28 WHAT’S YOUR NEW YEAR’S RESOLUTION? BROKEN IT YET? | MARCH 4 - 10, 2004 buzz

MacArthur “Genius” Award-winner and composer MeredithMonk presents a solo concert showcasing her extraordinarilycreative work, capturing the audience's attention with evocative sounds from her one-of-a-kind vocal instrument.

A new work by Meredith Monk and Ann HamiltonFilled with visual and sonic wonders, mercy offers a stunningmeditation on the mystery, beauty, and sadness of life. Vocalpioneer Meredith Monk collaborates with artist Ann Hamilton,a fellow MacArthur "Genius" Award-winner whose work has been shown at Krannert Art Museum. Produced by The HouseFoundation for the Arts, Inc.

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398-4411March 4-10, 2004 Arts | Entertainment | Community

C O M M U N I T Y

A look atfamily andfaith(Page 4)

A R T S

Local actresstakesdirector’schair(Page 6)

M U S I C

Interview withThe Walkmen(Page 9)

C A L E N D A R

Brother Ali and Scratch at Canopy(Page 14)

F I L M

The Passion ofthe Christreview(Page 22)

FREE!

buzzbuzz030404buzz0128 3/3/04 4:35 PM Page 1

2 JUST A SMALL TOWN GIRL, LIVIN’ IN HER LONELY WORLD | MARCH 4-10, 2004 buzz

Got an opinion?

E-mail us at buzz@readbuzz.com or youcan send us a letter at 1001 S. WrightSt., Champaign, IL 61820.

We reserve the right to edit submissions.Buzz will not publish a letter without theverbal consent of the writer prior to publica-tion date. Free speech is an important part ofthe democratic process. Exercise your rights.

All editorial questions or letters to the editor should besent to buzz@readbuzz.com or 337-8317 or buzz, 57 E.Green St., Champaign, IL 61820.

Buzz magazine is a student-run publication of Illini MediaCompany and does not necessarily represent, in whole orin part, the views of the University of Illinois administra-tion, faculty or students.

Copyright Illini Media Company 2004

Volume 2, Number 9COVER DESIGN | Jordan HerronEditor in chief Marissa MonsonArt Directors Meaghan Dee & Carol MudraCopy Chief Chris RyanMusic Jacob DittmerArt Katie RichardsonFilm Paul WagnerCommunity Emily WahlheimCalendar Maggie DunphyPhotography Editor Christine LitasCalendar Coordinators Lauren Smith,Cassie Conner, Erin ScottbergPhotography Christine Litas, Roderick Gedey Copy Editors Chris Ryan, Jen Hubert, SuzanneSitrick, Erin GreenDesigners Adam Obendorf, Sue Janna Truscott,Jordan Herron, Glenn Cochon, Chris DepaProduction Manager Theon SmithSales Manager Jon MalyMarketing/Distribution Melissa Schleicher,Maria Erickson Publisher Mary Cory

BUZZ STAFF

insidebuzzQ & A with director of Staerkel Planitarium

Saying goodbye to an old friend, Record Service

The work of artist Derrick Holley

Oscar wrap-up

Hip-hop Awareness Week

The Story

Music

Arts

Calendar

5

10

12

24

8

As both a professor at ParklandCollege and director of the StaerkelPlanitarium, the second largest plan-etarium in Illinois...

In November of 1969, with nothingmore than a pad of paper, a pencil,and a catalogue, a student run...

Derrick Holley is a local artistwhose work is currently on displayat Highdive and ...

Some might say thisyear’s Oscars were action-packed, and filled withsuprising...

This Saturday is a big night for hip-hop lovers as Melodic Scribes, d-lo,Spinnerty, Brother Ali and Scratch...

BY MARISSA MONSON | EDITOR IN CHIEF

Supersize nom o r e ! T h a t ’ s

right, McDonald’shas decided tophase out the supersize option from its13,000 restaurants nationwide. The phase-out comes after pressure from the publicconcerning the health value of the extra friesand cola. They have phased in yogurts, sal-ads and fruit.

I for one applaud McDonald’s for taking astep to fight obesity in this country. Well,sort of. I’m not sure the absence of thesuper-size will curb weight gain. The prob-lem lies in the greasy burgers and fries, notthe few extra fries the consumer receiveswhen they heartily answer yes to theinevitable question, “Would you like thatsupersized?”

How’s this for a slogan: “McDonald’s,home of the salad.” Doesn’t quite soundright, does it?

According to an Associated Press article,McDonald’s spokesman Walt Riker said,“This core menu, which has been underdevelopment since 2002, simplifies ourmenu and restaurant operations and pro-vides a balance of choices for our customers.A component of this overall simplification,menu and balanced lifestyle strategy is the

ongoing phase-out of the Super-size friesand Supersize drink options,” Riker said.

I’m just wondering how the fast food pio-neers thought their delectable french friesand Big Macs would affect the nation’swaistline. Granted, I never subscribe to thethinking behind the lawsuits that claim,“McDonald’s gave me health problems.”Yes, McDonald’s knows how much fat is inyour burger and fries, but so should you,the consumer, just by looking at the grease-soaked bag your food comes in.

It’s great that McDonald’s is taking theSupersized stuff off the menu, but come on,folks, who’s kidding who here? America’sobesity problem is no one’s fault but ourown. Of course we want McDonald’s. Fattastes good, no one will deny that. But, let’stake some initiative. America is the fat kidthat always has Twinkies in our lunch box.As we huff and puff trailing behind Franceand England, we really have no one toblame but ourselves. We bought theSupersize, and we ate it. So it’s nice to seeMcDonald’s is being the bigger man here, soto speak.

Say no to fries all together! There’s a cam-paign slogan for the ages.

-M.M.

PHOTO | RODERICK GEDEY

Film

editor’snote

27buzz MARCH 4 - 10, 2004 | I LOVE THIS WEATHER

Jazz Crawl and Jam Session

A feast of local jazz musicians and venues, plus a chance to jam at the end of the evening;all are welcome to listen or jam

Thursday, March 4, 5pm to midnight5pm: U of I Jazz Band II at the Iron Post,

120 S. Race, Urbana6:30pm: U of I Lab Band at Krannert Center’s

Tryon Festival Theatre, 500 S. Goodwin Ave., Urbana

8pm: Susan Hofer and Friends at the Canopy Club708 S. Goodwin Ave., Urbana

9:30pm: Jeff Helgesen and Chip McNeill at Zorba’s627 E. Green, Champaign

11pm: Jam Session with the LaMonte Parsons Experience at Cowboy Monkey, 6 Taylor St., Champaign

Traffic Jam: Metta Quintet

Rejuvenate after work with this Brooklyn quintet,leaders of New York’s JazzReach program

Friday, March 5, 5pmLobby at Krannert CenterFreeCash bar

Java and JazzCecil Bridgewater with Chambana

A free, family-friendly, informal concert, with coffee and bagels for sale in the lobby beginning at 9am—you can even take them into the theatre

Saturday, March 6, 10amTryon Festival Theatre at Krannert CenterFree; tickets required

Cecil Bridgewater and guests in concert

Clark Terry, trumpetRon Bridgewater, saxophoneand the U of I Concert Jazz Band

Sunday, March 7, 7:30pmTryon Festival Theatre at Krannert Center$17 to $25Talkback after the show, free

Afterglow with Chambana

Casual night music at Krannert Center’s Interlude bar

Sunday, March 7, about 9:30pmLobby at Krannert CenterFreeCash bar

Jazz Threads Celebration Concert

A powerful combination of community and music

Sunday, May 2, 2pmVirginia TheatreFree

Jazz Threads Underwriter

Creative Intersections Sponsor

Corporate Platinum Sponsor

Corporate Bronze Sponsor

The Great Impasta

Patron Co-sponsorsFran and Marc Ansel

Anonymous

Jazz Threads is supported in part by the National Endowment for the Arts; and by the

Heartland Arts Fund, a program of Arts Midwest funded by the National Endowment for the Arts with additional contributions from General Mills

Foundation, Land O'Lakes Foundation, SprintCorporation, and the Illinois Arts Council.

There’s a great story about jazz in Champaign-Urbana.

It holds chapters from the past.Sounds from the present.And ideas yet to be lived.

Step into the groove of life in C-U

Featuring Cecil BridgewaterMarch 1 - 7 • April 29 - May 2

For information on all events217/333-6280800/KCPATIXKrannertCenter.com

030404buzz0227 3/3/04 4:34 PM Page 1

WHERE IS MY MIND? LALALALA | MARCH 4 - 10, 2004 buzz26odds & endodds & endARIES (March 21-April 19): Do you ever feel an urge to kisstrees? Do animals sometimes talk to you? Can you predict thefuture by divining the way corn flakes float in the last puddle ofmilk in your bowl? Do you have a special fascination with choco-late roosters, statues of pro wrestlers, and conspiracy theories?Have you ever fantasized of being a transsexual spy? Are therepatterns that resemble constellations on the soles of your feet? Ifyou answered yes to two or more of these questions, you're mostlikely an extraterrestrial who has amnesia or is in disguise. Theupcoming week will be fantastic because events will remind youof life on your home planet. If you answered no to four or morequestions, you're probably not an alien, but for maximum com-fort you should act like one this week.

TAURUS (April 20-May 20): The world's largest private bank,Citigroup, has agreed to stop financing projects that damagesensitive ecosystems. It has promised to invest more in projectsthat use renewable energy and to pursue policies that protectindigenous people. How did this impossible dream come topass? The humble but dogged environmental group, RainforestAction Network, creatively pestered Citigroup for years until thecorporation gave into its demands. I see a comparable Davidover-Goliath victory in your future, Taurus, so keep pluggingaway at your quixotic quest. For inspiration, recall MargaretMead's words: "Never doubt that a small group of thoughtful,committed citizens can change the world. Indeed, it's the onlything that ever has."

GEMINI (May 21-June 20): If you live in the NorthernHemisphere, the sun is rising about a minute earlier each morn-ing and setting a minute later every evening. As a result, you'redrinking in about 15 minutes more sunlight every week.The psy-chological effect of this steady influx has been slowly growing,and, in concert with certain astrological influences, will soonreach critical mass. As a result, you will become sun-like: a lumi-nous beacon of warmth. Everything you shine upon will lookbrighter, and your own beauty will be highly visible, too. It will bea perfect time, therefore, to make a dramatic move that helps youpursue your dreams harder and smarter.

QUANTUM FLUX (also known as CANCER) (June 21-July 22):Many people have come to feel that nature is boring, notes edu-cator Thomas Poplawski. Writing in "Renewal" magazine, he fin-gers TV's hyperactive imagery as the cause. In becoming addict-ed to this alternative reality, the mass audience has becomenumb to the more slow-paced entertainment value of trees andmountains and streams and clouds. Have you been contaminat-ed? Has your capacity for patient observation and reverentobjectivity been damaged? If so, this is a perfect astrologicalmoment to seek the cure. I urge you to wander out into the wildplaces and stay there until you see how interesting they are.

LEO (July 23-Aug. 22): If you eventually become a millionairephilanthropist at some later date, it will probably be because ofthe forces you set in motion during the next three weeks. If, in the22nd century, there arises a religious cult that worships you as asex god or love goddess, it will be because of a seed you germi-nate very soon. Finally, Leo, if you are ultimately destined to dis-cover the key to eternal youth, it will have a lot to do with thespacious new question you begin to ask now. These are days ofawe and mystery.

VIRGO (Aug. 23-Sept. 22): In order to live, you've got to be ademolisher.You take plants and animals that were once alive andrip them apart with your teeth, then disintegrate them in yourdigestive system. Your body is literally on fire inside, burning upoxygen you suck into your lungs. You didn't actually cut downthe trees used to make your house and furniture, but you collud-ed with their demise. Then there's the psychological liquidationyou've done: killing off old beliefs you've outgrown, for instance.I'm not trying to make you feel guilty, Virgo -- just pointing outthat you have a lot of experience with positive expressions ofdestruction. Can you think of other forms this magic takes? It'syour specialty these days.

LIBRA (Sept. 23-Oct. 22): It's a perfect time to launch an uprisingagainst God. Due to a favorable alignment of your sign, the "rebelgoddess" asteroid Lilith, and Cruithne, Earth's "second moon,"you have special leeway with the Supreme Being. It's almost cer-tain that you won't be punished if you bitch and complain to Himabout the injustices he has allowed to fester in your life. In fact,expressing your angry protest may even get things changed forthe better. Sometimes the squeaky wheel really does get thegrease, even in divine matters.

SCORPIO (Oct. 23-Nov. 21): Some branches of Eastern religionsteach the doctrine "Kill out desire." In their view, yearning forearthly pleasures is at the root of all human suffering. TheWestern religion of materialism takes the opposite tack,assertingthat the meaning of life is to be found in enjoying earthly pleas-ures. Its message is "Feed your raw longings like a French foiegras farmer cramming eight pounds of maize down a goose'sgullet every day." We here at Free Will Astrology walk a middlepath. We believe there are many degrading desires that enslaveyou and a few sacred desires that liberate you.Your mission in thecoming weeks, Scorpio, is to identify the sacred kind and pursuethem with your wild heart unleashed.

SAGITTARIUS (Nov. 22-Dec. 21): Your power this week willcome primarily from decisions not made, words not spoken,actions not taken, and spaces not filled. Everything you need willarrive if you have created enough emptiness.Everything you lovewill thrive if it has the freedom to do and be nothing. To ensure

that you never succumb to the pressure of Type A bullies whothink every moment has to be filled with ambitious commotion,steal away often to stare dreamily out the window and listen tothe sound of silence.

CAPRICORN (Dec. 22-Jan. 19): It's time for a check-in, Capricorn.What progress have you been making in your work on this year'smajor assignments? As I suggested last December, you're mostlikely to attract good fortune in 2004 if you regularly break out ofyour comfort zone and go wandering in unfamiliar places. You'lldiscover fresh secrets about how to feel happy and healthywhenever you dip into an experimental mode and try thingsyou've never tried before. Alas, I fear many of you have yet tomake a whole-hearted commitment to this thrilling quest. But ifyou have been waffling, it's the perfect week to dive in. And if youdid take the plunge a while ago, you'll harvest a big reward anyday now.

AQUARIUS (Jan. 20-Feb. 18): Since 1994, Mexico's Zapatistashave evolved from a small guerrilla army fighting for the rights ofindigenous people to an international cultural force whose bat-tles are mostly waged with symbols and words. The Zapatistaleader, who goes by the pseudonym Subcomandante Marcos,always appears in public wearing a mask. Periodically, his oldmask wears out and he has to replace it with a fresh one. Rumorhas it that he has gone through ten in ten years. I think this wouldbe a good standard for all of us to live up to: to molt our persona,or social mask, once a year. It's about that time for you, Aquarius.Considering how much your inner world has transformed, itwouldn't make sense for you to keep your same old game facemuch longer.

PISCES (Feb. 19-March 20): Normally I endorse the proverb thatsays, "You can't cross a chasm in two short jumps." In your currentstate of grace, however, you just may be able to find a loopholein that cosmic law.The massive amounts of dumb luck that havebeen surging your way seem to be on the verge of mutating intoout-and-out miracles. You could be the first anti-hero in yourfamily line to turbo-charge a quantum leap of faith in mid-leap.

HOMEWORK:I dare you to unleash thesmart animal within you thathas been restricted because ofthe actions of the dumb ani-mal in you. www.freewillastrol-ogy.com.

Rob Brezsny's Free WillAstrology beautyandtruth@ f r e e w i l l a s t r o l o g y. c o m415.459.7209(v)• 415.457.3769 http://www.freewillastrology.com P.O. Box 798San Anselmo, CA 94979

! "

ACROSS1 Like going in circles

12 Atlantic City, e.g.14 Academy Award win-

ner who said “I dreamfor a living”

16 Western bulrushes17 Sch. that Roger

Staubach played foot-ball for

18 Freshwater fish withbill-like jaws

19 Serving edge20 “The Optimist’s

Daughter” author22 Viva ___23 Crisper24 Chip flavoring25 “Hotel de ___” (1959-

60 TV western)26 Camp seat27 Moolah28 Father ___, the leper

priest of Molokai29 Blue prints31 Exotic stamp collec-

tors, maybe32 Keeps from33 Gives the heave-ho34 Org. with writing fel-

lowships

35 Things seers see36 Off one’s trolley37 Year that Eric the Red

was born, traditionally38 Place to dry tobacco39 “Check it out!”40 Park opened in 196441 Former MGM rival42 Santa suit stuffing43 Defensive play44 It’s dangerous for you

to fly by48 Stiffs49 Roadwork equipment

DOWN1 Full of vinegar2 Mystery writer’s award3 Plays for a sap4 It could be original5 Stats on some backs6 Put off7 Longtime record label

for Whitney Houstonand Kenny G

8 Small9 ___ Margarita, in the

Caribbean10 Head, slangily

11 They’realways unac-companied

12 2001’s“Planet of theApes” andothers

13 Selenium andzinc

14 Openings forhorse trainers

15 Healthfuldishes

20 W.W. II volun-teers

21 “The Intimate___” (1990jazz album)

22 “HardHeartedHannah” ofsong

24 Irving Berlin’s“Blue ___”

25 Velvety plant28 Packed30 Affect in a

subtle way31 Place of hard knocks?33 Kind of battle36 Procrastinator’s reply39 Misstep

40 It can be icy42 Laugh, in showbiz

slang43 Showcase

lead-in on “The PriceIs Right”

45 Your, in Roma46 20-time Rose Bowl

winner: Abbr.47 Sorority letter

FREE WILL ASTROLOGY

CROSSWORD PUZZLE

Puzzle by Mark Diehl

1 2 3 4 5 6 7 8 9 10 11

12 13

14 15

16 17 18

19 20 21 22

23 24 25

26 27 28

29 30 31

32 33 34

35 36 37

38 39 40

41 42 43

44 45 46 47

48

49

3buzz MARCH 4-10, 2004 | JUST KIDDING. JOURNEY SUCKS!

BY MICHAEL COULTER |CONTRIBUTING WRITER

Just as an exam-ple of how stu-

pid people actwhen they drink,l e t ’ s l o o k a t afamiliar piece ofd r i n k i n g l o g i c .Two drunk folks are talking and one says,“Hey, you’re pretty sauced. I’ll follow youhome in my car to make sure you’re OK.”Yes, that’s always a fine idea: Add yetanother car to the fiasco. People are idiotswhen they drink.

Basically, following a drunk person homedoes one of two things. It either satisfiesone’s sick desire to see another personinvolved in a car accident, or enables one tobe a witness to the possible accident. “Wow,dude, you really smacked the piss out ofthat parked car.” Either way, it’s just neveran especially sound idea.

It’s impossible to argue that drinking anddriving is acceptable. Still, it’s also naive tobelieve it doesn’t happen every night of theweek or that you’re ever going to stop itcompletely. Like I said, people do stupidthings when they drink.

There’s been talk lately of Illinois low-ering its blood alcohol limit even furtherfrom its current level of .08. That meansyou could only have one or two drinksand still be able to drive, instead of twoor three. The problem is, it probablywon’t matter much.

I would wager that 90 percent of peoplewalking out of bars are well past the currentlegal limit. I’m one of them on a pretty reg-ular basis. I try not to drink and drive any-more, but if I were to be honest, I’m positiveI’ve done it within the last two months. Ithought I was fine at the time, but in hind-sight, I was very wrong about that, and itwasn’t because of just one extra beer.

Lowering the limit might make lawenforcement’s job much easier. Pull some-one over for whatever violation and askthem if they’ve been drinking. If they sayyes, hook them up to the machine. Youknow their ass is guilty. It only takes twobeers, after all.

I’m sure there are some folks out therewho only have one beer when they go out,but I’ll be damned if I’ve ever seen one andI’ve never drunk with one. Considering thecrowd I hang out with, you’d have a betterchance of spotting a Yeti.

Say what you will, but people lie their assoff—to others and to themselves—whenthey talk about drinking. I know I do. “I had

a couple of drinks after work” usually trans-lates into “I had four or five drinks and atesome peanuts, so I’m going to say I’m fine.”That’s the problem: No one ever thinksthey’re as drunk as they are.

Let’s say we manage to convince all ofthese people who now drink and drive notto. What’s their best plan of attack? Let’ssee, downtown Champaign is the place togo, have a few drinks and see some friends,so let’s say you go there. You park your carin a lot or on the street. Then a few hourslater, you realize you shouldn’t be driving.What do you do?

Most folks would take a cab. OK, that’sprobably about $10 one way, another $10 thenext day to pick up your car. That’s $20 rightthere. What about your car? Well, the citywill slap a ticket on it for sure, which willcost at least $25. There’s also a good chancethey’ll go ahead and tow it. That’s another$75 and a whole extra pain in the ass, thecost of which is priceless. Taking care of theprevious night will take up your whole nextmorning and cost you at least $100 for doingthe right thing.

Well, it should be hard, right? The citydoesn’t want you drinking to begin with.They always whine about what a problem itis, but if you’ve got a bottle of vodka, a bagof ice, seven Dixie cups and plenty ofmoney, they’ll give you a liquor license. Itmakes them a lot of money.

Well, that’s fine, but then they decide barsshould also be open until 2 a.m. Yeah,adding an extra hour to the cocktailing isreally helping. I bet there are a ton of peoplewho go out at 1:30 a.m., have one beer andthen head home for some shuteye. A laterclosing time basically means most of us aregoing to drink for an extra hour, and thatonce a year, Roger Ebert can have a beerafter he shows his late movie.

They make it seem as simple as finding adesignated driver. Trust me, no sober personhas any desire to hang around with a bunchof drunken monkeys all night long, andeven less desire to pile them all in the car fora ride home afterward. I walk nearly everytime I go out now, but I live a few blocksaway from the places I frequent. If I wereyou other people, I’d be careful. They’ll getyou one way or another.

Michael Coulter is a videographer at ParklandCollege. He writes a weekly e-mail column,“This Sporting Life” and has hosted severallocal comedy shows.

Drinking and driving: Damnedif you do, damned if you don’t

FIRST THING’S FIRST. . .

News of the weirdA 46-year-old motorcyclist, speeding,

yelling obscenities, and shaking his fistalongside an 18-wheeler that had made a leftturn of questionable etiquette on a CorpusChristi, Texas, street, lost control of the cycle,fell off, and was fatally dragged underneaththe truck (October). And in Tampa, Fla., a 20-year-old man chased down another driver(both in pickups), finally jumping onto thefirst driver’s door so he could punch himthrough the window. The distracted drivercontinued on for two blocks but finally hit atree, which caused the truck to roll over ontothe man clinging to the door, and he died atthe scene (October).

THINNING THE HERDAlbuquerque emergency

r o o m p h y s i c i a n S a mSlishman is working to launch his EndorphinPower Co., which is a homeless shelter pro-viding drug rehabilitation based on vigorousexercise at on-premises workout stations.However, Slishman also wants his center tohelp pay for itself by selling the electricpower that could be harnessed by his down-and-out population’s daily workouts (pedal-ing, lifting, working the treadmills).Endorphin Power, Slishman says, will be thecity’s flagship for “social rehabilitation andrenewable energy.”

BRIGHT IDEAS

Dentist Mohamedraza Huss Bhimani(Orland Park, Ill.), whom police say fondledthree female patients, was arrested in hisoffice while he happened to be working onanother patient, in mid-filling (October).(The patient had to rush to another dentist tofinish the job.) And Dr. Leon Gombis (OakLawn, Ill.) had battery charges filed againsthim after he, wielding pliers, ripped a capout of the mouth of a 58-year-old patient,believing (mistakenly) that she was behindon her payments (January).

DENTAL FOLLIESThe owners of FM 106.7 in York, Pa., hav-

ing ended the station’s country-music formatbut not yet having introduced a new one,played “Pop Goes the Weasel” 24 hours a dayduring the interim (February). And a recentlyactive methamphetamine lab (fuel, tubing,foil, coffee filters and a liquid compound)was discovered in a search of cells in thePikeville, Tenn., county jail (December). Anda Pacifica, Calif., father filed a $15,000 claimagainst the school district, saying officialshave not stopped students from taunting his12-year-old son, who is an internationallyacclaimed ballroom dancer (September).

MORE TO WORRY ABOUT

Copyright 2004 Chuck Shepard, distributed by Universal Press Syndicate

030404buzz0326 3/3/04 4:34 PM Page 1

BY HADLEY MOORE | STAFF WRITER

Nancy McNabb sets outthe props for her Sundaymorning lesson: a foot-tallhourglass made of blond woodand a paper plate of chocolatecookies. The hourglass willserve as a visual metaphor; thecookies are just cookies. “We’rebig on refreshments,” she says.

The “we” she refers to areLatter-day Saints, or Mormons,members of the growingChurch of Jesus Christ ofLatter-day Saints founded (orrestored, as church membersbelieve) in the United States inthe 1820s.

Members believe theirchurch is the authenticChristian church, the one orig-inally established by Christ.According to church members,because early adherents’strayed from the truth afterChrist’s death, he removed thechurch from the Earth until itsrestoration through JosephSmith, the modern church’sfirst prophet. McNabb is one ofabout 1,100 members in theChampaign-Urbana area andalmost 12 million worldwide.

McNabb is preparing thislesson for the oldest girls inthe Young Women youth groupin the Champaign Second Ward. (A ward is acongregation.) Five 16- and 17-year-old girlssit in a ragged semi-circle facing McNabb.They are dressed in teenage versions ofSunday best—ski jackets over dresses,slouchy socks with high heels, a cotton T-shirtwith a velvet skirt.

McNabb shows the girls the hourglass andtells them it is like the course of a person’slife—if she makes the right decisions. Rightnow, the girls are at the narrow point wherethey may feel constricted; only a small set ofchoices among all the possibilities open tothem are appropriate. But if they choose nar-rowly now, keeping Heavenly Father’s com-mandments in mind, their lives and opportu-nities will expand like the wide base of thehourglass. It is a metaphor that might just aseasily represent McNabb’s life.

Thirty-one years ago, when she was 18,McNabb converted to the Church of Jesus

Christ of Latter-day Saints (LDS). She grew upin a nominally Protestant family, and had onlyattended church a few times while growing up.McNabb took the missionary discussions (aseries of six lessons taught by LDS missionar-ies to potential converts) but thought theywere “a bunch of baloney.”

After high school graduation, McNabb beganto wonder about religion and whether theremight really be anything beyond this life. Shetook the discussions again as a freshman at theUniversity of Illinois, and that time “they stuck.”

She was attracted to the concept of theauthority of God and the belief that men whobelong to the church’s priesthood (which isalmost all male church members) can act forGod. Instead of employing professional clergy,the LDS church is led entirely by the laity.McNabb had never been comfortable with theidea that graduating from seminary could givesomeone the authority to act for God.

She was also attracted to the kind of peopleMormons were.

“It was just so nice to find people who feltthe same way I did, people who had the sameamount of seriousness, but were fun, peoplewho had something that I felt that I wanted,who knew things I felt that I wanted to know,”she said.

But, perhaps more importantly, by joiningthe church, McNabb found a spiritual family,something she had never had before.

“My parents raised us (McNabb and her twoolder sisters) to be moral; they raised us to behonest; they didn’t raise us to be spiritual. Thecommunity that the church provides we didn’thave,” McNabb said.

Some church members can trace their LDSlineage back to the original pioneers who set-tled the Salt Lake Valley in 1847, fleeing per-secution first in New York state, then in theMidwest. New converts have come out of

each subsequent generation, forging religiouspaths for their descendants.

McNabb finds benefits to being a first-gener-ation LDS church member.

“It’s nice to be able to be a convert and to beable to know you made the decision yourself.You weren’t forced into anything, she said.”

But it can also be difficult, even lonelysometimes. Besides her husband (who is also aconvert) and her children, none of her rela-tives are Mormons. While no family memberswere ever hostile about her decision to join thechurch, she is hesitant to share parts of herchurch life.

For LDS families whose church membershipgoes back several generations, relatives—evenif they do not attend the same ward—andchurch family would be part of the same reli-gious network. But for converts, the two areseparate, and the functions of family becomecompartmentalized.

MARCH 4-10, 2004 buzz

Family and FaithLocal Latter-day Saint Nancy McNabb’s religious journey

4communitycommunity

Nancy McNabb watches as her husband Paul helps their son Stewart move his game piece across the board of the game “Uncle Wiggly.”

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April 5th, 2004

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The Triplets of Belleville

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Oscar nominee for Best Animated Feature and Best Song!.

SHOWTIMES: Daily at 3:30PM & 9:45PM

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The Fog of WarPG-13

Oscar Winner for Best Documentary Feature!Directed by Errol Morris.

SHOWTIMES:Daily at 5:15PM & 7:30PMSat/Sun at 1:15PM

Taxi DriverR

Starring Robert DeNiro, Cybill Shepherd, Jodie Foster, HarveyKeitel and more.

MIDNIGHT SHOWS FRIDAY & SATURDAYAll tickets just $6.00

STARSKY & HUTCH (PG–13)Fri. & Sat. 12:20(2 SCREENS)

12:40 2:40 3:00 5:00 5:20 7:207:40 9:40 10:00 12:10Sun. - Thu. 12:20 12:40 2:403:00 5:00 5:20 7:20 7:40 9:4010:00

HIDALGO (PG–13) (2 SCREENS)Fri. & Sat. 12:15 1:00 3:15 4:006:30 7:10 9:20 10:00 12:00Sun. - Thu. 12:15 1:00 3:15 4:006:30 7:10 9:20 10:00

! PASSION OF CHRIST (R) (2Fri. & Sat. 11:15 1:15SCREENS)

2:00 4:15 5:00 7:00 8:00 9:4511:00Sun. 11:15 1:15 2:00 4:15 5:007:00 8:00 9:45Mon. - Thu. 1:15 2:00 4:15 5:007:00 8:00 9:45

50 FIRST DATES (PG–13) Fri.& Sat. 12:40 3:00 5:10 7:209:30 11:40Sun. - Thu. 12:40 3:00 5:10 7:209:30

CLUB DREAD (R) Fri. & Sat.12:30 2:50 5:10 7:40 10:00 12:15Sun. - Thu. 12:30 2:50 5:10 7:4010:00

TEEN DRAMA QUEEN (PG)Fri. & Sat. 12:30 2:50 5:10 7:209:20 11:20Sun. - Thu. 12:30 2:50 5:10 7:209:20

DIRTY DANCING (PG–13) Fri.& Sat. 1:10 3:20 5:30 7:40 9:5012:00Sun. - Thu. 1:10 3:20 5:30 7:409:50

EUROTRIP(R)Fri. & Sat. 12:503:10 5:20 7:40 9:50 12:10Sun. - Thu. 12:50 3:10 5:20 7:409:50

RETURN OF THE KING(PG–13)Fri. - Thu. 12:20 4:20 8:20

MIRACLE (PG) Fri. - Thu. 1:104:20 7:10 10:00

MONSTER (R) Fri. & Sat. 12:202:40 5:00 7:30 10:00 12:15Sun. - Thu. 12:20 2:40 5:00 7:3010:00

MYSTIC RIVER (R) Fri. - Thu.12:50 4:00 7:00 9:50

TWISTED (R) Fri. & Sat. 12:403:00 5:20 7:40 10:00 12:20Sun. - Thu. 12:40 3:00 5:20 7:4010:00

WELCOME TOMOOSEPORT (PG–13) Fri. -Thu. 12:30 2:50 7:20

YOU GOT SERVED (PG–13)Fri. & Sat. 5:10 9:40 12:00Sun. - Thu. 5:10 9:40

CITY OF GOD (R) Fri. & Sat.1:00 4:00 7:00 9:40 12:10Sun. - Thu. 1:00 4:00 7:00 9:40

Showtimes for 3/5 thru 3/11

BY DAN MALONEY | STAFF WRITER

Sean Penn once said that “if you put threethoughts into a movie, then you’ve broken

the law and no one will come.” However, whennary a single thought is put into a film, whathappens then? Only a few films have the dis-tinction of being labeled completely worthless.Twisted has now joined those ranks.

The premise is so simplistic and so mind-numbing that those who actually attend thisfilm will find no surprises. Ashley Judd playsInspector Shepard of the San Francisco PoliceDepartment who has some life-shaping darksecrets: Her father was a serial killer who mur-dered her mother and then killed himself. Shewas raised by the now commissioner of police,played by an unusually calm Samuel L.Jackson. After being promoted to the homicidedivision and given a new partner—an unusual-ly overactive Andy Garcia—Shepard finds outher past one-night stands are being killed oneby one.

The opening shots are the single redeemingquality of this film: a montage of a fogged-inSan Francisco that slowly spirals into a ware-house with a woman’s sweat running down theside of her face. The camera pulls back to reveala knife to the woman’s throat. The womanfights back, but not before uttering some stupidone-liner. After that, it all goes downhill. Sadly,those opening shots—the entire minute and ahalf they lasted—really brought a glimmer ofhope to a film that already looked about asexciting as, well, name a cliche, any cliche.

Ashley Judd plays her typical MorganFreeman sidekick role, allowing Jackson to be ayounger version of Freeman. But even Jacksonand Garcia seem out of place. Jackson never yellsonce and Garcia does, and it’s obvious the rolesare reversed. Director Philip Kaufman makes thefilm seem as if he just didn’t care. It’s sad to seesuch a talented director and cast waste their time.

One thing is for certain about Twisted: itsfaults are magnified by the cast’s and crew’sfame. If this had been an independent film cir-culated through the Sunset or Toronto film fes-tivals, the inevitable notoriety which it will gainfor being “the worst film of the century” wouldcertainly not be there.

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24 PREDICTABLE OSCARS, UNPREDICTABLE COMMENTARY | MARCH 4-10, 2004 buzzfilm

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A lord of a story to rule them all: A journey through the precious Oscars and other witless Lord of the Rings punsBY JASON CANTONE | STAFF WRITER

Some might say this year’s Oscars wereaction-packed and filled with surprising,shocking moments. These people were proba-bly drunk. With The Lord of the Rings: TheReturn of the King sweeping the awards andtying Titanic and Ben-Hur for the most Oscarswon, there were few interesting moments.Luckily, I had a group of friends outto spice up the most boringhours of television in myrecent memory (Threehours and 41 minutes,to be exact). Whatfollows is myOscar jour-nal, writ-ten from themoment BillyBush stopped making inanecomments until Billy Crystalthanked all of Long Island (probablybecause the entire populat ion ofNew Zealand had already beenthanked twice).

0:07 Michael Moore gets stomped to death byan elephant. Simply hilarious.

0:15 Billy Crystal continues his occasionallyfunny but overlong opening montage bysinging to Clint Eastwood and a skeleton-likewoman sitting next to him—his mother?—who might have been alive during the originalPassion of the Christ.

0:29 Before any of its nominations are heard,The Lord of the Rings is presented as a BestPicture nominee. With so much fuel behindit, LOTR could win anything tonight:director, picture ... hell, it could win thegold medal for ribbon dancing if itentered the competition. This is fol-lowed by LOTR’s first win of the night.

0:34 The hilarious Robin Williams falls flatwith his accent jokes as he presents the BestAnimated Film Oscar to Finding Nemo. I won-der if Michael Eisner is under a bed cryingsomewhere. Hopefully next year, Disney willoffer more than Brother Bear.

0:50 Best Supporting Actress goes to ReneeZellwegger, possibly the least deserving of thefive nominees. However, after losing forBridget Jones’s Diary and Chicago, the politics ofOscar guaranteed her a win over ShohrehAghdashloo, whose nomination alone made apowerful statement for women in Iran.

0:54 My friend Joe comments on Zellwegger’sspeech, “Considering they’re actors andactresses, you’d assume they could put wordstogether and speak better than they do.” Youtell ‘em, Joe.

0:57 Bob Hope pro-vides the night’s fun-

niest jokes in a

montage. After the montage, he stands up andturns to the audience, smiling for all of theapplause. “I THOUGHT HE WAS DEAD,” myfriend Andy yells out. And if I didn’t knowbetter, I would assume he was there as welltonight, because they stupidly cut fromfootage of people clapping for him to footagefrom tonight of people clapping for him in thesame building. That’s just bad editing.

1:19 Me: “I don’t think Peter Jackson showeredbefore the Oscars.” Joe: “I don’t think PeterJackson showers ever.”

1:28 Will Smith announces, “I’m doing it withmy wife; I’m just happy.” A little too muchinformation, Big Willie. Oh, and LOTR wonanother Oscar.

1:37 Blake Edwards has the last laugh as hecareens on stage in a wheelchair and leg cast,only to pick up his Oscar and slam through aplaster wall on the other side of the stage. Ifonly this 20 seconds of fun could poke into thedrab four hours of the ceremony.

1:54 Master and Commander wins its first of twotechnical Oscars, making sure it doesn’t pull aThe Shawshank Redemption and win none ofmany nominations. Of course, both its winswere the two techie categories LOTR wasn’tnominated for.

2:09 Diane Lane’s supple breasts and JohnCusack’s total awesomeness awake usall from a slumber. This could be themost boring Oscar ceremony in history.

