown for the Saratoga Performing Art Center's 2008 Summer Gala, "West Side Story."

A Balenciaga cocktail dress stands next to a Jacques Fath wool suit, which contrasts two Dior dresses missing the designer's famous "New Look" of padded hips, narrow shoulders and calf length skirt.

Finally, up one last flight of stairs rests a divine, 1896 olive green gown, belonging to Miss Katherine Batcheller. Embroidered with pearls and sewn with thread made of gold, the gown was worth just $5000 at its purchase. The mannequin wears a black and white spotted fur shawl while lying peacefully on a settee, a stained glass window behind her, and period artifacts surrounding her.

Museumgoers enter an elite social gathering, and become part of an impossible bevy of style, status and history. Rather than merely admire, one integrates seamlessly into a fraudulent, mum scene as though walking by Monet's gracious women in "Femmes au Jardin."

Though exhilarating to live among couture and to let the imagination dictate the actions of the mannequins, eeriness coats the exhibit. Maybe artifacts such as the Grant family's hair ribbons, or the century old children's shoe or even the strips of white paper that emulate the mannequins' hair overshadow the outfits. Perhaps this realistic immersion into the 19th century is unsettling.

Yet the presentation of this exhibit is like no other. One could find more expensive, rare or fabulous outfits at the Metropolitan Museum of Art, but could not as easily immerse oneself in the times of the outfits' debuts. To be in the town where these fashions were worn, and to know of the women who wore them creates a closer and more striking bond to the clothes. Artifacts always have the potential to shock an audience. The Saratoga Springs History Museum amplifies this potential by placing the audience in a fictional social gathering while keeping them at arm's length.

The exhibit will be open until March 1, 2011.

Satirical parodies: 'The Horse's Tale'

Posted by Julia Leef

At Skidmore, there are many opportunities to become involved in writing and distributing news on campus whether through a club or organization or through your own personal efforts. The latest expression of this creative freedom is the release of a new periodical entitled "The Horse's Tale."

"The Horse's Tale" is a one page copy of "Skidmore's Most Professional Periodical" that reports events concerning the college infused with satirical twists. The first issue, released on Oct. 7, contains two "excerpts" from stories that presumably would be continued in the rest of the paper if there were more to read than just the front cover.

The first story is an "interview" with President Glotzbach concerning an upcoming book of his. The "interview" describes the book as a fantasy novel about wizards in space.

The second fictitious report describes continued taxicab rides specifically for intoxicated girls, complimentary of Ralph's Cab.

The last bit of text lists several more articles that would be found in the nonexistent additional pages.

According to the anonymous editor-in-chief of "The Horse's Tale," creating this periodical stemmed from a desire to bring comedy onto the Skidmore campus, as well as to provide an entertaining alternative to the regular college newspaper.

"The stories are based on real Skidmore happenings integrated with a humorous point of view…. It's just like Jon Stewart, but irrelevant," the editor said.

Although there has only been one issue so far, "The Horse's Tale" plans to continue to release new satirical reports about once or twice a month. The editor said he or she hopes these newsletters will continue to bring humor into college life that is rife with stress and academic strain, cheering students and allowing them to relax and laugh over these delightful stories.

"The thinking is that no one likes to read…. It's something to pick up, chuckle at, tell your friends about and then forget until the next one," the editor said.

A quick look at skidmoreunofficial.com revealed that "The Horse's Tale" was received warmly by students, and may continue to be as future issues are released.

"The Horse's Tale" can be found in various locations on campus, including Case Center.

Indie-rocker goes electronic

Posted by Eli Cohen

Sufjan Stevens, the Detroit-native Indie artist best known for his ambitious 50 state project, has, it seems, once again taken himself in a new direction with his latest album "The Age of Adz," (pronounced "Odds"), which was released by Asthmatic Kitty Records on Oct. 12.

Already the album has proven its worth, landing a solid eighth place on the Billboard Top 100 albums. An artist known for his instrumentation as well as his elaborate orchestration, on his latest album Stevens added a new weapon to his arsenal — it appears he is a terrific electronic composer as well.

The album's opening track, "Futile Devices," is a relatively short track comprised of very simple, straightforward lines. The track has a similar sound to earlier Stevens work, such as his hit song "Chicago" off the album "IlliNOISE," the record that catapulted Stevens into the indie spotlight.

"The Age of Adz" quickly transforms into a very new sound for Stevens with the second track "Too Much," which starts off sounding much like a generic electronica song. But Stevens' instrumentation takes over, working in conjunction with the computer-synthesized sounds that open the track.

