FAN stages 'Vagina Monologues'

Posted by Tegan O'Neill

From Feb. 25 to Feb. 27 was flooded with emotion as 11 women performing in "The Vagina Monologues" spilled their hearts and souls into their roles and spoke out about sex, masturbation, orgasm, birth and rape.

The Feminist Action Network, otherwise known as FAN, staged three performances of Eve Ensler's episodic play to raise money for the Domestic Violence and Rape Crisis Services of Saratoga County.

Of the proceeds raised, 10 percent will go to a charity chosen by the V-Day movement's Spotlight Campaign. V-Day is a global activist movement for the stopping of violence against women and girls.

This year, funds will go to the Women and Girls of Haiti to help ensure safety for women left in post-earthquake Haiti and to establish three safe houses for survivors of violence.

V-Season lasts from Feb. 1 to April 30 during which "The Vagina Monologues" is staged across the world to celebrate the female body and raise awareness about violence against women.

Eve Ensler wrote the monologues in 1994 after conducting 200 interviews with women about such topics as sex and relationships.

Ensler gives out the rights to the show with the expectations and hopes that all of the proceeds will be donated to causes serving the empower of women.

It started out as a celebration of the female body, but has since taken on a much larger role.

"It has become more of a movement than a play," said Grady Shea '13, who directed the most recent performance.

Although Ensler mandates that all those cast in the show be female, there are no stipulations about the sex of the director.

Shea was chosen by the FAN to direct the play. He noted that from this experience he has learned a great deal about himself, "as an artist, a man and a human being."

Ensler encourages both males and females to support the show. "You can be male or female to be a feminist," Shea explained.

Eliza Straim '11 and Sarah Elwell '11, co-presidents of FAN, produced the show. "I was in the show my sophomore year and I have loved it ever since," Elwell said.

The annual nature of the show makes it possible for students to attend each year and see how different women bring their own flair to the monologues.

"Older Skidmore students can see how it has changed over the years," Elwell explained.

For Straim, it was the connection between the audience and the performers that made "The Vagina Monologues" special.

"There is an incredible sense of community during the show. Everyone present is bonded in that moment," Straim said.

To heighten this sense of community, the chairs in Falstaff's were arranged in a configuration that had audience members facing each other so that they could direct their attention toward multiple spotlights throughout the show. Throughout the performance, the actresses weaved in between rows of the audience.

The effect was appropriately intimate for the issues raised by "The Vagina Monologues." The monologues are provocative and raise issues that are usually ignored or generally deemed unsuitable for everyday conversation.

Issues were varied and included social and political topics like rape in war-torn countries, the varying decibel levels of female orgasm and the ridiculousness of thong underwear.

"It is a wonderful production and an important one to put on," Shea said.

The monologues elicited emotional responses that ranged from hilarious to heart-wrenching. All were delivered with incredible passion and power.

For more information about "The Vagina Monologues" and the V-Day movement, visit www.vday.org.

Kings of Limbs' is worth a listen: Let's Talk About Rock

Posted by Eli Cohen

On Feb. 18, revolutionary alt-rock band Radiohead released its eighth studio album, "The King of Limbs," and received overwhelmingly positive reviews from critics all over the world.

The album was originally scheduled for a Feb. 19 release, but for reasons unknown the band decided to push the drop date forward one day.

The first reactions from many Radiohead fans were uniform. A general satisfaction seemed to be the consensus among fans on campus.

The eight-track album, which wraps up at 37 minutes of total playtime, has already provoked a plethora of wide-ranging conspiracy theories, as only Radiohead has been able to do for years now.

One of the only musicians better at inspiring conspiracy theories is Robert Johnson, the man notorious for allegedly selling his soul to the devil at the Crossroads in exchange for his supernatural guitar-playing ability.

Another musical group that, like Radiohead, rivaled its ability to prompt such theories was The Beatles, the band that managed to convince an entire generation that its bassist, Sir Paul McCartney, was dead.

There are two most agreed-upon (and rational) theories revolving around "King of Limbs": it was either released with the intent that there would be a follow-up album released not far in the future, or that it was released as a remix album.

What exactly is a remix album? This is a good question, especially in the era of dubstep and hip-hop remixes.

No one is suggesting that Kanye is going to be sampling this album. This conspiracy theory directly correlates with another Radiohead conspiracy: the "01-10" theory, which combines their albums "OK, Computer" and "In Rainbows."

The first song from "OK, Computer" is followed by the first song on "In Rainbows" and this pattern continues throughout both albums.

But enough about conspiracies. Let's get to the actual music. Despite the praise given in critics' reviews, many listeners have ended up unimpressed by the album.

Now, there is no way to claim that a band as talented and groundbreaking as Radiohead released a bad album, and one who would say such a thing would be isolated from the world of music.

However, "Kings of Limbs" is a far cry from Radiohead's previous works.

"Kings of Limbs" does not really hit its stride until "Lotus Flower," the album's fifth track that falls past the halfway point of the album.

The opening song, "Bloom," as well as "Feral" are interesting, but they seem almost a little too experimental, although some fans may not agree.

From "Lotus Flower" on, the songs begin to take more of a clear shape, and the album becomes an absolute delight to listen to.

This is especially true for "Codex," the track directly following "Lotus Flower", and "Seperator," the dramatic conclusion to the album.

Radiohead fans will tell anyone who will listen that any of their albums is absolutely worth having, and "King of Limbs" is no exception.

Keeping that in mind, fans should not build this album past its potential. It is a without a doubt a great album, but not one of Radiohead's best.

In the end, whether listeners will enjoy this album depends on how willing they will be to get past the first couple of rough patches. If so, they will find the album intensely gratifying to listen to.

Eli Cohen is a sophomore Music major from Middlebury, Vt.

Benefit concert boosts donations

Posted by Jessica Strasser

On Thurs. Feb. 24, Falstaff's was filled with the sounds of goodwill.

Lively Lucy's hosted the Orphanage Outreach Benefit Concert to support a group of student volunteers who will be going on a service trip during spring break.

The group of student volunteers will be traveling to Monte Cristi, a province in the Dominican Republic.

The trip was made possible by Orphanage Outreach, an organization through which volunteers serve to educate orphaned, abandoned and disadvantaged children.

The student volunteers believe that through principles such as selflessness and ‘serving, not helping,' impact can be made not only in the lives of the children, but in all those in the community.

The service trip was organized in part by Sara Mae Hickey '12, who "had wanted to do a service trip," one of the main organizers of the concert Sarah Dinkleacker ‘14 said.

Through the International Affairs Club, Student Announcements and word of mouth, the trip brought together 19 volunteers.