2:14 Errol Morris’s cocky acceptancespeech for Best Documentary includesa shout-out to Mike Williams, myroommate’s name. Some say it’s just acommon name, but I’d like to think itwas meant for him. I can only hopeCharlize Theron thanks a randomJason Cantone.

2:17 The president of the Academymight be a past Oscar winner, but itsure wasn’t for acting. His speech wasthe equivalent of George W. Bush with a

muzzle (yes—that awful.)2:20 After the death list rolls, Andy asks,“Who’s going to win THIS ONE?” We all breakdown laughing, which is probably inappropri-ate considering we were supposed to bemourning for Robert Stack.

2:30 With LOTR’s sweep, Jake comments, “Itmust have sucked if someone rejected (beingin) this trilogy because it was too nerdy.” Iimmediately think of Sean Connery, whorejected roles in The Matrix and LOTR to do TheLeague of Extraordinary Gentlemen. Is it too lateto take his Oscar back? He already lost his dig-nity, although any woman in America over age40—maybe any woman—would still leave herhusband for him, I’m betting.

2:31 LOTR, a film whose ending seemed toinvolve no content editing whatsoever, winsfor Best Editing.

2:35 Eugene Levy and Catherine O’Hara; thesingers behind The Triplets of Belleville; JackBlack and Will Ferrell all try to breathe life intothe ceremony, but like a dead horse, it ain’tcoming back to life. Still, the Best Song Oscargoes to Annie “Mysteriously Unattractive”Lennox and Fran “I store wild animals in mycrazy hair” Walsh for LOTR.

3:05 With her Best Original Screenplay win,Sofia Coppola redeems herself after her single-handed destruction of one of the greatest trilo-gies of all time.

3:11 Tom Cruise presents Best Director andthey don’t flash to Nicole Kidman. This meanseither the ceremony has become tasteful or shewas in the bathroom. I’m going for the latter.

3:28 Sean Penn wins Best Actor. This categorywas more of a race before Jude Law told every-one to send their votes for him over to Penn.But, then again, Law probably got no morethan five votes anyway.

3:41 In a shocking upset, LOTR wins best pic-ture. Now, New Zealand officially has moreOscars than people. And the painfully boringOscars are finally over. buzz

5buzz MARCH 4-10, 2004 community

From the beginning, people at church pro-vided the spiritual community McNabb hadnot had and which, once she found it, sherealized she was missing. Now, it is as thoughshe has two families.

Stewart, McNabb’s youngest son, is 12 butlooks about eight or nine. He is apple-cheekedwith dusty blond hair like his mother. Stewartis autistic. He is not very verbal and rarely ini-tiates speech.

When he gets home from school one partic-ular afternoon, McNabb meets him at the door.She asks about his day, repeating each of herquestions times in a slow, clear voice.Sometimes he ignores her, and sometimes hegives single-word answers.

Stewart comes into the living room with hismom and climbs into the recliner with her. Thechair is only big enough for one person, but hesnuggles up and she makes room for him.

She turns to him. “You are…” she starts.He smiles at her. “Silly,” he finishes

the sentence. Family is of utmost importance in LDS faith;

there is nothing more valuable to do in this lifethan raise a loving and devout family.

If a husband and wife are married in one ofthe church’s sacred temples, they are consid-ered to be “sealed” for eternity, married onEarth and beyond. Such a couple’s childrenwill also be automatically sealed to them sothat entire families, going back innumerablegenerations, might be together forever.

McNabb also believes her deceased relativeshave had the opportunity to accept churchmembership posthumously, but she does notknow whether they have chosen to—and shedoes not worry about it.

“I know God is fair, and things will be theright way, whatever that is,” she says.

So while she may see her mother or someother family members again, her focus now ison her own family. McNabb teaches piano les-sons in her home, but her primary vocation is,and always has been, as a stay-at-home moth-er. The church encourages women to stay athome with their children, and men are encour-aged to define themselves not by their careers,but by their roles as husbands and fathers andmembers of the priesthood.

“I feel as if my husband and I are equallycommitted to each other and to our family,that we both recognize that our family’s themost important thing we’re going to do onthis Earth, she said.”

McNabb prays by herself in the morning,kneeling by her bedside. She prays that shewill be able to listen to the spirit if there issomeone she needs to help that day, andsometimes she makes personal requests,though she is uncomfortable asking for “spe-cial favors.”

She prays for her deceased mother and forher extended family. And she always praysthat Emma, her daughter who died more than15 years ago, will know her family loves her.

McNabb and her four kids were visitingfriends in Kentucky a few months beforeEmma’s second birthday, when the little girl

came down with a cold and had a smallseizure. Emma had had a few febrile seizuresbefore, but McNabb had forgotten her daugh-ter’s Phenobarbital, so that evening, the friend,who was a doctor, brought some home for her.

Emma died in her sleep that night. Herdeath was officially determined to be the resultof SIDS, but McNabb thinks she probably hadanother seizure.

The family was devastated. But Nancy feltimmediately that Emma had returned to herHeavenly Father.

“When she died, here was this dead body,but it was like a shell. It was so obvious that itwasn’t her spirit there.”

McNabb’s religious faith made it easier forher to cope with Emma’s death. Her belief thather whole family will be reunited remindedher that the loss was temporary.

Though Emma’s death was painful anddealing with Stewart’s autism will be anenduring challenge, McNabb feels the trialsher family has experienced have broughtthem closer together and made them stronger.

McNabb plays the organ for her ward everyfourth Sunday. She sings in the choir. Sheteaches lessons in church members’ homes.

She works at the church’s Family HistoryCenter. She works with the Young Women. Herhusband is their ward’s current bishop, orleader, and some people have said that she is

therefore the “mother of the ward.” This senti-ment illustrates her journey from religiousindifference to not only having a spiritual fam-ily, but being, to some, its mother.

Nancy has been playing the organ at the Church of Jesus Christ of Latter-day Saints for 15 years, while herhusband, Paul, has been the church's bishop of the second ordinance for one and a half years.

As both a professor at Parkland College and directorof the Staerkel Planetarium, the second largestplanetarium in Illinois, David Leake juggles manyactivities. Leake considers himself lucky to bepursuing a career in astronomy, a field he has enjoyedsince fifth grade. A graduate of the University ofIllinois, Leake also helped start the local astronomysociety through the Champaign Park District. Leakecurrently resides in Champaign with his wife andtwo children.

How did you get interested in astronomy?It started with my fifth grade teacher. We didn’thave a planetarium so he took blackconstruction paper, cut holes in it, and put it on

a transparency. It was sort of like a planetariumworks. He made us learn five constellations.From there, I raided the library and found outthere was more. My sixth grade teacher gave memy first star chart which I still have at home.That was the start of things.

How did you come to work at the planetarium?I had been doing some teaching in the area. Ihelped start the local astronomy society throughthe park district. They needed someone herewho knew some backyard astronomy and to runthe Friday night show so I took the job inJanuary of 1989 part-time. The next fall, theyneeded someone full-time.

What does the planetarium offer?It is a big variety. (We) do everything from livebackground sky shows to canned shows wherewe don’t have to do the soundtrack or theartwork, though we still have to adapt them tothe theater. The light show is very popular withthe University students. We do the loud rock ‘n’roll music shows and science lecture series. Wealso do programs for kids. About half of thealmost 40,000 people that visit the planetariumeach year are school children.

What is the best part of your job?There are two things and I don’t know whichis better. This is really cliché but the first is thepeople. We have great school groups that comein. I like the younger kids, with them it’s like,‘Kids say the darndest things.’ Second, I get todo my hobby for a living. I get to take my jobhome with me and getting paid to do a hobbyis a fun thing.

What is the most challenging part of your job?Multi-tasking. I hate using that buzzword, but

it’s keeping up with classes and keeping up withthe work at the planetarium, doing the budgetand the marketing here. I wish there were twoor three of me. There are a lot of things to doand if all those things happen at once, I amlikely to lose my hair.

What is the best part of the Champaign-Urbana community?I am a University of Illinois grad and I thinkthat’s neat. I still follow the football andbasketball teams. It’s the best of both worldshere, somewhat rural and somewhat urban.

What would you be doing if you weren’tdirecting the planetarium?I am not sure. Hopefully teaching somewhereand looking for another planetarium. I havethought about what it would be like if I gaveup one or the other but I would miss both toomuch. I say that two-thirds of my time is spentteaching and the other two-thirds is spent atthe planetarium.

What is the best piece of advice you havebeen given?My high school physics teacher gave a lot ofgood advice. But the best came when I wasworking at a laboratory right after college. Ateacher there told me that the differencebetween a good and a bad teacher is the abilityto say ‘I don’t know.’ People will respect you ifyou say ‘I don’t know’ and then focus on howto find out.

How would you describe yourself in oneword?Dedicated. My second choice would be goofy.I try to put my heart into what I do but with somuch to do it is sometimes hard.

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"SON, WHEN YOU PARTICIPATE IN SPORTING EVENTS, IT'S NOT WHETHER YOU WIN OR LOSE; IT'S HOW DRUNK YOU GET." | MARCH 4-10, 2004 buzz

Take one with Mindy ManolakesStation Theatre favorite makes directorial debut in A Lie of the Mind

6artsarts

BY MARISSA MONSON | EDITOR IN CHIEF

As trains once rushed by The StationTheatre, a remodeled train depot from theearly 1920s, Mindy Manolakes (pronouncedman-uh-LAKE-us) quickly rushes through thefront door. She’s carrying armfuls of scriptsand fliers. The first-time director doesn’t sleepmuch. She fills her nights with anxieties overmissing props and X-Files marathons.

Surprisingly, there is still a glimpse ofexcitement in her eyes as she steps through theblack curtain from the intermission space tolook at the freshly painted floor of the stage.

Outside, a long stretch of railroad tiesextends east to west. The small wooden stationwas home to one of Urbana’s largest indus-tries, the Big Four Railroad, until the birth ofmulti-lane highways pushed the passenger railservice out of business in 1956. Now, theCelebration Company owns and maintainsThe Station Theatre.

With fewer than 70 chairs, a packed house is bursting.The Station Theatre is oneof the only black-box the-aters in Champaign-U r b a n a , a n d i t smoniker describesthe small auditori-um. The walls andceiling are black.T h e l i g h t i n gbooth window

at the upper left-hand corner provides the onlylight as Manolakes enters the stage. Propssprinkle the far wall. A dead, stuffed goat hasbeen suspended from the ceiling, since TheCelebration Company’s last performance ofThe Goat or Who Is Sylvia?

Black-box theaters are home to shows withlow-tech arrangements and simple lighting.Loose chairs straddle the platforms. The audi-ence is nearly on top of the stage. “It’s myfavorite theater, where you can see a tear, “Celebration Company actor Deb Duderstadtsaid. The Station Theatre’s 31-year history hasfostered a community theater that allows indi-viduals to try different roles in productions.Manolakes was an actor for her 20 years withThe Celebration Company and on Feb. 19, shetook the director’s chair for A Lie of the Mind’sthree-week run.

Manolakes looks nervous. “I have a reallygood crew. I don’t feel like things are going tofall apart,” she says with a giggle. “It’s hard tosee what things look like until they’re done,like a puzzle.”

Manolakes chose Sam Shepard’s ALie of The Mind. When she discuss-

es it, her eyes twinkle underblack Buddy Holly style glass-es. She saw the play atK r a n n e r t C e n t e r f o r t h ePerforming Arts years ago andfell in love with it.

A Lie of The Mind dissects thenature of human love and its limi-tations by alternating from the

story of Jake and Beth’s abusivemarriage to their families’ own

struggles with love. The playm o v e s b a c k a n d f o r t h

between two scenes andtwo sets. This creates achallenge for Manolakesto make sure the audi-

ence stays with theaction taking place

on stage.T h e s e l f - p r o -

c l a i m e d d r a m aqueen professes asecret jealousyabout sitting thisone out. As heractors rehearse,she sits on the

edge of her chair,f o l l o w i n g t h e

script and stage likea spectator at a tennis

match. Nearly every night

at rehearsal, the actors move her to tears.Manolakes’ love for the theater and acting

experience carry through when she directs heractors. As she reviews Jake’s mother’s lineswith lead actor Mike Prosise, her voice slipsinto a Southern accent, much like the charac-ters’. “Some directors are more actor-friendly,and some have a very good balance, but that’srare,” Prosise said.

With the addition of nightly rehearsalslasting until the late hours, mornings withher kindergarten class at King School comeearly. In class, Manolakes commands theattention of her students. With prompts like,“Let’s take an imagination walk to openingnight” to inspire her actors’ best work, it isclear that Manolakes uses her classroomskills in the theater. Surprisingly, the theatercan be much more unpredictable than a class-room of children.

“You have such control in the classroom,”Manolakes said. “Everything is so out ofyour control here. It’s very unsettling forme, but you just have to throw it all awayand be flexible.”

From the first week of rehearsals,Manolakes has learned to be flexible. Leadactors Annamarie Macleod and Jason McCainare involved in the production of Sylvia at theParkland Theatre. One of the actors is away inIreland and a major prop The Company was toborrow—the rear end of a deer—is missingfrom the Steppenwolf Theatre in Chicago. But,with a crew of seasoned veterans, Manolakesis only slightly concerned.

The furniture has just been purchasedfor the set. Stage Manager Paul Kaiser andSet Director Ted Bailey carry the navy andtan furniture through the black curtainonto the stage. “It looks like Montana,”Manolakes said of the set. It’s a compli-ment to Kaiser and Bailey because thatwas the intent.

After the furniture is placed, Manolakessits down on the second riser and says, “It’smagic time.” Kaiser dims the lights and theactors know to rehearse the first scene. It’s anemotional scene, where Jake (Prosise) per-forms a touching monologue after beating hiswife. As the scene closes, Manolakes tears up.

There is discussion as to whether Prosiseshould stand or lie down at the end.Manolakes asks Prosise what he wants to do.He decides to stay on the couch.

“Mindy’s an actor so she knows exactlywhat I go through. She let’s me develop thecharacter,” Duderstadt said. “It’s anotherwhole person you have to develop and get toknow, it’s not just ‘acting.’ “

Manolakes is not the only veteran at TheStation Theatre; many of the actors have beena part of the Company since its founding.The Celebration Company was estab-lished as a training ground for actors’ indi-vidual growth and experience. There isalways room for volunteers, and experienceis not necessary.

“It was not intimidating at all the first time Icame to an audition,” Kaiser said. “I felt very comfortable.”

The cast of A Lie of the Mind poses with their pet "Stumpy."

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23buzz MARCH 4-10, 2004 | JESUS, WAR AND DANCING ... WHAT A PAGE film

BY ANDREW VECELAS | STAFF WRITER

With The Passion of the Christ hitting theatersand creating mounds of controversy (and

ticket sales) along the way, it’s as good a timeas any to look back at some past representa-tions of Jesus onscreen that have led to con-tention among certain groups. In no particularorder, here are four other films that each tooka unique view of the story of Jesus and insti-gated a lot of debate in the process.

Jesus of Montreal (1989) — Denys Arcanddirects this Canadian film about a theatergroup putting on a production of the Passion.They give it a modern twist and the actors inthe play start living their roles in real life. Aninteresting take on the Jesus story that leads tothe question: What would Jesus think if he wasput in the midst of modern society? Probablybest not to chew on that one for long.

The Last Temptation of Christ (1988) — Untilthis year, this adaptation of NikosKazantzakis’ book stood as the ultimate con-troversial religious film. Willem Dafoe turns ina great performance (minus any sort of accent)in the title role. Jesus is shown as more human,tempted by thoughts of a worldly life at hismoment of greatest despair on the cross. In theend, he still chooses to complete his sacrificefor the good of humanity over living a “nor-mal” life. Christians protested the visions ofJesus and Mary Magdalene eloping, but over-all, the film delivers a very powerful message.

Jesus Christ Superstar (1973) — The adapta-tion of Andrew Lloyd Webber’s and Tim Rice’srock opera shows the last week of Jesus’s lifethrough the eyes of Judas. The movie has goneon to achieve some degree of cult popularitydespite raising a few eyebrows for showingJudas in a more sympathetic light than peoplewere used to, and implying a relationshipbetween Mary Magdalene and Jesus. Prettydated by today’s standards, but it still worksas a conversation piece that has a little moredepth than its musical roots would suggest.

Monty Python’s Life of Brian (1979) — ThePython boys take the gloves off here and targetso many historical and religious figures withtheir offbeat humor that it’s hard to keep track.The movie follows Brian (played by the lateGraham Chapman) who unwittingly becomesa Messiah figure at the same time as Jesus. Thejokes can be pretty offensive, but they alsohave some depth to them and are utterly price-less—the whole crucifixion scene, completewith a musical number, is a gem. Possibly thetroupe’s best all-around film.

The Passion of the Christ is now showing atlocal theaters. The above-mentioned films canbe found at your local video store.

BY SYD SLOBODNIK | STAFF WRITER

Errol Morris’s Oscar-wining documentary filmThe Fog of War is not only a fascinating histor-

ical profile of former Secretary of Defense RobertS. McNamara, but a provocative analysis ofsome of the more dubious national policieswhich defined U.S. foreign policy for much ofthe 20th century. Morris’s not-so-subtle theme isthat lessons of history are never outdated.

In a famous 1966 book, on the eve of massiveand escalating U.S. involvement in Vietnam,then Arkansas Senator J. William Fulbrightcoined the phrase “The Arrogance of Power,”describing the path of U.S. foreign policy deci-sions. Fulbright’s elaboration—”The presump-tion of the very strong, who confuse power withwisdom and set upon self-appointed missionsto police the world, to defeat all tyrannies, tomake their fellow men rich and happy andfree”—clearly relates to Morris’s film.

Morris’s profile of McNamara is certainly oneof an “arrogant” Washington and corporateworld insider. Former Harvard professor, for-mer president of Ford Motor Company (whoclaims he insisted on the 1956 introduction of

the seat belt), secretary of defense from 1961-68,and head of the World Bank, McNamara, still arather active 85, is interviewed extensively byMorris. Unlike the excessively flamboyantOscar-winning Michael Moore, Morris’s mostcontroversial moments are kept in the revela-tions of his interviews and not self-promotinggrandstanding.

McNamara’s history is a fascinating tale ofclearly explained memories of the many keyevents of the ugly history of wars in the 20thcentury. Morris structures his interviewsaround what he calls “The 11 Lessons from theLife of Robert McNamara,” as McNamaravividly recalls the most chilling events of hislife: remembering an armistice parade for sol-diers at the end of World War I when he wastwo years old, to a fact-finding meeting with theformer foreign minister of North Vietnam in1995. In a bittersweet mix of pompous bravadoand tearful reminiscence, McNamara tells howhe helped determine a policy of firebombingJapan’s largest cities at the end of World War IIand how he sought rational debate during theCuban Missile Crisis in 1962, when we camedangerously close to the brink of World War IIIand nuclear annihilation.

Along with these discussions, McNamara’smaxims, “No. 5: Proportionality should be aguideline in war” and “No. 1: Empathize withyour enemy” are given the most emphasis.

At no time, though, does Morris ever presentMcNamara as either a glorified super-patriot ora demonized ex-administrator, who should befaulted for one of the darkest periods of U.S.history. Like his most successful films, Morrislets the interviewee’s answers speak for them-selves and lets his viewers decide. In long dis-

cussions of the morality of war and decisionsdirectly related to Vietnam policies, McNamaraadmits “we were wrong.”

Underscoring most of these interviews is anentertaining compilation of historical documen-tary footage, newsreels, television video andnumerous still photos of many of the pastevents McNamara describes along with com-poser Phillip Glass’s hypnotic musical score.

Later, in a chilling moment, McNamararecalls that nearly 25,000 Americans died inVietnam under his watch at the DefenseDepartment and Morris shows a phone book-sized register of those names. Many times too,McNamara comes off as a strong self-critic,seeking some sort of reconciliation for his pastdecisions and “mistakes.”

Whether The Fog of War is one elderly states-man’s attempt at redemption or Morris’s lessonfor contemporary leaders of our superpowernation, it will teach many of the paradoxes ofpowerful decision makers’ actions.

moviereview

THE FOG OF WAR | ROBERT MCNAMARA

THE FOG OF WAR !!!!

BY DAN NOSEK | STAFF WRITER

Before Dirty Dancing, Patrick Swayze was justanother attractive face among hundreds in

the Hollywood spotlight. Today, all womenremember him as the handsome heartthrobwho captured the heart of one lucky girl duringdance lessons. The mere notion of a nerdyteenager falling in love with her dance instruc-tor soon became the lifelong dream of every sin-gle female. The original thus became an instantsuccess and was hailed in many circles as theultimate romantic love story.

Although a sequel was never intended, theformulaic plot seemed to be very appealing tomany directors. Seventeen years after the origi-nal gem hit theaters, Miramax now attempts torevive the passion and popularity of the firstfilm by releasing Dirty Dancing: Havana Nights.This rendition almost parallels the original plotto perfection but changes its venue to a tropicallocation in Cuba.

Just as Jennifer Grey’s character was rippedfrom her suburban lifestyle to a forbidden par-adise, a girl of similar qualities named Katy istransported from her home in St. Louis to thelovely island of Cuba. She arrives with herwealthy boyfriend, Phelps, the son of anotherprincely family. Just the name Phelps shouldhave been sufficient reason to dump him, butKaty manages to be seduced by a clumsy wait-er named Javier who is close to her age.

Her new tour guide leads her to all thefamous hot spots and nightclubs in Cuba. Theopportunity to join a dance contest presentsitself, and the two cannot resist entering. Ofcourse, as soon as Javier learns of Katy’s danc-ing dilemma, he offers to be her personalinstructor. As their dance lessons grow longer,their passion for each other becomes moreintense. Obviously, the ending comes as no sur-prise as their days of practice are finallyrewarded, and their love for each other is con-summated through their dancing.

Despite the plots of both films being almostidentical, Havana Nights attempts to incorporatea political message that is completely unneces-sary and unclear. Amid Javier’s and Katy’sromantic exploits, a revolution led by FidelCastro is brewing against the Bautista regime inCuba. Scenes of violent uprisings and mass hys-teria sweeping across Cuba could have provid-ed additional depth to the plot if done properly.However, it seems as though they were just ran-

domly inserted to deviate from the love storyfrom time to time. The political backdrop is nei-ther relevant nor practical in the context of thisfilm and belongs in a historical documentaryrather than a sappy romance.

To call Havana Nights an expected disap-pointment is almost an understatement. DiegoLuna, who plays the dashing Javier, does notnearly have the onscreen magnetism of aPatrick Swayze to accurately portray his char-acter. Although he was brilliant in Y Tu MamaTambien as an energetic and free-spirited trou-blemaker, Luna simply falls short in charm andstyle as the dance instructor in Havana Nights.Romola Garai as Katy does not submit a veryimpressive performance here, but is wonderfulin I Capture the Castle. Theese mediocre perform-ances and a rehashed plot make a trip to HavanaNights a trip to forget.

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THECONTROVERSYOF THE CHRIST

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A LIST OF THE MOST PREDICTABLE OSCAR WINNERS IN RECENT MEMORY | MARCH 4-10, 2004 buzz

film film 22

BY MATT PAIS | LEAD REVIEWER

After months of editing, end-less controversy and an

interview with Diane Sawyer,it turns out that Mel Gibson’sThe Passion of the Christ isn’tquite the legendary cinematicachievement that everyone

would have you believe. It’s groundbreaking inthe historical sense—an epic recreation of ashocking, 2,000-year-old tragedy—but beneaththe pervasive media saturation, religious feudsand some truly gruesome violence, the filmfeels less like a whole story and more like theending to a different, deeper movie.

In chronicling the final 12 hours of Jesus’s(Jim Caviezel) life, Gibson fast-forwards right tothe end, which doesn’t seem disjointed at thebeginning of The Passion of the Christ. The filmopens with Jesus praying alone in the forest ashe waits to be found and persecuted by theJews and Romans. Judas (Luca Lionello) hasalready betrayed him, and he has already

prophesied Peter’s (Francesco De Vito) denial,and it’s not long before Jesus is beaten neardeath by merciless nonbelievers.

The damage enacted upon his body, fromcountless public lashings to the ultimate affixa-tion to the cross, is every bit as bloody and dis-turbing as advance word suggested. Try not toavert your eyes when the spiked whips clutchto Jesus’s back for a moment before jarringloose and spurting blood every which way. Thisis an appallingly brutal film, and Gibson does-n’t hesitate to make every drop of blood squishand splatter. His point is that Jesus’s pain is ourpain, and The Passion of the Christ is indeed oftenextremely painful to watch.

Yet, in focusing solely on the unthinkablepain Jesus endured, Gibson manages to hollowout one of humanity’s most widely known andemotive stories into a shell of repetitive reli-gious grandstanding. Every second is meticu-lously crafted, with a harrowing adherence toScripture and an unflinching determination tochronicle Jesus’s every step from conviction tocrucifixion. But while fervently presentingJesus’s extreme suffering, the film displays sur-prisingly little feeling toward its subject.

This becomes apparent when, by the timeJesus’s head droops for the last time, his skinlacerated and limbs impaled by large nails, youweep for the ferocity of the violence but not forthe suffering endured. Sure, The Passion of theChrist is more about what happened to Jesusthan about Jesus himself, and the problem isn’tthat it lacks sympathy. Rather, it treats its cen-

tral figure solely as a biblical icon and never asa person; the movie prefers hovering on the sur-face of Jesus’ shredded skin to spending even amoment inside his head.

Consequently, Gibson’s religious labor ofcruelty succeeds only as an eye-opening pictureof suffering rather than a presentation of thefaith and sacrifice that led to such extraordinarypain. The film occasionally intersects the perse-cution with placid shots of Jesus spreading hispeaceful message and random moments of hisquietly pious life. These are few and farbetween, however, and a half-hearted effort byGibson and co-writer Benedict Fitzgerald tobreak up the monotony of innumerable slow-motion collapses and redundant reaction shotsof teary-eyed women. This is a monumental,historical accomplishment, made with intensepassion, courage and brains, even if its mindfocuses more on shallow malevolence than spir-itual catharsis. What it needs is a heart.

moviereview

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THE PASSION OF THE CHRIST | JIM CAVIEZEL

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BY JASON CANTONE | STAFF WRITER

How do you make fun of a film genre that’salready a joke? That’s the question Broken

Lizard, a group of five master thespians, musthave asked themselves during the making ofClub Dread. The “I’m a naked teenage bimborunning in the woods from a bad, bad man witha machete” genre of horror film might haveended decades ago, but like a song by Journey,it will never be forgotten.

By itself, Club Dread is not a phenomenalmovie. The acting is poor, the scriptwriting isshoddy and it seems like everyone in the filmwas high or drunk during filming. However,before judging this film, one must look at theslasher films it pokes fun at. Generally, theyhave poor acting, shoddy writing and gags sostupid you’d think the director was drunk if hethought they’d work. Definitely some subtlesimilarities, don’t you think?

It might seem that the Scary Movie trilogyclosed the book on how to parody horror films,but every over-the-top and heavy-handed gagin that trilogy was stolen from other films. Fromthe Scream mask to the overly drawn out 8 Mileparody in the third film, the trilogy reeked ofrepetition. While Club Dread obviously drawsits inspiration from ‘70s slasher flicks, it ridesthe line between comedy and parody success-fully and provides great entertainment valuefor the college crowd.

Most of the film is blood and bodies andmost of those bodies are straight from a GirlsGone Wild! video, but it isn’t the blatant sexual-ity that will keep viewers entertained—it’s alsothe nonstop fun. In the first scene alone, there’sa menage a trois, three brutal slayings and morelaughable moments than your average, run-of-the-mill teen comedy contains.

All of the action takes place on PleasureIsland, an amalgamation of everything SpringBreak. From a club staff ready to please theguests in every way possible, to a JimmyBuffett-like honcho singing “Pina Colada Berg,”(which sounds oddly like “Margaritaville”),there’s just too much happiness for the islandNOT to be hounded by a crazed serial killer.

Paxton parodies Buffett successfully and themain actors do their best in their stereotypicalroles. But it’s not the acting that keeps this boatafloat. Unlike their role models in MontyPython, none of the Broken Lizard troupestands out as a particularly gifted comedicactor. Luckily, the jokes keep coming, as each

death setup is more over-the-top than the last.Taking this film seriously would be a crime,

and those who do are sure to hate it. With filmssuch as Mel Gibson’s The Passion of the Christbringing suffering and torture to millions ofpeople, a simple, dumb film like Club Dreadshould be in theaters to counter some of thatanguish. Club Dread won’t make you more reli-gious and it won’t make you a better person,but you also won’t have to suffer for somemovie entertainment.

!!!

The Passion of the Christ

“It was violent, it got the point across ... it was moving.”

!!!!

Blake Wagahoff

Raymond, IL

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Laura Zeigler

Raymond, IL

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Donna Weaver

Philo, IL

“I don’t think it was (anti-Semitic). They had to portray it as it happened.”

“Having two sons, I don’t know if I would have done what Mary did.”

Compiled by Roderick Gedey

CLUB DREAD | STOLHANSKE, DANIEL, SOTER

SCREEN REVIEW GUIDE

!!!! Flawless!!! Good!! Mediocre! Badno stars Unwatchable

OscarWinners

Leading Actor: Sean Penn - Mystic RiverSupporting Actor: Tim Robbins - Mystic RiverLeading Actress: Charlize Theron - MonsterSupporting Actress: Renée Zellweger - Cold MountainAnimated Feature Film: Finding NemoArt Direction: The Lord of the Rings: Return of the KingCinematography: Master and Commander: The FarSide of the WorldCostume Design: LOTR: Return of the KingDirecting: Peter Jackson - LOTRDocumentary Feature: The Fog of War Documentary Short Subject: Chernobyl HeartFilm Editing: LOTR: Return of the King Foreign Language Film: The Barbarian InvasionsHonorary Award: Blake Edwards Makeup: LOTR: Return of the KingMusic (Score): LOTR: Return of the KingMusic (Song): “Into the West” - Fran Walsh,Howard Shore and Annie Lennox Best Picture: LOTR: Return of the KingShort FIlm (Animated): Harvie KrumpetShort Film (Live Action): Two SoldiersSound Editing: Master and CommanderSound Mixing: LOTR: Return of the KingVisual Effects: LOTR: Return of the KingWriting (Adapted Screenplay): LOTR: Return of the KingWriting (Original Screenplay): Sofia Coppola forLost in Translation

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7buzz MARCH 4-10, 2004 | "NOW, SON, YOU DON'T WANT TO DRINK BEER. THAT'S FOR DADDIES AND KIDS WITH FAKE IDS." arts

BY KATIE RICHARDSON | ARTS EDITOR

D errick Holley is a local artist whose work is currently ondisplay at Highdive and Boltini Lounge in Champaign.

He mainly creates self-portraits, which examine the role ofidentity insofar as how he perceives himself, how others per-ceive him and how these two perceptions coexist and perhapsconflict. He was trained at Black Hawk College and the ArtInstitute of Chicago, receiving his MFA at the latter. He hasa calm, cool demeanor, but he is not at all aloof or unthank-ful. On the contrary, he has a great deal of gratitude toward

those who appreciate his work, and said he is espe-cially thankful toward Ed WiseKamp, CarlosNieto, Tom Gillespie and many other patrons forbeing particularly supportive.

When did you first start painting?When I was little boy, about five or six, I was

sitting in a waiting room of some sort and Isaw a magazine with a picture of a cowboy onit. I really wanted the picture on the magazine,but my mother said that it didn’t belong to me,

it was the hospital’s, and I couldn’thave it. I studied the cowboy really,really closely, and memorized the pic-ture, sticking it in my mind’s eye. Iwent home and was determined todraw it. I must have gone through 100pieces of paper trying to replicate thatpicture. Ever since then, I’ve knownthat painting was the art form bywhich I most strongly expressed myself. I thinkit’s crucial that each and every one of us findour “strongest voice,” whether it be painting,poetry, music, etc. By the way, I finally paintedthe cowboy a couple of years ago.

Who were your earliest sources of influenceand inspiration?

My earliest influence was Eddie Murphy.When he became famous, it was the first timethat I got a solid sense that there was a place forme in society. I was in high school and peoplesaid I looked like him, and there was this kindof acceptance of me because of his influence andpopularity, and that granted me the realizationthat I, too, could forge a name for myself. So faras painters, when I first began school, I reallyloved Leonardo da Vinci and Rembrandt. Thecontemporary artists that I really came toadmire are Jerome and Joel Witkin. Jerome is apainter, while Joel is a photographer who cap-tures bizarre encounters between people andalso focuses a lot on identity in his work.

Where do you see yourself going as an artist? I feel as though I’m pretty settled as an artist right

now. Every day for me is just a matter of becomingmore alive and excited about my subject manner. Idon’t have bad days anymore, just things I can paintabout. I’m also constantly fine-tuning my eye andbecoming more and more adept at capturing theimages that I envision in my head. I think a lot of mywork improves when I spend a little time away fromit, just thinking about it rather than working on it. Ithink time spent thinking about your artwork is asimportant as time spent in the studio. When I comeback to a painting I find that there are a lot ofimprovements and corrections that I can make, whichdidn’t occur to me while I was originally working on it.

Why did you decide to come to Champaign-Urbana?I wanted to slow down a bit, do some work. In

Chicago, as well as other big cities, so many thingscan run you down. Champaign-Urbana isn’t an artsmecca, but it has served its purpose. It’s offered me anice change of pace.

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The Company works to produce quality pro-ductions and continues to renovate the building,but persists to let new people experience the the-ater. The community feel gives actors likeManolakes a chance to direct, but it also givesdirectors like McCain a chance to act. His role in ALie of the Mind is his first acting gig with TheCelebration Company.

“Champaign-Urbana has got a nice supportivearts community,” McCain said. “I think that iswhy The Station Theatre has been able to exist forso long.” The actors support each other as well.Before rehearsal Duderstadt learned that she didnot receive the role she wanted for the nextParkland Theatre performance. Actors rushedover to console her.

“It’s not just a theatre in the community,” Baileysaid of The Station Theatre. “There is acommunity here within the theater.”

A week prior to the show, the empty black-boxtheater is transformed. The goat is no longer sus-pended from the ceiling and blocking tape makesthe floor look like a backgammon board.Manolakes explains that later the tape will bepainted. Her purple scarf floats as she scurries

back and forth, making sure props and her actorsare in place. The tan and navy couch is nowaccompanied by a chair and a brown backdrop.

The actors are more refined in their roles, themonologues more intense and the dialogue morenatural. McCain goes through his lines withanother company actor minutes before he is set topractice his scene. Manolakes sits at the far leftcorner of the audience to make sure everythinglooks right, even from the worst seats in thehouse. Lights dim, brighten and flicker on and offas Kaiser tries to memorize his cues. The deer’sbehind has arrived and everything seems to be inplace.

“I love acting on the stage,” Manolakes said. “Iam enjoying directing, but I don’t see myselfdoing it again.” Manolakes will continue to polishthe performance until opening night when her jobwill be nearly over. She will add the score, com-posed by her best friend, Ian Shepard, and theintroduction read by Richard Burton by means ofa crackling LP.

Manolakes calls for the lights to go darkand, right on cue, says, “It’s magic time.” Mindy Manolakes directed the play A Lie of the Mind, which runs through March 6 at the Station Theater.

Painter Derrick Holley (above)

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8 "RAY, WHEN SOMEONE ASKS YOU IF YOU'RE A GOD, YOU SAY 'YEEESS!' " | MARCH 4-10, 2004 buzzarts

!!! Stephen Adly Guirgis

BY SYD SLOBODNIK | CONTRIBUTING WRITER

O ur Lady of 121st Street, the SteppenwolfTheatre Company’s present production,

is a wonderful actor’s ensemble piece thatwill remind veteran Chicago theatergoers ofthe Steppenwolf’s best productions of twodecades ago. An era when that group ofyoung, recently college graduated NorthSiders began making a unique impact onMidwestern theater.

Written by another young New Yorkplaywright, Stephen Adly Guirgis, anddirected by Will Frears, Our Lady of 121stStreet is a delightful mixture of the comedyand seriousness of urban life. Its short-on-detail plot contains a wealth of street-smartdialogue and a dozen or so authentic NewYork urban types, who have seen some oftheir best dreams and aspirations fade withthe years.

Guirgis’s narrative centers on a reunion,of sorts, of a group of neighborhood friendsand acquaintances who are attending thewake of a Harlem parish’s most belovednun, Sister Rose. Rose was an early guideand inspiration to many of the play’s nownearly middle-aged characters.

In a series of humorous two- to four-per-son scenes, director Frears skillfully blendsthe humor and pathos of the play’s key per-sonal conflicts of these once childhood/teenfriends, uncovering deep character flawsand personality inadequacies. Some of themost interesting characters includeRooftop, the former Harlem resident, now a

well-known Los Angeles-based radio host,who is so spiritually lost he hasn’t been toconfession is nearly 30 years; Inez,Rooftop’s ex-wife, who despite lookingonly years older, has had more than hershare of rough times with men in her life;Balthazar, a tough New York City cop whois looking for a stolen body; Flip, an attrac-tive black professional who returns to his‘hood with a Caucasian gay lover; andEdwin and Pinky, two Latino brothers whoseem stuck in their routine lives. Situatednext door to the funeral home is the localCatholic parish where Sister Rose served,which is now run by an elderly handi-capped priest who openly expresses hisdoubts in his faith.