From there, the album oscillates back and forth between typical Stevens lilting ballads and heavily electronic experimentation, culminating in the 25-minute epic "Impossible Soul," a song unlike any tracks on previous Stevens albums. "Impossible soul" is heavily layered with choirs, Stevens' vocals and electronic beats.

The album is not without its downsides, as no album truly can be. The track "Get Real Get Right" has an overbearing and immovable repetition that makes it difficult to listen to all the way through. Also, the second to last track "I Want to Be Well" wallows in sickening self-pity, where Stevens laments the fact that (in his mind) people do not take him seriously. "Did I go at it wrong/Did I go intentionally to destroy me," Stevens asks.

As mentioned before, Stevens' previous claim to fame was his impressive goal to release a different album for every state. However, at 35-years-old with only three state-oriented records under his belt, this goal is becoming less and less likely. With the release of "The Age of Adz," music-lovers everywhere are beginning to agree that the idea was probably more of a media-grabbing ploy than a serious possibility, which is not necessarily a bad thing.

This new hit album is a refreshing new sound in a time when music has begun to come more and more from a certain mold. "The Age of Adz" is definitely positive overall, and will not displease fans of any genre.

Eli Cohen is a junior who likes to talk about music.

Exploring a classic: Theater department examines 'Death of a Salesman'

Posted by Jessica Strasser

The Skidmore College department of theater will present an exploration of Arthur Miller's "Death of a Salesman" from Oct. 22-24 as well as Oct. 28-31. Directed by Phil Soltenoff, a former Skidmore faculty member, this current production aims to show a new take on an American classic.

"Death of a Salesman" is the story of Willy Loman, an aging salesman losing hope in the American dream he cherished for so long. Willy, his wife Linda and sons Biff and Happy are slowly torn apart by a series of tragedies. The Lomans experience several heartbreaks and personal devastations that test the strength of the family.

Miller's tragedy has been cited as a classic and has become one of the most widely read and performed plays in American theatrical history.

"Death of a Salesman" is often portrayed in a realistic manner, with accurate sets and costumes for the 1940s time period. Skidmore's current exploration, however, aims to bring a new perspective to the piece. The entire production is centered on a TV production of "Death of a Salesman" filmed in 1966. Through the use of monitors and sound, the actors will attempt to perform this film live.

Mimicry of actions, camera angles and sound are used to create as full a replication as possible. By utilizing and mixing this technology with classic acting style, this production explores the power and ability of the actor.

In addition, the juxtaposition of modern day technology with a video of a show from the past, 1966, examines the influence that the past exerts on future decisions. The past and present occur simultaneously, creating a unique theatrical experience.

Chairman of the Department of Theater, Lary Opitz, was thrilled when Soltenoff proposed the idea of performing this reinterpretation. Opitz emphasized the timeliness of the production with a highly-reviewed revival starring Christopher Lloyd as Willy.

A trip to see Lloyd in Vermont allowed students to experience a more traditional take on the play.

"Death of Salesman" is assistant directed by Colleen Hughes '11. It stars Varak Barovian '14 as Bernard, Zazie Beetz '13 as The Woman, Anthony Bentrovato '11 as Willy Loman, Paul-Emile Cendron '13 as Hap, Sara Jane Munford '11 as Linda Loman, Jeremy Ohringer '13 as Charlie, Giancarlo Osaben '11 as Ben/Stanley, Andrew Rousso '13 as Biff, Alison Schaufler '14 as Letta/Jenny, Dan Shure '14 as Howard and Grace Troxell '13 as Miss Forsythe.

The scene designer is Garret Wilson, the costume designer is Jenna Glendye '11 and the lighting designer is David Yergan. Danielle Rodino '11 is the stage manager.

All shows begin at 8 p.m., except for Sunday matinees, which begin at 2 p.m.. Those hoping to see the show should contact the Skidmore Theater Box Office at boxoffice@skidmore.edu.

SaratogaArtsFest gives encore: Event to benefit citywide arts celebration

Posted by Bob Kimmerle

In response to numerous requests for a repeat performance of "Music and Motion," a dance and music performance that premiered to a standing ovation this past June at SaratogaArtsFest 2010, festival organizers will offer an encore presentation Sunday, Oct. 24, at 5 p.m. in the Arthur Zankel Music Center at Skidmore College.

The encore will feature two selections from the original performance — "Addio (String Quartet #6)" and a dance and music piece titled "Swan Song." The music of both pieces was written by renowned composer Richard Danielpour and will be performed by the acclaimed Hyperion String Quartet.