The group will be going to the Hope of a Child Orphanage in Monte Cristi. Dinkelacker explained students will "go to the school and teach the kids … the importance of boiling water, washing your hands, brushing teeth and how to prevent cholera."

Cholera prevention is especially key, as Monte Cristi is near Haiti, where many are currently struggling with a large cholera outbreak.

"We don't know everything we are going to have to do at the orphanage yet. The program really emphasizes flexibility and doing whatever task is needed of you at the time," Dinkelacker said.

The concert came about as a means of fundraising. The student volunteers had a short amount of time to collect a multitude of items, including shampoo and conditioner, cold medicine, school supplies and clothing.

Holding a benefit concert at Falstaff's was "the best way to get the things we needed … and make it known what we were doing," Dinkelacker said.

Holding the concert would give the group an open forum to explain exactly what its mission was in a more interactive matter.

The benefit concert also allowed those who donated to know exactly what their money was supporting.

"I know whenever I am going to give to a charity I prefer it to be one where I know exactly what [the money] is going to," Dinkelacker said.

The concert filled Falstaff's with students who came to donate and listen to the sounds of many of the college's performance groups.

After a beginning set from DJ Franny Unicorn, the stage was graced with the presence of Lift Every Voice, the Accents, Skidaiko, the Drastic Measures, Joanna Schubert, Matt Gaydar, the Dynamics and the debut performance of the Treblemakers, the college's new all-inclusive a capella group.

Each group performed two pieces and many of the a capella groups premiered new songs to the excitement of a full house.

Student bands MaryLeigh and the Fauves and Weekend Girlfriend closed the show to a dancing, engaged crowd.

The orderly rows of chairs were cleared out to create a dance floor and the crowd took advantage of the opportunity to dance the night away.

In addition, donations and supplies were collected at the door and a bake sale and raffle for items such as a Plum Dandy gift card and calendars were held.

Dinkelacker and Hickey took the stage between each act to explain that the money raised would be used to supply essentials such as clean water to the children of the orphanage.

Overall, a fantastic, fun-filled night was had by all to support a great cause and the concert was a success. More than $500 was raised, and the large box for supplies was filled completely.

Anyone hoping to support this cause still has time to donate. The student volunteers will have a donation box in Case and collect supplies. Any gently-used items or monetary donations can make a difference. A full list of items can be found on their Facebook page.

Hashtag trend robs artists' powerful lyricism: Hip-Hop Weekly

Posted by Jenna Postler

Do you ever struggle to make comparisons in your speech and accidentally leave the ‘like,' or ‘as' out of your metaphors and similes?

Let's say you're trying to explain that something is expensive. Would you say, "prices steep…stairs?" You probably wouldn't. It just doesn't sound right.

Although in colloquial English, this might sound strange, as of late, it has become quite common in hip-hop.

This phenomenon of leaving out the crucial "like" or "as" from a simile or metaphor has a term within the hip-hop community: hashtag rap.

During a Nov. 2 interview with Funkmaster Flex on the radio station Hot 97, rapper Kanye West claimed to have started the fad.

West proposed that hashtag rap spawned from his 2007 song, "Barry Bonds."

On the chorus of the track, West raps, "Here's another hit…Barry Bonds," leaving out a connecting word between the noun and the baseball player.

While West claims to have started this style, examples of hashtag rap can be traced as far back as 2002.

Whether its true conception came from West's "Barry Bonds" or a previous song, hashtag rap has really taken off with the rise of popular rappers like Drake and Nicki Minaj.

Examples of hashtag rap in popular music include, "Swimmin' in the money, come and find me…Nemo," and "Hang it up…Flatscreen," rapped by Drake and Minaj, respectively.

Despite the varying opinions on these immensely popular artists, many agree that this style of rapping does nothing to further the genre.

Instead of becoming progressively more complex and talent-filled, the fad of hashtag rap robs artists' lyrics of their potential. By removing words from metaphors, hip-hop artists are making themselves look and sound ridiculous.

Essentially, hashtag rap serves only to dumb down the genre, discrediting rap as a form of expression.

The hashtag trend is quickly turning a genre once known for its powerful lyricism into a simple stream of words.

One can only hope that the fad of hashtag rap is only that - a fad – and not a permanently disfiguring presence within hip-hop that will leave ‘em scarred…leprosy.

Jenna Postler is a sophomore from rural Vt. who knows what's hip (hop) and can be heard from 2- 4 a.m. every Friday mornng on WSPN.

RawHead & BloodyBones' haunt audience

Posted by Melissa Cohn & Lauren Sager

From Feb. 20 through Feb. 22 in Studio A at the Janet Kinghorn Bernhard Theater, nine female students performed the student-run production, "RawHead & BloodyBones."

The workshop was directed by Jeremy Ohringer '13 and Grace Troxell '13 and was managed by Rebecca McCourt '14.

The performance combined theater, art and music. It did not, however, contain any spoken dialogue. This unconventional characteristic itself was a large point of interest.

The 30-minute play was entirely movement-based and the absence of speech did not take anything away from the play, but rather managed to captivate and hold the audience's attention.

Based on an American folktale, "RawHead & BloodyBones" tells the story of two sisters from a dysfunctional family. The sisters embark on separate journeys of self-realization.

One of the sisters is sent on an impossible journey to the end of the world by her evil stepmother. When she finally reaches what initially seemed to be an impossible destination, she encounters RawHead and BloodyBones – two creatures who have been abandoned by their own families.

These creatures have never been shown love and threaten the protagonist. When the girl shows them compassion, RawHead and BloodyBones bestow good fortune upon her.

The evil stepmother then sends the other step-sister on the same journey. Upon meeting RawHead and BloodyBones, the second sister is cruel to them, and, in turn, becomes one of them.

Throughout the performance, the nine actresses engaged the audience with their frightening gestures accompanied by their frightening, eerie masks that were created by director Grace Troxell '13.

"RawHead & BloodyBones," performed by Kelsey Hull '14, Brittany Singer '14, Beth Svenningsen '13 and Alexia Zarras '14, controlled the movement of the other characters.

Dressed in all black and wearing makeup to match the masks, RawHead and BloodyBones stealthily prowled around the entire stage with their haunting movements.

The actresses used ujjayi breathing, a breath technique used in Hindu and Taoist yoga practices to emulate the sound of the ocean, to set a dramatic mood.

The first sister and step-mother were both played by two actresses each. Each pair of actresses manipulated the paper mache masks and the other body parts.

The first sister was played by Julia Bilbao '13 and Kathryn Rickman '13, and the evil step-mother was played by Laura Cornachio '14 and Adrienne Shaffler '13.