Scenes are mixed with intense feelings ofpast regrets over old responsibilities andbad intentions, as many of the characterscarefully protect their fragile egos and denyfaults that lead to their unfulfilled lives.

The multi-ethnic cast of mostly younger,non-Steppenwolf ensemble members—withthe exception of the always interesting andentertaining Robert Breuler—is as sparkling agroup of performers as those of Steppenwolf’sheyday; productions that featured JohnMalkovich, Gary Sinise and Laurie Metcalf.Standouts in the Our Lady of 121st Street castinclude E. Milton Wheeler as the explosiveRooftop, Shane Williams as Inez and SammyA. Publes as the rather pathetic Edwin.

Our Lady of 121st Street, a contemporarydrama about urban realities, runs throughMarch 28 at Chicago’s SteppenwolfTheatre at 1650 N. Halsted.

Our Lady of 121st Streetplayreview

(Above, Right) Marisabel Suarez (Norca) and Shane Williams (Inez) in Our Lady of 121st Street by StephenAdly Guirgis, directed by Will Frears. Our Lady of 121st Street opens in the Steppen wolf Downstairs thetre,1650 N. Halsted, Sunday , Februarty 15, 2004. For tickets call (312) 335-1650 or visit www.steppenwolf.org.Credit: Micchael Brosilow.

By Lorraine HansberryDirected by Shirley Basfield DunlapWith guest artist Cheryl Lynn Bruce

Mar 4-14KrannertCenter.com 217.333.6280

Associated lecture:"The Impact of Race on Theatre and Culture" by Woodie King, Jr., Producing Director,New Federal Theatre, New York.Mar 3, 5pm Levis Center, 919 W Illinois, Urbana

Department of Theatre

being matters.

Supported, in part, by the Frances P. Rohlen Visiting Artists Fund/College of Fine and Applied Arts and the Chancellor’s Brown v. Board of Education Jubilee Commemorative Committee.

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Champaign County Audubon Society early morn-ing bird walks – Busey Woods every Sundaymorning starting this Sunday at 7:30am. Meet atAnita Purves Nature Center parking lot. 344-6803.

CultureTalk: Steven Pinker with Nancy Cantor –Pinker and Cantor will talk about the evolving rela-tionships between the arts and contemporarysociety. Colwell Playhouse. Tuesday, 7:30pm. Free.

“Share a Meal with Community Shares” – Thisfundraiser helps local non-profits. Thirty percent ofyour meal at Silvercreek restaurant goes to one ofthese charities. Call 328-3402 for info.

“Soft Materials and Nanopatterning Techniquesfor Electronics” – part of the Center for NanoscaleScience and Technology Seminar Series. JohnRogers, Prof of Materials Science and Engineeringat the University will speak. Coordinated ScienceLaboratory Auditorium. Wed, 4pm.

Brown Sisters of Topeka, Kansas Lecture – Thelecture will consist of reflections by Linda BrownThompson and Cheryl Brown Henderson on theimpact, legacy and significance of struggles toachieve the promise that the Brown vs. Board ofEducation case represented. FoellingerAuditorium. Mar 11, 4pm. Free.

Community Workshop on SSI – SSI Project toexplain basics of Supplemental Security Incomeand help qualified residents apply for benefits.Illinois Disciples Foundation. Saturday, 10:30am-12pm. For information, call 352-6533.

2004 Art Exhibition Series Call for Artists – TheChampaign Park District is seeking local visualartists to apply for this exciting new venue at theSpringer Cultural Center. Exhibits strive to presentartistic and ethnic diversity of Champaign -Urbana and surrounding area artists. Now-Mar 19.For more information, call 398-2376.

Champaign County Audubon Society – MikeWard, a Ph.D. candidate in the animal biologydepartment from the University will talk aboutStudying the Behavior of Endangered Black-capped Vireos in Texas and Terns in NorthernIllinois for Population Management. Meet in Room242, Bevier Hall. Thur, 7:30pm. Call Arlo, 443-2499.

Foundation of Teamwork – Competition demandsthat organizations do more, in a shorter responsetime, with fewer resources. Participants will identi-fy their communication style and develop plans tobuild better working relationships with otherteam members. Class meets Thursday from8:30am-12:30pm at 1315 N Mattis Ave,Champaign. Course fee is $110. To register, call351-2235.

Life Map Workshop – A life map is a collection ofvisual images, a method of connecting with yourintuition, a tool for visualizing your dreams orgoals. Come explore life mapping--approaches,uses, and the opportunity to create your own lifemap. McKinley Foundation, C. Mar 13, 9:15am-1pm.To register or for information, contact Jo Pauly at337-7823 or jopauly@prairienet.org.

Simplicity Discussion Group – Ideas to simplify &bring meaning to life. The group will discuss thebook Repacking Your Bags by Richard Leider &David Shapiro. Borders Bookstore. Thursday, 7pm.351-9011.

Sunday Zen Meditation Meeting - Introduction toZen Sitting, 10am. Full Schedule: service at 9amfollowed by sitting, Dharma Talk at 11am followedbe tea until 12pm. Can arrive at any of abovetimes, open to all, no experience needed, no cost.Prairie Zen Center. For information, call 355-8835or go to www.prairiezen.org.

Mystery Discussion Group – At this group meet-ing, the group will discuss the book A Drink Beforethe War by Dennis Lehane. Borders Bookstore.Monday, 6pm. 351-9011.

21buzz MARCH 4-10, 2004 | WANT TO GET YOUR EVENT LISTED ON OUR CALENDAR? Send your listings to calendar@readbuzz.com calendar

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LIVE JAZZat

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030404buzz0821 3/3/04 4:31 PM Page 1

20 WANT TO GET YOUR EVENT LISTED ON OUR CALENDAR? Send your listings to calendar@readbuzz.com | MARCH 4-10, 2004 buzzcalendar

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BY LOGAN MOORE | STAFF WRITER

Call it human nature or that record-collect-ing mentality peculiar to rock geeks, but itseems that the holy grail of music journalism is“the scene.” The irrational hope that someyoung talented cadre of bands and musicianshave concocted a glorious alternative to themainstream, their creativity unchecked by thespotlight of the world’s prying eyes, has drivenrock reporters to the extremes of hyperbole fordecades. So overwhelming is the desire to playMarco Polo to those scarce pockets of creativityin America’s homogenous landscape that thisyear music journalists apparently decided tomake up their own scene; the Big Apple waseverywhere in 2003 and Lord help any bandfrom New York. Neatly returning us to thebowery circa 1975, Pitchfork.com staffers andMojo magazine writers shouted ecstaticallyfrom the rooftops and mountains, “The Strokesare the new Ramones! The Rapture are the newTalking Heads! Dance, you fools. Dance and bemesmerized by their stylish retro fashion senseand delicately mussed white afros!”

But, what about the Walkmen? Not a bandovertly influenced by garage or post-punk, nota band particularly interested in good fashionsense, but simply an excellent band. Well,they’ve sort of gotten tossed around a bit onthe high seas of encapsulated reviews andone-paragraph band bios by virtue of beingfrom New York.

The Walkmen are a band of subtleties. Just lis-ten to their sophomore effort Bows and Arrows. Itopens with “What’s In It For Me?,” a guitarascends, ringing, echoing, not so much pummel-ing the silence as slicing through it like a sur-geon’s scalpel through his patient’s flesh. Leadsinger Hamilton Leithauser drags his casual,romantic conversational prose through a sea oforgan washes and feedback enveloping the lis-tener. The second track “The Rat” kicks in, therhythm section driving the song through a seriesof acrobatic crescendos, Leithauser hoarselyscreaming a laundry list of accusations.

The drummer can actually drum; there’s anovelty. The song is earnest and melodic. It’slike bassist Pete Bauer said when questioned onThe Walkmen’s relationship to New York’s nas-cent garage revival: “I definitely feel that wewere trying to get away from that whole sound.At the time, it was probably the most uncoolthing you could do.” That about sums it up.

Still, for all their uniqueness they are a bandthat tends to get pigeonholed, due largely totheir history. Three-fifths of The Walkmen start-ed off in the almost famous Jonathan Fire*Eater,a critic’s darling dark garage group from NewYork way back in the mid-1990s. Snapped up byDreamworks, they were subsequently dropped

after their sole major label album, Wolf Songs forLambs, was not the radio-ready money machinethe higher-ups had hoped for. Friends sincetheir childhood together in Washington, D.C.,the band tragically disintegrated shortly after-ward. It’s the sort of indie band on a major labelturmoil that tends to steal the spotlight whendiscussing the band. It shouldn’t, though.

Following their defection from the ranks ofDreamworks, the remaining members valiant-ly took their advance money and forged ahead,building a 900-square foot rehearsal space and24-track recording studio in Harlem, dubbedMarcata Studios. Says Pete Bauer, “It’s part of acar factory that was converted into industrialoffices ... you could record in the hallway andget great reverb.” Picking up a few membersfrom the defunct combo The Recoys andrenaming themselves The Walkmen, ourheroes crafted their debut Everyone WhoPretended To Like Me Is Gone to general acclaimin 2002. The album seemed to be part and par-cel to their new recording space, the depth ofthe album drawing attention to each individ-ual sound, every instrument reverberatingfrom the echo chambers of the heart, pianostinkling from loft windows, resonatingthrough the city streets at night.

Their new platter utilizes the studio in a some-what opposite direction, using instrumentationto wrap the album in a none-too-subtle blanketof sound; every corner of the album is brimmingwith subtle organ andguitar textures. Bauersays, “We recordedand mixed a lot of thealbum at other stu-dios, like in Easley-McCain in Memphis.It’s a great studio ...but the album didn’treally come togetheruntil we finished it atMarcata, so we’llprobably be recordingthere more.”

The intoxicatedlate-night balladeer-ing of Everyone is alsosubsumed in favor oftighter songs with amore visceral, upbeatflavor. “We wrotesongs a lot more withthe live show inmind,” says Bauer,“so some of the songsare a little more rock-ing.” Bauer admitsthey started off a lit-tle shaky in the livearena. “It was hard toplay the spacy slow

things in a live setting.” Thus, the focus wasshifted a bit and the band seems all the betterfor it; more cohesive as a group and muchmore demanding of attention.

Still, the album does retain the signaturesound of The Walkmen, one that distinguishesthem from their New York contemporaries.Whereas garage tends to derive its appeal frompoorly recorded teenage angst and testosterone-driven hooks, on Bows and Arrows, TheWalkmen reveal themselves as a band muchmore interested in the intricacies of sound.

To get the delicate, resonating drum soundthat opens up “Hang On, Siobahn,” the bandfostered an environment of complete silence inthe studio. The result is so slight; one can barelyhear the sticks tapping the kit, only the sound ofthe skins reverberating. Attention to the delicatedetails of an album such as these ensure theband’s appeal will extend beyond the deriva-tive, retro-obsessed veneer of the current musi-cal landscape into the realm of the thoughtfullistener. They may never date Gwyneth or Drewor Winona, but if they continue to craft music ofsuch timelessness and honesty, The Walkmenwill be a band with a shelf life, and that is ofutmost importance.

The Walkman will perform at Highdive Wednesday, March10. Orphans and French Kicks will open. Tickets are $8 andthe show starts at 10 p.m.

What’s in it for The Walkmenbuzz MARCH 4-10, 2004 | REMEMBER PREDATOR? THAT MOVIE IS AMAZING. 9musicmusic

The Walkmen will be performing at the Highdive on March 10th.

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buzz

THE WALKMENBows and ArrowsRecord Collection

!!!!

BY LOGAN MOORE

Bows and Arrows is thesound of a band casuallyestablishing themselves

as artists to watch. It may not be apparent from the out-set.The album starts off in the sort of dreamy, half-awaketerritory that they explored on their debut, Everyone WhoPretended To Like Me Is Gone, but by the time the bandhas ripped their way through tracks like “The Rat” and“Little House of Savages,” it is apparent that a diametricshift has occurred. It’s a very good one, folks. TheWalkmen officially tear it the fuck up.

Whereas the debut tended to meander occasionally,songs drifting into and apart from one another,Bows andArrows seems to show off a band that has gotten its legs,much more willing to explore varied sonic territory with-out losing the thread of the album or the listener’s atten-tion. Nowhere is this demonstrated better on the albumthan “The Rat.”As Paul Maroon hammers out an arching,descending guitar line, drums thunder, and lead singerHamilton Leithauser yowls like a rabid Rod Stewart,“Can’t you hear me / I’m calling out your name / Can’tyou see me / I’m pounding on your door.” One canalmost envision the terrified young girl on the other sideof that door. It’s thrilling. They come pretty close to top-ping this elsewhere on the album. “Little House ofSavages” is a portrait of paranoid escape roughlycrooned over looping drums and a robotically beatenguitar with the supreme melodic breakdown of thealbum. “New Year’s Eve” is a piano-driven, Kinks-derivedpop rocker replete with samba beats and humorouslyrics like,“ The music’s loud in your room / Turn it down/ There’s a neighbor who can’t take it anymore.”

And though, much like the Lee Majors, The Walkmenhave become better, stronger, faster, and they haven’tgiven up the attention to sonic detail or the ice sculpturedelicate ballads that distinguished Everyone. Partiallydue to the uniqueness of their self-built Marcata studios,the guitars on Bows and Arrows still chime, organs stillchurn and blur, drums still crack and reverberate. Thewhole album seems ready to ricochet off the precipiceinto the abyss at any moment, just like intelligently com-posed rock should. Keep an eye on The Walkmen.

030404buzz0920 3/3/04 4:31 PM Page 1

10 CARL WEATHERS AND ARNOLD . . . TOGETHER AT LAST | MARCH 4-10, 2004 buzzmusic

BY BRIAN MERTZ | STAFF WRITER

In November of 1969, with nothing morethan a pad of paper, a pencil and a catalog, astudent run organization in the Illini Unionplaced an order for an album. From those hum-ble beginnings grew the Champaign institu-tion known as Record Service.

This Friday, almost 35 years later, RecordService will sell its last album.

Due to financial difficulties that haveplagued the store for years, Record Service willclose March 5.

During its lifetime, the store has seen itsshare of successes and great hardships. Theclosing of Record Service not only signals theend of Champaign-Urbana’s longest runningindependent record store, but it also typifiesthe uphill battles that are being lost by inde-pendent record stores around the country.

The store that hippies built

Record Service began as a mail order store inthe Illini Union in the fall of 1969. Currentowner and co-founder Phil Strang was only 19years old when Record Service started. Strang,who was programming director at WPGU, wasasked by friends in student government to usehis musical knowledge to help start the mailorder service.

The first day it was open, the new mailorder service took orders for 10 albums. By thesecond day, that number was 20. Within a fewweeks, Record Service decided to stock a fewalbums in the union instead of just taking mailorders. The first album they had in stock wasJefferson Airplane’s Volunteers. There were 25copies and they flew out of the store.

“We sold all 25 copies within an hour,”Strang said. “Next time, we had 50 copies ofJefferson Airplane and 25 copies of StrangeDays by the Doors. Little did we know that

those two titles wouldprobably describe thestore better than any-thing.”

By Easter 1970,Record Service movedout of the Union to thebasement of the

University YMCA on Wright Street. It wouldnot be Record Service’s last move before mov-ing to its current location at 621 E. Green St. inCampustown in December 1981.

In the 11 years between its time at the YMCAand the current location, Record Service washoused at four other locations and also operat-ed stores in Normal, Ill., a second store inLincoln Square Mall and the classical storeFigaro’s in its own space. No matter where thestore was, though, Record Service operatedunder the same philosophy it always had fromthe time it became incorporated.

“We decided that everyone that works at thestore would be co-owners. Nobody thatworked there wanted to be boss and no want-ed to be bossed,” Strang said. “This was ourrevolutionary idea. If we were all equal part-ners, we would all share the responsibilities. Itwas incredibly idealistic, but we made it workon that level for seven years.”

Strang said the 14 owners that ran RecordService in those seven years made about $1.50an hour. The $30 Strang brought home at theend of the week easily covered the $37 in renthe paid each month.

Strang said that the 14 owners were never init to make money, though. Instead, RecordService often reached out to the community.

“We considered ourselves a political collec-

tive as much as a record store,” Strang said.“We were very actively involved in local poli-tics such as anti-war demonstrations. Wehelped collect money for the legal defense ofpeople who got arrested for political actions ordrug arrests.”

Record Service would also collect a nickelon every sale for a “community tax.” The nick-els were then gathered up and went to helpstart other alternative businesses like a restau-rant, bicycle shop, gas station and even a gro-cery store. Strang estimated that there were 75alternative businesses at one time inChampaign-Urbana.

That alternative spirit was shared by all theowners of Record Service.

“We were all just a bunch of hippies, but welearned how to do business,” Strang said. “Westarted because we loved music but we learnedthe business as we went. We learned how torun a business just by doing it.”

Seven years after incorporation, seven co-owners had moved on or graduated. By thetime the store moved to its current location,there were only three owners: Strang, TomMcCoy and Michael Pollack.

In 2000, Pollack was the last partner to leave.Strang was in complete control of a ship thatby his own admission had been sinking forseveral years.

Top: The Kate Hathaway band plays an in-store performance at Record Service. Left: After 34 years of business, Record Service willclose its doors for the last time on Friday, March 5th. Owner and co-founder Phil Strang said, “I don’t want it to be like a funeral, Iwant it to go out on an upbeat because that’s how we’ve always been.”

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The end of an era A familiar face for Campustown closes one last time on Friday

“Picturing Performance: Japanese Theater Printsof the Utagawa School, 1790–1868” – The focusof artistic production in 18th and 19th centuryJapan (Edo period) was the world of entertain-ment. This exhibit captures a views of this world ofillusion and fantasy (Ukiyo) through richly-coloredand compositionally provocative woodblock printsknow as Ukiyo-e. The exhibition is on view throughMar 21. 500 E Peabody in Urbana. Tue, Thu-Sat9am-5pm, Wed 9am-8pm, Sun 2-5pm. Suggesteddonation $3. 333-1860.

“Bon Coiffure: Hair Signs from West Africa” – Thisexhibition offers viewers a glimpse into the art ofAfrican hair styling, African hair sign painting andAfrican hairstyles in traditional masks and sculp-ture. Hairdressers also hire artists to hand paintsigns to advertise their skills and represent theirrepertoire of coiffures. Bon Coiffure is on viewthrough Mar 21. 500 E Peabody in Urbana. Tue,Thu-Sat 9am-5pm, Wed 9am-8pm, Sun 2-5pm.Suggested donation $3. 333-1860.

“Beyond East and West: Seven TransnationalArtists” – The Krannert Museum has put togethera traveling exhibition bringing together the workof seven major contemporary artists who share aconnection to both worlds. 500 E Peabody inUrbana. Tue, Thu-Sat 9am-5pm, Wed 9am-8pm, Sun2-5pm. Suggested donation $3. 333-1860.

“Whistler and Japonisme: Selections from thePermanent Collection” – This anniversary marksthe 100th anniversary of James McNeill Whistler’sdeath, highlighting his works on paper and exam-ines the influence that Japanese woodcuts had onhis artistic technique. On display at Krannert ArtMuseum through Mar 28. 500 E Peabody inUrbana. Tue, Thu-Sat 9am-5pm, Wed 9am-8pm, Sun2-5pm. Suggested donation $3. 333-1860.

“Water & Wood” – The Hays Center is hosting thisexhibit featuring paintings by Beverley Sandersonand sculpture by the Illini Carvers. Opens Friday,runs through Mar 26. The Hays Center, 1311 WChurch St, C. 398-2580. Hours: Mon-Fri 8:30am-4pm.

“Bring Me an Ice Bucket – Scenes of HotelHysteria” – This evening of dance performancefollows four women through the rooms of theestablishment and their subsequent quest toexplore the meaning of feminine and social eti-quette in the early twentieth century. Armory FreeTheatre. Fri 8pm & midnight. Sat 7pm.

Elysium on the Prairie, Live Action Roleplaying –Vampires stalk the city streets and struggle fordominance in a world of gothic horror. Create yourown character and mingle with dozens of playerswho portray their own undead alter egos. Eachsession is another chapter in an ongoing story oftriumph, tragedy and betrayal. Fridays,“Vampire:The Masquerade.” For more information, visitwww2.uiuc.edu/ro/elysium/intro.html. Check sitefor location, 7pm.

Engelbert Humperdinck Concert Cancelled – TheChampaign Park District regrets to announce thatthe Engelbert Humperdinck concert scheduled forthis Sunday at the Virginia Theatre has been can-celled. If you have purchased tickets for this event,stop by the Virginia Theatre for a full ticket refund.If you have any questions, please contact the boxoffice at 356-9063.

Gardening Weekend Wizard w/ Sandy Mason –Children will get to take part in activities such asWorm Zoo and Garbage Gardens, Paper TowelGardening, Flower Arranging, Seed ID, What Part ofthe Plant Are You Eating?, and Chew on This Likean Insect. Sandy will be assisted by master garden-ers and students from Volunteer Illini Projects.Orpheum Children’s Museum. Saturday, 1-4pm. $3,child $2. For more information, call 352-5895.

Club Fred: Character Count – Presenters fromUniversity of Illinois Extension discuss the six pil-lars of good character. No registration. DouglassBranch Library. Sunday, 4-5pm. Information: 403-2090.

Captain Underpants Party – School-age childrencan dress as a favorite character from the CaptainUnderpants book series to win a prize at this kid-contagious party. Champaign Public Library.Saturday, 2-2:45pm. No registration.

Family Resource Fair – Activities, food and informa-tion on community services and organizationsthat serve families and children in the ChampaignUrbana area will be available. Wisegarver Hall,Illinois Disciples Building. Mar 14, 12-4pm. Formore information, call 344-5459.

Family Fun Day Sunday in the Square – Enjoyinteractive rides this Sunday. There will also befood, shopping, games, miniature golf and more.Lincoln Square Mall. Sun, 1-5pm. For more info, callthe Urbana Business Association at 344-3872.

My Preschool Genius – A book-centered programfocusing on language. Preschoolers can listen todynamic picture book presentations and explorethe art of picture book illustration. ChampaignPublic Library. Tue, 9:30-10am. Registrationrequired. Call 403-2030.

Girls, Girls, Girls! – Games, crafts, and reading timefor girls in grades 1-4. Douglass Branch Library. Fri,4-5pm. No registration.

KnowZone – Homework help for school-aged chil-dren. Tue 4-5pm. Douglass Branch Library. No reg-istration required.

Rookie Cooks – Hands-on cooking class for elemen-tary school students, presented by U of IExtension. Douglass Branch Library. Mar 1, 4-5pm.Registration: 403-2090.

19buzz MARCH 4-10, 2004 | WANT TO GET YOUR EVENT LISTED ON OUR CALENDAR? Send your listings to calendar@readbuzz.com calendar

this week

Some Krannert Center programs are supportedin part by the National Endowment for the Arts, the Illinois Arts Council, and patron and corporate contributions.

A Raisin in the Sun is supported in part by theFrances P. Rohlen Visiting Artists Fund/College ofFine and Applied Arts and by the Chancellor'sBrown v. Board of Education JubileeCommemorative Committee.

The Jazz Threads project is supported in part by an award from the National Endowment for the Arts Challenge America—Access to the Arts Program.

Cecil Bridgewater’s presentations are supportedby the Heartland Arts Fund, a program of ArtsMidwest funded by the National Endowment for the Arts with additional contributions fromGeneral Mills Foundation, Land O'LakesFoundation, Sprint Corporation, and the Illinois Arts Council.

KrannertCenter.com

217/333-6280 or 800/KCPATIX217/333-9714 (TTY) 217/244-SHOW (Fax)217/244-0549 (Groups)kran-tix@uiuc.edu

Ticket OfficeOpen 10am to 6pm daily; on days of performances open 10am through intermission.

@krannert center

Season SponsorsCoporate Season Underwriters

Patron Season Sponsors

CAROLE AND JERRY RINGER

Th Mar 4Wine Tasting5pm, free

Jazz Crawl and Jam Session5pm, Iron Post6:30pm, Krannert Center8pm, Canopy Club9:30pm, Zorba's11pm, Cowboy Monkey

Liszt Symposium: Works for Piano andOrchestra7:30pm, $10-$17

A Raisin in the Sun7:30pm, $6-$13

Fr Mar 5Traffic Jam: Metta Quintet5pm, free

A Raisin in the SunDessert and Conversation6:30pm, $5.50Creative IntersectionsSponsor:

A Raisin in the Sun7:30pm, $6-$13

Sa Mar 6Java and Jazz: CecilBridgewater10am, freeSponsor: Fran and Marc AnselAnonymous

Liszt Symposium: Works for Piano andOrchestra7:30pm, $10-$17

A Raisin in the Sun7:30pm, $6-$13

Su Mar 7Concerto Urbano7:30pm, $2-$5

Cecil Bridgewater andClark Terry7:30pm, $17-$25 Talkback: after the show,free

Afterglow: Chambana9:30pm, free

Tu Mar 9CultureTalk: Steven Pinker andNancy Cantor7:30pm, free, ticketsrequired

We Mar 10Meredith Monk 7:30pm, $14-$25Talkback: after the show,free

Th Mar 11Wine Tasting5pm, free

UI Wind Symphony andUI Symphonic Band I7:30pm, $2-$5

A Raisin in the Sun7:30pm, $6-$13

Studiodance I7:30pm $7-$14

The 1996 re-release in Dolby Digital and restored color of Martin Scorsese’s 1976 film starring Robert DeNiro, Cybill Shepherd, Jodie Foster, and Harvey Keitel

March 5th & 6th at

Boardman’s Art Theatre126 W. Church St., Champaign

1-800-BEST-PLACEor 355-0068

tickets are $6

Introducing...

brought to you by Boardman’s Art Theatre & buzz

Boardman’s Art Theatre and buzz will be hosting special midnight screenings several times a month.

This weekend, come check out:

Midnight MovieSERIESMidnight MovieSERIES

ON STAGE

CANCELLATION NOTICE

KIDS & FAMILY

030404buzz1019 3/3/04 4:30 PM Page 1

18 WANT TO GET YOUR EVENT LISTED ON OUR CALENDAR? Send your listings to calendar@readbuzz.com | MARCH 4-10, 2004 buzzcalendarThe Station Theatre 223 N Broadway, Urbana, 384-4000Strawberry Fields Cafe 306 W Springfield, Urbana, 328-1655Sweet Betsy's 805 S Philo Rd, UrbanaTen Thousand Villages 105 N Walnut, Champaign, 352-8938TK Wendl’s 1901 S Highcross Rd, Urbana, 255-5328Tommy G’s 123 S Mattis Ave, Country Fair Shopping Center,359-2177Tonic 619 S Wright, Champaign, 356-6768Two Main 2 Main, Champaign, 359-3148University YMCA 1001 S Wright, Champaign, 344-0721Verde/Verdant 17 E Taylor St, Champaign, 366-3204Virginia Theatre 203 W Park Ave, Champaign, 356-9053White Horse Inn 112 1/2 E Green, Champaign, 352-5945Zorba’s 627 E Green, Champaign

CHICAGOSHOWSMARCH3/4 Jazzanova @ Smart Bar3/4 Kraig Jarret Johnson & The Program @ Schubas3/4-5 Neil Young & Crazy Horse @ Rosemont Theatre3/5 Clarence Clemons & The Temple of Soul @ Joe’s3/5 Faun Fables @ Schubas3/5 British Sea Power @ Empty Bottle3/5 Richard Buckner @ Schubas3/5 Chieftans @ Symphony Center3/5 Bob Dylan @ Aragon Ballroom3/5 Forty Piece Choir @ Metro, 18+3/5 Galactic @ Vic, 18+3/5 Luomo @ Abbey Pub, 18+3/5 Edwin McCain @ House of Blues, 18+3/6 Liftpoint @ Metro3/6 Crossing @ Old Town School of Folk Music3/7 Get Up Kids @ Metro3/7 Rhonda Vincent @ Old Town School of Folk

Music3/10 Tara Jane O’Neil @ Gunther Murphy’s3/11 Keb’ Mo’ @ House of Blues, 18+3/11 Walkmen @ Metro, 18+3/12 DJ SS, Grooverider, Shy FX, Twisted Individual @

Metro, 18+3/12 Church @ House of Blues3/12 Antigone Rising @ Schubas3/12 Futureman & The Isiah Williams Project @ Old

Town School of Folk Music3/12 Kid Rock @ Allstate Arena3/12 Michael Mayer, Superpitcher @ Smart Bar3/12 Liz Phair @ Vic3/12 Von Bondies @ Double Door3/13 Paul Kelly @ Double Door3/13 Sage Francis, Joe Beats, Grand Buffet @ Logan

Square Auditorium3/13 Mavericks @ Park West3/13 Grant Lee Phillips @ Abbey Pub3/13 Saw Doctors @ Vic3/13 Shipping News @ Subterranean3/14 Liz Phair @ Vic3/15 Cooper Temple Clause @ Double Door3/17 Jerry Joseph & The Jackmormons @ Schubas3/17 Bogdan Raczynski @ Empty Bottle3/18-19 Melissa Etheridge @ House of Blues3/19 Johnny Dowd @ Subterranean3/19 Dream Theater @ Riviera3/19 Britney Spears, Kelis @ Allstate Arena3/19 Starlight Mints @ Abbey Pub3/20 Jewel @ Star Plaza3/20 Liars, Young People @ Logan Square

Auditorium3/20 Macabre @ Oasis 1603/21 Amon Tobin, Kid Koala @ Metro, 18+3/22 Clay Aiken, Kelly Clarkson @ United Center3/23 Ted Leo/Pharmacists @ Logan Square Auditorium3/23 Three Days Grace @ Metro3/24 12 Stones, Skillet, Pillar, Grits, Big Dismal @

House of Blues3/26 Newsboys, Rebecca St. James @ UIC Pavilion3/26 American Music Club @ Old Town School of

Folk Music3/26 Dolly Varden @ Subterranean3/26 Al Green @ House of Blues3/26 Great Big Sea @ Metro, 18+3/26 Franz Ferdinand @ Empty Bottle3/26 Proclaimers @ Abbey Pub3/26 Slip @ Double Door3/26 Southern Culture on the Skids @ FitzGerald’s3/26 TV On the Radio @ Empty Bottle3/27 Campbell Brothers, Calvin Cooke @ Old Town

School of Folk Music

CHICAGOVENUESAbbey Pub 3420 W Grace, Chicago, (773) 478-4408Allstate Arena 6920 N Mannheim Rd, Rosemont,(847) 635-6601Aragon 1106 W Lawrence, Chicago, (773) 561-9500Arie Crown Theater 2301 S Lake Shore Dr, Chicago,(312) 791-6190Bottom Lounge 3206 N Wilton, Chicago, (773) 975-0505Chicago Theatre 175 N State St, Chicago, (312) 443-1130Congress Theatre 2135 N Milwaukee, Chicago, (312) 923-2000Double Door 1572 N Milwaukee Ave, Chicago, (773) 489-3160Elbo Room 2871 N Lincoln Ave, Chicago, (773) 549-5549Empty Bottle 1035 N Western Ave, Chicago, (773) 276-3600Fireside Bowl 2648 W Fullerton Ave, Chicago, (773) 486-2700House of Blues 329 N Dearborn, Chicago, (312) 923-2000Martyrs' 3855 N Lincoln Ave, Chicago, (773) 404-9494Metro/Smart Bar 3730 N Clark St, Chicago, (773) 549-0203Old Town School of Folk Music 4544 N Lincoln Ave, Chicago,(773) 728-6000Park West 322 W Armitage, Chicago, (773) 929-5959Riviera Theatre 4746 N Racine, Chicago, (773) 275-6800Rosemont Theatre 5400 N River Rd, Rosemont, (847) 671-5100Schubas 3159 N Southport, Chicago, (773) 525-2508UIC Pavilion 525 S Racine, Chicago, (312) 413-5700Vic Theatre 3145 N Sheffield, Chicago, (773) 472-0449

Creation Art Studios: Art Classes for Children andAdults – All classes use the spontaneous artprocess to demonstrate technical instruction andthe exploration of materials. CPDU's offered.Creation Art Studios, 1102 E Washington inUrbana. Call Jeannine Bestoso at 344-6955 or go towww.creationartstudios.com for information.

Join Artists and Workshops at Gallery Virtu – Theartist-owned cooperative Gallery Virtu invitesapplications from area artists. The gallery offersworkshops for adults, teens and children and origi-nal works by the members. Gallery Virtu, 220 WWashington in Monticello. Thu 12-4pm, Fri 12-8pm,Sat 10am-6pm. For more information, call 762-7790, visit www.galleryvirtu.org or e-mail work-shops@galleryvirtu.org.

Collage for the Soul – Learn the many aspects ofcollage techniques while engaging your creativityand exploring your mind and heart. Sandra Ahtenwill teach the class, in which all materials will beprovided. High Cross Studio, 1101 N High Cross Rdin Urbana. Feb 17- Mar 16, Tue 7-9pm. Other draw-ing and painting classes are also offered. For moreinformation, call 367-6345 or go to www.spiritof-sandra.com.

Boneyard Pottery – Ceramic Art by MichaelSchwegmann and others. 403 Water St inChampaign. Tue-Sat 11am-5pm. 355-5610.

Broken Oak Gallery – Local and national artists,original art including photography, watercolors,pottery, oil paintings, colored pencil, and wood-turning. Refreshments served by the garden allday Saturday. 1865 N 1225 E Rd in White Heath.Thu-Sat 10am-4pm. 762-4907.

Café Kopi – “Digital Evolutions,” photographs byJohn Sfondilias on display through February. 109 NWalnut in Champaign. Mon-Thu 7am-11pm, Fri-Sat7am-12pm, Sun 11am-8pm. 359-4266.

Creation Art Studios – Featuring original art by stu-dents and members of the studio. 1102 EWashington St in Urbana. Mon-Fri 3-5:30pm, Sat 1-4pm and other scheduled studio times. For moreinformation, call Jeannine Bestoso at 344-6955.

Country in the City – Antiques, Architectural,Gardening and Home Accessories. Custom design-ing available. 1104 E Washington St in Urbana. Thu-Sat 10am-5pm. 367-2367.

Framer's Market – Frame designers since 1981.Ongoing work from local artists on display. 807 WSpringfield Ave in Champaign. Tue-Fri 9:30am-5:30pm, Sat 10am-4pm. 351-7020.

Furniture Lounge – Specializing in mid-centurymodern furniture from the 1920s to the 1980s –retro, Danish modern, lighting, vintage stereoequipment and vinyl records. 9 E University inChampaign. Sun-Tues 12-4:30pm, Wed-Sat 11-5:30pm. 352-5150.

Glass FX – New and Antique Stained GlassWindows, Lamps and unique glass gifts. Gallery isfree and open to the public. Interested in learningthe art of Stained Glass? Beginning, intermediateand advanced stained glass classes offered. 202 SFirst St in Champaign. Mon-Thu 10am-5:30pm, Fri10am-5pm, Sat 9am-4pm. www.glassfx.com.359-0048.

Griggs Street Potters – Handmade functional anddecorative pottery. 305 W Grigg St in Urbana. Mon-Fri 11am-4pm, or call for appointment. 344-8546.

Hill Street Gallery Inc. – Oil and watercolor paint-ings, hand painted T-shirts, handmade jewelry. 703W Hill in Champaign. Sat 12-5pm or by appoint-ment during the week. 359-0675.

Larry Kanfer Gallery – European Collection fea-tured in the gallery. Both limited and open editionprints by Larry Kanfer, nationally acclaimed pho-tographer. 2503 S Neil in Champaign. Free andOpen to the Public. Mon-Sat 10am-5:30pm. 398-2000. www.kanfer.com.

LaPayne Photography – Specializes in panoramicphotography up to 6 feet long of different sub-jects including sporting events, city skylines,national parks and University of Illinois scenes. 816Dennison Dr in Champaign. Mon-Fri 9am-4pm andby appointment. 356-8994.

Old Vic Art Gallery – Fine and original art, handsigned, limited edition prints, works by local artists,art restoration, custom framing, and periodicshows by local artists. 11 E University inChampaign. Mon-Thu 11am-5:30pm, Sat 11am-4:30pm. 355-8338.

Prairie Boatworks Gallery – Beautifully hand-craft-ed gift items and unique Valentine’s Day cards.Also, over 35 regional artist to choose from. 407 EMain St in Mahomet. Tue, Fri, Sat 10am-5pm, Sun12-4pm. 586-6776. For more information, contactMary at 356-8228 or tangoradesigns@aol.com.