The choreography for "Swan Song" was created by Skidmore dance professor Debra Fernandez, who collaborated closely with Danielpour on all aspects of the production.

"The performance last June was artistically exquisite and received an enormously positive response from the audience," said Marie Glotzbach, president of SaratogaArtsFest board of directors. "After numerous requests to restage this performance, we decided to offer excerpts as an encore this fall."

As with the original performance, the event will take place in Zankel Music Center's Helen Filene Ladd Concert Hall. The hall itself is an important element of "Swan Song." In choreographing the work, Fernandez was inspired by the possibilities provided by the three-story glass wall behind the stage, and she used it to incorporate "life beyond the stage" as a central theme.

Mary Ellen O'Loughlin, executive director of SaratogaArtsFest, noted, "We are fortunate to have such stellar talent participating in this event. This is a great opportunity to experience a world-class performance, and a wonderful example of the type of collaborative art that this festival strives to make possible."

Danielpour, a Grammy Award winner, is one of the most influential and sought-after composers of his generation. Fernandez, who has taught dance at Skidmore since 1991, has choreographed a wide range of works for dance, theater and opera. The Hyperion String Quartet, now based in Saratoga Springs, has been described by the journal "Classical Voice of North Carolina" as "a single, living breathing organism, playing as one instrument, bringing grand and glorious life to the music."

The one-hour performance will be followed by a reception offering an opportunity to meet the artists.

General admission is $25, with a $10 discount for those who have a 2010 SaratogaArtsFest ARTSPASS or ARTSPASS wallet card. There will be a "student rush" beginning at 4:45 p.m. on the day of the event, during which anyone with a student I.D. card can purchase a ticket for $5.

To purchase tickets in advance, visit www.SaratogaArtsFest.org or call 518-580-8010. After Friday, Oct. 22, at 5 p.m., tickets can be purchased only at Zankel Music Center between 4 and 5 p.m. on Sunday, Oct.24.

Pegasus' a thought provoking student production

Posted by Megan Teehan

The play "Pegasus, " written by Sam Kahler '11 and directed by Illana Saltzman '11, had its three show run from Oct. 13-15, and left some audience members scratching their heads in confusion.

Included in the cast were Richard Bastuck '13 as the Priest/Cruise Ship Director, Nicole Dancel '13 as the alchemist/nurse, Megan Hennessey '14 as Rhodedendron/Vitner and Beth Svenningsen '13 as the midwife/doctor.

The plot is centered on the characters of Lance, Peg and Arlo, played by Xavier Richard '12, Torey Bonnington '11 and Mike Axelrod '11 respectively. These main characters form the basis of the play through their struggles with reality.

Lance battles with the uncertainty of his relationship with Peg because he feels more ready to settle down than she does. Peg bears the burden of her secret pregnancy and the uncertainty of her feelings. Arlo fails to come to terms with the fact that his prime years are over and in his frail state he is incapable of doing the things he always dreamed of, such as taking a cruise around the world.

The internal conflicts that all the characters feel and suppress for the sake of the others come to surface in their subconscious. We witness the characters grappling with these issues in a dream state with the help of fictional characters like the Priest and Rhodedendron, who appear to all three of the characters.

The acting was excellent and the three protagonists were heartrending in the raw honesty of their portrayals. The set was minimal, but conducive to the unusual structure of the play and the subdued lighting perfectly complemented the surreal feeling of the play.

Simply describing the plot points of the play does an injustice to the heart of the show itself. This isn't a play to be defined or to "get." "Pegasus" is an exploration of characters' psyches and the abstract idea of what is really "real."

The play leaves us unsure of the characters' futures although we've learned their innermost fears and desires. In this way, "Pegasus" stays true to something playwright Sam Kahler wrote in the playbill notes. "Pegasus is still evolving, yet to be defined. Maybe we aren't looking for answers. Only more questions," Kahler said.

Jewel Thief' bristles with dichotomies

Posted by Hugh O'Kelly

When asked to propose an idea for a new exhibition, Jessica Stockholder decided to tell a story. Based on her colorful tale of the same name, "The Jewel Thief," a collaborative show currently on view at the Tang Teaching Museum and Art Gallery, bristles with dichotomies and visual contradictions.

Sharp divisions between organic and geometric forms, color and black-and-white and ideas about how we view art dominate the room. Surprisingly, for an exhibit dedicated solely to abstract art, many of the show's messages read as effortlessly as a piece of children's literature.

"The Jewel Thief" concerns itself more with the holistic staging of art than with simply displaying them — an atypical, but ultimately successful curatorial decision. The show as a whole is one large masterpiece; individual art objects are merely components of a greater picture, spilling out past the confines of a single room.