The directors did a phenomenal job of selecting moving and appropriate music. "Twice" by Little Dragon was by far the most fitting song. It was used in a scene where the first girl embarks upon her journey.

The lighting, done by Kelsey Lawler '13, was beautifully designed. The angles and colors set the tone for an emotionally compelling artistic display.

While the production was beautifully done and elicited a positive and emotional response from the audience, the performance was quite complex and seemingly detached from the audience.

Many might feel lost in the plot if they did not read the synopsis beforehand. The captivating masks and performances, however, managed to keep the audience's full attention.

However, the hard work of all who were involved in the "RawHead & BloodyBones" production could clearly be seen through every actress's moving, haunting and entirely captivating artistic display.

Indie student play displays creativity

Posted by Rachel Kim

On March 4 the Theater Department will open the annual spring Black Box Seminar Production, "Hortensia and the Museum of Dreams" at the Janet Kinghorn Bernhard Theater.

The play, written by Nilo Cruz, winner of the Pulitzer Prize for Drama, centers around siblings Luca and Luciana whose lives are affected by their move from Havana to U.S. in 1961.

The two go through an emotional journey as they return to Cuba to search for their missing childhood and trace their roots.

Luciana finds refuge and is taken in by Hortensia, a woman who opens up a world of love, warmth and miracles with the Museum of Dreams.

As they go through this emotional journey, the characters learn to come to terms with their own personal past and ultimately challenge the audience's capability to hope, love and forgive.

"Hortensia and the Museum of Dreams" is directed by Ilanna Saltzman '11, who has had prior experience with directing and working with her peers in this kind of setting.

Saltzman previously directed student-written and student-run "Pegasus" last semester, which was well received and commended for its thought-provoking quality.

Like "Pegasus," "Hortensia and the Museum of Dreams" is a student-run production, an experience that proves to be valuable and beneficial to all the students involved.

The student influence is not limited to directing and acting and extends to management and all other aspects of design.

"Through excellent mentoring by our faculty, students are able to learn about the theatrical process in a very hands-on way," said Katie Lane '11, publicity manager of college's Theater Department.

Student-run productions like "Hortensia and the Museum of Dreams" receive support and guidance from the department, but are also able to give students the freedom to explore and discover their responsibility and individual creativity.

"In "Hortensia and the Museum of Dreams" in particular, we have students taking charge in nearly every single area - directing, acting, set, lighting and costume design and even management which is incredibly exciting," Lane said.

Performances of "Hortensia and the Museum of Dreams" will be held at the Black Box Studio in the JKB Theater until March 9. General admission tickets cost $12 and student and senior citizen tickets cost $8.

Gaydar debuts album on iTunes: Album features acoustic indie-folk songs written over winter break

Posted by Gia Vaccarezza

The college's campus is home to many talented students. Matt Gaydar ‘14 is no exception. He recently released an album on iTunes, "Tastes Like Wintergreen."

Gaydar's debut album features nine tracks that focus on acoustic guitar, indie-folk melodies and catchy lyrics. Gaydar has been playing guitar since he was in fourth grade and started singing during his sophomore year in high school.

At the end of his high school career, he made the decision to compile all his songs and write new ones in hopes of creating an album.

While his first attempt did not succeed, Gaydar realized over winter break that he had written more songs during his time at the college and recorded them in his basement. He then distributed his album to the iTunes store and TuneCore.com.

Having done a project during his first-year seminar on how music labels for upcoming artists are no longer necessary for an artist's success, he was confident in his endeavors.

However, he still had to go through the strenuous and stressful process of copyrighting each song.

Gaydar attributes his inspirations to musicians like YouTube sensation Jeff Pianki, Jeremy Messersmith and The Tallest Man on Earth.

When Gaydar first encountered Messersmith, he was taken by the fact that Messersmith is not a high profile musician who enjoys playing locally and interacting with his fans.

The name for the album came about when Gaydar needed one more song and quickly wrote the title track, "Tastes Like Wintergreen."

He described the process as natural. "To me, songwriting comes from the five senses," he said.

The rest of the tracks have a mix of MIDI (musical instrument digital interface) tracks and Gaydar on the guitar, piano and melodica. The album also features tracks that he previously recorded with his high school friends.

So far, the album has received good reviews from the listening community.

In an iTunes review of the album, a sideline critic wrote, "This freshman album from 19-years-old Matt Gaydar captures the diverse talent of this young artist."

Gaydar won't know the financial benefits until two months after the album's release date, but so far he has been content with getting feedback.

As for future recording plans, Gaydar looks to record another album this summer that features more collaboration with friends, more female voices and other instruments.

He looks forward to seeing how fast he can "crank out the next one." Gaydar's current album, "Tastes Like Wintergreen," can be found on iTunes for $8.91 and features album artwork by Gabriella Carboni '14.

James Blake offers idiosyncratic musical blend: Noteworth Releases

Posted by Kara Clark

James Blake's first full-length and self-titeld album, "James Blake" is running rampant on-campus via word-of-mouth.

Released on Feb. 8 in the U.S., this London native's album offers an idiosyncratic musical blend.

Blake has released EPs and singles prior to this album, since the spring of 2010. These songs were more electronically oriented with hints of soulfulness Blake would later develop.

His work caught the attention of BBC Radio 1, and, since then, Blake has been pinpointed as an artist to watch.

Blake's curious mixture of electronic, acoustic and R&B style is immediately captivating.

The album sounds like what Bon Iver and Kanye West could have delved into with their track on West's "My Beautiful Dark Twisted Fantasy."

Kick drum, piano and acoustic guitar echo behind Blake's soulful, heavily auto-tuned vocals, which are placed especially high in the mix.

The track "Unluck" starts the album off with ominous synth and a simple beat, eventually morphing into a complex percussion pattern that feigns erraticism. Blake laments, "I wouldn't like you, playing, falling, there."

The album boasts plenty of excellent moments. "Wilhelm Scream" and "I Never Learned To Share" epitomize the beauty that can be found in emptiness, not only due to Blake's pained voice, but also because of the scarcity of sound in both songs.

However, these tracks manage to avoid stagnancy, due to an intense sonic catharsis toward their ends. "To Care Like You" and "Lindisfarne (I and II)" follow the same vein.

The weaker selections of the album tend to be tracks that feature piano and vocals alone. Songs like these have been done before, and without the electronic spin that Blake executes on his other songs, they're inevitably boring.

Several critics have labeled this release as a "dubstep album," a conclusion that is questionable at best. This album differs entirely from the music that plays at dubstep parties in Scribner Village on the weekends.

Blake will more likely inspire thought rather than movement. The album is certainly influenced by dubstep, but the overall album cannot be considered a good example of the genre.