Steeple Gallery – Vintage botanical and bird prints,antiques and framed limited edition prints. 102 ELafayette St in Monticello. Mon-Fri 9am-5pm, Sat10am-4pm. www.steeplegallery.com. 762-2924.

Verde Gallery – The work of local artist SylviaArnstein will be on display in the halls and café. 17E Taylor St in Champaign. Cafe: Mon-Sat 7am-10pm. Gallery: Tue-Sat 10am-10pm. 366-3204.

Ziemer Gallery – Original paintings and limited edi-tion prints by Larry Ziemer. Pottery, weavings,wood turning and glass works by other artists.Gallery visitors are welcome to sit, relax, listen tothe music and just enjoy being surrounded by art.210 W Washington in Monticello. Tue 10am-8pm,Wed-Fri 10am-5pm, Sat 10am-4pm. www.ziemer-gallery.com. 762-9786.

Creation Art Studios – Artwork by instructorsJeannine Bestoso, Amy Richardson, and ShoshannaBauer, and the studio’s friends and family. 1102 EWashington St in Urbana. Hours: Mon-Fri 3-5:30pm, Sat 1-4pm and other scheduled studiotimes. For more information, call Jeannine Bestosoat 344-6955.

“Distant Voices Nearer: A Celebration ofAmerican Indian Art” – Featuring paintings byDeHaven Solimon Chaffins, jewelry by BenYellowhorse, ceramic sculptures by Lynn Hone,ceramics by Laguna Potter and Michael Kanteena,pottery from Acoma and Mata Ortiz. On display atVerde Gallery through Mar 20. Opening receptionfor Chaffins and Yellowhouse Thur at 7pm. 17 ETaylor St in Champaign. Cafe: Mon-Sat 7am-10 pm.Gallery: Tue-Sat 10am-10pm. 366-3204.

“Transitions” – Work from Nicole Cisne on displayat Aroma Café through Mar 21. Artist statement:“The vehicle for my artwork is the female nude...Society and the fashion industry of today are theprimary causes of an epidemic of eating disordersand false body images in many young women.”118 N Neil in Champaign. Open 7 days a week,7am-Midnight. For more information, contactAmanda Bickle at 356-3200 orart4aroma@yahoo.com.

ART NOTICES

ART GALLERIES

ART EXHIBITS

“The last seven years, it really has just beena matter of survival,” Strang said. “The lastthree years, it has just been a matter of windingit down, looking for a plateau and thinkingmaybe it’ll stop dropping. And if it levels it off,we’ll make it survive.”

But despite cutting payroll and decreasinginventory, Strang could not find a way to makeRecord Service survive.

Insurmountable odds

Throughout the late 1990s, independentrecord stores across the country shut down.But even as Record Service closes in 2004,there is no one definitive answer as to why.

“People think its just one thing, but its notjust one thing,” said Troy Michael, store man-ager at Record Service. “It’s CD burning. It’sWal-Mart. It’s Target. It’s the music industryin general. It’s the economy. It’s that dumbassin Washington D.C.”

Strang cites not only the presence of bigchain stores like Best Buy for Record Service’sdecline, but also a general decline inCampustown business and the biggest factorof all, in his eyes: illegal downloading andburning of CDs.

“Five years ago, we might have sold 1,000copies of a new Dave Matthews Band CDbecause 30 guys from the same frat would allbuy it,” Strang said. “Now, one or two guysbuy it and they burn them for everyone else.”

“The record companies will eventuallymake downloads work for them,” Strang said.“But brick and mortar is just going to justabout disappear. There will still be someplaces for purists but not as many as before.”

Whatever the exact cause, Record Servicehas faced economic woes for years. Strangestimates that at the store’s peak, RecordService moved about $2.5 million in volume.

“Last year we did maybe $200,000,” Strangsaid. “If you think about $200,000 at a 30%markup which would be optimal, you have$600,000 to pay your expenses.”

But those expenses quickly added up forRecord Service. Strang said that rent is $5,000a month at their current location. The powerbill ran at an average of about $1,000 a month.

Payroll at Record Service used to be some-where between $3,000 and $4,000 a month.The store has trimmed that down so that itcan still operate with a payroll of about $1,000a month. But even after these cuts, Strangrealized around Thanksgiving of last year thatthe store could not remain open through 2004.

“I kept looking for signs. I thought if wecould do $1,000 a day, I could keep expenseslow enough that we could survive,” Strang said.

Strang estimates that the store only hit$1,000 in sales in one day twice in the past year.

Michael feels that certain changes couldhave been made to help the store last.

“Moving even a block either way wouldhave saved a couple hundred bucks a monthon rent. And it could have been (a) better loca-tion. Downtown Champaign is booming rightnow and that’s where we could have went,”Michael said. “We could have been more intouch with the consumer product. We didn’tstock to where we potentially could have.(Co-Manager) Tim Williams could haveblown out the vinyl. With my connections, wecould have brought in the indie stuff. Thestore could have been smaller.”

Strang still feels that the closing of the storewas inevitable.

“Even if I worked for free, which I couldn’tdo, and we didn’t have to pay rent, we stillcouldn’t do it,” Strang said. “There is notenough response. There is not enough needfor us to survive.”

Record Service owed money to the recordcompanies that provided CDs, and those com-panies eventually threatened to withholdshipment on new titles.

“We couldn’t get in the new products andnew releases to sell,” Strang said. “If we can’tget new releases, we can’t stay in business.”

Past due bills caused Illinois Power torequest a $1,500 deposit on March 15. Strangknew that he could not make that deposit andso March 5 became the closing date, leavingthe store a final week to clean and sell offequipment in an estate sale.

“I think the bottom line is that

the power company overpowered us,” Strangsaid. “Those are the expenses you cannotignore.”

This past summer, Strang made sure hisemployees were paid by not cashing his ownpaychecks until they cleared. It was a decisionthat perhaps could have worked when thestore opened, but cannot work now.

“Part of me is still the hippie that likesmusic,” Strang said. “But, I’m also a singledad with two kids and a nice house. I wantmy kids to understand my values, but theyneed to have clothes and go to college some-time. So you get to the point where there is nochoice left.”

In spite of the decision made out of eco-nomic necessity, closing Record Servicewas not a simple decision.

“I would do this the rest of my lifeif I could,” Strang said. “It’s very hardto give it up. One way I look at it, andtry to get away from looking at it thisway because it makes me sad, butRecord Service is my oldestchild. This was my wholelife for a long time. So itis hard just to say Iwant to walk awayfrom it.”

It will also be hardfor the local musiccommunity, andCampustown inparticular, to facethe prospect oflosing RecordService.

“Outside ofBorders, thereis nowhere alocal bandcan taketheir CDsto sell.

And that is really bad for the local scene,”Michael said. “Bands can obviously sell theirstuff at shows and online, but for the averageperson to go out to a store and get a local CD,that’s going to be hard.”

While the local scene adjusts to losing thisinstitution, Strang, who is 54 years old, mustnow adjust to being part of the job-seekingmarket for the first time.

“I put together a resume for the first time inmy life,” Strang said. “It is exciting on one handand scary on the other. I graduated college andit wasn’t like, ‘What am I going to do?’ I’malready doing something. I didn’t have to makethat decision of what I’m going to do when Igrow up. I get to make that decision now.”

When Record Service closes its doors tothe public Friday evening, Strang will

have no bad feelings about his 35-year journey with this true

Champaign institution.“It’s been a great ride,”

Strang said. “The fact that itwas an accident to begin withand lasted this long, I reallyhave no complaints. Realityhas turned out that this nolonger works. But I had a real-ly great time doing it.”

11buzz MARCH 4-10, 2004 | GET TO THE CHOPPA! music

1. The EaglesThe sort of piss-mellow

lite-rock that comes from abunch of smug, self-satisfiedyuppies deciding to blowtheir colons all over the radio.“Take It Easy” is the crap yourparents listen to when theyfind an old joint amongst

their vinyl collection and decide to “go crazy for anight” and smoke up in the bathroom while you areout listening to good music.They were neither coun-try nor rock and Merle Haggard should shove a banjoup each of their asses based on their appalling solocareers alone.This band holds the title of having soldthe most copies of any album ever (their greatest hitsat 28 million copies sold). There is a reason The Dudehates them ... they suck.

2. CreedEvery sentence begin-

ning with the word Creed (inreference to the band)should end with “fellatesgoats.” Scott Stapp is a giant,walking ego that takes hair-care tips from the cast ofFriends. He is not a frontman.

Some of the shittiest guitar chords ever strummedcome from this atrocity of a band. Couple this withScott Stapp’s I-wish-I-was-Eddie-Vedder voice andyou’ve got a recipe for complete crap. These guysshould have never “cleaned up” and stayed in adownward spiral to death in a bathtub. If the son ofGod ever does get around to returning, you can bethis first act will be to temporarily renounce paci-fism, grab a sack full of doorknobs, and beat the liv-ing shit out of him. Right on, Jesus.

3. JourneyChances are, when you go

to hell, the lifeless husk ofNeil Schon will be there togreet you playing every soloin death just as he did in life;like every talentless, creative-ly devoid jackoff who justlearned how to climb up thefretboard. Steve Perry will be

there wailing the chorus to “Don’t Stop Believin’” likehe has his balls in a vice. The next time you hearJourney on some “classic” rock station, do yourself afavor and change it.

4. Dashboard ConfessionalThe soundtrack to post-adolescent bed-wetting. If

there were any justice in this universe, the momentthis dwarven, self-indulgent, crybaby decided to putdown his Acoustic Guitar for Dummies and inflict his

sixth-grade journal entries ona nation of comb-over lovingcreamo kids, he would haveaccidently tripped into a pileof moose crap and suffocatedto death.

5. Bon JoviJon Bon Jovi makes John

Cougar Mellencamp look likefriggin’ genius. If this whole‘80s revival thing keeps up, theend result will be a re-evalua-tion of Bon Jovi. RichieSambora will drag his ass off alawn chair somewhere inSouth Beach to “get togetherwith the band” and North

Korea will drop the A-bomb because they can’t standthe thought of The Ataris covering “Livin’On A Prayer.”

Next week: Top five album namesWhat’s yours? e-mail us at music@readbuzz.comTopFive Popular bands that suck

buzz

030404buzz1118 3/3/04 4:30 PM Page 1

12 I AIN’T GOT TIME TO BLEED. | MARCH 4-10, 2004 buzzmusic

BY LIZ MOZZOCCO |STAFF WRITER

I’ve got a confession tomake. I love free stuff.This probably does-

n’t sound too shockingbecause most peoplelike it when they don’thave to pay for things.But I love free stuff. I’m even willing to go dig-ging through other people’s trash if I think I’llfind something good.

It’s all pretty innocent (and pretty disgust-ing), but sometimes the quest for free stuff slipsjust over the line, into what some peoplewould call “stealing.”

For example, my love of free stuff has led to apreoccupation with stealing cable. But my manywily attempts on the cable box have been unsuc-cessful. A few weeks ago, I was wrestling withthe TV antenna in defeat, when the warpedimage of a young girl came across the screen.

I stopped cursing at the monitor when Iheard her say that she was one of millions ofindividuals who were “prosecuted” (they werenever actually charged with anything, since thecases were settled out of court) by the RIAA fordownloading music for free off the Internet.

She proceeded to say that she still down-

loads music, and right as I started thinkingabout how fucking punk rock that was, itbecame clear who was sponsoring her pityparty monologue. It was a Pepsi ad.

In case you haven’t noticed, there have beena lot of fools hanging around the Walgreenscooler recently, trying to peer inside all thePepsi bottles on the shelf. It’s not just becausethey smoked that much weed; Pepsi hashooked up with Apple Computers to giveaway codes in the bottle caps so people candownload free songs from iTunes.

Before you jump off the couch you found onsomeone’s curb, eager to (legally!) downloadthe new Nelly/Justin Timberlake remix, I rec-ommend treating this new corporate promo-tion with some skepticism.

I once read a Rolling Stone article aboutiTunes where Apple CEO Steve Jobs said “it iscorrosive to one’s character to steal music.”Some might say that it is corrosive to one’scharacter to work for Apple. It’s undeniablethat drinking Pepsi is corrosive to one’s stom-ach lining. But both Pepsi and Apple want youto think that they’ve got the remedy for yourdirty “music stealing” habit.

An iPod-toting friend tells me that hedownloads songs from iTunes because heknows he isn’t ripping off the musician. Itonly costs a dollar! And now you can evenget some songs for free! After buying some-thing from Pepsi, of course.

So we can all feel relieved because we’re notstealing any of Sheryl Crow’s income for thesake of our own convenience. The trouble is,you don’t really know what happens to yourdollar after you’ve spent it.

It’s not like Enrique Iglesias is sittingaround, eating Doritos and contemplating theloss of his mole, when an envelope shows upwith your dollar in it. If it did, that would bekind of cool—then you could send Enriqueanother dollar, and he could use it to buyanother bag of Doritos. Isn’t capitalism great?

But the fact is that most of the money youspend on music—on CDs, concert tickets,merch, whatever—never makes it into thehands of the musician. The biggest cuts go tothe record companies and various middlemen.It’s no different with iTunes.

The RIAA is exposed online at www.down-hillbattle.org, which estimates that the artistonly gets eight to 14 cents of that dollar you’respending. At least 35 percent is going towardSteve Jobs’s purchase of a new name. The restof it goes directly to all the little people whowork so hard bribing commercial radio sta-tions to play shitty music no one cares about.God knows they deserve it, because usingshady methods to benefit from other people’sart is wrong. You might even call it stealing.

It seems to me that when someone suggeststhat you’re doing something bad, like steal-ing music, it’s because they want you to feel

guilty enough to stop doing it.So how come we’re not investigating the

people who are accusing us of being thieves?The people who take huge cuts out of profits,all the while implying that the money is goingdirectly to the artist? The ones who tack onabsurd “service charges” for concert ticketsyou bought by clicking on a fucking link overthe Internet? Companies involved in payola?Price fixing? Attempting to sue a 12-year-oldgirl as a scare tactic? All of that seems prettydamn wrong to me.

It’s insanely difficult to track where themoney you spend every day ends up.Everything you own, wear or put in yourbody—you just don’t know what kinds of badbusiness practices happened involving thoseproducts before they made their way to you. Itseems to me that any purchase involving majorlabels and corporate giants in the music indus-try is tainted in ways that aren’t printed on thepackaging. Someone is always getting a rawdeal, and most of the time it’s either you or theband, or both.

You may think that taking stuff out of theDumpster is really gross, but it’s inexpensiveand you can plainly see all of the dirt that itcomes in. That’s more than can be said for whatthe RIAA, Pepsi or iTunes are trying to sell.

MENDOZA MUSIC LINE

Free music? Legal downloads? What’s wrong with this picture?

buzz

Liz Mozzocco is a senior at the University of Illinois. Sheis also an on-air personality at WPGU, 107.1 The Planet.

MondayMarch8LIVE MUSICOpen Mic, hosted by Martin Page – Za's, 7pm, freeJazz Jam hosted by ParaDocs – The Iron Post,

7:30pm, TBAPuddle of Mudd – Canopy Club, 8pm, $20Open Mic Night hosted by Mike Ingram – Cowboy

Monkey, 10pm, $2

DJ2ON2OUT – indie rock – Barfly, 9pm, freeChill in the Grill – hip hop – Canopy Club, 10pm,

freeDJ Betty Rocker – Mike 'n Molly's, 10pm, freeCase of the Mondays – house – Nargile, 10pm, free

MUSIC PERFORMANCECommunity Drum Circle – Ten Thousand Villages,

7-9pm, free"G" Force Karaoke – Kam's, 10pm-2am

COMEDYDeBono – improv comedy – Courtyard Cafe, 9-

10pm, free

TuesdayMarch9LIVE MUSICOpen Bluegrass Jam Session – Verde Gallery, 7pm,

freeOpen Jam/Open Mic hosted by

Openingbands.com – Canopy Club, 10pm, $2Juan Turros, For If The Flies – The Iron Post, 10pm,

TBAAcoustic Night: Adam Wolfe, Jess Greenlee –

Tommy G's, 10pmShipwreck, LP – Nargile, 11pm, $3Crystal River – Rose Bowl Tavern, 9pm, free

DJDJ Resonate - hip hop - Barfly, 9pm, freeDJ Brom – Cowboy Monkey, 10pm, freeNOX: DJ ZoZo, DJ Kannibal, DJ Rickbats –

Highdive, 10pm, $2

COMEDYSpicy Clamato – improv comedy – Courtyard Cafe,

9-10pm, free

WednesdayMarch10LIVE MUSICDarrin Drda's Theory of Everything – The Iron

Post, 9pm, TBAKilborn Alley – blues – Tommy G's, 9pm, freeOpeningbands.com Showcase: Cash Gal,

Buddha's Belly, FCAB, Shatered Angel – CanopyClub, 10pm, $3

The Walkmen, French Kicks, Orphans of AbsintheBlind – Highdive, 10pm, $8

Irish Traditional Music Session – Bentley's Pub, freeHard Poor Korn – Rose Bowl Tavern, 9pm, freeMeredith Monk – Tryon Festival Theatre, 7:30pm,

$14-$25

DJDJ Chef Ra – Barfly, 9pm, freeLa Femme Confident – DJ Aquanet, Queen Betsy

– Nargile, 9:30pm, TBAD-Lo & Spinnerty – Cowboy Monkey, 10pm, freeDJ Boardwalk – Mike 'n Molly's, 10pm, $1Northstar Lounge hostedby Czar Absolute – slam

poetry and hip hop DJ's – Nargile, 10pm, $1Dream Sequence – Caffe Paradiso, 10pm, free

MUSIC PERFORMANCE"G" Force Karaoke – Elmers Club 45, 7-11pm

C-UVENUES Assembly Hall First & Florida, Champaign, 333-5000American Legion Post 24 705 W Bloomington Rd, Champaign,356-5144American Legion Post 71 107 N Broadway, Urbana, 367-3121Barfly 120 N Neil, Champaign,352-9756Barnes and Noble 51 E Marketview, Champaign, 355-2045Boltini Lounge 211 N Neil, Champaign, 378-8001Borders Books & Music 802 W Town Ctr, Champaign, 351-9011The Brass Rail 15 E University, Champaign, 352-7512Canopy Club (Garden Grill) 708 S Goodwin, Urbana, 367-3140Channing-Murray Foundation 1209 W Oregon, UrbanaC.O. Daniels 608 E Daniel, Champaign, 337-7411Cosmopolitan Club 307 E John, Champaign, 367-3079Courtyard Cafe Illini Union, 1401 W Green, Urbana, 333-4666Cowboy Monkey 6 Taylor St, Champaign, 398-2688Clybourne 706 S Sixth, Champaign, 383-1008Curtis Orchard 3902 S Duncan Rd, Champaign, 359-5565D.R. Diggers 604 S Country Fair Dr, Champaign, 356-0888Elmer’s Club 45 3525 N Cunningham, Urbana, 344-3101Embassy Tavern & Grill 114 S Race, Urbana, 384-9526Esquire Lounge 106 N Walnut, Champaign, 398-5858Fallon’s Ice House 703 N Prospect, Champaign, 398-5760Fat City Saloon 505 S Chestnut, Champaign, 356-7100The Great Impasta 114 W Church, Champaign, 359-7377G.T.’s Western Bowl Francis Dr, Champaign, 359-1678Highdive 51 Main, Champaign, 359-4444Huber’s 1312 W Church, Champaign, 352-0606Illinois Disciples Foundation 610 E Springfield, Champaign,352-8721Independent Media Center 218 W Main St, Urbana, 344-8820 The Iron Post 120 S Race, Urbana, 337-7678Joe’s Brewery 706 S Fifth, Champaign, 384-1790Kam’s 618 E Daniel, Champaign, 328-1605Krannert Art Museum 500 E Peabody, Champaign, 333-1861Krannert Center for the Performing Arts 500 S Goodwin,Urbana, Tickets: 333-6280, 800-KCPATIXLa Casa Cultural Latina 1203 W Nevada, Urbana, 333-4950Lava 1906 W Bradley, Champaign, 352-8714Legends Bar & Grill 522 E Green, Champaign, 355-7674Les’s Lounge 403 N Coler, Urbana, 328-4000Lincoln Castle 209 S Broadway, Urbana, 344-7720Lowe’s Big Barrel & Summer Club 14 N Hazel, Danville,442-8090Malibu Bay Lounge North Route 45, Urbana, 328-7415Mike n’ Molly’s 105 N Market, Champaign, 355-1236Mulligan’s 604 N Cunningham, Urbana, 367-5888Murphy’s 604 E Green, Champaign, 352-7275Nargile 207 W Clark St, ChampaignNeil Street Pub 1505 N Neil, Champaign, 359-1601Boardman’s Art Theater 126 W Church, Champaign,351-0068The Office 214 W Main, Urbana, 344-7608Parkland College 2400 W Bradley, Champaign, 351-2528Phoenix 215 S Neil, Champaign, 355-7866Pia’s of Rantoul Route 136 E, Rantoul, 893-8244Pink House Routes 49 & 150, Ogden, 582-9997The Rainbow Coffeehouse 1203 W Green, Urbana, 766-9500Red Herring/Channing-Murray Foundation 1209 W Oregon,Urbana, 344-1176Rose Bowl Tavern 106 N Race, Urbana, 367-7031Springer Cultural Center 301 N Randolph, Champaign,355-1406Spurlock Museum 600 S Gregory, Urbana, 333-2360

17buzz MARCH 4-10, 2004 | WANT TO GET YOUR EVENT LISTED ON OUR CALENDAR? Send your listings to calendar@readbuzz.com calendar

Punch Downs-Telephone Outlets Installed - Repairs - Prewiring

Quality Workmanship & MaterialsIllinois Bell Trained Technician - Guaranteed & Insured

2 1 7 - 4 6 9 - 9 5 8 5

Are you a not for profit organization in Champaign County that dreams about having a project completed but you lack the manpower to do it?

Operation Helping Hand is April 17-24 and it’s the perfect chance to make your dream a reality. Think big! You provide us with a short term project,supervision and the materials to complete it and we’ll provide you with the most important resource of all...volunteers!

Don’t miss out on this great opportunity! Attend our Kick-off Celebration on Thursday, March 18 from 11:30 am-1:30 pm at the Urbana Civic Center.

For more information or to RSVP for the Kick-off Celebration please call Kathy at the Office of Volunteer Programs 244-7675 or Teri at United Way 352-5151.

Need a hand?

OPERATION HELPING HAND

is sponsored by:

030404buzz1217 3/3/04 4:29 PM Page 1

16 WANT TO GET YOUR EVENT LISTED ON OUR CALENDAR? Send your listings to calendar@readbuzz.com | MARCH 4-10, 2004 buzzcalendar

ThursdayMarch4LIVE MUSICJazz Threads Pub Crawl Stop #1: U of I Jazz Band

II – The Iron Post, 5pm, freeJazz Threads Pub Crawl Stop #2: U of I Lab Jazz

Band, Metta Quintet – Krannert Center, 6:30pm,free

In Your Ear Big Band – jazz – The Iron Post, 7-9pm,TBA

Acoustic Music Series: Darrin Drda – Aroma, 8pm,free

Jazz Threads Pub Crawl Stop #3: Susan Hofer andFriends – Canopy Club, 8pm, free

Jazz Threads Pub Crawl Stop #4: Jeff HelgesenJazz Quintet – Zorba's, 9:30pm, free

Addison Groove Project, Apollo Project – CanopyClub, 10pm, $5

Jazz Threads Pub Crawl Stop #5: LaMonteParsons Experience, Cecil Bridgewater –Cowboy Monkey, 11pm, fre

Country Connection – Rose Bowl Tavern, 9pm, freeDarrin Drda – acoustic – Aroma, 8-10pmFABULOUS!!! – electro-clash/dance-punk party

hosted by The HotWatt – Nargile, 10pm, $5

DJDJ J-Phlip – house – Barfly, 9pm, freeDJ Delayney – Nargile, 10pm, $55th Platoon – Highdive, 10pm, $5A Night in the Tropics – live DJ TBA – Courtyard

Cafe, 9pm, $2

MUSIC PERFORMANCE"G" Force Karaoke – Pia's in Rantoul, 9pm-1amLiszt Symposium: Works for Piano and Orchestra

– Foellinger Great Hall, 7:30pm, $17, sc $15, stu $10

ON STAGEA Raisin in the Sun – Colwell Playhouse, 7:30pm.

Flex tickets: $12, sc, stu $11, UI, yth $6. Single tick-ets: $13, sc, stu $12, UI, yth $7.

THE Shakespeare PROJECT – The University ofIllinois and Parkland College theatre departmentsput a new twist on Shakespeare. Parkland Theatre,8pm, $5-8.

AROUND TOWNWine Tasting – Sample wine, learn about the differ-

ent kinds and buy full glasses for $3.50 per glass.Krannert Center lobby, 5pm, free.

FridayMarch5LIVE MUSICDesafinado – Latin, jazz, Bossanova – Cowboy

Monkey, 5pm, $2The Prairie Dogs – The Iron Post, 5pm, TBAHappy Hour: Al Lerardi – blues – Tommy G's, 5-

7pm, freeLarry Gates, Mike Ingram, Cary Judd – Caffe

Paradiso, 7pm, freeGabe Rosen – Embassy Tavern, 8:30pm, freePainkillers – blues – The Iron Post, 8:30pm, TBACougars, Just a Fire, The Drapes, The Violents –

Nargile, 9pm, $5Too White Crew – Canopy Club, 10pm, $5Hello Dave, Synesthesia – Cowboy Monkey, 10pm,

$8Mad Cats – Tommy G's, 10pm, coverCountry Connection – Rose Bowl Tavern, 9pm,

coverTraffic Jam: Metta Quintet – Krannert Center lobby,

5pm, freeDelta Kings – The Phoenix, 9pm-1amTrouble IS – Lava, 9:30pmDeadbeats – Hubers, 8pm

DJDJ Bozak – Barfly, 9pm, freeDJ ImpacT – house – Nargile, 10pm, $5DJ Tim Williams – dance – Highdive, 10pm, $5

ON STAGEA Raisin in the Sun – Colwell Playhouse, 7:30pm.

Flex tickets: $12, sc, stu $11, UI, yth $6. Single tick-ets: $13, sc, stu $12, UI, yth $7.

THE Shakespeare PROJECT – The University ofIllinois and Parkland College theatre departmentsput a new twist on Shakespeare. Parkland Theatre,8pm, $5-8.

DANCINGILbreaks – break dancing/2-on-2 competition –

Courtyard Cafe, 6pm-12am, $5, stu $3

SaturdayMarch6LIVE MUSICGreen St. Records Presents: The Album Teaser

Show: Kate Hathaway Band, Bullet Called Life,The Ending, Fredology – Courtyard Cafe, 8:30pm,$5

Gabe Rosen – Embassy Taven, 8:30pm, TBAMiddletown – The Iron Post, 9pm, TBAAmerican Minor, Apollo Project, Jason

Finkelman's NU-Orbit Ensemble – Nargile, 9pm,$5

Bruiser and the Virtues – Embassy Tavern, 9:30pm,free

Brother Ali, Scratch, Melodic Scribes, dLo andSpinnerty – Canopy Club, 10pm, $10

Poster Children, ifihadahifi, Acevot – CowboyMonkey, 10pm, $6

The Crystal River Band – Tommy G's, 10pm, coverCountry Connection – Rose Bowl Tavern, 9pm,

coverThe Brat Pack – ‘80s – Fat City Saloon, 8:30pmTrouble IS – Lowe’s Big Barrel & Summer Club in

Danville, 9pmKilborn Alley – blues – The Phoenix, TBAPrairie Dogs – Hubers, 8pm

DJDJ Sophisto – house – Barfly, 9pm, freeDJ Mertz – house – Nargile, 10pm, $5DJ Tim Williams – dance – Highdive, 10pm, $5

MUSIC PERFORMANCE"G" Force Karaoke – Historic Lincoln Castle Hotel

Alumni Tap Bar, 9pm-1amJava and Jazz: Cecil Bridgewater – Tryon Festival

Theatre, 10am, freeLiszt Symposium: Works for Piano and Orchestra

– Foellinger Great Hall, 7:30pm, $17, sc $15, stu $10

ON STAGEA Raisin in the Sun – Colwell Playhouse, 7:30pm.

Flex tickets: $12, sc, stu $11, UI, yth $6. Single tick-ets: $13, sc, stu $12, UI, yth $7.

THE Shakespeare PROJECT – The University ofIllinois and Parkland College theatre departmentsput a new twist on Shakespeare. Parkland Theatre,8pm, $5-8.

SundayMarch7LIVE MUSICStuart Davis – Espresso Royale Caffe, 8pm, $5Jay Scott Franklin – The Iron Post, 9pm, TBACrystal River – Rose Bowl Tavern, 8:30pm, freeChambana – jazz – Krannert Center lobby, 9:30pm,

freeCecil Bridgewater – jazz – Tryon Festival Theatre,

7:30pm, $17-25

DJFresh Face DJ – Barfly, 9pm, freeSpundays w/ DJ Delayney – Boltini, 10pm, freeBends by Otter – Cowboy Monkey, 10pm, freeReel to Reel and the Wheels of Steel: Spicerack

Movies with soundtrack provided by DJSpinnerty and DJ Bozak – Mike 'n Molly's, 10pm,$1

Downtempo Lounge Night: DJ Fritz – Nargile,10pm

MUSIC PERFORMANCEThe Parkland Wind Ensemble and the Parkland

Community Orchestra – First Baptist Church ofChampaign in Savoy, 3pm

ON STAGETHE Shakespeare PROJECT – The University of

Illinois and Parkland College theatre departmentsput a new twist on Shakespeare. Parkland Theatre,3pm, $5-8.

$499

1209 N. Prospect Ave • Fax 351-9878

Hours: Mon-Sat. 10:30am-11pm

Sun. 10:30am-10:30pm

No Personal Checks

GREAT WALLCHINESE

RESTAURANTEAT IN • TAKE OUT • DRIVE THRU

Free Delivery for orders over $12$1 Delivery Charge for orders between $8-$12

Phone 351-8808

Quality and Quantity...We are Always the Best!

Lunch and House Specials Served Everyday, Anytime

Hot Tea On the House. Smiles Are Free, Too!

H A I R S A L O N

KANYE WESTThe College DropoutRocafella Records

!!!

BY BRIAN MERTZ

No one loves a smart-aleck. That comes with

the territory because a true smart-aleck not only has awealth of sarcastic remarks to make, but if he or shelives up to the “smart” part, those sarcastic remarksoften contain a lot of truth.That’s what makes a smart-aleck so annoying.

It is also what makes Chicagoan Kanye West soengaging on his debut release, The College Dropout.Demand for West as a producer is starting to get toNeptunes-like levels in the hip-hop community.Kanye created the beats for Jay Z’s “Izzo (HOVA),”TalibKweli’s “Get By”and Alisha Keys’new single “You Don’tKnow My Name.”

In addition, two singles off The College Dropouthave burned up the charts. West’s first single,“Through The Wire,” tells the tale of getting in a caraccident that nearly ended his life. It also exemplifiesKanye’s sound—head-bobbing beats that are drivenby classic vocal hooks that West filters up to Alvin &The Chipmunks levels. “Slow Jamz” (which featuresChicago speed-rapper Twista and comedian-turned-singer Jamie Foxx) is inescapable on the airwaves.

But if this is where the mainstream hip-hop produc-tion machine is going to take us, then I say bring it on.Except for the poor sound quality of “Two Words” andthe unfocused (but still hilarious) “The New WorkoutPlan,” the beats and production quality on CollegeDropout is fantastic. Kanye knows how to find a greatvocal hook, and he somehow manages to combinepop and street with his beats.

The song “All Falls Down” features an interpolationof Lauryn Hill’s “Mystery of Inquity” and sees West athis strongest.The track is catchy, intelligent and still a

gem after 10 consecutive listens.To Kanye’s credit, the guy can rap. And like his

beats, Kanye’s messages somehow manage to bepalatable to people who glorify the bling-blingaspects of commercial hip hop while still criticizingthe shortcomings of that lifestyle. Turning out lineslike: “Now niggas can’t make it ballots to chooseleadership / But we can make it Jacob and to thedealership / That’s why I hear new music and I justdon’t be feelin it / Racism still alive they just be con-cealin it.”

Sentiments like that not only allow Kanye to rapabout cars and consciousness, but allows him tohave guest spots from “conscious rappers” (a terriblerecord label marketing term) like Talib Kweli andMos Def, but also feature guest rhymes from Jay Zand Ludacris.

Kanye is a proud college dropout (as evidenced byseveral songs and skits deflating the importance of acollege education). He’s obviously bright—CollegeDropout feels unnecessarily limited by its surround-ings. There is a sense that Kanye is holding back withhis thoughts. Maybe it’s being signed to Roc-a-fellaand hanging out all the time with Damon Dash andJay Z, but something is keeping Kanye from using hisfull smart-aleck skills.

And that makes College Dropout not even halfthe album it could have been. If he had the courageto fully speak his mind like Eminem does, with theaccessibility and street cred that he still has, Kanyecould have made an album with the political reso-nance and widespread acceptance that we havenot seen since Public Enemy at the height of theirpopularity.

College Dropout sounds more like the kid in theback of the class who complained about everythingthan the kid who people listened to and followedbecause of his charisma.

College Dropout is a great listen worth owning, butKanye West doesn’t deliver on his full lyrical potential.

NORAH JONES Feels Like HomeBlue Note

!!

BY SHADIE ELNASHAI

No one can questionthe quality of Norah

Jones’s voice.Within the contemporary realm, she hasa unique ability that is both instantly recognizableand holds up under close inspection. Yet, it seemstragically appropriate that Norah Jones is the illegiti-mate daughter of the legendary sitar player Ravi

Shankar. Jones may have sold 18 milllion copies ofher debut Come Away With Me, and picked up eightGrammys, but truth be told, as a musician she is nei-ther in the same league as her father nor as hisdaughter Anoushka Shankar. It is her failings as amusician that make Feels Like Home pleasant but notmuch more. Overall, this album is a fairly synonymousbut more confident version of her previous offering,with more of a focus on the jaunty, cowboy influ-ences that she hinted at earlier.

The opener, “Sunrise”, is effectively catchy, and itsucceeds where few of the remaining tracks do. Inmany of the album’s fillers, the attempted delicateprettiness is not supported by sufficient substance.Songs that should be full-bodied are often feeble.

Track two,“What Am I To Do?” is Jones’s only entire-ly self-penned song. On the surface, it appears to beone of the better tracks, but when stripped of itsjazzed-up instrumentation, the song has an incrediblyrun-of-the-mill pop melody. In addition, there is a cer-tain hypocrisy that emanates from anyone who mar-kets herself as a solo artist, only to sing other people’ssongs. It seems that her backing group, TheHandsome Band, deserves far more credit than theyreceive. The bassist, Lee Alexander, has a hand in writ-ing just as many songs as Jones,and his song “Creepin’In”, Jones’s duet with Dolly Parton, is easily the mostintriguing track on the CD.

Simplicity also extends to the lyrics, whoseunimaginative themes get about as complex as“Funny how my favorite shirt / Smells more like youthan me / Bitter traces left behind / Stains no one cansee” (from “In The Morning”). It is no coincidence thatthe album is named Feels Like Home, for Jones is play-ing it safe by delivering a conservative and familiaralbum that placates rather than challenges her previ-ously acquired fans.

Yet, despite everything, Norah Jones’s voice makesthis album perfectly listenable. The sultry vocalistnever falters and seems to have increased the reper-toire that is within her range, which is aptly demon-strated 13 times over. But her vocals are not enough,and the final product is devoid of the emotion that itshould incite. On a basic level, it doesn’t mean any-thing. It succeeds mostly in sounding redundant andis far from memorable.

PARASOL RECORDS’ TOP 10 SELLERS

1. The Comsat Angels - It's History (Nano)2. The Decemberists - The Tain (Acuarela)3. Belle And Sebastian - I'm a Cuckoo (RoughTrdae)4. Sweet, Matthew - Kimi Ga Suki Life(Superdeformed)5. Moonbabies - The Orange Billboard (HiddenAgenda)6. Xiu Xiu - Fabulous Muscles (5 Rue Christine)7. All Night Radio - Spirit Stereo Frequency(Sub Pop)8. Camera Obscura - Underachievers Please TryHard (Merge)9. Poster Children - No More Songs AboutSleep and Fire (Hidden Agenda)10. Lanterna - Highways (Badman)

13buzz MARCH 4-10, 2004 | TWO GOVERNORS IN THE SAME FILM. COINCIDENCE? I THINK NOT. music

Both stages open to accommodate anything from a solo poetry reading to an 8-piece heavy metal band.

Come showcase your talent whatever it may be!

The 2nd Tuesday of each month, buzz will host a special Open Mic Night competition.

Members of the audience will vote for their favorite performer of the night.

The winner will be featured on the buzz website, which will include a videoclip of their performance.