Conceptually unique, this show mixes a variety of media and showcases works by artists from Cary Smith to Andy Warhol. Works range from highly textured — incorporating broken porcelain, rough fibers, jagged foils, and dripping encaustic — to flat and minimalistic. Sculpture — including macramé lighting units and amorphous rubber and Styrofoam statues — is juxtaposed with painting, industrial design pieces, carpeting and even text art.

The exhibit showcases ready-mades alongside woven textiles, and unpainted plywood boards next to noisy abstract expressionist painting. Really, the only thing that's missing is the kitchen sink.

And true-to-life pieces. "The Jewel Thief" is an exclusively abstract exhibition, with the exception of a series of moderately naturalistic diamond sculptures, placed high atop an oversized block in the center of the gallery.

Yes, it sounds chaotic, even rampageous. But "The Jewel Thief" is really a harmonious spectacle. Through abstraction comes order; a series of ascending blocks sits center stage in the gallery's main room, which visually directs the eye of the gallery-goer from one end of the exhibit to the other. Acting like a staircase fit for a giant, the cubes also follow the abnormal architecture of the Tang. Stockholder and Berry have used the physicality of the museum to their advantage. And it is these subtleties that make the show a success.

But perhaps the most successful aspect of "The Jewel Thief" is the role of the curators. Ian Berry, the associate director of curatorial affairs at the Tang, and Stockholder, a practicing artist, make a fierce combination. Their collaborative efforts have produced a show that blurs the line between conventional exhibit and installation art.

On top of co-designing the show, Stockholder has produced a rather massive piece of interactive sculpture — composed of unfinished plywood and recycled playground equipment — fittingly titled "The Jewel Thief." The rest of the show looks like an extension of Stockholder's installation; paintings and lighting fixtures almost branch off of Stockholder's geometric play set.

Displaying painting as a sculptural component sounds like risky business, but Berry and Stockholder make it work in "The Jewel Thief" without compromising the integrity of individual pieces.

There are also no placards on the walls of the gallery, which is an ingenious curatorial decision. The absence of nameplates adds to the idea of individual art objects working in conjunction to create one large installation. Labels would call attention to individual pieces and artists — some better known than others—and detract from the holistic nature of the exhibition.

But this absence also speaks to another theme of the show: how we encounter art. A name next to a work of art automatically inspires assumptions and evaluative decisions. "This is a Warhol. It is good art."

Really, we have no basis for this assumption. By removing names from the show, Berry and Stockholder solve this problem of subconscious— or even conscious —evaluation that almost every gallery-goer surely has.

"The Jewel Thief" also explores how we interact with art in a more blatant way. Directly outside of the main gallery, viewers can sit on stadium bleachers and gaze directly at a small set of paintings. The contrast between the experience in the main room and in the bleachers is stark.

Sitting on cold and rickety metal seats and staring aimlessly at abstract paintings is torturous. Yet reentering the main gallery afterward is like seeing the sun after a rainstorm.

A wonderful tension throughout the show speaks to the idea of looking but not touching. Because pieces aren't labeled or displayed like highly valuable artifacts, nothing looks off limits. In fact, some of the pieces are meant to be touched — namely Stockholder's installation, which patrons can freely climb on.

But other pieces, like Elena Herzog's Romancing the Rock, a massive cube covered in thread, paint and staples, are off limits. Of course, the Tang is a gallery. It's common knowledge that most things should be left alone, even if there isn't a visible sign barking at us to "keep our hands off." But let's face it, there's a hell of a lot of glitter in this show. And children and birds are not the only creatures attracted by shiny things.

The decadence of "The Jewel Thief" leaves viewers feeling like magpies. But we should leave the exhibition not feeling taunted by the glimmering objects, but with a different perspective on how to look at art.

"The Jewel Thief" will be on display through Feb. 2011.

Celebration Weekend 2010: 100 years of the arts at Skidmore

Photos from Celebration Weekend 2010.

Lupe Fiasco fans breath a big sigh of relief

Posted by Jenna Postler

The hip-hop community breathed a communal sigh of relief this past Friday, Oct. 8, as news leaked that Lupe Fiasco's third album was finally given a release date. The album, titled "Lasers" is set for release on March 8, 2011.

This announcement comes a mere week before the proposed, "Fiasco Friday," on Oct. 15, where fans of the rapper plan to protest outside the offices of Atlantic Records in N.Y.