The album is good, but not as great as most will claim it to be. Blake has created a few outstanding songs, but they are all enticing for the same reasons.

This album may need a different kind of diversity than what Blake has provided.

Instead of the simple and complex songs, this album calls for a further exploration of the stylistic blending that Blake obviously does well.

His more laid-back dubstep beats garner more interest and will hopefully be featured more in his future works.

Kara Clark is a sophomore English major who hopes to find a job after college.

One-man play recounts Baldwin's life

Posted by Rachel Kim & Derek Liakos

On Feb. 18 in the Janet Kinghorn Bernhard Theater, Staged Dreams presented "James Baldwin – Down from the Mountaintop" an original solo play written and performed by Calvin Levels.

The play takes the audience through the life of James Baldwin, who was a novelist, playwright and human rights activist.

"James Baldwin – Down from the Mountaintop" guided the audience through many major points of Baldwin's life, including the publication of his first novel, "Go Tell It On the Mountain," his stay in Paris, and when he joined Martin Luther King, Jr. during the Civil Rights Movement.

At the start of the play, Levels emerged from the audience and graced the stage. This opening gesture reminded audience members that Baldwin was just like any other individual and transformed this historically important figure into a close, personal form.

Levels spoke in the voice of Baldwin, an act that would naturally be assumed by the audience, but was self-referential and claimed, in the voice of Baldwin, that he had possessed the physical being of an actor to share his story.

The set was composed of an armchair, a coffee table with books and a liquor bottle and side tables with lamps and photographs. This simple set allowed members of the audience to concentrate their focus on Baldwin's story.

From the start of the play, there were projections that showed drawings and paintings of Baldwin.

The images changed as Levels continued telling Baldwin's story. Photos of Baldwin's family, his milestones and even an unsettling photo of a lynching were portrayed on the screen.

The visuals and accompanying music were present throughout the entire production, but never detracted from Level's performance and kept the audience's attention.

Various texts that questioned and dealt with issues of racial equality and sexuality were also projected onto the screen.

The overall show itself was a monologue, but Levels often addressed the audience and even reacted to their presence and reactions.

His monologue established and defined the role of the writer, especially during a time like the Civil Rights Movement, as the disturber of peace.

The audience was able to see the connection between the political turmoil that inspired Baldwin's works such as his play, "Blues for Mister Charlie" (1964).

Although this 75-minute performance only featured one actor, the narrative structure worked well because of Levels's engaging performance and swift movement through the important events of Baldwin's life.

A question-and-answer session followed the performance and Levels eagerly responded to the active audience response and feedback.

He shared his personal history with Baldwin and claimed that Baldwin would be a role that he would play for the rest of his life.

Levels is a member of the Actors Studio and is a New York Drama Desk and Tony Award nominee.

The event was sponsored by the Black Faculty Staff Group, Intercultural Studies, the Office of Student Diversity Programs, Religious & Spiritual Life and the English and Theater Departments.

Hide/Seek' pushes boundaries: Art lecture centers around recent exhibition controversy

Posted by Sandy Zhang

Censorship in art has always been a controversial issue in the U.S., a country that prides itself in the freedom of speech and the liberty of expression.

In an effort to bring this controversial issue onto the college campus, Jonathan Katz, co-curator of the "Hide/Seek" exhibit, spoke on Friday Feb. 18 in the Payne Room at the Tang Museum.

The issue of censorship recently surfaced last December with the opening of the "Hide/Seek: Difference and Desire in American Portraiture" exhibit of the National Portrait Gallery, an art gallery administered by the Smithsonian Institution in Washington D.C.

"Hide/Seek" is the first major exhibit in an American museum to pioneer and explore visual representations of queerness and differences in sexuality, gender and sexual desire.

On Dec. 1, secretary of the Smithsonian, Wayne Clough, succumbed to political pressures from the right and pulled a four-minute excerpt of David Wojnarowicz's film "A Fire In My Belly" from the exhibit.

The Catholic League, a Catholic civil rights organization, along with congressional Representatives John Boehner and Eric Cantor, condemned a scene in the video that showed ants crawling on a crucifix and asked that the House and Senate Appropriations Committees reconsider the federal funding of the museum if it was going to house what they considered to be an anti-Christian fare. 

John Weber, director of the Tang, introduced Katz and opened the lecture saying, "We think it's an issue for the whole country, obviously it should be an issue for Skidmore as well. It's an issue that has to do with accepting differing points of view and understandings of artworks, and public discourse."

He stressed the importance of holding such lectures and drawing attention to the issue. "We felt very strongly that Wojnarowiz's video should not have been removed from the exhibition. We wanted to add our voices to the many art and museum communities around the country that are protesting and lamenting that decision," he said

"What we're trying to do here is try to learn more about what happened and the context for it, and then we can decide what it means for the future," said Ian Berry, chief curator of the Tang.

Katz started the event with a presentation of the other selected pieces that were a part of the "Hide/Seek" exhibition.

The presentation featured works by George Belloys, Jasper Johns, Romaine Brooks, Andy Warhol and other 20th century artists. Katz discussed the historical contexts of the works, the backgrounds of the artists and the different representations of queerness, gender and sexual desire.

The highlight and focus of the event, however, was the screening of both Wojnarowicz's unedited 13-minute "A Fire in My Belly" and the condensed four-minute version edited by Katz.

Both versions include graphic portrayals of fire, blood, flesh and the controversial crucifix. Katz was forced to cut down the film to meet the gallery's screen-time standard.

A discussion between Katz and Berry followed the presentation and screening. Katz claimed that the Catholic League used the crucifix scene in the video as a red herring to attack the exhibit as a whole.

Katz also shared that Clough immediately made the decision to remove the video without consulting the curators of the exhibit or considering the alternative options offered by the museum.

Additionally, congressional Republicans threatened to cut $100 million from the budget of the Smithsonian if Wojnarowicz's film was not removed.

The conversation also took on a tone of regret at the general unwillingness of American museums to openly explore and discuss the role of sexual desire that is clearly present in the artists and the works they produce.

Katz stated that even if larger American museums like the Metropolitan Museum of Art display works by queer artists and works about queerness, they refuse to talk about these themes.

Radicals as individuals in 'Night Catches Us'

Posted by Julia Grigel

It's black history month, and the film "Night Catches Us" is a stirring tribute to an important segment of black history – the Black Panther movement.

Written and directed by Tanya Hamilton, the film takes an interesting perspective: it follows the struggle of two former Black Panthers, Marcus (Anthony Mackie) and Patricia (Kerry Washington), as they attempt to integrate their tragically radical histories and their current lives in 1970's Philadelphia.