$2 cover after 10PM$2 Long Islands

$2.50 Jaeger Bombs

The Canopy Club708 S. Goodwin,

Urbana217-344-2263

Open Mic Night at the

Canopy ClubSponsored by buzz

Tuesday, March 9 starting at 10PM

GET FAMOUS!

CDRe

views

OnTheSpotReviewCHALEE TENNISONParading in the RainDreamworks

BY LIZ MOZZOCCO

Before Listening

Oh, Chalee Tennison, Idon’t think this is goingto go very well. I should

begin by mentioning that the “i” in this woman’sname is dotted with a heart. If that and the rest ofthe CD booklet are any indication, this music isgoing to be super-poppy and more nauseatinglysaccharine than the artificial sweeteners atGrandma’s house. A closer look at the album revealsthat Ms. Tennison is making music in Nashville andshares a record label with Toby Keith. The verdict?Overproduced country-pop imitating the DixieChicks or Shania Twain. There are 11 songs here,including two with the word “road” in them(“Lonesome Road” and “Cheater’s Road,” if you werehaving trouble inserting a stereotypical countrysong word before “road”) and one entitled “I AmPretty.” There’s no doubt about that, since the CD

leaflet features Faith Hill-style glamour shots ofChalee on each page. At this point, I am too grossedout to read the lyrics, but there is an interestingthank-you note at the end from the singer. In it, shethanks God and the 500-some people who do pub-lic relations at the record company. It’s actually quiterevealing. Chalee Tennison refers to herself as a “hill-billy” and sends this shout-out to her “Glam Squad”:“Can anyone say the shat!!” Direct quote. And no, Icannot say the shat. I think the word you’re lookingfor is “shit.”

After Listening

This actually isn’t that bad. It’s definitely typical top-40country fare, but I was expecting worse. ChaleeTennison might not have been lying when she calledherself a hillbilly (at least if any of these songs arebiographical), and for some reason that gives hermore credibility. She sings about a woman escapingfrom an abusive relationship on “I Am Pretty,” and thefourth track, “Easy Lovin’ You,” talks of teenage preg-nancy. Lyrically, the album is much like its mainstreamcountry peers: mostly cheesy and sometimes embar-rassingly frank. However, considering the level of dis-gust I predicted from looking at the album art, Chaleemakes out pretty well. She’s a talented singer, thoughthe songs themselves aren’t much out of the ordinaryfor their genre. I’m just hoping we don’t have anotherFaith Hill on our hands. God help us.

CHARTS

MUSIC REVIEW GUIDE

!!!! Flawless!!! Good!! Mediocre! BadNo stars Unlistenable

030404buzz1316 3/3/04 4:27 PM Page 1

This Saturday is a big night for hip-hoplovers as Melodic Scribes, Brother Ali, dLo,

Spinnerty and The Roots’ beat boxer Scratchcome together on one stage.

Make Thursday your night of jazz. From UI jazz bands to LaMonteParsons, the Jazz Threads’ Jazz Crawl and Jam Session is a bar

crawl at its finest, centered around the music. Start the night with UI JazzBand II and In Your Ear Band at Iron Post at 5 p.m., then head to KrannertCenter at 6:30 p.m. to hear UI Lab Band. From there, you can walk toCanopy Club for Susan Hofer and Friends’ 8 p.m. performance, followedby Jeff Helgesen and Chip McNeill at Zorba’s at 9:30 p.m. And finally, endthe night with jazz guitarist LaMonte Parsons at Cowboy Monkey as hehosts a jazz jam session. Keep your ears perked for the sounds of CecilBridgewater, who is scheduled to join in the ending session.

15calendarcalendar14calendar

buzzpicks

Come to a special CD listening party hosted by buzz

Friday, March 59-10pm at

The Highdive51 Main Street, Champaign

217-359-4444

Come listen to the brand new album by The Walkmen, Bows + Arrows.

Enter the raffle to win tickets to the show and other great giveaways.

Present this ad at the door & pay no cover.

The Walkmen &

The French Kicks at

The Highdive on March 10

19 to enter, 21 to drink. Must be present to enter raffle.

Want to WIN TICKETSto the show?

FREE PARTY!

WIN TICKETS!

A night of hip hop at Canopy

Jazz revelers come out to play

Local indie rockers Poster Children have been active in the undergroundand mainstream music scenes for the past 16 years, and they’re back

with a new album, their first in four years. The band will head to CowboyMonkey Saturday to promote No More Songs About Sleep and Fire, analbum of varied songs with one thing in common—a fresh energy andoriginal, honest lyrics to match. The band uses distinct bass and drumsounds throughout the album to create catchy riffs and memorable tem-pos. The band has been around long enough to know how to please acrowd, and the members have only become more energized through theyears. Back at home and with a new album to promote, Poster Childrenwill undoubtedly be ready to cut loose and have fun this weekend. Checkthem out along with Acevot and ifihadahifi this Saturday at CowboyMonkey. The show starts at 10 p.m. with a $6 cover.

Poster Children are all grown up, ready to rock

Local act Melodic Scribes always get the crowd going withtheir high energy and innovative lyrics. Hailing from

Minneapolis, Brother Ali is a masterful lyricist who brings socialconsciousness to the stage. And The Roots’ Scratch mesmerizescrowds with his human beat boxing. He recently released a soloalbum highlighting this talent. No electronics, no drums, nobass—just himself. Brother Ali, dLo and Spinnerty will roundout the night. Catch the show this Saturday at Canopy Club. Theshow starts at 10 p.m. and has a $10 cover.

030404buzz1415 3/3/04 4:26 PM Page 1

This Saturday is a big night for hip-hoplovers as Melodic Scribes, Brother Ali, dLo,

Spinnerty and The Roots’ beat boxer Scratchcome together on one stage.

Make Thursday your night of jazz. From UI jazz bands to LaMonteParsons, the Jazz Threads’ Jazz Crawl and Jam Session is a bar

crawl at its finest, centered around the music. Start the night with UI JazzBand II and In Your Ear Band at Iron Post at 5 p.m., then head to KrannertCenter at 6:30 p.m. to hear UI Lab Band. From there, you can walk toCanopy Club for Susan Hofer and Friends’ 8 p.m. performance, followedby Jeff Helgesen and Chip McNeill at Zorba’s at 9:30 p.m. And finally, endthe night with jazz guitarist LaMonte Parsons at Cowboy Monkey as hehosts a jazz jam session. Keep your ears perked for the sounds of CecilBridgewater, who is scheduled to join in the ending session.

15calendarcalendar14calendar

buzzpicks

Come to a special CD listening party hosted by buzz

Friday, March 59-10pm at

The Highdive51 Main Street, Champaign

217-359-4444

Come listen to the brand new album by The Walkmen, Bows + Arrows.

Enter the raffle to win tickets to the show and other great giveaways.

Present this ad at the door & pay no cover.

The Walkmen &

The French Kicks at

The Highdive on March 10

19 to enter, 21 to drink. Must be present to enter raffle.

Want to WIN TICKETSto the show?

FREE PARTY!

WIN TICKETS!

A night of hip hop at Canopy

Jazz revelers come out to play

Local indie rockers Poster Children have been active in the undergroundand mainstream music scenes for the past 16 years, and they’re back

with a new album, their first in four years. The band will head to CowboyMonkey Saturday to promote No More Songs About Sleep and Fire, analbum of varied songs with one thing in common—a fresh energy andoriginal, honest lyrics to match. The band uses distinct bass and drumsounds throughout the album to create catchy riffs and memorable tem-pos. The band has been around long enough to know how to please acrowd, and the members have only become more energized through theyears. Back at home and with a new album to promote, Poster Childrenwill undoubtedly be ready to cut loose and have fun this weekend. Checkthem out along with Acevot and ifihadahifi this Saturday at CowboyMonkey. The show starts at 10 p.m. with a $6 cover.

Poster Children are all grown up, ready to rock

Local act Melodic Scribes always get the crowd going withtheir high energy and innovative lyrics. Hailing from

Minneapolis, Brother Ali is a masterful lyricist who brings socialconsciousness to the stage. And The Roots’ Scratch mesmerizescrowds with his human beat boxing. He recently released a soloalbum highlighting this talent. No electronics, no drums, nobass—just himself. Brother Ali, dLo and Spinnerty will roundout the night. Catch the show this Saturday at Canopy Club. Theshow starts at 10 p.m. and has a $10 cover.

030404buzz1415 3/3/04 4:26 PM Page 1

16 WANT TO GET YOUR EVENT LISTED ON OUR CALENDAR? Send your listings to calendar@readbuzz.com | MARCH 4-10, 2004 buzzcalendar

ThursdayMarch4LIVE MUSICJazz Threads Pub Crawl Stop #1: U of I Jazz Band

II – The Iron Post, 5pm, freeJazz Threads Pub Crawl Stop #2: U of I Lab Jazz

Band, Metta Quintet – Krannert Center, 6:30pm,free

In Your Ear Big Band – jazz – The Iron Post, 7-9pm,TBA

Acoustic Music Series: Darrin Drda – Aroma, 8pm,free

Jazz Threads Pub Crawl Stop #3: Susan Hofer andFriends – Canopy Club, 8pm, free

Jazz Threads Pub Crawl Stop #4: Jeff HelgesenJazz Quintet – Zorba's, 9:30pm, free

Addison Groove Project, Apollo Project – CanopyClub, 10pm, $5

Jazz Threads Pub Crawl Stop #5: LaMonteParsons Experience, Cecil Bridgewater –Cowboy Monkey, 11pm, fre

Country Connection – Rose Bowl Tavern, 9pm, freeDarrin Drda – acoustic – Aroma, 8-10pmFABULOUS!!! – electro-clash/dance-punk party

hosted by The HotWatt – Nargile, 10pm, $5

DJDJ J-Phlip – house – Barfly, 9pm, freeDJ Delayney – Nargile, 10pm, $55th Platoon – Highdive, 10pm, $5A Night in the Tropics – live DJ TBA – Courtyard

Cafe, 9pm, $2

MUSIC PERFORMANCE"G" Force Karaoke – Pia's in Rantoul, 9pm-1amLiszt Symposium: Works for Piano and Orchestra

– Foellinger Great Hall, 7:30pm, $17, sc $15, stu $10

ON STAGEA Raisin in the Sun – Colwell Playhouse, 7:30pm.

Flex tickets: $12, sc, stu $11, UI, yth $6. Single tick-ets: $13, sc, stu $12, UI, yth $7.

THE Shakespeare PROJECT – The University ofIllinois and Parkland College theatre departmentsput a new twist on Shakespeare. Parkland Theatre,8pm, $5-8.

AROUND TOWNWine Tasting – Sample wine, learn about the differ-

ent kinds and buy full glasses for $3.50 per glass.Krannert Center lobby, 5pm, free.

FridayMarch5LIVE MUSICDesafinado – Latin, jazz, Bossanova – Cowboy

Monkey, 5pm, $2The Prairie Dogs – The Iron Post, 5pm, TBAHappy Hour: Al Lerardi – blues – Tommy G's, 5-

7pm, freeLarry Gates, Mike Ingram, Cary Judd – Caffe

Paradiso, 7pm, freeGabe Rosen – Embassy Tavern, 8:30pm, freePainkillers – blues – The Iron Post, 8:30pm, TBACougars, Just a Fire, The Drapes, The Violents –

Nargile, 9pm, $5Too White Crew – Canopy Club, 10pm, $5Hello Dave, Synesthesia – Cowboy Monkey, 10pm,

$8Mad Cats – Tommy G's, 10pm, coverCountry Connection – Rose Bowl Tavern, 9pm,

coverTraffic Jam: Metta Quintet – Krannert Center lobby,

5pm, freeDelta Kings – The Phoenix, 9pm-1amTrouble IS – Lava, 9:30pmDeadbeats – Hubers, 8pm

DJDJ Bozak – Barfly, 9pm, freeDJ ImpacT – house – Nargile, 10pm, $5DJ Tim Williams – dance – Highdive, 10pm, $5

ON STAGEA Raisin in the Sun – Colwell Playhouse, 7:30pm.

Flex tickets: $12, sc, stu $11, UI, yth $6. Single tick-ets: $13, sc, stu $12, UI, yth $7.

THE Shakespeare PROJECT – The University ofIllinois and Parkland College theatre departmentsput a new twist on Shakespeare. Parkland Theatre,8pm, $5-8.

DANCINGILbreaks – break dancing/2-on-2 competition –

Courtyard Cafe, 6pm-12am, $5, stu $3

SaturdayMarch6LIVE MUSICGreen St. Records Presents: The Album Teaser

Show: Kate Hathaway Band, Bullet Called Life,The Ending, Fredology – Courtyard Cafe, 8:30pm,$5

Gabe Rosen – Embassy Taven, 8:30pm, TBAMiddletown – The Iron Post, 9pm, TBAAmerican Minor, Apollo Project, Jason

Finkelman's NU-Orbit Ensemble – Nargile, 9pm,$5

Bruiser and the Virtues – Embassy Tavern, 9:30pm,free

Brother Ali, Scratch, Melodic Scribes, dLo andSpinnerty – Canopy Club, 10pm, $10

Poster Children, ifihadahifi, Acevot – CowboyMonkey, 10pm, $6

The Crystal River Band – Tommy G's, 10pm, coverCountry Connection – Rose Bowl Tavern, 9pm,

coverThe Brat Pack – ‘80s – Fat City Saloon, 8:30pmTrouble IS – Lowe’s Big Barrel & Summer Club in

Danville, 9pmKilborn Alley – blues – The Phoenix, TBAPrairie Dogs – Hubers, 8pm

DJDJ Sophisto – house – Barfly, 9pm, freeDJ Mertz – house – Nargile, 10pm, $5DJ Tim Williams – dance – Highdive, 10pm, $5

MUSIC PERFORMANCE"G" Force Karaoke – Historic Lincoln Castle Hotel

Alumni Tap Bar, 9pm-1amJava and Jazz: Cecil Bridgewater – Tryon Festival

Theatre, 10am, freeLiszt Symposium: Works for Piano and Orchestra

– Foellinger Great Hall, 7:30pm, $17, sc $15, stu $10

ON STAGEA Raisin in the Sun – Colwell Playhouse, 7:30pm.

Flex tickets: $12, sc, stu $11, UI, yth $6. Single tick-ets: $13, sc, stu $12, UI, yth $7.

THE Shakespeare PROJECT – The University ofIllinois and Parkland College theatre departmentsput a new twist on Shakespeare. Parkland Theatre,8pm, $5-8.

SundayMarch7LIVE MUSICStuart Davis – Espresso Royale Caffe, 8pm, $5Jay Scott Franklin – The Iron Post, 9pm, TBACrystal River – Rose Bowl Tavern, 8:30pm, freeChambana – jazz – Krannert Center lobby, 9:30pm,

freeCecil Bridgewater – jazz – Tryon Festival Theatre,

7:30pm, $17-25

DJFresh Face DJ – Barfly, 9pm, freeSpundays w/ DJ Delayney – Boltini, 10pm, freeBends by Otter – Cowboy Monkey, 10pm, freeReel to Reel and the Wheels of Steel: Spicerack

Movies with soundtrack provided by DJSpinnerty and DJ Bozak – Mike 'n Molly's, 10pm,$1

Downtempo Lounge Night: DJ Fritz – Nargile,10pm

MUSIC PERFORMANCEThe Parkland Wind Ensemble and the Parkland

Community Orchestra – First Baptist Church ofChampaign in Savoy, 3pm

ON STAGETHE Shakespeare PROJECT – The University of

Illinois and Parkland College theatre departmentsput a new twist on Shakespeare. Parkland Theatre,3pm, $5-8.

$499

1209 N. Prospect Ave • Fax 351-9878

Hours: Mon-Sat. 10:30am-11pm

Sun. 10:30am-10:30pm

No Personal Checks

GREAT WALLCHINESE

RESTAURANTEAT IN • TAKE OUT • DRIVE THRU

Free Delivery for orders over $12$1 Delivery Charge for orders between $8-$12

Phone 351-8808

Quality and Quantity...We are Always the Best!

Lunch and House Specials Served Everyday, Anytime

Hot Tea On the House. Smiles Are Free, Too!

H A I R S A L O N

KANYE WESTThe College DropoutRocafella Records

!!!

BY BRIAN MERTZ

No one loves a smart-aleck. That comes with

the territory because a true smart-aleck not only has awealth of sarcastic remarks to make, but if he or shelives up to the “smart” part, those sarcastic remarksoften contain a lot of truth.That’s what makes a smart-aleck so annoying.

It is also what makes Chicagoan Kanye West soengaging on his debut release, The College Dropout.Demand for West as a producer is starting to get toNeptunes-like levels in the hip-hop community.Kanye created the beats for Jay Z’s “Izzo (HOVA),”TalibKweli’s “Get By”and Alisha Keys’new single “You Don’tKnow My Name.”

In addition, two singles off The College Dropouthave burned up the charts. West’s first single,“Through The Wire,” tells the tale of getting in a caraccident that nearly ended his life. It also exemplifiesKanye’s sound—head-bobbing beats that are drivenby classic vocal hooks that West filters up to Alvin &The Chipmunks levels. “Slow Jamz” (which featuresChicago speed-rapper Twista and comedian-turned-singer Jamie Foxx) is inescapable on the airwaves.

But if this is where the mainstream hip-hop produc-tion machine is going to take us, then I say bring it on.Except for the poor sound quality of “Two Words” andthe unfocused (but still hilarious) “The New WorkoutPlan,” the beats and production quality on CollegeDropout is fantastic. Kanye knows how to find a greatvocal hook, and he somehow manages to combinepop and street with his beats.

The song “All Falls Down” features an interpolationof Lauryn Hill’s “Mystery of Inquity” and sees West athis strongest.The track is catchy, intelligent and still a

gem after 10 consecutive listens.To Kanye’s credit, the guy can rap. And like his

beats, Kanye’s messages somehow manage to bepalatable to people who glorify the bling-blingaspects of commercial hip hop while still criticizingthe shortcomings of that lifestyle. Turning out lineslike: “Now niggas can’t make it ballots to chooseleadership / But we can make it Jacob and to thedealership / That’s why I hear new music and I justdon’t be feelin it / Racism still alive they just be con-cealin it.”

Sentiments like that not only allow Kanye to rapabout cars and consciousness, but allows him tohave guest spots from “conscious rappers” (a terriblerecord label marketing term) like Talib Kweli andMos Def, but also feature guest rhymes from Jay Zand Ludacris.

Kanye is a proud college dropout (as evidenced byseveral songs and skits deflating the importance of acollege education). He’s obviously bright—CollegeDropout feels unnecessarily limited by its surround-ings. There is a sense that Kanye is holding back withhis thoughts. Maybe it’s being signed to Roc-a-fellaand hanging out all the time with Damon Dash andJay Z, but something is keeping Kanye from using hisfull smart-aleck skills.

And that makes College Dropout not even halfthe album it could have been. If he had the courageto fully speak his mind like Eminem does, with theaccessibility and street cred that he still has, Kanyecould have made an album with the political reso-nance and widespread acceptance that we havenot seen since Public Enemy at the height of theirpopularity.

College Dropout sounds more like the kid in theback of the class who complained about everythingthan the kid who people listened to and followedbecause of his charisma.

College Dropout is a great listen worth owning, butKanye West doesn’t deliver on his full lyrical potential.

NORAH JONES Feels Like HomeBlue Note

!!

BY SHADIE ELNASHAI

No one can questionthe quality of Norah

Jones’s voice.Within the contemporary realm, she hasa unique ability that is both instantly recognizableand holds up under close inspection. Yet, it seemstragically appropriate that Norah Jones is the illegiti-mate daughter of the legendary sitar player Ravi

Shankar. Jones may have sold 18 milllion copies ofher debut Come Away With Me, and picked up eightGrammys, but truth be told, as a musician she is nei-ther in the same league as her father nor as hisdaughter Anoushka Shankar. It is her failings as amusician that make Feels Like Home pleasant but notmuch more. Overall, this album is a fairly synonymousbut more confident version of her previous offering,with more of a focus on the jaunty, cowboy influ-ences that she hinted at earlier.

The opener, “Sunrise”, is effectively catchy, and itsucceeds where few of the remaining tracks do. Inmany of the album’s fillers, the attempted delicateprettiness is not supported by sufficient substance.Songs that should be full-bodied are often feeble.

Track two,“What Am I To Do?” is Jones’s only entire-ly self-penned song. On the surface, it appears to beone of the better tracks, but when stripped of itsjazzed-up instrumentation, the song has an incrediblyrun-of-the-mill pop melody. In addition, there is a cer-tain hypocrisy that emanates from anyone who mar-kets herself as a solo artist, only to sing other people’ssongs. It seems that her backing group, TheHandsome Band, deserves far more credit than theyreceive. The bassist, Lee Alexander, has a hand in writ-ing just as many songs as Jones,and his song “Creepin’In”, Jones’s duet with Dolly Parton, is easily the mostintriguing track on the CD.

Simplicity also extends to the lyrics, whoseunimaginative themes get about as complex as“Funny how my favorite shirt / Smells more like youthan me / Bitter traces left behind / Stains no one cansee” (from “In The Morning”). It is no coincidence thatthe album is named Feels Like Home, for Jones is play-ing it safe by delivering a conservative and familiaralbum that placates rather than challenges her previ-ously acquired fans.

Yet, despite everything, Norah Jones’s voice makesthis album perfectly listenable. The sultry vocalistnever falters and seems to have increased the reper-toire that is within her range, which is aptly demon-strated 13 times over. But her vocals are not enough,and the final product is devoid of the emotion that itshould incite. On a basic level, it doesn’t mean any-thing. It succeeds mostly in sounding redundant andis far from memorable.

PARASOL RECORDS’ TOP 10 SELLERS

1. The Comsat Angels - It's History (Nano)2. The Decemberists - The Tain (Acuarela)3. Belle And Sebastian - I'm a Cuckoo (RoughTrdae)4. Sweet, Matthew - Kimi Ga Suki Life(Superdeformed)5. Moonbabies - The Orange Billboard (HiddenAgenda)6. Xiu Xiu - Fabulous Muscles (5 Rue Christine)7. All Night Radio - Spirit Stereo Frequency(Sub Pop)8. Camera Obscura - Underachievers Please TryHard (Merge)9. Poster Children - No More Songs AboutSleep and Fire (Hidden Agenda)10. Lanterna - Highways (Badman)

13buzz MARCH 4-10, 2004 | TWO GOVERNORS IN THE SAME FILM. COINCIDENCE? I THINK NOT. music

Both stages open to accommodate anything from a solo poetry reading to an 8-piece heavy metal band.

Come showcase your talent whatever it may be!

The 2nd Tuesday of each month, buzz will host a special Open Mic Night competition.

Members of the audience will vote for their favorite performer of the night.

The winner will be featured on the buzz website, which will include a videoclip of their performance.

$2 cover after 10PM$2 Long Islands

$2.50 Jaeger Bombs

The Canopy Club708 S. Goodwin,

Urbana217-344-2263

Open Mic Night at the

Canopy ClubSponsored by buzz

Tuesday, March 9 starting at 10PM

GET FAMOUS!

CDRe

views

OnTheSpotReviewCHALEE TENNISONParading in the RainDreamworks

BY LIZ MOZZOCCO

Before Listening

Oh, Chalee Tennison, Idon’t think this is goingto go very well. I should

begin by mentioning that the “i” in this woman’sname is dotted with a heart. If that and the rest ofthe CD booklet are any indication, this music isgoing to be super-poppy and more nauseatinglysaccharine than the artificial sweeteners atGrandma’s house. A closer look at the album revealsthat Ms. Tennison is making music in Nashville andshares a record label with Toby Keith. The verdict?Overproduced country-pop imitating the DixieChicks or Shania Twain. There are 11 songs here,including two with the word “road” in them(“Lonesome Road” and “Cheater’s Road,” if you werehaving trouble inserting a stereotypical countrysong word before “road”) and one entitled “I AmPretty.” There’s no doubt about that, since the CD

leaflet features Faith Hill-style glamour shots ofChalee on each page. At this point, I am too grossedout to read the lyrics, but there is an interestingthank-you note at the end from the singer. In it, shethanks God and the 500-some people who do pub-lic relations at the record company. It’s actually quiterevealing. Chalee Tennison refers to herself as a “hill-billy” and sends this shout-out to her “Glam Squad”:“Can anyone say the shat!!” Direct quote. And no, Icannot say the shat. I think the word you’re lookingfor is “shit.”

After Listening

This actually isn’t that bad. It’s definitely typical top-40country fare, but I was expecting worse. ChaleeTennison might not have been lying when she calledherself a hillbilly (at least if any of these songs arebiographical), and for some reason that gives hermore credibility. She sings about a woman escapingfrom an abusive relationship on “I Am Pretty,” and thefourth track, “Easy Lovin’ You,” talks of teenage preg-nancy. Lyrically, the album is much like its mainstreamcountry peers: mostly cheesy and sometimes embar-rassingly frank. However, considering the level of dis-gust I predicted from looking at the album art, Chaleemakes out pretty well. She’s a talented singer, thoughthe songs themselves aren’t much out of the ordinaryfor their genre. I’m just hoping we don’t have anotherFaith Hill on our hands. God help us.

CHARTS

MUSIC REVIEW GUIDE

!!!! Flawless!!! Good!! Mediocre! BadNo stars Unlistenable

030404buzz1316 3/3/04 4:27 PM Page 1

12 I AIN’T GOT TIME TO BLEED. | MARCH 4-10, 2004 buzzmusic

BY LIZ MOZZOCCO |STAFF WRITER

I’ve got a confession tomake. I love free stuff.This probably does-

n’t sound too shockingbecause most peoplelike it when they don’thave to pay for things.But I love free stuff. I’m even willing to go dig-ging through other people’s trash if I think I’llfind something good.

It’s all pretty innocent (and pretty disgust-ing), but sometimes the quest for free stuff slipsjust over the line, into what some peoplewould call “stealing.”

For example, my love of free stuff has led to apreoccupation with stealing cable. But my manywily attempts on the cable box have been unsuc-cessful. A few weeks ago, I was wrestling withthe TV antenna in defeat, when the warpedimage of a young girl came across the screen.

I stopped cursing at the monitor when Iheard her say that she was one of millions ofindividuals who were “prosecuted” (they werenever actually charged with anything, since thecases were settled out of court) by the RIAA fordownloading music for free off the Internet.

She proceeded to say that she still down-

loads music, and right as I started thinkingabout how fucking punk rock that was, itbecame clear who was sponsoring her pityparty monologue. It was a Pepsi ad.

In case you haven’t noticed, there have beena lot of fools hanging around the Walgreenscooler recently, trying to peer inside all thePepsi bottles on the shelf. It’s not just becausethey smoked that much weed; Pepsi hashooked up with Apple Computers to giveaway codes in the bottle caps so people candownload free songs from iTunes.

Before you jump off the couch you found onsomeone’s curb, eager to (legally!) downloadthe new Nelly/Justin Timberlake remix, I rec-ommend treating this new corporate promo-tion with some skepticism.

I once read a Rolling Stone article aboutiTunes where Apple CEO Steve Jobs said “it iscorrosive to one’s character to steal music.”Some might say that it is corrosive to one’scharacter to work for Apple. It’s undeniablethat drinking Pepsi is corrosive to one’s stom-ach lining. But both Pepsi and Apple want youto think that they’ve got the remedy for yourdirty “music stealing” habit.

An iPod-toting friend tells me that hedownloads songs from iTunes because heknows he isn’t ripping off the musician. Itonly costs a dollar! And now you can evenget some songs for free! After buying some-thing from Pepsi, of course.

So we can all feel relieved because we’re notstealing any of Sheryl Crow’s income for thesake of our own convenience. The trouble is,you don’t really know what happens to yourdollar after you’ve spent it.

It’s not like Enrique Iglesias is sittingaround, eating Doritos and contemplating theloss of his mole, when an envelope shows upwith your dollar in it. If it did, that would bekind of cool—then you could send Enriqueanother dollar, and he could use it to buyanother bag of Doritos. Isn’t capitalism great?

But the fact is that most of the money youspend on music—on CDs, concert tickets,merch, whatever—never makes it into thehands of the musician. The biggest cuts go tothe record companies and various middlemen.It’s no different with iTunes.

The RIAA is exposed online at www.down-hillbattle.org, which estimates that the artistonly gets eight to 14 cents of that dollar you’respending. At least 35 percent is going towardSteve Jobs’s purchase of a new name. The restof it goes directly to all the little people whowork so hard bribing commercial radio sta-tions to play shitty music no one cares about.God knows they deserve it, because usingshady methods to benefit from other people’sart is wrong. You might even call it stealing.

It seems to me that when someone suggeststhat you’re doing something bad, like steal-ing music, it’s because they want you to feel

guilty enough to stop doing it.So how come we’re not investigating the

people who are accusing us of being thieves?The people who take huge cuts out of profits,all the while implying that the money is goingdirectly to the artist? The ones who tack onabsurd “service charges” for concert ticketsyou bought by clicking on a fucking link overthe Internet? Companies involved in payola?Price fixing? Attempting to sue a 12-year-oldgirl as a scare tactic? All of that seems prettydamn wrong to me.

It’s insanely difficult to track where themoney you spend every day ends up.Everything you own, wear or put in yourbody—you just don’t know what kinds of badbusiness practices happened involving thoseproducts before they made their way to you. Itseems to me that any purchase involving majorlabels and corporate giants in the music indus-try is tainted in ways that aren’t printed on thepackaging. Someone is always getting a rawdeal, and most of the time it’s either you or theband, or both.

You may think that taking stuff out of theDumpster is really gross, but it’s inexpensiveand you can plainly see all of the dirt that itcomes in. That’s more than can be said for whatthe RIAA, Pepsi or iTunes are trying to sell.

MENDOZA MUSIC LINE

Free music? Legal downloads? What’s wrong with this picture?

buzz

Liz Mozzocco is a senior at the University of Illinois. Sheis also an on-air personality at WPGU, 107.1 The Planet.

MondayMarch8LIVE MUSICOpen Mic, hosted by Martin Page – Za's, 7pm, freeJazz Jam hosted by ParaDocs – The Iron Post,

7:30pm, TBAPuddle of Mudd – Canopy Club, 8pm, $20Open Mic Night hosted by Mike Ingram – Cowboy

Monkey, 10pm, $2

DJ2ON2OUT – indie rock – Barfly, 9pm, freeChill in the Grill – hip hop – Canopy Club, 10pm,

freeDJ Betty Rocker – Mike 'n Molly's, 10pm, freeCase of the Mondays – house – Nargile, 10pm, free

MUSIC PERFORMANCECommunity Drum Circle – Ten Thousand Villages,

7-9pm, free"G" Force Karaoke – Kam's, 10pm-2am

COMEDYDeBono – improv comedy – Courtyard Cafe, 9-

10pm, free

TuesdayMarch9LIVE MUSICOpen Bluegrass Jam Session – Verde Gallery, 7pm,

freeOpen Jam/Open Mic hosted by

Openingbands.com – Canopy Club, 10pm, $2Juan Turros, For If The Flies – The Iron Post, 10pm,

TBAAcoustic Night: Adam Wolfe, Jess Greenlee –

Tommy G's, 10pmShipwreck, LP – Nargile, 11pm, $3Crystal River – Rose Bowl Tavern, 9pm, free

DJDJ Resonate - hip hop - Barfly, 9pm, freeDJ Brom – Cowboy Monkey, 10pm, freeNOX: DJ ZoZo, DJ Kannibal, DJ Rickbats –

Highdive, 10pm, $2

COMEDYSpicy Clamato – improv comedy – Courtyard Cafe,

9-10pm, free

WednesdayMarch10LIVE MUSICDarrin Drda's Theory of Everything – The Iron

Post, 9pm, TBAKilborn Alley – blues – Tommy G's, 9pm, freeOpeningbands.com Showcase: Cash Gal,

Buddha's Belly, FCAB, Shatered Angel – CanopyClub, 10pm, $3

The Walkmen, French Kicks, Orphans of AbsintheBlind – Highdive, 10pm, $8

Irish Traditional Music Session – Bentley's Pub, freeHard Poor Korn – Rose Bowl Tavern, 9pm, freeMeredith Monk – Tryon Festival Theatre, 7:30pm,

$14-$25

DJDJ Chef Ra – Barfly, 9pm, freeLa Femme Confident – DJ Aquanet, Queen Betsy

– Nargile, 9:30pm, TBAD-Lo & Spinnerty – Cowboy Monkey, 10pm, freeDJ Boardwalk – Mike 'n Molly's, 10pm, $1Northstar Lounge hostedby Czar Absolute – slam

poetry and hip hop DJ's – Nargile, 10pm, $1Dream Sequence – Caffe Paradiso, 10pm, free

MUSIC PERFORMANCE"G" Force Karaoke – Elmers Club 45, 7-11pm

C-UVENUES Assembly Hall First & Florida, Champaign, 333-5000American Legion Post 24 705 W Bloomington Rd, Champaign,356-5144American Legion Post 71 107 N Broadway, Urbana, 367-3121Barfly 120 N Neil, Champaign,352-9756Barnes and Noble 51 E Marketview, Champaign, 355-2045Boltini Lounge 211 N Neil, Champaign, 378-8001Borders Books & Music 802 W Town Ctr, Champaign, 351-9011The Brass Rail 15 E University, Champaign, 352-7512Canopy Club (Garden Grill) 708 S Goodwin, Urbana, 367-3140Channing-Murray Foundation 1209 W Oregon, UrbanaC.O. Daniels 608 E Daniel, Champaign, 337-7411Cosmopolitan Club 307 E John, Champaign, 367-3079Courtyard Cafe Illini Union, 1401 W Green, Urbana, 333-4666Cowboy Monkey 6 Taylor St, Champaign, 398-2688Clybourne 706 S Sixth, Champaign, 383-1008Curtis Orchard 3902 S Duncan Rd, Champaign, 359-5565D.R. Diggers 604 S Country Fair Dr, Champaign, 356-0888Elmer’s Club 45 3525 N Cunningham, Urbana, 344-3101Embassy Tavern & Grill 114 S Race, Urbana, 384-9526Esquire Lounge 106 N Walnut, Champaign, 398-5858Fallon’s Ice House 703 N Prospect, Champaign, 398-5760Fat City Saloon 505 S Chestnut, Champaign, 356-7100The Great Impasta 114 W Church, Champaign, 359-7377G.T.’s Western Bowl Francis Dr, Champaign, 359-1678Highdive 51 Main, Champaign, 359-4444Huber’s 1312 W Church, Champaign, 352-0606Illinois Disciples Foundation 610 E Springfield, Champaign,352-8721Independent Media Center 218 W Main St, Urbana, 344-8820 The Iron Post 120 S Race, Urbana, 337-7678Joe’s Brewery 706 S Fifth, Champaign, 384-1790Kam’s 618 E Daniel, Champaign, 328-1605Krannert Art Museum 500 E Peabody, Champaign, 333-1861Krannert Center for the Performing Arts 500 S Goodwin,Urbana, Tickets: 333-6280, 800-KCPATIXLa Casa Cultural Latina 1203 W Nevada, Urbana, 333-4950Lava 1906 W Bradley, Champaign, 352-8714Legends Bar & Grill 522 E Green, Champaign, 355-7674Les’s Lounge 403 N Coler, Urbana, 328-4000Lincoln Castle 209 S Broadway, Urbana, 344-7720Lowe’s Big Barrel & Summer Club 14 N Hazel, Danville,442-8090Malibu Bay Lounge North Route 45, Urbana, 328-7415Mike n’ Molly’s 105 N Market, Champaign, 355-1236Mulligan’s 604 N Cunningham, Urbana, 367-5888Murphy’s 604 E Green, Champaign, 352-7275Nargile 207 W Clark St, ChampaignNeil Street Pub 1505 N Neil, Champaign, 359-1601Boardman’s Art Theater 126 W Church, Champaign,351-0068The Office 214 W Main, Urbana, 344-7608Parkland College 2400 W Bradley, Champaign, 351-2528Phoenix 215 S Neil, Champaign, 355-7866Pia’s of Rantoul Route 136 E, Rantoul, 893-8244Pink House Routes 49 & 150, Ogden, 582-9997The Rainbow Coffeehouse 1203 W Green, Urbana, 766-9500Red Herring/Channing-Murray Foundation 1209 W Oregon,Urbana, 344-1176Rose Bowl Tavern 106 N Race, Urbana, 367-7031Springer Cultural Center 301 N Randolph, Champaign,355-1406Spurlock Museum 600 S Gregory, Urbana, 333-2360

17buzz MARCH 4-10, 2004 | WANT TO GET YOUR EVENT LISTED ON OUR CALENDAR? Send your listings to calendar@readbuzz.com calendar

Punch Downs-Telephone Outlets Installed - Repairs - Prewiring

Quality Workmanship & MaterialsIllinois Bell Trained Technician - Guaranteed & Insured

2 1 7 - 4 6 9 - 9 5 8 5

Are you a not for profit organization in Champaign County that dreams about having a project completed but you lack the manpower to do it?