Fiasco tweeted a picture of himself and Atlantic Records representative Julie Greenwald, accompanied by the caption "Victory!" on Oct. 7. The picture, which showed Fiasco and Greenwald giving thumbs up in front of an Atlantic logo, gave fans the first clue that the dispute between the artist and his label was finally resolved.

The controversy between the artist and his label began months ago, when Atlantic allegedly tried to cut into the rapper's profits. Fiasco claims that the label pressured him to record songs to which he would have no publishing rights. Atlantic tried to get Fiasco to record, "Nothing on You," which was later given to fellow rapper B.o.B. Because Fiasco himself did not write any of the song, Atlantic would own a large percentage of the record's rights and its earnings.

Fiasco also claimed that the label attempted to rope him into a "360 deal." The deal would have entitled Atlantic to 25 percent of all profits earned by the artist, even if they were unrelated to a song or album. In such a deal, Atlantic would have gained profits from anything the artist worked on, including television and endorsements. Fiasco explained all of this in a three-minute speech he delivered at The Second Regional Academic and Cultural Collaborative in Dayton, Ohio this past week.

Fans have eagerly awaited his new album, "Lasers," which has been finished for over two and a half years. Because of financial disputes, Atlantic Records refused to promote the album, or even give it a release date. This past summer, fans created an online petition to protest the delay that Atlantic placed on the release of the album. The online petition has reached 30,000 signatures.

In July, Fiasco expressed delight that fans created the petition and claimed that Atlantic executives love to see fans that actually care. Fan Richard Baker organized the protest, which is still slated to take place, although now, it is set to be a celebratory march and event. The LupEND blog encourages attendees to bring picket signs with the date "March 8" written on them.

This has been a big week for the rapper. In addition to the announcement of the "Lasers" release date he was also featured on Kanye West's popular G.O.O.D. Fridays series. His recent success can be partly attributed to involved fans who put pressure on Atlantic executives.

Jenna Postler is a sophomore from rural Vermont who know's what's hip (hop).

Bad Religion, deep stuff

Posted by Eric Shapiro

Bad Religion hasn't changed much over the years. The band deals mostly with politics and religion, but not in the simplistic, juvenile way that one might associate with similar groups. No, it's all about the hooks and the lyrics.

Sure, the members have supplemented their meat-and-potatoes punk rock assault with elements of psychedelia, hard rock and heavy metal since their 1982 debut LP "How Could Hell be Any Worse." But stylistic diversity really isn't the point.

"The Dissent of Man," which incidentally marks the band's 30th anniversary, is no exception. Aside from having a crisper production than the band's early 1980s albums, the new album doesn't sound all that different than earlier entries in a substantial discography.

It's apparent that frontman Greg Gaffin has progressed greatly as a lyricist. His rants have almost always been intelligent, but his earlier songwriting bore the unmistakable scent of angst.

Now, he's matured in the best possible sense of the term. The music is still just as energetic and youthful as ever, albeit more refined, but the preacher wailing over the frantic power chords clearly knows what he's talking about.

But, I'll admit that sometimes I don't, especially when he tackles metaphysical poetry, like in the first track, "The Day the Earth Stalled:" "Friction, bonds, and gravity, all harmonic motion ceased/Life itself could not maintain from that singularity/Try to withstand a magnetic storm with no one to keep you warm/Waiting for the rest to fall, since the day that the earth stalled."

Deep stuff, of the kind that rewards repeated listening. I've probably heard "The Dissent of Man" 10 times and I'm still pondering what some of the songs mean. That's the sign of great songwriting; if it were too dense, I would have given up a long time ago, yet if it was too direct I would have bristled at the preaching and moved on to something else.

Sure, there are the requisite songs about the dangers of blind faith and organized religion, but they're phrased in a tactful way that respects the listener's intelligence.

"Rain fell like judgment/across my windowpane/said it fell like judgment/But it was only rain," goes the chorus of "Only Rain," one of the standout tracks on the album.

Not every song is concerned with such lofty subject matter. Lead single "The Devil in Stitches" tackles the comparatively mundane topic of a dysfunctional relationship, but biblical allusions elevate the subject matter to semi-epic proportions. The tempo is a little bit slower than a typical Bad Religion number; think slightly amped-up power pop.

But again, we're talking about a group whose lyrics take precedence over form, so don't expect anything fancy. Sturdy melodies, occasional harmonies and chord progressions provide a solid foundation for great songwriting.

As long as bands like Bad Religion consistently release music as vital and exciting as this, it's hard to really say that punk rock is dead.

Eric is a junior who loves rock music in all forms. You may see him around campus in a band T-shirt listening to his iPod and looking unapproachable, but rest assured he is quite friendly and will usually only attack when provoked.