The main Panthers movement has come to an end, but that certainly does not mean that violence and racism have vanished, and the two former extremists find that return to a normal life will be difficult, if possible at all.

Patricia is forced to confront a host of painful memories when Marcus, a former Panther and old comrade of her dead husband's, comes back to town after his unexplained four-year disappearance.

Both have attempted to leave behind the chaos of the early 70s, but to no avail: they end up tangled in a newly kindled romance as well as in a new wave of violent revolt.

Hamilton's script leaves something to be desired – there is very little contextual explanation of the various aspects of the plot. There is even less room for character development. But the two leads, Washington and Mackie, deliver tremendous performances, and the audience is ever aware of their emotional wounds.

The supporting actors delivered solid performances, although their roles are not always clearly defined. The most important supporting character, Jimmy (Amari Cheatom), a young and reckless cousin of Patricia's, surprisingly, serves as the climax of the film.

A political frame surrounds the film: the opening credits are superimposed onto images of Black Power protesters, and blatant political references flood the beginning of the film. Hamilton, however, transcends the realm of politics, turning the film into a moving portrait of two humans.

The politics of Hamilton's film ironically lies in its apolitical nature: what we get is not a film about the Black Panther movement, but a film about individuals, a directorial decision made intentionally.

Hamilton draws attention to this period of black history, with the intention of emphasizing the fact that the people behind the Black Panther movement are people with the same daily struggles as anyone, regardless of race.

"Not a lot of movies are made about black people just being people," she explained in a Washington Post interview. "I hope people can see the film and really connect to characters and take away the idea that humanity exists with people of color."

Sure, it would have been interesting to see a film about the Black Panther movement as a whole, but Hamilton gives us quite the opposite: she gives us individual lives in all of their brilliant tragedy.

And she does so without drugging us with a contrived, happy ending to go home with: she leaves us with a harsh, cold reality, with uncertainty and with the knowledge that overcoming past tragedies is, quite simply, really hard.

Student bands defy expectations: Noteworty Releases

Posted by Kara Clark

Student bands can be categorized easily enough; we have our party bands, bands that "just jam" and a couple jazz-influenced groups.

But on Feb. 10 Lively Lucy's show proved that two bands on campus avoid this type of pigeonholing.

Bailiwick and The-Hand-Me-Downs have cemented their presence on campus, a presence they've defined on their own terms, respectively.

The Hand-Me-Downs kicked off the show, immediately inspiring the audience to dance and be at ease.

Lead singer Eli Dreyfus's vivacious energy, matched by the presence of ‘The Emily's,' (Emily Barker and Emily Conner-Simmons) the Hand-Me-Downs additional vocalists, created a jubilant atmosphere.

The Hand-Me-Downs boasted a specific song set; Buried Treasure, Friendship and Zombie attacks are often referenced in the band's lyrics.

However, the Hand-Me-Downs did not appear to be infantile. The audience was more than willing to buy into whatever the Hand-Me-Downs chose to discuss in their songs.

Although the band's persona is a carefree one, the Hand-Me-Downs musicians are obviously skilled. The rhythm section of the band (Stephen Yell on Drums and Jake Mazur-Warren on the bass) kept the set steady while Sam Smith and Dreyfus clearly displayed mastery of the guitar.

The Hand-Me-Downs also teamed up with Bailiwick for one song, a cover of Neutral Milk Hotel's "Holland 1945." Both bands on stage together were truly an event, one that both bands clearly enjoyed.

Perhaps the audience thought the surge of energy exuded by the Hand-Me-Downs would be subdued by Bailiwick's acoustic set; this notion quickly vanished as the band began its first song.

The audience could easily forget that this set was unplugged; Bailiwick radiated an active energy that most acoustic bands fail to provide.

Due to the incorporation of three new songs and a seamless set, Bailiwick's portion of the show further legitimized every one of its performances to date, and simultaneously proved to its listeners that Bailiwick will always have something new to offer.

For this show, Bailiwick introduced several new elements to its performance, and further developed others that it had only lightly explored previously.

Bailiwick set provided more group vocal work, including rounds and more complex harmonies, giving violinists Jane Esterquest and Colin Manjoney as much singing opportunity as guitarists Ned Porter and Brett Hartman.

The band also implemented more percussion into its performance, twice calling Yell of the Hand-Me-Downs to the stage for assistance. For one song Ned Porter even produced a Glockenspiel.

By pairing skilled musicianship and atypical style, both bands have created a solid band foundation for themselves.

The Hand-Me-Downs and Bailiwick have set themselves up for success within the college community, or anywhere else they intend to take their music.

Hip-hop evolves to alternative form: Hip-Hop Weekly

Posted by Jenna Postler

Hip-hop is, and forever will be, an evolving genre. Since its conception, the genre has centered around a sound that is focused on hard beats and rhymes.

Starting with artists like RUN-DMC and continuing through the period where gangster rap was mainstream, an emphasis was placed on not only production and lyrical quality, but also on rap as the genre of the oppressed and downtrodden.

Artists highlighted their social upbringing, seedy neighborhoods and illicit activities through lyrics that were raw and uncensored. Beats behind the lyrics in these forms of conventional rap are heavy and loud, often devoid of complexity.

Recently the genre has seen a shift into a new type of rap categorized as alternative hip-hop.

This deviation of hip-hop has been quite controversial, as its emphasis lies not in hard beats and rhymes, but in the melding of other genres and lyrical quality. Therefore, the question is asked, is alternative hip-hop good for the genre as a whole?

There are two schools of thought on the issue. One notes that it is a positive change and the other states that alternative hip-hop is not.

Critics of alternative hip-hop claim that the grimy roots and traditions that hip-hop is comprised of are forgotten through the new genre.

Alternative hip-hop artists may come from backgrounds that are not at all normal in hip-hop nature. Others fear that the alternative divergence will bring in listeners who do not care about the foundations of hip-hop.

Alternative hip-hop has the potential to appeal to more people, as alternative hip-hop audiences often sample other genres and have diverse fan bases.

Supporters may also be trying to steer away from traditional aspects of hip-hop to new hip-hop that is often more lyrically, socially and culturally aware.

Artists new on the alternative hip-hop scene include Little Brother, Das Racist, The Cool Kids and Kid Cudi.

Often unsatisfied with current hip-hop, these artists look toward the genres of indie rock, soul, reggae and folk for inspiration. This inspiration may be translated directly into production samples, featured artists or may come in the form of lyrics.

Alternative hip-hop has certainly helped rap become a more inclusive genre, branching out from its traditions in ways that can be positive.

By defying conventions inherent in traditional hip-hop, alternative artists are blazing a path toward new and unchartered territory, where no subject is off limits.