Operation Helping Hand is April 17-24 and it’s the perfect chance to make your dream a reality. Think big! You provide us with a short term project,supervision and the materials to complete it and we’ll provide you with the most important resource of all...volunteers!

Don’t miss out on this great opportunity! Attend our Kick-off Celebration on Thursday, March 18 from 11:30 am-1:30 pm at the Urbana Civic Center.

For more information or to RSVP for the Kick-off Celebration please call Kathy at the Office of Volunteer Programs 244-7675 or Teri at United Way 352-5151.

Need a hand?

OPERATION HELPING HAND

is sponsored by:

030404buzz1217 3/3/04 4:29 PM Page 1

18 WANT TO GET YOUR EVENT LISTED ON OUR CALENDAR? Send your listings to calendar@readbuzz.com | MARCH 4-10, 2004 buzzcalendarThe Station Theatre 223 N Broadway, Urbana, 384-4000Strawberry Fields Cafe 306 W Springfield, Urbana, 328-1655Sweet Betsy's 805 S Philo Rd, UrbanaTen Thousand Villages 105 N Walnut, Champaign, 352-8938TK Wendl’s 1901 S Highcross Rd, Urbana, 255-5328Tommy G’s 123 S Mattis Ave, Country Fair Shopping Center,359-2177Tonic 619 S Wright, Champaign, 356-6768Two Main 2 Main, Champaign, 359-3148University YMCA 1001 S Wright, Champaign, 344-0721Verde/Verdant 17 E Taylor St, Champaign, 366-3204Virginia Theatre 203 W Park Ave, Champaign, 356-9053White Horse Inn 112 1/2 E Green, Champaign, 352-5945Zorba’s 627 E Green, Champaign

CHICAGOSHOWSMARCH3/4 Jazzanova @ Smart Bar3/4 Kraig Jarret Johnson & The Program @ Schubas3/4-5 Neil Young & Crazy Horse @ Rosemont Theatre3/5 Clarence Clemons & The Temple of Soul @ Joe’s3/5 Faun Fables @ Schubas3/5 British Sea Power @ Empty Bottle3/5 Richard Buckner @ Schubas3/5 Chieftans @ Symphony Center3/5 Bob Dylan @ Aragon Ballroom3/5 Forty Piece Choir @ Metro, 18+3/5 Galactic @ Vic, 18+3/5 Luomo @ Abbey Pub, 18+3/5 Edwin McCain @ House of Blues, 18+3/6 Liftpoint @ Metro3/6 Crossing @ Old Town School of Folk Music3/7 Get Up Kids @ Metro3/7 Rhonda Vincent @ Old Town School of Folk

Music3/10 Tara Jane O’Neil @ Gunther Murphy’s3/11 Keb’ Mo’ @ House of Blues, 18+3/11 Walkmen @ Metro, 18+3/12 DJ SS, Grooverider, Shy FX, Twisted Individual @

Metro, 18+3/12 Church @ House of Blues3/12 Antigone Rising @ Schubas3/12 Futureman & The Isiah Williams Project @ Old

Town School of Folk Music3/12 Kid Rock @ Allstate Arena3/12 Michael Mayer, Superpitcher @ Smart Bar3/12 Liz Phair @ Vic3/12 Von Bondies @ Double Door3/13 Paul Kelly @ Double Door3/13 Sage Francis, Joe Beats, Grand Buffet @ Logan

Square Auditorium3/13 Mavericks @ Park West3/13 Grant Lee Phillips @ Abbey Pub3/13 Saw Doctors @ Vic3/13 Shipping News @ Subterranean3/14 Liz Phair @ Vic3/15 Cooper Temple Clause @ Double Door3/17 Jerry Joseph & The Jackmormons @ Schubas3/17 Bogdan Raczynski @ Empty Bottle3/18-19 Melissa Etheridge @ House of Blues3/19 Johnny Dowd @ Subterranean3/19 Dream Theater @ Riviera3/19 Britney Spears, Kelis @ Allstate Arena3/19 Starlight Mints @ Abbey Pub3/20 Jewel @ Star Plaza3/20 Liars, Young People @ Logan Square

Auditorium3/20 Macabre @ Oasis 1603/21 Amon Tobin, Kid Koala @ Metro, 18+3/22 Clay Aiken, Kelly Clarkson @ United Center3/23 Ted Leo/Pharmacists @ Logan Square Auditorium3/23 Three Days Grace @ Metro3/24 12 Stones, Skillet, Pillar, Grits, Big Dismal @

House of Blues3/26 Newsboys, Rebecca St. James @ UIC Pavilion3/26 American Music Club @ Old Town School of

Folk Music3/26 Dolly Varden @ Subterranean3/26 Al Green @ House of Blues3/26 Great Big Sea @ Metro, 18+3/26 Franz Ferdinand @ Empty Bottle3/26 Proclaimers @ Abbey Pub3/26 Slip @ Double Door3/26 Southern Culture on the Skids @ FitzGerald’s3/26 TV On the Radio @ Empty Bottle3/27 Campbell Brothers, Calvin Cooke @ Old Town

School of Folk Music

CHICAGOVENUESAbbey Pub 3420 W Grace, Chicago, (773) 478-4408Allstate Arena 6920 N Mannheim Rd, Rosemont,(847) 635-6601Aragon 1106 W Lawrence, Chicago, (773) 561-9500Arie Crown Theater 2301 S Lake Shore Dr, Chicago,(312) 791-6190Bottom Lounge 3206 N Wilton, Chicago, (773) 975-0505Chicago Theatre 175 N State St, Chicago, (312) 443-1130Congress Theatre 2135 N Milwaukee, Chicago, (312) 923-2000Double Door 1572 N Milwaukee Ave, Chicago, (773) 489-3160Elbo Room 2871 N Lincoln Ave, Chicago, (773) 549-5549Empty Bottle 1035 N Western Ave, Chicago, (773) 276-3600Fireside Bowl 2648 W Fullerton Ave, Chicago, (773) 486-2700House of Blues 329 N Dearborn, Chicago, (312) 923-2000Martyrs' 3855 N Lincoln Ave, Chicago, (773) 404-9494Metro/Smart Bar 3730 N Clark St, Chicago, (773) 549-0203Old Town School of Folk Music 4544 N Lincoln Ave, Chicago,(773) 728-6000Park West 322 W Armitage, Chicago, (773) 929-5959Riviera Theatre 4746 N Racine, Chicago, (773) 275-6800Rosemont Theatre 5400 N River Rd, Rosemont, (847) 671-5100Schubas 3159 N Southport, Chicago, (773) 525-2508UIC Pavilion 525 S Racine, Chicago, (312) 413-5700Vic Theatre 3145 N Sheffield, Chicago, (773) 472-0449

Creation Art Studios: Art Classes for Children andAdults – All classes use the spontaneous artprocess to demonstrate technical instruction andthe exploration of materials. CPDU's offered.Creation Art Studios, 1102 E Washington inUrbana. Call Jeannine Bestoso at 344-6955 or go towww.creationartstudios.com for information.

Join Artists and Workshops at Gallery Virtu – Theartist-owned cooperative Gallery Virtu invitesapplications from area artists. The gallery offersworkshops for adults, teens and children and origi-nal works by the members. Gallery Virtu, 220 WWashington in Monticello. Thu 12-4pm, Fri 12-8pm,Sat 10am-6pm. For more information, call 762-7790, visit www.galleryvirtu.org or e-mail work-shops@galleryvirtu.org.

Collage for the Soul – Learn the many aspects ofcollage techniques while engaging your creativityand exploring your mind and heart. Sandra Ahtenwill teach the class, in which all materials will beprovided. High Cross Studio, 1101 N High Cross Rdin Urbana. Feb 17- Mar 16, Tue 7-9pm. Other draw-ing and painting classes are also offered. For moreinformation, call 367-6345 or go to www.spiritof-sandra.com.

Boneyard Pottery – Ceramic Art by MichaelSchwegmann and others. 403 Water St inChampaign. Tue-Sat 11am-5pm. 355-5610.

Broken Oak Gallery – Local and national artists,original art including photography, watercolors,pottery, oil paintings, colored pencil, and wood-turning. Refreshments served by the garden allday Saturday. 1865 N 1225 E Rd in White Heath.Thu-Sat 10am-4pm. 762-4907.

Café Kopi – “Digital Evolutions,” photographs byJohn Sfondilias on display through February. 109 NWalnut in Champaign. Mon-Thu 7am-11pm, Fri-Sat7am-12pm, Sun 11am-8pm. 359-4266.

Creation Art Studios – Featuring original art by stu-dents and members of the studio. 1102 EWashington St in Urbana. Mon-Fri 3-5:30pm, Sat 1-4pm and other scheduled studio times. For moreinformation, call Jeannine Bestoso at 344-6955.

Country in the City – Antiques, Architectural,Gardening and Home Accessories. Custom design-ing available. 1104 E Washington St in Urbana. Thu-Sat 10am-5pm. 367-2367.

Framer's Market – Frame designers since 1981.Ongoing work from local artists on display. 807 WSpringfield Ave in Champaign. Tue-Fri 9:30am-5:30pm, Sat 10am-4pm. 351-7020.

Furniture Lounge – Specializing in mid-centurymodern furniture from the 1920s to the 1980s –retro, Danish modern, lighting, vintage stereoequipment and vinyl records. 9 E University inChampaign. Sun-Tues 12-4:30pm, Wed-Sat 11-5:30pm. 352-5150.

Glass FX – New and Antique Stained GlassWindows, Lamps and unique glass gifts. Gallery isfree and open to the public. Interested in learningthe art of Stained Glass? Beginning, intermediateand advanced stained glass classes offered. 202 SFirst St in Champaign. Mon-Thu 10am-5:30pm, Fri10am-5pm, Sat 9am-4pm. www.glassfx.com.359-0048.

Griggs Street Potters – Handmade functional anddecorative pottery. 305 W Grigg St in Urbana. Mon-Fri 11am-4pm, or call for appointment. 344-8546.

Hill Street Gallery Inc. – Oil and watercolor paint-ings, hand painted T-shirts, handmade jewelry. 703W Hill in Champaign. Sat 12-5pm or by appoint-ment during the week. 359-0675.

Larry Kanfer Gallery – European Collection fea-tured in the gallery. Both limited and open editionprints by Larry Kanfer, nationally acclaimed pho-tographer. 2503 S Neil in Champaign. Free andOpen to the Public. Mon-Sat 10am-5:30pm. 398-2000. www.kanfer.com.

LaPayne Photography – Specializes in panoramicphotography up to 6 feet long of different sub-jects including sporting events, city skylines,national parks and University of Illinois scenes. 816Dennison Dr in Champaign. Mon-Fri 9am-4pm andby appointment. 356-8994.

Old Vic Art Gallery – Fine and original art, handsigned, limited edition prints, works by local artists,art restoration, custom framing, and periodicshows by local artists. 11 E University inChampaign. Mon-Thu 11am-5:30pm, Sat 11am-4:30pm. 355-8338.

Prairie Boatworks Gallery – Beautifully hand-craft-ed gift items and unique Valentine’s Day cards.Also, over 35 regional artist to choose from. 407 EMain St in Mahomet. Tue, Fri, Sat 10am-5pm, Sun12-4pm. 586-6776. For more information, contactMary at 356-8228 or tangoradesigns@aol.com.

Steeple Gallery – Vintage botanical and bird prints,antiques and framed limited edition prints. 102 ELafayette St in Monticello. Mon-Fri 9am-5pm, Sat10am-4pm. www.steeplegallery.com. 762-2924.

Verde Gallery – The work of local artist SylviaArnstein will be on display in the halls and café. 17E Taylor St in Champaign. Cafe: Mon-Sat 7am-10pm. Gallery: Tue-Sat 10am-10pm. 366-3204.

Ziemer Gallery – Original paintings and limited edi-tion prints by Larry Ziemer. Pottery, weavings,wood turning and glass works by other artists.Gallery visitors are welcome to sit, relax, listen tothe music and just enjoy being surrounded by art.210 W Washington in Monticello. Tue 10am-8pm,Wed-Fri 10am-5pm, Sat 10am-4pm. www.ziemer-gallery.com. 762-9786.

Creation Art Studios – Artwork by instructorsJeannine Bestoso, Amy Richardson, and ShoshannaBauer, and the studio’s friends and family. 1102 EWashington St in Urbana. Hours: Mon-Fri 3-5:30pm, Sat 1-4pm and other scheduled studiotimes. For more information, call Jeannine Bestosoat 344-6955.

“Distant Voices Nearer: A Celebration ofAmerican Indian Art” – Featuring paintings byDeHaven Solimon Chaffins, jewelry by BenYellowhorse, ceramic sculptures by Lynn Hone,ceramics by Laguna Potter and Michael Kanteena,pottery from Acoma and Mata Ortiz. On display atVerde Gallery through Mar 20. Opening receptionfor Chaffins and Yellowhouse Thur at 7pm. 17 ETaylor St in Champaign. Cafe: Mon-Sat 7am-10 pm.Gallery: Tue-Sat 10am-10pm. 366-3204.

“Transitions” – Work from Nicole Cisne on displayat Aroma Café through Mar 21. Artist statement:“The vehicle for my artwork is the female nude...Society and the fashion industry of today are theprimary causes of an epidemic of eating disordersand false body images in many young women.”118 N Neil in Champaign. Open 7 days a week,7am-Midnight. For more information, contactAmanda Bickle at 356-3200 orart4aroma@yahoo.com.

ART NOTICES

ART GALLERIES

ART EXHIBITS

“The last seven years, it really has just beena matter of survival,” Strang said. “The lastthree years, it has just been a matter of windingit down, looking for a plateau and thinkingmaybe it’ll stop dropping. And if it levels it off,we’ll make it survive.”

But despite cutting payroll and decreasinginventory, Strang could not find a way to makeRecord Service survive.

Insurmountable odds

Throughout the late 1990s, independentrecord stores across the country shut down.But even as Record Service closes in 2004,there is no one definitive answer as to why.

“People think its just one thing, but its notjust one thing,” said Troy Michael, store man-ager at Record Service. “It’s CD burning. It’sWal-Mart. It’s Target. It’s the music industryin general. It’s the economy. It’s that dumbassin Washington D.C.”

Strang cites not only the presence of bigchain stores like Best Buy for Record Service’sdecline, but also a general decline inCampustown business and the biggest factorof all, in his eyes: illegal downloading andburning of CDs.

“Five years ago, we might have sold 1,000copies of a new Dave Matthews Band CDbecause 30 guys from the same frat would allbuy it,” Strang said. “Now, one or two guysbuy it and they burn them for everyone else.”

“The record companies will eventuallymake downloads work for them,” Strang said.“But brick and mortar is just going to justabout disappear. There will still be someplaces for purists but not as many as before.”

Whatever the exact cause, Record Servicehas faced economic woes for years. Strangestimates that at the store’s peak, RecordService moved about $2.5 million in volume.

“Last year we did maybe $200,000,” Strangsaid. “If you think about $200,000 at a 30%markup which would be optimal, you have$600,000 to pay your expenses.”

But those expenses quickly added up forRecord Service. Strang said that rent is $5,000a month at their current location. The powerbill ran at an average of about $1,000 a month.

Payroll at Record Service used to be some-where between $3,000 and $4,000 a month.The store has trimmed that down so that itcan still operate with a payroll of about $1,000a month. But even after these cuts, Strangrealized around Thanksgiving of last year thatthe store could not remain open through 2004.

“I kept looking for signs. I thought if wecould do $1,000 a day, I could keep expenseslow enough that we could survive,” Strang said.

Strang estimates that the store only hit$1,000 in sales in one day twice in the past year.

Michael feels that certain changes couldhave been made to help the store last.

“Moving even a block either way wouldhave saved a couple hundred bucks a monthon rent. And it could have been (a) better loca-tion. Downtown Champaign is booming rightnow and that’s where we could have went,”Michael said. “We could have been more intouch with the consumer product. We didn’tstock to where we potentially could have.(Co-Manager) Tim Williams could haveblown out the vinyl. With my connections, wecould have brought in the indie stuff. Thestore could have been smaller.”

Strang still feels that the closing of the storewas inevitable.

“Even if I worked for free, which I couldn’tdo, and we didn’t have to pay rent, we stillcouldn’t do it,” Strang said. “There is notenough response. There is not enough needfor us to survive.”

Record Service owed money to the recordcompanies that provided CDs, and those com-panies eventually threatened to withholdshipment on new titles.

“We couldn’t get in the new products andnew releases to sell,” Strang said. “If we can’tget new releases, we can’t stay in business.”

Past due bills caused Illinois Power torequest a $1,500 deposit on March 15. Strangknew that he could not make that deposit andso March 5 became the closing date, leavingthe store a final week to clean and sell offequipment in an estate sale.

“I think the bottom line is that

the power company overpowered us,” Strangsaid. “Those are the expenses you cannotignore.”

This past summer, Strang made sure hisemployees were paid by not cashing his ownpaychecks until they cleared. It was a decisionthat perhaps could have worked when thestore opened, but cannot work now.

“Part of me is still the hippie that likesmusic,” Strang said. “But, I’m also a singledad with two kids and a nice house. I wantmy kids to understand my values, but theyneed to have clothes and go to college some-time. So you get to the point where there is nochoice left.”

In spite of the decision made out of eco-nomic necessity, closing Record Servicewas not a simple decision.

“I would do this the rest of my lifeif I could,” Strang said. “It’s very hardto give it up. One way I look at it, andtry to get away from looking at it thisway because it makes me sad, butRecord Service is my oldestchild. This was my wholelife for a long time. So itis hard just to say Iwant to walk awayfrom it.”

It will also be hardfor the local musiccommunity, andCampustown inparticular, to facethe prospect oflosing RecordService.

“Outside ofBorders, thereis nowhere alocal bandcan taketheir CDsto sell.

And that is really bad for the local scene,”Michael said. “Bands can obviously sell theirstuff at shows and online, but for the averageperson to go out to a store and get a local CD,that’s going to be hard.”

While the local scene adjusts to losing thisinstitution, Strang, who is 54 years old, mustnow adjust to being part of the job-seekingmarket for the first time.

“I put together a resume for the first time inmy life,” Strang said. “It is exciting on one handand scary on the other. I graduated college andit wasn’t like, ‘What am I going to do?’ I’malready doing something. I didn’t have to makethat decision of what I’m going to do when Igrow up. I get to make that decision now.”

When Record Service closes its doors tothe public Friday evening, Strang will

have no bad feelings about his 35-year journey with this true

Champaign institution.“It’s been a great ride,”

Strang said. “The fact that itwas an accident to begin withand lasted this long, I reallyhave no complaints. Realityhas turned out that this nolonger works. But I had a real-ly great time doing it.”

11buzz MARCH 4-10, 2004 | GET TO THE CHOPPA! music

1. The EaglesThe sort of piss-mellow

lite-rock that comes from abunch of smug, self-satisfiedyuppies deciding to blowtheir colons all over the radio.“Take It Easy” is the crap yourparents listen to when theyfind an old joint amongst

their vinyl collection and decide to “go crazy for anight” and smoke up in the bathroom while you areout listening to good music.They were neither coun-try nor rock and Merle Haggard should shove a banjoup each of their asses based on their appalling solocareers alone.This band holds the title of having soldthe most copies of any album ever (their greatest hitsat 28 million copies sold). There is a reason The Dudehates them ... they suck.

2. CreedEvery sentence begin-

ning with the word Creed (inreference to the band)should end with “fellatesgoats.” Scott Stapp is a giant,walking ego that takes hair-care tips from the cast ofFriends. He is not a frontman.

Some of the shittiest guitar chords ever strummedcome from this atrocity of a band. Couple this withScott Stapp’s I-wish-I-was-Eddie-Vedder voice andyou’ve got a recipe for complete crap. These guysshould have never “cleaned up” and stayed in adownward spiral to death in a bathtub. If the son ofGod ever does get around to returning, you can bethis first act will be to temporarily renounce paci-fism, grab a sack full of doorknobs, and beat the liv-ing shit out of him. Right on, Jesus.

3. JourneyChances are, when you go

to hell, the lifeless husk ofNeil Schon will be there togreet you playing every soloin death just as he did in life;like every talentless, creative-ly devoid jackoff who justlearned how to climb up thefretboard. Steve Perry will be

there wailing the chorus to “Don’t Stop Believin’” likehe has his balls in a vice. The next time you hearJourney on some “classic” rock station, do yourself afavor and change it.

4. Dashboard ConfessionalThe soundtrack to post-adolescent bed-wetting. If

there were any justice in this universe, the momentthis dwarven, self-indulgent, crybaby decided to putdown his Acoustic Guitar for Dummies and inflict his

sixth-grade journal entries ona nation of comb-over lovingcreamo kids, he would haveaccidently tripped into a pileof moose crap and suffocatedto death.

5. Bon JoviJon Bon Jovi makes John

Cougar Mellencamp look likefriggin’ genius. If this whole‘80s revival thing keeps up, theend result will be a re-evalua-tion of Bon Jovi. RichieSambora will drag his ass off alawn chair somewhere inSouth Beach to “get togetherwith the band” and North

Korea will drop the A-bomb because they can’t standthe thought of The Ataris covering “Livin’On A Prayer.”

Next week: Top five album namesWhat’s yours? e-mail us at music@readbuzz.comTopFive Popular bands that suck

buzz

030404buzz1118 3/3/04 4:30 PM Page 1

10 CARL WEATHERS AND ARNOLD . . . TOGETHER AT LAST | MARCH 4-10, 2004 buzzmusic

BY BRIAN MERTZ | STAFF WRITER

In November of 1969, with nothing morethan a pad of paper, a pencil and a catalog, astudent run organization in the Illini Unionplaced an order for an album. From those hum-ble beginnings grew the Champaign institu-tion known as Record Service.

This Friday, almost 35 years later, RecordService will sell its last album.

Due to financial difficulties that haveplagued the store for years, Record Service willclose March 5.

During its lifetime, the store has seen itsshare of successes and great hardships. Theclosing of Record Service not only signals theend of Champaign-Urbana’s longest runningindependent record store, but it also typifiesthe uphill battles that are being lost by inde-pendent record stores around the country.

The store that hippies built

Record Service began as a mail order store inthe Illini Union in the fall of 1969. Currentowner and co-founder Phil Strang was only 19years old when Record Service started. Strang,who was programming director at WPGU, wasasked by friends in student government to usehis musical knowledge to help start the mailorder service.

The first day it was open, the new mailorder service took orders for 10 albums. By thesecond day, that number was 20. Within a fewweeks, Record Service decided to stock a fewalbums in the union instead of just taking mailorders. The first album they had in stock wasJefferson Airplane’s Volunteers. There were 25copies and they flew out of the store.

“We sold all 25 copies within an hour,”Strang said. “Next time, we had 50 copies ofJefferson Airplane and 25 copies of StrangeDays by the Doors. Little did we know that

those two titles wouldprobably describe thestore better than any-thing.”

By Easter 1970,Record Service movedout of the Union to thebasement of the

University YMCA on Wright Street. It wouldnot be Record Service’s last move before mov-ing to its current location at 621 E. Green St. inCampustown in December 1981.

In the 11 years between its time at the YMCAand the current location, Record Service washoused at four other locations and also operat-ed stores in Normal, Ill., a second store inLincoln Square Mall and the classical storeFigaro’s in its own space. No matter where thestore was, though, Record Service operatedunder the same philosophy it always had fromthe time it became incorporated.

“We decided that everyone that works at thestore would be co-owners. Nobody thatworked there wanted to be boss and no want-ed to be bossed,” Strang said. “This was ourrevolutionary idea. If we were all equal part-ners, we would all share the responsibilities. Itwas incredibly idealistic, but we made it workon that level for seven years.”

Strang said the 14 owners that ran RecordService in those seven years made about $1.50an hour. The $30 Strang brought home at theend of the week easily covered the $37 in renthe paid each month.

Strang said that the 14 owners were never init to make money, though. Instead, RecordService often reached out to the community.

“We considered ourselves a political collec-

tive as much as a record store,” Strang said.“We were very actively involved in local poli-tics such as anti-war demonstrations. Wehelped collect money for the legal defense ofpeople who got arrested for political actions ordrug arrests.”

Record Service would also collect a nickelon every sale for a “community tax.” The nick-els were then gathered up and went to helpstart other alternative businesses like a restau-rant, bicycle shop, gas station and even a gro-cery store. Strang estimated that there were 75alternative businesses at one time inChampaign-Urbana.

That alternative spirit was shared by all theowners of Record Service.

“We were all just a bunch of hippies, but welearned how to do business,” Strang said. “Westarted because we loved music but we learnedthe business as we went. We learned how torun a business just by doing it.”

Seven years after incorporation, seven co-owners had moved on or graduated. By thetime the store moved to its current location,there were only three owners: Strang, TomMcCoy and Michael Pollack.

In 2000, Pollack was the last partner to leave.Strang was in complete control of a ship thatby his own admission had been sinking forseveral years.

Top: The Kate Hathaway band plays an in-store performance at Record Service. Left: After 34 years of business, Record Service willclose its doors for the last time on Friday, March 5th. Owner and co-founder Phil Strang said, “I don’t want it to be like a funeral, Iwant it to go out on an upbeat because that’s how we’ve always been.”

PHO

TOS

|CH

RIST

INE

LITI

S

The end of an era A familiar face for Campustown closes one last time on Friday

“Picturing Performance: Japanese Theater Printsof the Utagawa School, 1790–1868” – The focusof artistic production in 18th and 19th centuryJapan (Edo period) was the world of entertain-ment. This exhibit captures a views of this world ofillusion and fantasy (Ukiyo) through richly-coloredand compositionally provocative woodblock printsknow as Ukiyo-e. The exhibition is on view throughMar 21. 500 E Peabody in Urbana. Tue, Thu-Sat9am-5pm, Wed 9am-8pm, Sun 2-5pm. Suggesteddonation $3. 333-1860.

“Bon Coiffure: Hair Signs from West Africa” – Thisexhibition offers viewers a glimpse into the art ofAfrican hair styling, African hair sign painting andAfrican hairstyles in traditional masks and sculp-ture. Hairdressers also hire artists to hand paintsigns to advertise their skills and represent theirrepertoire of coiffures. Bon Coiffure is on viewthrough Mar 21. 500 E Peabody in Urbana. Tue,Thu-Sat 9am-5pm, Wed 9am-8pm, Sun 2-5pm.Suggested donation $3. 333-1860.

“Beyond East and West: Seven TransnationalArtists” – The Krannert Museum has put togethera traveling exhibition bringing together the workof seven major contemporary artists who share aconnection to both worlds. 500 E Peabody inUrbana. Tue, Thu-Sat 9am-5pm, Wed 9am-8pm, Sun2-5pm. Suggested donation $3. 333-1860.

“Whistler and Japonisme: Selections from thePermanent Collection” – This anniversary marksthe 100th anniversary of James McNeill Whistler’sdeath, highlighting his works on paper and exam-ines the influence that Japanese woodcuts had onhis artistic technique. On display at Krannert ArtMuseum through Mar 28. 500 E Peabody inUrbana. Tue, Thu-Sat 9am-5pm, Wed 9am-8pm, Sun2-5pm. Suggested donation $3. 333-1860.

“Water & Wood” – The Hays Center is hosting thisexhibit featuring paintings by Beverley Sandersonand sculpture by the Illini Carvers. Opens Friday,runs through Mar 26. The Hays Center, 1311 WChurch St, C. 398-2580. Hours: Mon-Fri 8:30am-4pm.

“Bring Me an Ice Bucket – Scenes of HotelHysteria” – This evening of dance performancefollows four women through the rooms of theestablishment and their subsequent quest toexplore the meaning of feminine and social eti-quette in the early twentieth century. Armory FreeTheatre. Fri 8pm & midnight. Sat 7pm.

Elysium on the Prairie, Live Action Roleplaying –Vampires stalk the city streets and struggle fordominance in a world of gothic horror. Create yourown character and mingle with dozens of playerswho portray their own undead alter egos. Eachsession is another chapter in an ongoing story oftriumph, tragedy and betrayal. Fridays,“Vampire:The Masquerade.” For more information, visitwww2.uiuc.edu/ro/elysium/intro.html. Check sitefor location, 7pm.

Engelbert Humperdinck Concert Cancelled – TheChampaign Park District regrets to announce thatthe Engelbert Humperdinck concert scheduled forthis Sunday at the Virginia Theatre has been can-celled. If you have purchased tickets for this event,stop by the Virginia Theatre for a full ticket refund.If you have any questions, please contact the boxoffice at 356-9063.

Gardening Weekend Wizard w/ Sandy Mason –Children will get to take part in activities such asWorm Zoo and Garbage Gardens, Paper TowelGardening, Flower Arranging, Seed ID, What Part ofthe Plant Are You Eating?, and Chew on This Likean Insect. Sandy will be assisted by master garden-ers and students from Volunteer Illini Projects.Orpheum Children’s Museum. Saturday, 1-4pm. $3,child $2. For more information, call 352-5895.

Club Fred: Character Count – Presenters fromUniversity of Illinois Extension discuss the six pil-lars of good character. No registration. DouglassBranch Library. Sunday, 4-5pm. Information: 403-2090.

Captain Underpants Party – School-age childrencan dress as a favorite character from the CaptainUnderpants book series to win a prize at this kid-contagious party. Champaign Public Library.Saturday, 2-2:45pm. No registration.

Family Resource Fair – Activities, food and informa-tion on community services and organizationsthat serve families and children in the ChampaignUrbana area will be available. Wisegarver Hall,Illinois Disciples Building. Mar 14, 12-4pm. Formore information, call 344-5459.

Family Fun Day Sunday in the Square – Enjoyinteractive rides this Sunday. There will also befood, shopping, games, miniature golf and more.Lincoln Square Mall. Sun, 1-5pm. For more info, callthe Urbana Business Association at 344-3872.

My Preschool Genius – A book-centered programfocusing on language. Preschoolers can listen todynamic picture book presentations and explorethe art of picture book illustration. ChampaignPublic Library. Tue, 9:30-10am. Registrationrequired. Call 403-2030.

Girls, Girls, Girls! – Games, crafts, and reading timefor girls in grades 1-4. Douglass Branch Library. Fri,4-5pm. No registration.

KnowZone – Homework help for school-aged chil-dren. Tue 4-5pm. Douglass Branch Library. No reg-istration required.

Rookie Cooks – Hands-on cooking class for elemen-tary school students, presented by U of IExtension. Douglass Branch Library. Mar 1, 4-5pm.Registration: 403-2090.

19buzz MARCH 4-10, 2004 | WANT TO GET YOUR EVENT LISTED ON OUR CALENDAR? Send your listings to calendar@readbuzz.com calendar

this week

Some Krannert Center programs are supportedin part by the National Endowment for the Arts, the Illinois Arts Council, and patron and corporate contributions.

A Raisin in the Sun is supported in part by theFrances P. Rohlen Visiting Artists Fund/College ofFine and Applied Arts and by the Chancellor'sBrown v. Board of Education JubileeCommemorative Committee.

The Jazz Threads project is supported in part by an award from the National Endowment for the Arts Challenge America—Access to the Arts Program.

Cecil Bridgewater’s presentations are supportedby the Heartland Arts Fund, a program of ArtsMidwest funded by the National Endowment for the Arts with additional contributions fromGeneral Mills Foundation, Land O'LakesFoundation, Sprint Corporation, and the Illinois Arts Council.

KrannertCenter.com

217/333-6280 or 800/KCPATIX217/333-9714 (TTY) 217/244-SHOW (Fax)217/244-0549 (Groups)kran-tix@uiuc.edu

Ticket OfficeOpen 10am to 6pm daily; on days of performances open 10am through intermission.

@krannert center

Season SponsorsCoporate Season Underwriters

Patron Season Sponsors

CAROLE AND JERRY RINGER

Th Mar 4Wine Tasting5pm, free

Jazz Crawl and Jam Session5pm, Iron Post6:30pm, Krannert Center8pm, Canopy Club9:30pm, Zorba's11pm, Cowboy Monkey

Liszt Symposium: Works for Piano andOrchestra7:30pm, $10-$17

A Raisin in the Sun7:30pm, $6-$13

Fr Mar 5Traffic Jam: Metta Quintet5pm, free

A Raisin in the SunDessert and Conversation6:30pm, $5.50Creative IntersectionsSponsor:

A Raisin in the Sun7:30pm, $6-$13

Sa Mar 6Java and Jazz: CecilBridgewater10am, freeSponsor: Fran and Marc AnselAnonymous

Liszt Symposium: Works for Piano andOrchestra7:30pm, $10-$17

A Raisin in the Sun7:30pm, $6-$13

Su Mar 7Concerto Urbano7:30pm, $2-$5

Cecil Bridgewater andClark Terry7:30pm, $17-$25 Talkback: after the show,free

Afterglow: Chambana9:30pm, free

Tu Mar 9CultureTalk: Steven Pinker andNancy Cantor7:30pm, free, ticketsrequired

We Mar 10Meredith Monk 7:30pm, $14-$25Talkback: after the show,free

Th Mar 11Wine Tasting5pm, free

UI Wind Symphony andUI Symphonic Band I7:30pm, $2-$5

A Raisin in the Sun7:30pm, $6-$13

Studiodance I7:30pm $7-$14

The 1996 re-release in Dolby Digital and restored color of Martin Scorsese’s 1976 film starring Robert DeNiro, Cybill Shepherd, Jodie Foster, and Harvey Keitel

March 5th & 6th at

Boardman’s Art Theatre126 W. Church St., Champaign

1-800-BEST-PLACEor 355-0068

tickets are $6

Introducing...

brought to you by Boardman’s Art Theatre & buzz

Boardman’s Art Theatre and buzz will be hosting special midnight screenings several times a month.

This weekend, come check out:

Midnight MovieSERIESMidnight MovieSERIES

ON STAGE

CANCELLATION NOTICE

KIDS & FAMILY

030404buzz1019 3/3/04 4:30 PM Page 1

20 WANT TO GET YOUR EVENT LISTED ON OUR CALENDAR? Send your listings to calendar@readbuzz.com | MARCH 4-10, 2004 buzzcalendar

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BY LOGAN MOORE | STAFF WRITER

Call it human nature or that record-collect-ing mentality peculiar to rock geeks, but itseems that the holy grail of music journalism is“the scene.” The irrational hope that someyoung talented cadre of bands and musicianshave concocted a glorious alternative to themainstream, their creativity unchecked by thespotlight of the world’s prying eyes, has drivenrock reporters to the extremes of hyperbole fordecades. So overwhelming is the desire to playMarco Polo to those scarce pockets of creativityin America’s homogenous landscape that thisyear music journalists apparently decided tomake up their own scene; the Big Apple waseverywhere in 2003 and Lord help any bandfrom New York. Neatly returning us to thebowery circa 1975, Pitchfork.com staffers andMojo magazine writers shouted ecstaticallyfrom the rooftops and mountains, “The Strokesare the new Ramones! The Rapture are the newTalking Heads! Dance, you fools. Dance and bemesmerized by their stylish retro fashion senseand delicately mussed white afros!”

But, what about the Walkmen? Not a bandovertly influenced by garage or post-punk, nota band particularly interested in good fashionsense, but simply an excellent band. Well,they’ve sort of gotten tossed around a bit onthe high seas of encapsulated reviews andone-paragraph band bios by virtue of beingfrom New York.

The Walkmen are a band of subtleties. Just lis-ten to their sophomore effort Bows and Arrows. Itopens with “What’s In It For Me?,” a guitarascends, ringing, echoing, not so much pummel-ing the silence as slicing through it like a sur-geon’s scalpel through his patient’s flesh. Leadsinger Hamilton Leithauser drags his casual,romantic conversational prose through a sea oforgan washes and feedback enveloping the lis-tener. The second track “The Rat” kicks in, therhythm section driving the song through a seriesof acrobatic crescendos, Leithauser hoarselyscreaming a laundry list of accusations.

The drummer can actually drum; there’s anovelty. The song is earnest and melodic. It’slike bassist Pete Bauer said when questioned onThe Walkmen’s relationship to New York’s nas-cent garage revival: “I definitely feel that wewere trying to get away from that whole sound.At the time, it was probably the most uncoolthing you could do.” That about sums it up.

Still, for all their uniqueness they are a bandthat tends to get pigeonholed, due largely totheir history. Three-fifths of The Walkmen start-ed off in the almost famous Jonathan Fire*Eater,a critic’s darling dark garage group from NewYork way back in the mid-1990s. Snapped up byDreamworks, they were subsequently dropped

after their sole major label album, Wolf Songs forLambs, was not the radio-ready money machinethe higher-ups had hoped for. Friends sincetheir childhood together in Washington, D.C.,the band tragically disintegrated shortly after-ward. It’s the sort of indie band on a major labelturmoil that tends to steal the spotlight whendiscussing the band. It shouldn’t, though.