Jenna Postler is a sophomore from rural Vt. who knows what's hip (hop) and can be heard from 2-4 a.m. every Friday morning on WSPN 91.1 FM.

Student groups open comedy festival

Posted by Michelle Minick

On Friday Feb. 11 at the Janet Kinghorn Bernhard Theater, the college hosted the 22nd annual National College Comedy Festival.

The college's comedy groups, Ad-Libs, Sketchies and Skidomedy hosted and presented 20 college comedy groups and three professional comedic groups from all over the East Coast.

These groups gathered together to hone their craft, test their best material and perform a variety of uproarious comedic sketches and scenes.

The festival is an annual tradition at the college since its founding in 1990 by alumnus David Miner '91. Miner, a theater major, also started the college's first comedy troupe, the Ad-Liberal Artists.

Miner is now a talent manager and a Golden Globe-winning producer of television comedy shows, including NBC's Emmy Award-winning "30 Rock" and "Parks and Recreation."

Performing improvisational and sketch comedy live is not an easy feat, but the 10 comedic groups that performed thoroughly demonstrated a plethora of spontaneous, witty, humorous and even capricious assortments of comedic performances.

The line-up of college comedy groups for the first night included: Vassar's The Limit and Happily Ever After, Bates's Strange Bedfellows, Tufts' Major: Undecided and The Institute, Cornell's Whistling Shrimp and Skitz-O-Phrenics, Yale's Purple Crayon and the college's own Skidomedy and Sketchies.

Each comedy group took the audience on a journey; albeit, a journey filled with vivacious and eclectic characters, plots and original content.

The highlights from the first night included the following:

Vassar's The Limit showed a video sketch displaying physical comedy and real-life Barbie dolls attempting everyday activities.

Tufts' Major: Undecided showcased a young boy band, Boystown, which consisted of a mayor and distinctive personalities. Then they incorporated a sketch about the implications on impersonating Steve Martin and two clever elevator sketches about fathering a chair and racist bankers.

Skidomedy's Adam and Eve sketch featured Adam and Eve trying to sneak in some alone time despite Adam's cousin, Norman, interrupting multiple times. Their next sketch was about a test that allowed the audience to hear the inner thoughts and musings of each student. Through unique voice-overs, quirky personalities and vocal nuances, Skidomedy tickled the audience's funny bones.

Lastly, there was a hardcore remedy to the sketch, "Genital Harpalies," which included some graphic side effects of birthing eagle babies with lion claws.

Cornell's Whistling Shrimp featured an improvisational long-form scene about young men who were aspiring tambourine players by day and waiters at Denny's by night and their encounter with their tambourine idol.

Cornell's other group, Skitz-O- Phrenics, introduced a sketch that reversed the "theater dork" and "jock" politics, setting up a serious setback in the hierarchy of power.

The Sketchies had two sketches. The first was about an ex-couple, both early childhood educators who re-discover their love for each one another. The other sketch showcased a pair of friendly thieves who tried to befriend the man whose wallet they stole.

There are many key components and rules to follow in order for comedy to occur because comedy cannot make itself happen.

However, the audience could, at times, easily tell when groups were not pertaining to the rules of improvisational comedy. This led to a deficiency in constantly eliciting a response from the audience and ultimately ended in a few downfalls.

Some of the groups mistakenly broke commitment to their character, exhibited poor character development, conveyed parsimonious puns, inexperience with handling the audience, messing up games and bad scene partner chemistry.

Still, every comedic group succeeded in feeding the audience laugh after laugh and left everyone happily satisfied with a great evening of entertainment.

Michelle is a sophomore Theater major and a Management & Business minor who loves to act, dance and play the bass guitar and the piano.

Chestnut Brass Co. performs with humor

Posted by Dale Obble

Five dollars isn't much to ask to see a museum, a comedian or, for that matter, a group of professional musicians.

It's a shame, then, that hardly any students went to see the Chestnut Brass Company, whose show on Feb. 11 in Zankel combined elements from all of the above to make for a uniquely entertaining performance.

The Grammy-winning horn quintet began its show with an exhibition of its huge collection of antique brass instruments.

Some players were recognizable, while others looked like they were meant to be blown from the bow of a Viking warship cruising into battle or a shepherd from a hilltop in the Swiss Alps.

These assumptions weren't too farfetched. Some of the group's historical instruments — most of which had names like ‘sacbut' and ‘serpent horn' — dated back to the Renaissance.

But for those who were less interested in the musicological parts of the performance and were there to hear some foot-stompingly good music, the Chestnut Brass Company did not fail to deliver.

The group's diverse instrumentation allowed for an equally diverse repertoire of music, including both early and contemporary classical pieces, 19th century American brass band music, and at the end of the chronological journey, the jazz of Duke Ellington.

The Chestnut Brass Company opened their first set with the gospel song "This Little Light of Mine," making the Filene Auditorium feel like a street in New Orleans on a summer day.

Next the group played "Juanita," which was impressive, considering the song was originally intended for a mariachi band. Being a horn quintet didn't make a difference. To recreate the airy tone of Spanish guitars and the warbling vocals of a mariachi singer, the two trumpet players stuck the bells of their horns into the end of the tuba and played, while the tuba player sat back smiling and fiddled with his valves.

It was the quintet's collective enthusiasm and sense of humor in moments such as this one that made the show so engaging.

Both the group's music and its explanations of its history were well seasoned with humor.

For instance: while one trumpet player demonstrated the features of a Baroque trumpet with his grandiose hand gestures and a goofy grin, another snuck to the back of the auditorium, and together they surprised the audience with a surround sound red-faced blare.

It's understandable why not many students wanted to make the long, cold walk to Zankel on a Friday night.

The audience may have consisted mostly of Saratoga Springs' senior crowd - the group that frequents most of the college's great jazz shows - but there wasn't one white New Balance shoe in the house that wasn't energetically tapping out the rhythms that the Chestnut Brass Company had to throw at the audience.

The group put on a fun and truly innovative show, hopefully one of many Zankel events that will see a larger student turnout in the future.

Ensemble ACJW blows off some 'Steam': Guest artists end residency with debut of David Bruce?s ?Steampunk?

Posted by Gia Vaccarezza

At 8 p.m. on Feb. 4, the Arthur Zankel Music Center was packed with students, faculty and Saratoga Springs residents.

Ensemble ACJW delivered their second performance on the Zankel stage and their eighth performance at the college.

The audience awaited the world premiere of David Bruce's "Steampunk," a 22-minute, five-movement piece based on the Beethoven E-flat Major Septet, another piece that the Ensemble performed.

Janacek's wind sextet began with an Allegro that featured flowing harmonies in the upper octaves. The movement's quick notes created an overall lively spirit.

The Andante Sostenuto had a bass line that drew attention to the bassoon, an instrument that is not always at the forefront of compositions.

In the Vivace movement, the audience was introduced to a piccolo, played by flautist Yoobin Son. There was also a nice series of trios between the bassoon, oboe and clarinet.

Finally, the Allegro Animoto began as a march, but transitioned into an exchange of sustained notes from all the players.

The ending was a series of short notes, of which the final one resonated throughout the hall thanks to the rich acoustics in Zankel.

The title, "Steampunk," does not necessarily create a strong image in one's head and leaves the audience not knowing what to expect.

This only added to the audience's surprise when each player graced the stage in different costumes. Various members of the group attached mechanical cog, or different types of gears, to their clothing.

The first movement, "Vigoroso, fanfare-like," was full of energetic dissonance that resolved in harmonies that evoked images of "Sweeney Todd."

The movement that followed, "dark, brooding, mechanically menacing" featured the violist plucking chords like a ukulele, an interesting choice on the composer's part. The bassoon's low sustained notes helped create the dark, somber tone.

The "Misterioso e malinconico" began with each string player using harmonics. The bass also had notes in a higher octave, an unusual but interesting musical convention.

Toward the end of the violin had solemn, lamenting segments that had a dominant presence in this movement, but the movement sounded best when all the players comprehensively shared the melody.

The string section, which featured harmonics in the fourth movement, "light, comically" created the movement's lightness.

The Ensemble demonstrated their great ability to enter and cut-off notes together with accurate precision.

The fifth movement, "Desolato", opened with a call and response between the French Horn and bassoon.

The collective speeding up and slowing down of the tempo tested and proved the strength of the group's dynamics.

The climax of the piece had a jazz-like bass line that was backed by the other instruments' adrenaline-pumping melodies.

The piece then deconstructed into a largo section with a prominent violin line, which returned to all the instruments' voices, and then slowly quieted to a final oboe and bassoon duet. The final moments created a powerful, rollercoaster ending,

After a short intermission, the Ensemble ACJW began Beethoven's Septet in E-flat Major, the final performance piece.

The Septet had a great melody, used harmonious calls and replies and featured a lot of violin trills and flourishes. It was a graceful, harmonious piece of work, but not as exciting as the two previous pieces.

The piece was a huge change from the sometimes jarring and "uncountable" movements in Steampunk and Mladi that focused more on making beautiful sounding melodies and harmonies.

Still, the Beethoven piece was a great way to showcase the Ensemble's ability to play, not just as a group, but also as individual musicians.

While an ensemble is not about the individual, their Septet had lines for each instrument, allowing players to show off their skills within the few given measures.

The Ensemble's professional musical ability does not come as a surprise. Their many performances around the college's campus have shown their versatility as well as their dedication to various types of music.

Lee's unreached potential: Let's Talk About Rock

Posted by Lee's unreached potential

Former Philadelphia middle-school teacher Amos Lee released his fourth studio album, "Mission Bell," which was produced by Calexico front man Joey Burns on Jan 25.

The album features appearances from legends of the country music industry such as Willie Nelson and Lucinda Williams. Sales of Lee's latest album have been boosted by the performance of his 2005 song "Dreaming," by Scott Dangerfield during the audition round of American Idol.

This led to Lee's first ever no.  1 on the Billboards, barely beating out Iron & Wine's "Kiss Each Other Clean."

According to Neilson Soundscape, however, the 40,478 copies that Lee sold represents the lowest ever number one debut, a record previously held by hipster icon, Cake.

Despite the honor of being a No. 1 record, "Mission Bell" has been the subject of much mixed reception.

However, this is not an indicator of a lack of talent on Lee's part.

It would be a stretch to call the album unpleasant to listen to – every song is beautiful and enjoyable. Sure, the songwriting could potentially be better, more insightful.

The song "Flower," especially sounds like a first draft that never got a final revision.  "My heart is a flower/That blooms every hour/And I believe in the power/of love," Lee sings, although he does so pleasantly.  

The true pattern of the shortcomings of this album lies in the category of unreached potential.  Despite working with a new producer, the music backing Lee's wonderful, constantly adapting voice is widely the same as in his previous albums.

Lee's collaborative track with Alternative Country icon Lucinda Williams, "Clear Blue Eyes," is, again, a nice song, but lacks anything to make it truly interesting or memorable.

That is not to say that the album is bad.  It would be very difficult to support such a claim.  There are many bright spots on the album, including the last track,

"Behind Me Now/El Camino Reprise," which features the man, the myth and the stoner, Willie Nelson. Not only is this track heart-wrenchingly beautiful, but it also shows Lee's power of self-improvement.

The album opens with El Camino and ends with El Camino Reprise.  Simple enough, right? But this nine minute revisit to the opening track fixes all the shortcomings of the original, mostly due to Willie Nelson's wizened old voice and a sense of better understanding of the track itself by Lee.

There are several other noteworthy tracks on the album.  The first that comes to mind is the catchy soulfulness of "Windows Are Rolled Down," a song driven by a steady, unassuming drumbeat and a killer hook.

"Violin" and "Out of the Cold" are two other great achievements on the album, albeit for very different reasons.  "Out of the Cold," with its eerie blues guitar riff and Lee's equally evocative vocal work, is a haunting song of deep introspection and the cold reality of war.

"It's hard to argue with a bullet-proof vest/But you can't walk straight with a bullet in your chest/Another man down with a flag to fold/It takes a lot of loving coming out of the cold," Lee calmly sings.

The success of Lee's new album seems to indicate nothing less than a dramatic rise in popularity for this 33-year old singer-songwriter.

This is also indicated by the international tour Lee will begin in March with shows in Berlin, Hamburg, Amsterdam and London.

For American fans, however, there is no need to fear, for Lee will be touring all across the U.S. from now until May.

Eli Cohen is a sophomore music major from Middlebury, Vt.

Duennebier takes on Saratoga Springs

Posted by Eli Cohen

Saratoga Springs's historic Caffé Lena has had the honor of hosting some of the biggest names in folk music, as well as holding the title of being the oldest continually running coffee house in the U.S.

Bob Dylan, Arlo Guthrie and Emmylou Harris have all stood on that stage, the same stage upon which Don McLean debuted his legendary "American Pie."

While the name might have been somewhat lesser known (for now) and the crowd somewhat smaller, on Feb. 9, the audience was still greatly engaged.

Jonny Duennebier ‘13 entered fashionably late to the warm welcome of an enthusiastic crowd and immediately got down to business.

During the few moments between songs, Duennebier made friendly interactions with the crowd, but when the music started, his eyes were closed half the time and he never lost focus or looked away from the piano.