Following their defection from the ranks ofDreamworks, the remaining members valiant-ly took their advance money and forged ahead,building a 900-square foot rehearsal space and24-track recording studio in Harlem, dubbedMarcata Studios. Says Pete Bauer, “It’s part of acar factory that was converted into industrialoffices ... you could record in the hallway andget great reverb.” Picking up a few membersfrom the defunct combo The Recoys andrenaming themselves The Walkmen, ourheroes crafted their debut Everyone WhoPretended To Like Me Is Gone to general acclaimin 2002. The album seemed to be part and par-cel to their new recording space, the depth ofthe album drawing attention to each individ-ual sound, every instrument reverberatingfrom the echo chambers of the heart, pianostinkling from loft windows, resonatingthrough the city streets at night.

Their new platter utilizes the studio in a some-what opposite direction, using instrumentationto wrap the album in a none-too-subtle blanketof sound; every corner of the album is brimmingwith subtle organ andguitar textures. Bauersays, “We recordedand mixed a lot of thealbum at other stu-dios, like in Easley-McCain in Memphis.It’s a great studio ...but the album didn’treally come togetheruntil we finished it atMarcata, so we’llprobably be recordingthere more.”

The intoxicatedlate-night balladeer-ing of Everyone is alsosubsumed in favor oftighter songs with amore visceral, upbeatflavor. “We wrotesongs a lot more withthe live show inmind,” says Bauer,“so some of the songsare a little more rock-ing.” Bauer admitsthey started off a lit-tle shaky in the livearena. “It was hard toplay the spacy slow

things in a live setting.” Thus, the focus wasshifted a bit and the band seems all the betterfor it; more cohesive as a group and muchmore demanding of attention.

Still, the album does retain the signaturesound of The Walkmen, one that distinguishesthem from their New York contemporaries.Whereas garage tends to derive its appeal frompoorly recorded teenage angst and testosterone-driven hooks, on Bows and Arrows, TheWalkmen reveal themselves as a band muchmore interested in the intricacies of sound.

To get the delicate, resonating drum soundthat opens up “Hang On, Siobahn,” the bandfostered an environment of complete silence inthe studio. The result is so slight; one can barelyhear the sticks tapping the kit, only the sound ofthe skins reverberating. Attention to the delicatedetails of an album such as these ensure theband’s appeal will extend beyond the deriva-tive, retro-obsessed veneer of the current musi-cal landscape into the realm of the thoughtfullistener. They may never date Gwyneth or Drewor Winona, but if they continue to craft music ofsuch timelessness and honesty, The Walkmenwill be a band with a shelf life, and that is ofutmost importance.

The Walkman will perform at Highdive Wednesday, March10. Orphans and French Kicks will open. Tickets are $8 andthe show starts at 10 p.m.

What’s in it for The Walkmenbuzz MARCH 4-10, 2004 | REMEMBER PREDATOR? THAT MOVIE IS AMAZING. 9musicmusic

The Walkmen will be performing at the Highdive on March 10th.

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THE WALKMENBows and ArrowsRecord Collection

!!!!

BY LOGAN MOORE

Bows and Arrows is thesound of a band casuallyestablishing themselves

as artists to watch. It may not be apparent from the out-set.The album starts off in the sort of dreamy, half-awaketerritory that they explored on their debut, Everyone WhoPretended To Like Me Is Gone, but by the time the bandhas ripped their way through tracks like “The Rat” and“Little House of Savages,” it is apparent that a diametricshift has occurred. It’s a very good one, folks. TheWalkmen officially tear it the fuck up.

Whereas the debut tended to meander occasionally,songs drifting into and apart from one another,Bows andArrows seems to show off a band that has gotten its legs,much more willing to explore varied sonic territory with-out losing the thread of the album or the listener’s atten-tion. Nowhere is this demonstrated better on the albumthan “The Rat.”As Paul Maroon hammers out an arching,descending guitar line, drums thunder, and lead singerHamilton Leithauser yowls like a rabid Rod Stewart,“Can’t you hear me / I’m calling out your name / Can’tyou see me / I’m pounding on your door.” One canalmost envision the terrified young girl on the other sideof that door. It’s thrilling. They come pretty close to top-ping this elsewhere on the album. “Little House ofSavages” is a portrait of paranoid escape roughlycrooned over looping drums and a robotically beatenguitar with the supreme melodic breakdown of thealbum. “New Year’s Eve” is a piano-driven, Kinks-derivedpop rocker replete with samba beats and humorouslyrics like,“ The music’s loud in your room / Turn it down/ There’s a neighbor who can’t take it anymore.”

And though, much like the Lee Majors, The Walkmenhave become better, stronger, faster, and they haven’tgiven up the attention to sonic detail or the ice sculpturedelicate ballads that distinguished Everyone. Partiallydue to the uniqueness of their self-built Marcata studios,the guitars on Bows and Arrows still chime, organs stillchurn and blur, drums still crack and reverberate. Thewhole album seems ready to ricochet off the precipiceinto the abyss at any moment, just like intelligently com-posed rock should. Keep an eye on The Walkmen.

030404buzz0920 3/3/04 4:31 PM Page 1

8 "RAY, WHEN SOMEONE ASKS YOU IF YOU'RE A GOD, YOU SAY 'YEEESS!' " | MARCH 4-10, 2004 buzzarts

!!! Stephen Adly Guirgis

BY SYD SLOBODNIK | CONTRIBUTING WRITER

O ur Lady of 121st Street, the SteppenwolfTheatre Company’s present production,

is a wonderful actor’s ensemble piece thatwill remind veteran Chicago theatergoers ofthe Steppenwolf’s best productions of twodecades ago. An era when that group ofyoung, recently college graduated NorthSiders began making a unique impact onMidwestern theater.

Written by another young New Yorkplaywright, Stephen Adly Guirgis, anddirected by Will Frears, Our Lady of 121stStreet is a delightful mixture of the comedyand seriousness of urban life. Its short-on-detail plot contains a wealth of street-smartdialogue and a dozen or so authentic NewYork urban types, who have seen some oftheir best dreams and aspirations fade withthe years.

Guirgis’s narrative centers on a reunion,of sorts, of a group of neighborhood friendsand acquaintances who are attending thewake of a Harlem parish’s most belovednun, Sister Rose. Rose was an early guideand inspiration to many of the play’s nownearly middle-aged characters.

In a series of humorous two- to four-per-son scenes, director Frears skillfully blendsthe humor and pathos of the play’s key per-sonal conflicts of these once childhood/teenfriends, uncovering deep character flawsand personality inadequacies. Some of themost interesting characters includeRooftop, the former Harlem resident, now a

well-known Los Angeles-based radio host,who is so spiritually lost he hasn’t been toconfession is nearly 30 years; Inez,Rooftop’s ex-wife, who despite lookingonly years older, has had more than hershare of rough times with men in her life;Balthazar, a tough New York City cop whois looking for a stolen body; Flip, an attrac-tive black professional who returns to his‘hood with a Caucasian gay lover; andEdwin and Pinky, two Latino brothers whoseem stuck in their routine lives. Situatednext door to the funeral home is the localCatholic parish where Sister Rose served,which is now run by an elderly handi-capped priest who openly expresses hisdoubts in his faith.

Scenes are mixed with intense feelings ofpast regrets over old responsibilities andbad intentions, as many of the characterscarefully protect their fragile egos and denyfaults that lead to their unfulfilled lives.

The multi-ethnic cast of mostly younger,non-Steppenwolf ensemble members—withthe exception of the always interesting andentertaining Robert Breuler—is as sparkling agroup of performers as those of Steppenwolf’sheyday; productions that featured JohnMalkovich, Gary Sinise and Laurie Metcalf.Standouts in the Our Lady of 121st Street castinclude E. Milton Wheeler as the explosiveRooftop, Shane Williams as Inez and SammyA. Publes as the rather pathetic Edwin.

Our Lady of 121st Street, a contemporarydrama about urban realities, runs throughMarch 28 at Chicago’s SteppenwolfTheatre at 1650 N. Halsted.

Our Lady of 121st Streetplayreview

(Above, Right) Marisabel Suarez (Norca) and Shane Williams (Inez) in Our Lady of 121st Street by StephenAdly Guirgis, directed by Will Frears. Our Lady of 121st Street opens in the Steppen wolf Downstairs thetre,1650 N. Halsted, Sunday , Februarty 15, 2004. For tickets call (312) 335-1650 or visit www.steppenwolf.org.Credit: Micchael Brosilow.

By Lorraine HansberryDirected by Shirley Basfield DunlapWith guest artist Cheryl Lynn Bruce

Mar 4-14KrannertCenter.com 217.333.6280

Associated lecture:"The Impact of Race on Theatre and Culture" by Woodie King, Jr., Producing Director,New Federal Theatre, New York.Mar 3, 5pm Levis Center, 919 W Illinois, Urbana

Department of Theatre

being matters.

Supported, in part, by the Frances P. Rohlen Visiting Artists Fund/College of Fine and Applied Arts and the Chancellor’s Brown v. Board of Education Jubilee Commemorative Committee.

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Champaign County Audubon Society early morn-ing bird walks – Busey Woods every Sundaymorning starting this Sunday at 7:30am. Meet atAnita Purves Nature Center parking lot. 344-6803.

CultureTalk: Steven Pinker with Nancy Cantor –Pinker and Cantor will talk about the evolving rela-tionships between the arts and contemporarysociety. Colwell Playhouse. Tuesday, 7:30pm. Free.

“Share a Meal with Community Shares” – Thisfundraiser helps local non-profits. Thirty percent ofyour meal at Silvercreek restaurant goes to one ofthese charities. Call 328-3402 for info.

“Soft Materials and Nanopatterning Techniquesfor Electronics” – part of the Center for NanoscaleScience and Technology Seminar Series. JohnRogers, Prof of Materials Science and Engineeringat the University will speak. Coordinated ScienceLaboratory Auditorium. Wed, 4pm.

Brown Sisters of Topeka, Kansas Lecture – Thelecture will consist of reflections by Linda BrownThompson and Cheryl Brown Henderson on theimpact, legacy and significance of struggles toachieve the promise that the Brown vs. Board ofEducation case represented. FoellingerAuditorium. Mar 11, 4pm. Free.

Community Workshop on SSI – SSI Project toexplain basics of Supplemental Security Incomeand help qualified residents apply for benefits.Illinois Disciples Foundation. Saturday, 10:30am-12pm. For information, call 352-6533.

2004 Art Exhibition Series Call for Artists – TheChampaign Park District is seeking local visualartists to apply for this exciting new venue at theSpringer Cultural Center. Exhibits strive to presentartistic and ethnic diversity of Champaign -Urbana and surrounding area artists. Now-Mar 19.For more information, call 398-2376.

Champaign County Audubon Society – MikeWard, a Ph.D. candidate in the animal biologydepartment from the University will talk aboutStudying the Behavior of Endangered Black-capped Vireos in Texas and Terns in NorthernIllinois for Population Management. Meet in Room242, Bevier Hall. Thur, 7:30pm. Call Arlo, 443-2499.

Foundation of Teamwork – Competition demandsthat organizations do more, in a shorter responsetime, with fewer resources. Participants will identi-fy their communication style and develop plans tobuild better working relationships with otherteam members. Class meets Thursday from8:30am-12:30pm at 1315 N Mattis Ave,Champaign. Course fee is $110. To register, call351-2235.

Life Map Workshop – A life map is a collection ofvisual images, a method of connecting with yourintuition, a tool for visualizing your dreams orgoals. Come explore life mapping--approaches,uses, and the opportunity to create your own lifemap. McKinley Foundation, C. Mar 13, 9:15am-1pm.To register or for information, contact Jo Pauly at337-7823 or jopauly@prairienet.org.

Simplicity Discussion Group – Ideas to simplify &bring meaning to life. The group will discuss thebook Repacking Your Bags by Richard Leider &David Shapiro. Borders Bookstore. Thursday, 7pm.351-9011.

Sunday Zen Meditation Meeting - Introduction toZen Sitting, 10am. Full Schedule: service at 9amfollowed by sitting, Dharma Talk at 11am followedbe tea until 12pm. Can arrive at any of abovetimes, open to all, no experience needed, no cost.Prairie Zen Center. For information, call 355-8835or go to www.prairiezen.org.

Mystery Discussion Group – At this group meet-ing, the group will discuss the book A Drink Beforethe War by Dennis Lehane. Borders Bookstore.Monday, 6pm. 351-9011.

21buzz MARCH 4-10, 2004 | WANT TO GET YOUR EVENT LISTED ON OUR CALENDAR? Send your listings to calendar@readbuzz.com calendar

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030404buzz0821 3/3/04 4:31 PM Page 1

A LIST OF THE MOST PREDICTABLE OSCAR WINNERS IN RECENT MEMORY | MARCH 4-10, 2004 buzz

film film 22

BY MATT PAIS | LEAD REVIEWER

After months of editing, end-less controversy and an

interview with Diane Sawyer,it turns out that Mel Gibson’sThe Passion of the Christ isn’tquite the legendary cinematicachievement that everyone

would have you believe. It’s groundbreaking inthe historical sense—an epic recreation of ashocking, 2,000-year-old tragedy—but beneaththe pervasive media saturation, religious feudsand some truly gruesome violence, the filmfeels less like a whole story and more like theending to a different, deeper movie.

In chronicling the final 12 hours of Jesus’s(Jim Caviezel) life, Gibson fast-forwards right tothe end, which doesn’t seem disjointed at thebeginning of The Passion of the Christ. The filmopens with Jesus praying alone in the forest ashe waits to be found and persecuted by theJews and Romans. Judas (Luca Lionello) hasalready betrayed him, and he has already

prophesied Peter’s (Francesco De Vito) denial,and it’s not long before Jesus is beaten neardeath by merciless nonbelievers.

The damage enacted upon his body, fromcountless public lashings to the ultimate affixa-tion to the cross, is every bit as bloody and dis-turbing as advance word suggested. Try not toavert your eyes when the spiked whips clutchto Jesus’s back for a moment before jarringloose and spurting blood every which way. Thisis an appallingly brutal film, and Gibson does-n’t hesitate to make every drop of blood squishand splatter. His point is that Jesus’s pain is ourpain, and The Passion of the Christ is indeed oftenextremely painful to watch.

Yet, in focusing solely on the unthinkablepain Jesus endured, Gibson manages to hollowout one of humanity’s most widely known andemotive stories into a shell of repetitive reli-gious grandstanding. Every second is meticu-lously crafted, with a harrowing adherence toScripture and an unflinching determination tochronicle Jesus’s every step from conviction tocrucifixion. But while fervently presentingJesus’s extreme suffering, the film displays sur-prisingly little feeling toward its subject.

This becomes apparent when, by the timeJesus’s head droops for the last time, his skinlacerated and limbs impaled by large nails, youweep for the ferocity of the violence but not forthe suffering endured. Sure, The Passion of theChrist is more about what happened to Jesusthan about Jesus himself, and the problem isn’tthat it lacks sympathy. Rather, it treats its cen-

tral figure solely as a biblical icon and never asa person; the movie prefers hovering on the sur-face of Jesus’ shredded skin to spending even amoment inside his head.

Consequently, Gibson’s religious labor ofcruelty succeeds only as an eye-opening pictureof suffering rather than a presentation of thefaith and sacrifice that led to such extraordinarypain. The film occasionally intersects the perse-cution with placid shots of Jesus spreading hispeaceful message and random moments of hisquietly pious life. These are few and farbetween, however, and a half-hearted effort byGibson and co-writer Benedict Fitzgerald tobreak up the monotony of innumerable slow-motion collapses and redundant reaction shotsof teary-eyed women. This is a monumental,historical accomplishment, made with intensepassion, courage and brains, even if its mindfocuses more on shallow malevolence than spir-itual catharsis. What it needs is a heart.

moviereview

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THE PASSION OF THE CHRIST | JIM CAVIEZEL

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BY JASON CANTONE | STAFF WRITER

How do you make fun of a film genre that’salready a joke? That’s the question Broken

Lizard, a group of five master thespians, musthave asked themselves during the making ofClub Dread. The “I’m a naked teenage bimborunning in the woods from a bad, bad man witha machete” genre of horror film might haveended decades ago, but like a song by Journey,it will never be forgotten.

By itself, Club Dread is not a phenomenalmovie. The acting is poor, the scriptwriting isshoddy and it seems like everyone in the filmwas high or drunk during filming. However,before judging this film, one must look at theslasher films it pokes fun at. Generally, theyhave poor acting, shoddy writing and gags sostupid you’d think the director was drunk if hethought they’d work. Definitely some subtlesimilarities, don’t you think?

It might seem that the Scary Movie trilogyclosed the book on how to parody horror films,but every over-the-top and heavy-handed gagin that trilogy was stolen from other films. Fromthe Scream mask to the overly drawn out 8 Mileparody in the third film, the trilogy reeked ofrepetition. While Club Dread obviously drawsits inspiration from ‘70s slasher flicks, it ridesthe line between comedy and parody success-fully and provides great entertainment valuefor the college crowd.

Most of the film is blood and bodies andmost of those bodies are straight from a GirlsGone Wild! video, but it isn’t the blatant sexual-ity that will keep viewers entertained—it’s alsothe nonstop fun. In the first scene alone, there’sa menage a trois, three brutal slayings and morelaughable moments than your average, run-of-the-mill teen comedy contains.

All of the action takes place on PleasureIsland, an amalgamation of everything SpringBreak. From a club staff ready to please theguests in every way possible, to a JimmyBuffett-like honcho singing “Pina Colada Berg,”(which sounds oddly like “Margaritaville”),there’s just too much happiness for the islandNOT to be hounded by a crazed serial killer.

Paxton parodies Buffett successfully and themain actors do their best in their stereotypicalroles. But it’s not the acting that keeps this boatafloat. Unlike their role models in MontyPython, none of the Broken Lizard troupestands out as a particularly gifted comedicactor. Luckily, the jokes keep coming, as each

death setup is more over-the-top than the last.Taking this film seriously would be a crime,

and those who do are sure to hate it. With filmssuch as Mel Gibson’s The Passion of the Christbringing suffering and torture to millions ofpeople, a simple, dumb film like Club Dreadshould be in theaters to counter some of thatanguish. Club Dread won’t make you more reli-gious and it won’t make you a better person,but you also won’t have to suffer for somemovie entertainment.

!!!

The Passion of the Christ

“It was violent, it got the point across ... it was moving.”

!!!!

Blake Wagahoff

Raymond, IL

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Laura Zeigler

Raymond, IL

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Donna Weaver

Philo, IL

“I don’t think it was (anti-Semitic). They had to portray it as it happened.”

“Having two sons, I don’t know if I would have done what Mary did.”

Compiled by Roderick Gedey

CLUB DREAD | STOLHANSKE, DANIEL, SOTER

SCREEN REVIEW GUIDE

!!!! Flawless!!! Good!! Mediocre! Badno stars Unwatchable

OscarWinners

Leading Actor: Sean Penn - Mystic RiverSupporting Actor: Tim Robbins - Mystic RiverLeading Actress: Charlize Theron - MonsterSupporting Actress: Renée Zellweger - Cold MountainAnimated Feature Film: Finding NemoArt Direction: The Lord of the Rings: Return of the KingCinematography: Master and Commander: The FarSide of the WorldCostume Design: LOTR: Return of the KingDirecting: Peter Jackson - LOTRDocumentary Feature: The Fog of War Documentary Short Subject: Chernobyl HeartFilm Editing: LOTR: Return of the King Foreign Language Film: The Barbarian InvasionsHonorary Award: Blake Edwards Makeup: LOTR: Return of the KingMusic (Score): LOTR: Return of the KingMusic (Song): “Into the West” - Fran Walsh,Howard Shore and Annie Lennox Best Picture: LOTR: Return of the KingShort FIlm (Animated): Harvie KrumpetShort Film (Live Action): Two SoldiersSound Editing: Master and CommanderSound Mixing: LOTR: Return of the KingVisual Effects: LOTR: Return of the KingWriting (Adapted Screenplay): LOTR: Return of the KingWriting (Original Screenplay): Sofia Coppola forLost in Translation

moviereview

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7buzz MARCH 4-10, 2004 | "NOW, SON, YOU DON'T WANT TO DRINK BEER. THAT'S FOR DADDIES AND KIDS WITH FAKE IDS." arts

BY KATIE RICHARDSON | ARTS EDITOR

D errick Holley is a local artist whose work is currently ondisplay at Highdive and Boltini Lounge in Champaign.

He mainly creates self-portraits, which examine the role ofidentity insofar as how he perceives himself, how others per-ceive him and how these two perceptions coexist and perhapsconflict. He was trained at Black Hawk College and the ArtInstitute of Chicago, receiving his MFA at the latter. He hasa calm, cool demeanor, but he is not at all aloof or unthank-ful. On the contrary, he has a great deal of gratitude toward

those who appreciate his work, and said he is espe-cially thankful toward Ed WiseKamp, CarlosNieto, Tom Gillespie and many other patrons forbeing particularly supportive.

When did you first start painting?When I was little boy, about five or six, I was

sitting in a waiting room of some sort and Isaw a magazine with a picture of a cowboy onit. I really wanted the picture on the magazine,but my mother said that it didn’t belong to me,

it was the hospital’s, and I couldn’thave it. I studied the cowboy really,really closely, and memorized the pic-ture, sticking it in my mind’s eye. Iwent home and was determined todraw it. I must have gone through 100pieces of paper trying to replicate thatpicture. Ever since then, I’ve knownthat painting was the art form bywhich I most strongly expressed myself. I thinkit’s crucial that each and every one of us findour “strongest voice,” whether it be painting,poetry, music, etc. By the way, I finally paintedthe cowboy a couple of years ago.

Who were your earliest sources of influenceand inspiration?

My earliest influence was Eddie Murphy.When he became famous, it was the first timethat I got a solid sense that there was a place forme in society. I was in high school and peoplesaid I looked like him, and there was this kindof acceptance of me because of his influence andpopularity, and that granted me the realizationthat I, too, could forge a name for myself. So faras painters, when I first began school, I reallyloved Leonardo da Vinci and Rembrandt. Thecontemporary artists that I really came toadmire are Jerome and Joel Witkin. Jerome is apainter, while Joel is a photographer who cap-tures bizarre encounters between people andalso focuses a lot on identity in his work.

Where do you see yourself going as an artist? I feel as though I’m pretty settled as an artist right

now. Every day for me is just a matter of becomingmore alive and excited about my subject manner. Idon’t have bad days anymore, just things I can paintabout. I’m also constantly fine-tuning my eye andbecoming more and more adept at capturing theimages that I envision in my head. I think a lot of mywork improves when I spend a little time away fromit, just thinking about it rather than working on it. Ithink time spent thinking about your artwork is asimportant as time spent in the studio. When I comeback to a painting I find that there are a lot ofimprovements and corrections that I can make, whichdidn’t occur to me while I was originally working on it.

Why did you decide to come to Champaign-Urbana?I wanted to slow down a bit, do some work. In

Chicago, as well as other big cities, so many thingscan run you down. Champaign-Urbana isn’t an artsmecca, but it has served its purpose. It’s offered me anice change of pace.

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The Company works to produce quality pro-ductions and continues to renovate the building,but persists to let new people experience the the-ater. The community feel gives actors likeManolakes a chance to direct, but it also givesdirectors like McCain a chance to act. His role in ALie of the Mind is his first acting gig with TheCelebration Company.

“Champaign-Urbana has got a nice supportivearts community,” McCain said. “I think that iswhy The Station Theatre has been able to exist forso long.” The actors support each other as well.Before rehearsal Duderstadt learned that she didnot receive the role she wanted for the nextParkland Theatre performance. Actors rushedover to console her.

“It’s not just a theatre in the community,” Baileysaid of The Station Theatre. “There is acommunity here within the theater.”

A week prior to the show, the empty black-boxtheater is transformed. The goat is no longer sus-pended from the ceiling and blocking tape makesthe floor look like a backgammon board.Manolakes explains that later the tape will bepainted. Her purple scarf floats as she scurries

back and forth, making sure props and her actorsare in place. The tan and navy couch is nowaccompanied by a chair and a brown backdrop.

The actors are more refined in their roles, themonologues more intense and the dialogue morenatural. McCain goes through his lines withanother company actor minutes before he is set topractice his scene. Manolakes sits at the far leftcorner of the audience to make sure everythinglooks right, even from the worst seats in thehouse. Lights dim, brighten and flicker on and offas Kaiser tries to memorize his cues. The deer’sbehind has arrived and everything seems to be inplace.

“I love acting on the stage,” Manolakes said. “Iam enjoying directing, but I don’t see myselfdoing it again.” Manolakes will continue to polishthe performance until opening night when her jobwill be nearly over. She will add the score, com-posed by her best friend, Ian Shepard, and theintroduction read by Richard Burton by means ofa crackling LP.

Manolakes calls for the lights to go darkand, right on cue, says, “It’s magic time.” Mindy Manolakes directed the play A Lie of the Mind, which runs through March 6 at the Station Theater.

Painter Derrick Holley (above)

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"SON, WHEN YOU PARTICIPATE IN SPORTING EVENTS, IT'S NOT WHETHER YOU WIN OR LOSE; IT'S HOW DRUNK YOU GET." | MARCH 4-10, 2004 buzz

Take one with Mindy ManolakesStation Theatre favorite makes directorial debut in A Lie of the Mind

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BY MARISSA MONSON | EDITOR IN CHIEF

As trains once rushed by The StationTheatre, a remodeled train depot from theearly 1920s, Mindy Manolakes (pronouncedman-uh-LAKE-us) quickly rushes through thefront door. She’s carrying armfuls of scriptsand fliers. The first-time director doesn’t sleepmuch. She fills her nights with anxieties overmissing props and X-Files marathons.

Surprisingly, there is still a glimpse ofexcitement in her eyes as she steps through theblack curtain from the intermission space tolook at the freshly painted floor of the stage.

Outside, a long stretch of railroad tiesextends east to west. The small wooden stationwas home to one of Urbana’s largest indus-tries, the Big Four Railroad, until the birth ofmulti-lane highways pushed the passenger railservice out of business in 1956. Now, theCelebration Company owns and maintainsThe Station Theatre.

With fewer than 70 chairs, a packed house is bursting.The Station Theatre is oneof the only black-box the-aters in Champaign-U r b a n a , a n d i t smoniker describesthe small auditori-um. The walls andceiling are black.T h e l i g h t i n gbooth window

at the upper left-hand corner provides the onlylight as Manolakes enters the stage. Propssprinkle the far wall. A dead, stuffed goat hasbeen suspended from the ceiling, since TheCelebration Company’s last performance ofThe Goat or Who Is Sylvia?

Black-box theaters are home to shows withlow-tech arrangements and simple lighting.Loose chairs straddle the platforms. The audi-ence is nearly on top of the stage. “It’s myfavorite theater, where you can see a tear, “Celebration Company actor Deb Duderstadtsaid. The Station Theatre’s 31-year history hasfostered a community theater that allows indi-viduals to try different roles in productions.Manolakes was an actor for her 20 years withThe Celebration Company and on Feb. 19, shetook the director’s chair for A Lie of the Mind’sthree-week run.

Manolakes looks nervous. “I have a reallygood crew. I don’t feel like things are going tofall apart,” she says with a giggle. “It’s hard tosee what things look like until they’re done,like a puzzle.”

Manolakes chose Sam Shepard’s ALie of The Mind. When she discuss-

es it, her eyes twinkle underblack Buddy Holly style glass-es. She saw the play atK r a n n e r t C e n t e r f o r t h ePerforming Arts years ago andfell in love with it.

A Lie of The Mind dissects thenature of human love and its limi-tations by alternating from the

story of Jake and Beth’s abusivemarriage to their families’ own

struggles with love. The playm o v e s b a c k a n d f o r t h

between two scenes andtwo sets. This creates achallenge for Manolakesto make sure the audi-

ence stays with theaction taking place

on stage.T h e s e l f - p r o -

c l a i m e d d r a m aqueen professes asecret jealousyabout sitting thisone out. As heractors rehearse,she sits on the

edge of her chair,f o l l o w i n g t h e

script and stage likea spectator at a tennis

match. Nearly every night

at rehearsal, the actors move her to tears.Manolakes’ love for the theater and acting

experience carry through when she directs heractors. As she reviews Jake’s mother’s lineswith lead actor Mike Prosise, her voice slipsinto a Southern accent, much like the charac-ters’. “Some directors are more actor-friendly,and some have a very good balance, but that’srare,” Prosise said.

With the addition of nightly rehearsalslasting until the late hours, mornings withher kindergarten class at King School comeearly. In class, Manolakes commands theattention of her students. With prompts like,“Let’s take an imagination walk to openingnight” to inspire her actors’ best work, it isclear that Manolakes uses her classroomskills in the theater. Surprisingly, the theatercan be much more unpredictable than a class-room of children.

“You have such control in the classroom,”Manolakes said. “Everything is so out ofyour control here. It’s very unsettling forme, but you just have to throw it all awayand be flexible.”

From the first week of rehearsals,Manolakes has learned to be flexible. Leadactors Annamarie Macleod and Jason McCainare involved in the production of Sylvia at theParkland Theatre. One of the actors is away inIreland and a major prop The Company was toborrow—the rear end of a deer—is missingfrom the Steppenwolf Theatre in Chicago. But,with a crew of seasoned veterans, Manolakesis only slightly concerned.

The furniture has just been purchasedfor the set. Stage Manager Paul Kaiser andSet Director Ted Bailey carry the navy andtan furniture through the black curtainonto the stage. “It looks like Montana,”Manolakes said of the set. It’s a compli-ment to Kaiser and Bailey because thatwas the intent.

After the furniture is placed, Manolakessits down on the second riser and says, “It’smagic time.” Kaiser dims the lights and theactors know to rehearse the first scene. It’s anemotional scene, where Jake (Prosise) per-forms a touching monologue after beating hiswife. As the scene closes, Manolakes tears up.

There is discussion as to whether Prosiseshould stand or lie down at the end.Manolakes asks Prosise what he wants to do.He decides to stay on the couch.

“Mindy’s an actor so she knows exactlywhat I go through. She let’s me develop thecharacter,” Duderstadt said. “It’s anotherwhole person you have to develop and get toknow, it’s not just ‘acting.’ “

Manolakes is not the only veteran at TheStation Theatre; many of the actors have beena part of the Company since its founding.The Celebration Company was estab-lished as a training ground for actors’ indi-vidual growth and experience. There isalways room for volunteers, and experienceis not necessary.

“It was not intimidating at all the first time Icame to an audition,” Kaiser said. “I felt very comfortable.”

The cast of A Lie of the Mind poses with their pet "Stumpy."

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23buzz MARCH 4-10, 2004 | JESUS, WAR AND DANCING ... WHAT A PAGE film

BY ANDREW VECELAS | STAFF WRITER

With The Passion of the Christ hitting theatersand creating mounds of controversy (and

ticket sales) along the way, it’s as good a timeas any to look back at some past representa-tions of Jesus onscreen that have led to con-tention among certain groups. In no particularorder, here are four other films that each tooka unique view of the story of Jesus and insti-gated a lot of debate in the process.

Jesus of Montreal (1989) — Denys Arcanddirects this Canadian film about a theatergroup putting on a production of the Passion.They give it a modern twist and the actors inthe play start living their roles in real life. Aninteresting take on the Jesus story that leads tothe question: What would Jesus think if he wasput in the midst of modern society? Probablybest not to chew on that one for long.

The Last Temptation of Christ (1988) — Untilthis year, this adaptation of NikosKazantzakis’ book stood as the ultimate con-troversial religious film. Willem Dafoe turns ina great performance (minus any sort of accent)in the title role. Jesus is shown as more human,tempted by thoughts of a worldly life at hismoment of greatest despair on the cross. In theend, he still chooses to complete his sacrificefor the good of humanity over living a “nor-mal” life. Christians protested the visions ofJesus and Mary Magdalene eloping, but over-all, the film delivers a very powerful message.

Jesus Christ Superstar (1973) — The adapta-tion of Andrew Lloyd Webber’s and Tim Rice’srock opera shows the last week of Jesus’s lifethrough the eyes of Judas. The movie has goneon to achieve some degree of cult popularitydespite raising a few eyebrows for showingJudas in a more sympathetic light than peoplewere used to, and implying a relationshipbetween Mary Magdalene and Jesus. Prettydated by today’s standards, but it still worksas a conversation piece that has a little moredepth than its musical roots would suggest.

Monty Python’s Life of Brian (1979) — ThePython boys take the gloves off here and targetso many historical and religious figures withtheir offbeat humor that it’s hard to keep track.The movie follows Brian (played by the lateGraham Chapman) who unwittingly becomesa Messiah figure at the same time as Jesus. Thejokes can be pretty offensive, but they alsohave some depth to them and are utterly price-less—the whole crucifixion scene, completewith a musical number, is a gem. Possibly thetroupe’s best all-around film.

The Passion of the Christ is now showing atlocal theaters. The above-mentioned films canbe found at your local video store.

BY SYD SLOBODNIK | STAFF WRITER

Errol Morris’s Oscar-wining documentary filmThe Fog of War is not only a fascinating histor-

ical profile of former Secretary of Defense RobertS. McNamara, but a provocative analysis ofsome of the more dubious national policieswhich defined U.S. foreign policy for much ofthe 20th century. Morris’s not-so-subtle theme isthat lessons of history are never outdated.

In a famous 1966 book, on the eve of massiveand escalating U.S. involvement in Vietnam,then Arkansas Senator J. William Fulbrightcoined the phrase “The Arrogance of Power,”describing the path of U.S. foreign policy deci-sions. Fulbright’s elaboration—”The presump-tion of the very strong, who confuse power withwisdom and set upon self-appointed missionsto police the world, to defeat all tyrannies, tomake their fellow men rich and happy andfree”—clearly relates to Morris’s film.

Morris’s profile of McNamara is certainly oneof an “arrogant” Washington and corporateworld insider. Former Harvard professor, for-mer president of Ford Motor Company (whoclaims he insisted on the 1956 introduction of

the seat belt), secretary of defense from 1961-68,and head of the World Bank, McNamara, still arather active 85, is interviewed extensively byMorris. Unlike the excessively flamboyantOscar-winning Michael Moore, Morris’s mostcontroversial moments are kept in the revela-tions of his interviews and not self-promotinggrandstanding.

McNamara’s history is a fascinating tale ofclearly explained memories of the many keyevents of the ugly history of wars in the 20thcentury. Morris structures his interviewsaround what he calls “The 11 Lessons from theLife of Robert McNamara,” as McNamaravividly recalls the most chilling events of hislife: remembering an armistice parade for sol-diers at the end of World War I when he wastwo years old, to a fact-finding meeting with theformer foreign minister of North Vietnam in1995. In a bittersweet mix of pompous bravadoand tearful reminiscence, McNamara tells howhe helped determine a policy of firebombingJapan’s largest cities at the end of World War IIand how he sought rational debate during theCuban Missile Crisis in 1962, when we camedangerously close to the brink of World War IIIand nuclear annihilation.

Along with these discussions, McNamara’smaxims, “No. 5: Proportionality should be aguideline in war” and “No. 1: Empathize withyour enemy” are given the most emphasis.

At no time, though, does Morris ever presentMcNamara as either a glorified super-patriot ora demonized ex-administrator, who should befaulted for one of the darkest periods of U.S.history. Like his most successful films, Morrislets the interviewee’s answers speak for them-selves and lets his viewers decide. In long dis-

cussions of the morality of war and decisionsdirectly related to Vietnam policies, McNamaraadmits “we were wrong.”

Underscoring most of these interviews is anentertaining compilation of historical documen-tary footage, newsreels, television video andnumerous still photos of many of the pastevents McNamara describes along with com-poser Phillip Glass’s hypnotic musical score.

Later, in a chilling moment, McNamararecalls that nearly 25,000 Americans died inVietnam under his watch at the DefenseDepartment and Morris shows a phone book-sized register of those names. Many times too,McNamara comes off as a strong self-critic,seeking some sort of reconciliation for his pastdecisions and “mistakes.”

Whether The Fog of War is one elderly states-man’s attempt at redemption or Morris’s lessonfor contemporary leaders of our superpowernation, it will teach many of the paradoxes ofpowerful decision makers’ actions.

moviereview

THE FOG OF WAR | ROBERT MCNAMARA

THE FOG OF WAR !!!!

BY DAN NOSEK | STAFF WRITER

Before Dirty Dancing, Patrick Swayze was justanother attractive face among hundreds in

the Hollywood spotlight. Today, all womenremember him as the handsome heartthrobwho captured the heart of one lucky girl duringdance lessons. The mere notion of a nerdyteenager falling in love with her dance instruc-tor soon became the lifelong dream of every sin-gle female. The original thus became an instantsuccess and was hailed in many circles as theultimate romantic love story.

Although a sequel was never intended, theformulaic plot seemed to be very appealing tomany directors. Seventeen years after the origi-nal gem hit theaters, Miramax now attempts torevive the passion and popularity of the firstfilm by releasing Dirty Dancing: Havana Nights.This rendition almost parallels the original plotto perfection but changes its venue to a tropicallocation in Cuba.