While commanding the room with his intensity, Duennebier played eleven songs in rapid order, including three covers and one jam.  

The initial sound conveyed by Duennebier was that of a jazzier Ben Folds. In fact of the three songs that Duennebier covered, the Ben Folds song that more closely resembled his own style was "The Luckiest."

The next song he played was "88," the first song that Duennebier ever wrote. The performance was unchanged from the original until the featured guest, Duennebier's fellow class and suitemate, Daniel Fisher ‘13 entered on the drum set halfway through.

Fisher went on to play the next three songs with Duennebier, including "Ol' 55," a cover of one of Tom Waits's earliest songs.  While it would seem that Duennebier, with his pop piano style and somewhat high-pitched clear voice, would not be able to pull off a Tom Waits song, he made it his own, so that it sounded like it was written for him.

Duennebier's third-to-last song, "For Lilah," was particularly captivating, especially with the introduction: "You might notice that the lyrics in this next song are particularly, um, good. And that's because I didn't write them. My sister did."

He then launched into a beautiful ballad that supports Duennebier's opinion of the quality of the words.  The lyrics are good.  Very good in fact.

Duennebier wrapped up his nearly hour-long show with a rocking rendition of "All Along the Watchtower" with Fisher, but that was not enough for the audience.

To the great satisfaction of the crowd, Duennebier leaned over to Fisher and chose a new song.  He displayed his sense of humor and style by finishing with the 80's British pop band, The Outfield's "Your Love," consequently getting it stuck in the heads of everyone who left the show.

Schick showcases student works

Posted by Rachel Kim

On Feb. 3 eleven students were recognized for their artwork at the opening of the Schick Art Gallery 2011 Student Exhibition, the annual showcase that marked the first show of 2011.

The student exhibit displayed works that students created while enrolled in a studio art course at the college during the spring, summer or fall of 2010. Each individual could submit up to three original works.

This year, 233 individual works were submitted from 100 students. "It was quite large. I think it was our largest pool yet," said Peter Stake, director of the Schick Art Gallery.

Along with the great influx of art submissions, the exhibition received more than $1000 in awards that were funded through donations made by the Schick, the Tang Museum and other community businesses including Soave Faire and Adirondack Trust.

Nine students received cash prizes and two other students were given honorable mentions at the exhibit's opening. "It's exciting to see people support the arts," Stake said.

Every year, the prize-winners are selected by an outside juror. This year's juror was Rachel Seligman, director of the Mandeville Gallery at Union College and Skidmore alumna '91.

Stake noted the importance in having an outside juror view and judge students' artworks with an impartial eye. "We always choose and outside juror for the exhibition because it gives students a different point of view to work with," he said.

An outside opinion also adds to the advice and criticisms already given to students by their professors. "Since they're working with the art department all the time, they already know what we think in terms of quality of work," Stake said.

Jesse Moy '11, who received the Renee Van Dewater Memorial Award in painting found that having the exhibit judged by Seligman was helpful.

"You might submit three paintings and the one you feel least confident about is shown. It's interesting to receive that outside curatorial perspective," Moy said.

The large number of submissions allowed for variety among the works. "Overall, the collection was eclectic and all incredibly skillful work," Jeremy Endo '14 said.

"I think the show has a wide range of diversity. We have nine different media represented," Stake said. The exhibition features oil paintings, woodblock prints and various sculptures made of materials ranging from knit sweaters to bronze.

Aside from the various forms of artwork presented, the exhibition displayed diversity in the levels of artwork. "Some of the pieces are beginning levels and some are advanced," Stake explained. "It's not only the best overall, it represents many different levels."

Because students who are not necessarily studio art majors or minors can still be eligible to enter their work to the gallery, any student with an interest in art has the opportunity to present their artwork to the public.

"As a minor it's nice to have the opportunity to show in a place like the Schick, which is formal as far as student gallery spaces are concerned," Moy said.

Everett Hoffman ‘11, winner of the Tang Teaching Museum Award, is neither an art major nor an art minor, but a history major who has taken four art classes during his time at the college.

"This recognition has shown me that my work can be appreciated by those with substantially more artistic knowledge than myself, and has inspired me to keep on working hard and making sculptures that I think looks cool," Hoffman said.

The impact of the student exhibition at the Schick Art Gallery extends beyond the gallery's participants.

"Not only does it highlight the next wave of student artists, but it also influences and allows others to see what their peers have been working on," Olivia Boone '13 said.

The display of student artwork gives anyone with an interest in studio art and idea of how they may develop their own skills and showcase their own work in the future.

Endo, a potential studio art major, stated, "Any underclassman can look at this gallery, and it's a great place to foster inspiration."

Braids explores texture pop with 'Native Speaker': Noteworthy Releases

Posted by Kara Clark

The Montreal-based four-member band, Braids, released their debut album, "Native Speaker," on Jan. 18. Both sonically compelling and potent, Native Speaker marks the start of Braids' career, one that can only be described as full of promise.

The album has a specific consistency, one that they have aptly titled "texture pop."

"Native Speaker" is a kaleidoscope of delay, reverb and loops. The title track and instrumental piece, "Little Hand" is layered and atmospheric, evoking images of lush, vibrant landscapes.

Still, this album should not be confused with psychedelic hippie jams; "Native Speaker" is surprisingly grounded, a feature that can be accredited to the band's pop sensibility.

Although the album's shortest song clocks in at four minutes and 30 seconds, the music retains drive and technique. "Lemonade" and "Plath Heart" oscillate with purpose, and are just as conducive to active listening as they may be to simply zoning out.

Lead singer Raphie Standell-Preston's voice is particularly captivating and her protean voice delivers on each track.

"Native Speaker" draws out many shades of Standell-Preston's voice; "Glass Deers" brings out her shrill cries and whispered lyrics, while "Same Mum" extracts sharp inflections and overall audacity.

Drummer Austin Tufts also adds another level of interest to the band's sound; his unconventional percussion is aurally captivating.

Despite its alluring sound, "Native Speaker's" fledgling reputation is not perfect; premature criticisms of the album have already begun to develop.

Some opinionated listeners expressed qualms, pointing out the band's similarity to Animal Collective. The comparison is by no means unfounded: tracks on "Native Speaker" are brazenly reminiscent of Animal Collective's "Feels."

However, "Native Speaker" possesses a depth, texture and range that "Feels" ultimately lacks. Braids simply takes the sound Animal Collective pioneered and further develops and explores it.

Liking bands with similar sounds is allowed: stubborn listeners should eliminate their so-called loyalties and get this album.

Kara Clark is a sophomore English major who hopes to find a job after college.