Just as Jennifer Grey’s character was rippedfrom her suburban lifestyle to a forbidden par-adise, a girl of similar qualities named Katy istransported from her home in St. Louis to thelovely island of Cuba. She arrives with herwealthy boyfriend, Phelps, the son of anotherprincely family. Just the name Phelps shouldhave been sufficient reason to dump him, butKaty manages to be seduced by a clumsy wait-er named Javier who is close to her age.

Her new tour guide leads her to all thefamous hot spots and nightclubs in Cuba. Theopportunity to join a dance contest presentsitself, and the two cannot resist entering. Ofcourse, as soon as Javier learns of Katy’s danc-ing dilemma, he offers to be her personalinstructor. As their dance lessons grow longer,their passion for each other becomes moreintense. Obviously, the ending comes as no sur-prise as their days of practice are finallyrewarded, and their love for each other is con-summated through their dancing.

Despite the plots of both films being almostidentical, Havana Nights attempts to incorporatea political message that is completely unneces-sary and unclear. Amid Javier’s and Katy’sromantic exploits, a revolution led by FidelCastro is brewing against the Bautista regime inCuba. Scenes of violent uprisings and mass hys-teria sweeping across Cuba could have provid-ed additional depth to the plot if done properly.However, it seems as though they were just ran-

domly inserted to deviate from the love storyfrom time to time. The political backdrop is nei-ther relevant nor practical in the context of thisfilm and belongs in a historical documentaryrather than a sappy romance.

To call Havana Nights an expected disap-pointment is almost an understatement. DiegoLuna, who plays the dashing Javier, does notnearly have the onscreen magnetism of aPatrick Swayze to accurately portray his char-acter. Although he was brilliant in Y Tu MamaTambien as an energetic and free-spirited trou-blemaker, Luna simply falls short in charm andstyle as the dance instructor in Havana Nights.Romola Garai as Katy does not submit a veryimpressive performance here, but is wonderfulin I Capture the Castle. Theese mediocre perform-ances and a rehashed plot make a trip to HavanaNights a trip to forget.

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24 PREDICTABLE OSCARS, UNPREDICTABLE COMMENTARY | MARCH 4-10, 2004 buzzfilm

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A lord of a story to rule them all: A journey through the precious Oscars and other witless Lord of the Rings punsBY JASON CANTONE | STAFF WRITER

Some might say this year’s Oscars wereaction-packed and filled with surprising,shocking moments. These people were proba-bly drunk. With The Lord of the Rings: TheReturn of the King sweeping the awards andtying Titanic and Ben-Hur for the most Oscarswon, there were few interesting moments.Luckily, I had a group of friends outto spice up the most boringhours of television in myrecent memory (Threehours and 41 minutes,to be exact). Whatfollows is myOscar jour-nal, writ-ten from themoment BillyBush stopped making inanecomments until Billy Crystalthanked all of Long Island (probablybecause the entire populat ion ofNew Zealand had already beenthanked twice).

0:07 Michael Moore gets stomped to death byan elephant. Simply hilarious.

0:15 Billy Crystal continues his occasionallyfunny but overlong opening montage bysinging to Clint Eastwood and a skeleton-likewoman sitting next to him—his mother?—who might have been alive during the originalPassion of the Christ.

0:29 Before any of its nominations are heard,The Lord of the Rings is presented as a BestPicture nominee. With so much fuel behindit, LOTR could win anything tonight:director, picture ... hell, it could win thegold medal for ribbon dancing if itentered the competition. This is fol-lowed by LOTR’s first win of the night.

0:34 The hilarious Robin Williams falls flatwith his accent jokes as he presents the BestAnimated Film Oscar to Finding Nemo. I won-der if Michael Eisner is under a bed cryingsomewhere. Hopefully next year, Disney willoffer more than Brother Bear.

0:50 Best Supporting Actress goes to ReneeZellwegger, possibly the least deserving of thefive nominees. However, after losing forBridget Jones’s Diary and Chicago, the politics ofOscar guaranteed her a win over ShohrehAghdashloo, whose nomination alone made apowerful statement for women in Iran.

0:54 My friend Joe comments on Zellwegger’sspeech, “Considering they’re actors andactresses, you’d assume they could put wordstogether and speak better than they do.” Youtell ‘em, Joe.

0:57 Bob Hope pro-vides the night’s fun-

niest jokes in a

montage. After the montage, he stands up andturns to the audience, smiling for all of theapplause. “I THOUGHT HE WAS DEAD,” myfriend Andy yells out. And if I didn’t knowbetter, I would assume he was there as welltonight, because they stupidly cut fromfootage of people clapping for him to footagefrom tonight of people clapping for him in thesame building. That’s just bad editing.

1:19 Me: “I don’t think Peter Jackson showeredbefore the Oscars.” Joe: “I don’t think PeterJackson showers ever.”

1:28 Will Smith announces, “I’m doing it withmy wife; I’m just happy.” A little too muchinformation, Big Willie. Oh, and LOTR wonanother Oscar.

1:37 Blake Edwards has the last laugh as hecareens on stage in a wheelchair and leg cast,only to pick up his Oscar and slam through aplaster wall on the other side of the stage. Ifonly this 20 seconds of fun could poke into thedrab four hours of the ceremony.

1:54 Master and Commander wins its first of twotechnical Oscars, making sure it doesn’t pull aThe Shawshank Redemption and win none ofmany nominations. Of course, both its winswere the two techie categories LOTR wasn’tnominated for.

2:09 Diane Lane’s supple breasts and JohnCusack’s total awesomeness awake usall from a slumber. This could be themost boring Oscar ceremony in history.

2:14 Errol Morris’s cocky acceptancespeech for Best Documentary includesa shout-out to Mike Williams, myroommate’s name. Some say it’s just acommon name, but I’d like to think itwas meant for him. I can only hopeCharlize Theron thanks a randomJason Cantone.

2:17 The president of the Academymight be a past Oscar winner, but itsure wasn’t for acting. His speech wasthe equivalent of George W. Bush with a

muzzle (yes—that awful.)2:20 After the death list rolls, Andy asks,“Who’s going to win THIS ONE?” We all breakdown laughing, which is probably inappropri-ate considering we were supposed to bemourning for Robert Stack.

2:30 With LOTR’s sweep, Jake comments, “Itmust have sucked if someone rejected (beingin) this trilogy because it was too nerdy.” Iimmediately think of Sean Connery, whorejected roles in The Matrix and LOTR to do TheLeague of Extraordinary Gentlemen. Is it too lateto take his Oscar back? He already lost his dig-nity, although any woman in America over age40—maybe any woman—would still leave herhusband for him, I’m betting.

2:31 LOTR, a film whose ending seemed toinvolve no content editing whatsoever, winsfor Best Editing.

2:35 Eugene Levy and Catherine O’Hara; thesingers behind The Triplets of Belleville; JackBlack and Will Ferrell all try to breathe life intothe ceremony, but like a dead horse, it ain’tcoming back to life. Still, the Best Song Oscargoes to Annie “Mysteriously Unattractive”Lennox and Fran “I store wild animals in mycrazy hair” Walsh for LOTR.

3:05 With her Best Original Screenplay win,Sofia Coppola redeems herself after her single-handed destruction of one of the greatest trilo-gies of all time.

3:11 Tom Cruise presents Best Director andthey don’t flash to Nicole Kidman. This meanseither the ceremony has become tasteful or shewas in the bathroom. I’m going for the latter.

3:28 Sean Penn wins Best Actor. This categorywas more of a race before Jude Law told every-one to send their votes for him over to Penn.But, then again, Law probably got no morethan five votes anyway.

3:41 In a shocking upset, LOTR wins best pic-ture. Now, New Zealand officially has moreOscars than people. And the painfully boringOscars are finally over. buzz

5buzz MARCH 4-10, 2004 community

From the beginning, people at church pro-vided the spiritual community McNabb hadnot had and which, once she found it, sherealized she was missing. Now, it is as thoughshe has two families.

Stewart, McNabb’s youngest son, is 12 butlooks about eight or nine. He is apple-cheekedwith dusty blond hair like his mother. Stewartis autistic. He is not very verbal and rarely ini-tiates speech.

When he gets home from school one partic-ular afternoon, McNabb meets him at the door.She asks about his day, repeating each of herquestions times in a slow, clear voice.Sometimes he ignores her, and sometimes hegives single-word answers.

Stewart comes into the living room with hismom and climbs into the recliner with her. Thechair is only big enough for one person, but hesnuggles up and she makes room for him.

She turns to him. “You are…” she starts.He smiles at her. “Silly,” he finishes

the sentence. Family is of utmost importance in LDS faith;

there is nothing more valuable to do in this lifethan raise a loving and devout family.

If a husband and wife are married in one ofthe church’s sacred temples, they are consid-ered to be “sealed” for eternity, married onEarth and beyond. Such a couple’s childrenwill also be automatically sealed to them sothat entire families, going back innumerablegenerations, might be together forever.

McNabb also believes her deceased relativeshave had the opportunity to accept churchmembership posthumously, but she does notknow whether they have chosen to—and shedoes not worry about it.

“I know God is fair, and things will be theright way, whatever that is,” she says.

So while she may see her mother or someother family members again, her focus now ison her own family. McNabb teaches piano les-sons in her home, but her primary vocation is,and always has been, as a stay-at-home moth-er. The church encourages women to stay athome with their children, and men are encour-aged to define themselves not by their careers,but by their roles as husbands and fathers andmembers of the priesthood.

“I feel as if my husband and I are equallycommitted to each other and to our family,that we both recognize that our family’s themost important thing we’re going to do onthis Earth, she said.”

McNabb prays by herself in the morning,kneeling by her bedside. She prays that shewill be able to listen to the spirit if there issomeone she needs to help that day, andsometimes she makes personal requests,though she is uncomfortable asking for “spe-cial favors.”

She prays for her deceased mother and forher extended family. And she always praysthat Emma, her daughter who died more than15 years ago, will know her family loves her.

McNabb and her four kids were visitingfriends in Kentucky a few months beforeEmma’s second birthday, when the little girl

came down with a cold and had a smallseizure. Emma had had a few febrile seizuresbefore, but McNabb had forgotten her daugh-ter’s Phenobarbital, so that evening, the friend,who was a doctor, brought some home for her.

Emma died in her sleep that night. Herdeath was officially determined to be the resultof SIDS, but McNabb thinks she probably hadanother seizure.

The family was devastated. But Nancy feltimmediately that Emma had returned to herHeavenly Father.

“When she died, here was this dead body,but it was like a shell. It was so obvious that itwasn’t her spirit there.”

McNabb’s religious faith made it easier forher to cope with Emma’s death. Her belief thather whole family will be reunited remindedher that the loss was temporary.

Though Emma’s death was painful anddealing with Stewart’s autism will be anenduring challenge, McNabb feels the trialsher family has experienced have broughtthem closer together and made them stronger.

McNabb plays the organ for her ward everyfourth Sunday. She sings in the choir. Sheteaches lessons in church members’ homes.

She works at the church’s Family HistoryCenter. She works with the Young Women. Herhusband is their ward’s current bishop, orleader, and some people have said that she is

therefore the “mother of the ward.” This senti-ment illustrates her journey from religiousindifference to not only having a spiritual fam-ily, but being, to some, its mother.

Nancy has been playing the organ at the Church of Jesus Christ of Latter-day Saints for 15 years, while herhusband, Paul, has been the church's bishop of the second ordinance for one and a half years.

As both a professor at Parkland College and directorof the Staerkel Planetarium, the second largestplanetarium in Illinois, David Leake juggles manyactivities. Leake considers himself lucky to bepursuing a career in astronomy, a field he has enjoyedsince fifth grade. A graduate of the University ofIllinois, Leake also helped start the local astronomysociety through the Champaign Park District. Leakecurrently resides in Champaign with his wife andtwo children.

How did you get interested in astronomy?It started with my fifth grade teacher. We didn’thave a planetarium so he took blackconstruction paper, cut holes in it, and put it on

a transparency. It was sort of like a planetariumworks. He made us learn five constellations.From there, I raided the library and found outthere was more. My sixth grade teacher gave memy first star chart which I still have at home.That was the start of things.

How did you come to work at the planetarium?I had been doing some teaching in the area. Ihelped start the local astronomy society throughthe park district. They needed someone herewho knew some backyard astronomy and to runthe Friday night show so I took the job inJanuary of 1989 part-time. The next fall, theyneeded someone full-time.

What does the planetarium offer?It is a big variety. (We) do everything from livebackground sky shows to canned shows wherewe don’t have to do the soundtrack or theartwork, though we still have to adapt them tothe theater. The light show is very popular withthe University students. We do the loud rock ‘n’roll music shows and science lecture series. Wealso do programs for kids. About half of thealmost 40,000 people that visit the planetariumeach year are school children.

What is the best part of your job?There are two things and I don’t know whichis better. This is really cliché but the first is thepeople. We have great school groups that comein. I like the younger kids, with them it’s like,‘Kids say the darndest things.’ Second, I get todo my hobby for a living. I get to take my jobhome with me and getting paid to do a hobbyis a fun thing.

What is the most challenging part of your job?Multi-tasking. I hate using that buzzword, but

it’s keeping up with classes and keeping up withthe work at the planetarium, doing the budgetand the marketing here. I wish there were twoor three of me. There are a lot of things to doand if all those things happen at once, I amlikely to lose my hair.

What is the best part of the Champaign-Urbana community?I am a University of Illinois grad and I thinkthat’s neat. I still follow the football andbasketball teams. It’s the best of both worldshere, somewhat rural and somewhat urban.

What would you be doing if you weren’tdirecting the planetarium?I am not sure. Hopefully teaching somewhereand looking for another planetarium. I havethought about what it would be like if I gaveup one or the other but I would miss both toomuch. I say that two-thirds of my time is spentteaching and the other two-thirds is spent atthe planetarium.

What is the best piece of advice you havebeen given?My high school physics teacher gave a lot ofgood advice. But the best came when I wasworking at a laboratory right after college. Ateacher there told me that the differencebetween a good and a bad teacher is the abilityto say ‘I don’t know.’ People will respect you ifyou say ‘I don’t know’ and then focus on howto find out.

How would you describe yourself in oneword?Dedicated. My second choice would be goofy.I try to put my heart into what I do but with somuch to do it is sometimes hard.

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BY HADLEY MOORE | STAFF WRITER

Nancy McNabb sets outthe props for her Sundaymorning lesson: a foot-tallhourglass made of blond woodand a paper plate of chocolatecookies. The hourglass willserve as a visual metaphor; thecookies are just cookies. “We’rebig on refreshments,” she says.

The “we” she refers to areLatter-day Saints, or Mormons,members of the growingChurch of Jesus Christ ofLatter-day Saints founded (orrestored, as church membersbelieve) in the United States inthe 1820s.

Members believe theirchurch is the authenticChristian church, the one orig-inally established by Christ.According to church members,because early adherents’strayed from the truth afterChrist’s death, he removed thechurch from the Earth until itsrestoration through JosephSmith, the modern church’sfirst prophet. McNabb is one ofabout 1,100 members in theChampaign-Urbana area andalmost 12 million worldwide.

McNabb is preparing thislesson for the oldest girls inthe Young Women youth groupin the Champaign Second Ward. (A ward is acongregation.) Five 16- and 17-year-old girlssit in a ragged semi-circle facing McNabb.They are dressed in teenage versions ofSunday best—ski jackets over dresses,slouchy socks with high heels, a cotton T-shirtwith a velvet skirt.

McNabb shows the girls the hourglass andtells them it is like the course of a person’slife—if she makes the right decisions. Rightnow, the girls are at the narrow point wherethey may feel constricted; only a small set ofchoices among all the possibilities open tothem are appropriate. But if they choose nar-rowly now, keeping Heavenly Father’s com-mandments in mind, their lives and opportu-nities will expand like the wide base of thehourglass. It is a metaphor that might just aseasily represent McNabb’s life.

Thirty-one years ago, when she was 18,McNabb converted to the Church of Jesus

Christ of Latter-day Saints (LDS). She grew upin a nominally Protestant family, and had onlyattended church a few times while growing up.McNabb took the missionary discussions (aseries of six lessons taught by LDS missionar-ies to potential converts) but thought theywere “a bunch of baloney.”

After high school graduation, McNabb beganto wonder about religion and whether theremight really be anything beyond this life. Shetook the discussions again as a freshman at theUniversity of Illinois, and that time “they stuck.”

She was attracted to the concept of theauthority of God and the belief that men whobelong to the church’s priesthood (which isalmost all male church members) can act forGod. Instead of employing professional clergy,the LDS church is led entirely by the laity.McNabb had never been comfortable with theidea that graduating from seminary could givesomeone the authority to act for God.

She was also attracted to the kind of peopleMormons were.

“It was just so nice to find people who feltthe same way I did, people who had the sameamount of seriousness, but were fun, peoplewho had something that I felt that I wanted,who knew things I felt that I wanted to know,”she said.

But, perhaps more importantly, by joiningthe church, McNabb found a spiritual family,something she had never had before.

“My parents raised us (McNabb and her twoolder sisters) to be moral; they raised us to behonest; they didn’t raise us to be spiritual. Thecommunity that the church provides we didn’thave,” McNabb said.

Some church members can trace their LDSlineage back to the original pioneers who set-tled the Salt Lake Valley in 1847, fleeing per-secution first in New York state, then in theMidwest. New converts have come out of

each subsequent generation, forging religiouspaths for their descendants.

McNabb finds benefits to being a first-gener-ation LDS church member.

“It’s nice to be able to be a convert and to beable to know you made the decision yourself.You weren’t forced into anything, she said.”

But it can also be difficult, even lonelysometimes. Besides her husband (who is also aconvert) and her children, none of her rela-tives are Mormons. While no family memberswere ever hostile about her decision to join thechurch, she is hesitant to share parts of herchurch life.

For LDS families whose church membershipgoes back several generations, relatives—evenif they do not attend the same ward—andchurch family would be part of the same reli-gious network. But for converts, the two areseparate, and the functions of family becomecompartmentalized.

MARCH 4-10, 2004 buzz

Family and FaithLocal Latter-day Saint Nancy McNabb’s religious journey

4communitycommunity

Nancy McNabb watches as her husband Paul helps their son Stewart move his game piece across the board of the game “Uncle Wiggly.”

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25buzz MARCH 4-10, 2004 | COULD TWISTED REALLY BE AS BAD AS GIGLI? film

April 5th, 2004

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The Triplets of Belleville

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Taxi DriverR

Starring Robert DeNiro, Cybill Shepherd, Jodie Foster, HarveyKeitel and more.

MIDNIGHT SHOWS FRIDAY & SATURDAYAll tickets just $6.00

STARSKY & HUTCH (PG–13)Fri. & Sat. 12:20(2 SCREENS)

12:40 2:40 3:00 5:00 5:20 7:207:40 9:40 10:00 12:10Sun. - Thu. 12:20 12:40 2:403:00 5:00 5:20 7:20 7:40 9:4010:00

HIDALGO (PG–13) (2 SCREENS)Fri. & Sat. 12:15 1:00 3:15 4:006:30 7:10 9:20 10:00 12:00Sun. - Thu. 12:15 1:00 3:15 4:006:30 7:10 9:20 10:00

! PASSION OF CHRIST (R) (2Fri. & Sat. 11:15 1:15SCREENS)

2:00 4:15 5:00 7:00 8:00 9:4511:00Sun. 11:15 1:15 2:00 4:15 5:007:00 8:00 9:45Mon. - Thu. 1:15 2:00 4:15 5:007:00 8:00 9:45

50 FIRST DATES (PG–13) Fri.& Sat. 12:40 3:00 5:10 7:209:30 11:40Sun. - Thu. 12:40 3:00 5:10 7:209:30

CLUB DREAD (R) Fri. & Sat.12:30 2:50 5:10 7:40 10:00 12:15Sun. - Thu. 12:30 2:50 5:10 7:4010:00

TEEN DRAMA QUEEN (PG)Fri. & Sat. 12:30 2:50 5:10 7:209:20 11:20Sun. - Thu. 12:30 2:50 5:10 7:209:20

DIRTY DANCING (PG–13) Fri.& Sat. 1:10 3:20 5:30 7:40 9:5012:00Sun. - Thu. 1:10 3:20 5:30 7:409:50

EUROTRIP(R)Fri. & Sat. 12:503:10 5:20 7:40 9:50 12:10Sun. - Thu. 12:50 3:10 5:20 7:409:50

RETURN OF THE KING(PG–13)Fri. - Thu. 12:20 4:20 8:20

MIRACLE (PG) Fri. - Thu. 1:104:20 7:10 10:00

MONSTER (R) Fri. & Sat. 12:202:40 5:00 7:30 10:00 12:15Sun. - Thu. 12:20 2:40 5:00 7:3010:00

MYSTIC RIVER (R) Fri. - Thu.12:50 4:00 7:00 9:50

TWISTED (R) Fri. & Sat. 12:403:00 5:20 7:40 10:00 12:20Sun. - Thu. 12:40 3:00 5:20 7:4010:00

WELCOME TOMOOSEPORT (PG–13) Fri. -Thu. 12:30 2:50 7:20

YOU GOT SERVED (PG–13)Fri. & Sat. 5:10 9:40 12:00Sun. - Thu. 5:10 9:40

CITY OF GOD (R) Fri. & Sat.1:00 4:00 7:00 9:40 12:10Sun. - Thu. 1:00 4:00 7:00 9:40

Showtimes for 3/5 thru 3/11

BY DAN MALONEY | STAFF WRITER

Sean Penn once said that “if you put threethoughts into a movie, then you’ve broken

the law and no one will come.” However, whennary a single thought is put into a film, whathappens then? Only a few films have the dis-tinction of being labeled completely worthless.Twisted has now joined those ranks.

The premise is so simplistic and so mind-numbing that those who actually attend thisfilm will find no surprises. Ashley Judd playsInspector Shepard of the San Francisco PoliceDepartment who has some life-shaping darksecrets: Her father was a serial killer who mur-dered her mother and then killed himself. Shewas raised by the now commissioner of police,played by an unusually calm Samuel L.Jackson. After being promoted to the homicidedivision and given a new partner—an unusual-ly overactive Andy Garcia—Shepard finds outher past one-night stands are being killed oneby one.

The opening shots are the single redeemingquality of this film: a montage of a fogged-inSan Francisco that slowly spirals into a ware-house with a woman’s sweat running down theside of her face. The camera pulls back to reveala knife to the woman’s throat. The womanfights back, but not before uttering some stupidone-liner. After that, it all goes downhill. Sadly,those opening shots—the entire minute and ahalf they lasted—really brought a glimmer ofhope to a film that already looked about asexciting as, well, name a cliche, any cliche.

Ashley Judd plays her typical MorganFreeman sidekick role, allowing Jackson to be ayounger version of Freeman. But even Jacksonand Garcia seem out of place. Jackson never yellsonce and Garcia does, and it’s obvious the rolesare reversed. Director Philip Kaufman makes thefilm seem as if he just didn’t care. It’s sad to seesuch a talented director and cast waste their time.

One thing is for certain about Twisted: itsfaults are magnified by the cast’s and crew’sfame. If this had been an independent film cir-culated through the Sunset or Toronto film fes-tivals, the inevitable notoriety which it will gainfor being “the worst film of the century” wouldcertainly not be there.

moviereview

TWISTED"

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TWISTED | ASHLEY JUDD & SAMUEL L. JACKSON

030404buzz0425 3/3/04 4:33 PM Page 1

WHERE IS MY MIND? LALALALA | MARCH 4 - 10, 2004 buzz26odds & endodds & endARIES (March 21-April 19): Do you ever feel an urge to kisstrees? Do animals sometimes talk to you? Can you predict thefuture by divining the way corn flakes float in the last puddle ofmilk in your bowl? Do you have a special fascination with choco-late roosters, statues of pro wrestlers, and conspiracy theories?Have you ever fantasized of being a transsexual spy? Are therepatterns that resemble constellations on the soles of your feet? Ifyou answered yes to two or more of these questions, you're mostlikely an extraterrestrial who has amnesia or is in disguise. Theupcoming week will be fantastic because events will remind youof life on your home planet. If you answered no to four or morequestions, you're probably not an alien, but for maximum com-fort you should act like one this week.

TAURUS (April 20-May 20): The world's largest private bank,Citigroup, has agreed to stop financing projects that damagesensitive ecosystems. It has promised to invest more in projectsthat use renewable energy and to pursue policies that protectindigenous people. How did this impossible dream come topass? The humble but dogged environmental group, RainforestAction Network, creatively pestered Citigroup for years until thecorporation gave into its demands. I see a comparable Davidover-Goliath victory in your future, Taurus, so keep pluggingaway at your quixotic quest. For inspiration, recall MargaretMead's words: "Never doubt that a small group of thoughtful,committed citizens can change the world. Indeed, it's the onlything that ever has."

GEMINI (May 21-June 20): If you live in the NorthernHemisphere, the sun is rising about a minute earlier each morn-ing and setting a minute later every evening. As a result, you'redrinking in about 15 minutes more sunlight every week.The psy-chological effect of this steady influx has been slowly growing,and, in concert with certain astrological influences, will soonreach critical mass. As a result, you will become sun-like: a lumi-nous beacon of warmth. Everything you shine upon will lookbrighter, and your own beauty will be highly visible, too. It will bea perfect time, therefore, to make a dramatic move that helps youpursue your dreams harder and smarter.

QUANTUM FLUX (also known as CANCER) (June 21-July 22):Many people have come to feel that nature is boring, notes edu-cator Thomas Poplawski. Writing in "Renewal" magazine, he fin-gers TV's hyperactive imagery as the cause. In becoming addict-ed to this alternative reality, the mass audience has becomenumb to the more slow-paced entertainment value of trees andmountains and streams and clouds. Have you been contaminat-ed? Has your capacity for patient observation and reverentobjectivity been damaged? If so, this is a perfect astrologicalmoment to seek the cure. I urge you to wander out into the wildplaces and stay there until you see how interesting they are.

LEO (July 23-Aug. 22): If you eventually become a millionairephilanthropist at some later date, it will probably be because ofthe forces you set in motion during the next three weeks. If, in the22nd century, there arises a religious cult that worships you as asex god or love goddess, it will be because of a seed you germi-nate very soon. Finally, Leo, if you are ultimately destined to dis-cover the key to eternal youth, it will have a lot to do with thespacious new question you begin to ask now. These are days ofawe and mystery.

VIRGO (Aug. 23-Sept. 22): In order to live, you've got to be ademolisher.You take plants and animals that were once alive andrip them apart with your teeth, then disintegrate them in yourdigestive system. Your body is literally on fire inside, burning upoxygen you suck into your lungs. You didn't actually cut downthe trees used to make your house and furniture, but you collud-ed with their demise. Then there's the psychological liquidationyou've done: killing off old beliefs you've outgrown, for instance.I'm not trying to make you feel guilty, Virgo -- just pointing outthat you have a lot of experience with positive expressions ofdestruction. Can you think of other forms this magic takes? It'syour specialty these days.

LIBRA (Sept. 23-Oct. 22): It's a perfect time to launch an uprisingagainst God. Due to a favorable alignment of your sign, the "rebelgoddess" asteroid Lilith, and Cruithne, Earth's "second moon,"you have special leeway with the Supreme Being. It's almost cer-tain that you won't be punished if you bitch and complain to Himabout the injustices he has allowed to fester in your life. In fact,expressing your angry protest may even get things changed forthe better. Sometimes the squeaky wheel really does get thegrease, even in divine matters.

SCORPIO (Oct. 23-Nov. 21): Some branches of Eastern religionsteach the doctrine "Kill out desire." In their view, yearning forearthly pleasures is at the root of all human suffering. TheWestern religion of materialism takes the opposite tack,assertingthat the meaning of life is to be found in enjoying earthly pleas-ures. Its message is "Feed your raw longings like a French foiegras farmer cramming eight pounds of maize down a goose'sgullet every day." We here at Free Will Astrology walk a middlepath. We believe there are many degrading desires that enslaveyou and a few sacred desires that liberate you.Your mission in thecoming weeks, Scorpio, is to identify the sacred kind and pursuethem with your wild heart unleashed.

SAGITTARIUS (Nov. 22-Dec. 21): Your power this week willcome primarily from decisions not made, words not spoken,actions not taken, and spaces not filled. Everything you need willarrive if you have created enough emptiness.Everything you lovewill thrive if it has the freedom to do and be nothing. To ensure

that you never succumb to the pressure of Type A bullies whothink every moment has to be filled with ambitious commotion,steal away often to stare dreamily out the window and listen tothe sound of silence.

CAPRICORN (Dec. 22-Jan. 19): It's time for a check-in, Capricorn.What progress have you been making in your work on this year'smajor assignments? As I suggested last December, you're mostlikely to attract good fortune in 2004 if you regularly break out ofyour comfort zone and go wandering in unfamiliar places. You'lldiscover fresh secrets about how to feel happy and healthywhenever you dip into an experimental mode and try thingsyou've never tried before. Alas, I fear many of you have yet tomake a whole-hearted commitment to this thrilling quest. But ifyou have been waffling, it's the perfect week to dive in. And if youdid take the plunge a while ago, you'll harvest a big reward anyday now.

AQUARIUS (Jan. 20-Feb. 18): Since 1994, Mexico's Zapatistashave evolved from a small guerrilla army fighting for the rights ofindigenous people to an international cultural force whose bat-tles are mostly waged with symbols and words. The Zapatistaleader, who goes by the pseudonym Subcomandante Marcos,always appears in public wearing a mask. Periodically, his oldmask wears out and he has to replace it with a fresh one. Rumorhas it that he has gone through ten in ten years. I think this wouldbe a good standard for all of us to live up to: to molt our persona,or social mask, once a year. It's about that time for you, Aquarius.Considering how much your inner world has transformed, itwouldn't make sense for you to keep your same old game facemuch longer.

PISCES (Feb. 19-March 20): Normally I endorse the proverb thatsays, "You can't cross a chasm in two short jumps." In your currentstate of grace, however, you just may be able to find a loopholein that cosmic law.The massive amounts of dumb luck that havebeen surging your way seem to be on the verge of mutating intoout-and-out miracles. You could be the first anti-hero in yourfamily line to turbo-charge a quantum leap of faith in mid-leap.

HOMEWORK:I dare you to unleash thesmart animal within you thathas been restricted because ofthe actions of the dumb ani-mal in you. www.freewillastrol-ogy.com.

Rob Brezsny's Free WillAstrology beautyandtruth@ f r e e w i l l a s t r o l o g y. c o m415.459.7209(v)• 415.457.3769 http://www.freewillastrology.com P.O. Box 798San Anselmo, CA 94979

! "

ACROSS1 Like going in circles

12 Atlantic City, e.g.14 Academy Award win-

ner who said “I dreamfor a living”

16 Western bulrushes17 Sch. that Roger

Staubach played foot-ball for

18 Freshwater fish withbill-like jaws

19 Serving edge20 “The Optimist’s

Daughter” author22 Viva ___23 Crisper24 Chip flavoring25 “Hotel de ___” (1959-

60 TV western)26 Camp seat27 Moolah28 Father ___, the leper

priest of Molokai29 Blue prints31 Exotic stamp collec-

tors, maybe32 Keeps from33 Gives the heave-ho34 Org. with writing fel-

lowships

35 Things seers see36 Off one’s trolley37 Year that Eric the Red

was born, traditionally38 Place to dry tobacco39 “Check it out!”40 Park opened in 196441 Former MGM rival42 Santa suit stuffing43 Defensive play44 It’s dangerous for you

to fly by48 Stiffs49 Roadwork equipment

DOWN1 Full of vinegar2 Mystery writer’s award3 Plays for a sap4 It could be original5 Stats on some backs6 Put off7 Longtime record label

for Whitney Houstonand Kenny G

8 Small9 ___ Margarita, in the

Caribbean10 Head, slangily

11 They’realways unac-companied

12 2001’s“Planet of theApes” andothers

13 Selenium andzinc

14 Openings forhorse trainers

15 Healthfuldishes

20 W.W. II volun-teers

21 “The Intimate___” (1990jazz album)

22 “HardHeartedHannah” ofsong

24 Irving Berlin’s“Blue ___”

25 Velvety plant28 Packed30 Affect in a

subtle way31 Place of hard knocks?33 Kind of battle36 Procrastinator’s reply39 Misstep

40 It can be icy42 Laugh, in showbiz

slang43 Showcase

lead-in on “The PriceIs Right”

45 Your, in Roma46 20-time Rose Bowl

winner: Abbr.47 Sorority letter

FREE WILL ASTROLOGY

CROSSWORD PUZZLE

Puzzle by Mark Diehl

1 2 3 4 5 6 7 8 9 10 11

12 13

14 15

16 17 18

19 20 21 22

23 24 25

26 27 28

29 30 31

32 33 34

35 36 37

38 39 40

41 42 43

44 45 46 47

48

49

3buzz MARCH 4-10, 2004 | JUST KIDDING. JOURNEY SUCKS!

BY MICHAEL COULTER |CONTRIBUTING WRITER

Just as an exam-ple of how stu-

pid people actwhen they drink,l e t ’ s l o o k a t afamiliar piece ofd r i n k i n g l o g i c .Two drunk folks are talking and one says,“Hey, you’re pretty sauced. I’ll follow youhome in my car to make sure you’re OK.”Yes, that’s always a fine idea: Add yetanother car to the fiasco. People are idiotswhen they drink.

Basically, following a drunk person homedoes one of two things. It either satisfiesone’s sick desire to see another personinvolved in a car accident, or enables one tobe a witness to the possible accident. “Wow,dude, you really smacked the piss out ofthat parked car.” Either way, it’s just neveran especially sound idea.

It’s impossible to argue that drinking anddriving is acceptable. Still, it’s also naive tobelieve it doesn’t happen every night of theweek or that you’re ever going to stop itcompletely. Like I said, people do stupidthings when they drink.

There’s been talk lately of Illinois low-ering its blood alcohol limit even furtherfrom its current level of .08. That meansyou could only have one or two drinksand still be able to drive, instead of twoor three. The problem is, it probablywon’t matter much.

I would wager that 90 percent of peoplewalking out of bars are well past the currentlegal limit. I’m one of them on a pretty reg-ular basis. I try not to drink and drive any-more, but if I were to be honest, I’m positiveI’ve done it within the last two months. Ithought I was fine at the time, but in hind-sight, I was very wrong about that, and itwasn’t because of just one extra beer.

Lowering the limit might make lawenforcement’s job much easier. Pull some-one over for whatever violation and askthem if they’ve been drinking. If they sayyes, hook them up to the machine. Youknow their ass is guilty. It only takes twobeers, after all.

I’m sure there are some folks out therewho only have one beer when they go out,but I’ll be damned if I’ve ever seen one andI’ve never drunk with one. Considering thecrowd I hang out with, you’d have a betterchance of spotting a Yeti.

Say what you will, but people lie their assoff—to others and to themselves—whenthey talk about drinking. I know I do. “I had

a couple of drinks after work” usually trans-lates into “I had four or five drinks and atesome peanuts, so I’m going to say I’m fine.”That’s the problem: No one ever thinksthey’re as drunk as they are.

Let’s say we manage to convince all ofthese people who now drink and drive notto. What’s their best plan of attack? Let’ssee, downtown Champaign is the place togo, have a few drinks and see some friends,so let’s say you go there. You park your carin a lot or on the street. Then a few hourslater, you realize you shouldn’t be driving.What do you do?

Most folks would take a cab. OK, that’sprobably about $10 one way, another $10 thenext day to pick up your car. That’s $20 rightthere. What about your car? Well, the citywill slap a ticket on it for sure, which willcost at least $25. There’s also a good chancethey’ll go ahead and tow it. That’s another$75 and a whole extra pain in the ass, thecost of which is priceless. Taking care of theprevious night will take up your whole nextmorning and cost you at least $100 for doingthe right thing.

Well, it should be hard, right? The citydoesn’t want you drinking to begin with.They always whine about what a problem itis, but if you’ve got a bottle of vodka, a bagof ice, seven Dixie cups and plenty ofmoney, they’ll give you a liquor license. Itmakes them a lot of money.

Well, that’s fine, but then they decide barsshould also be open until 2 a.m. Yeah,adding an extra hour to the cocktailing isreally helping. I bet there are a ton of peoplewho go out at 1:30 a.m., have one beer andthen head home for some shuteye. A laterclosing time basically means most of us aregoing to drink for an extra hour, and thatonce a year, Roger Ebert can have a beerafter he shows his late movie.

They make it seem as simple as finding adesignated driver. Trust me, no sober personhas any desire to hang around with a bunchof drunken monkeys all night long, andeven less desire to pile them all in the car fora ride home afterward. I walk nearly everytime I go out now, but I live a few blocksaway from the places I frequent. If I wereyou other people, I’d be careful. They’ll getyou one way or another.

Michael Coulter is a videographer at ParklandCollege. He writes a weekly e-mail column,“This Sporting Life” and has hosted severallocal comedy shows.

Drinking and driving: Damnedif you do, damned if you don’t

FIRST THING’S FIRST. . .

News of the weirdA 46-year-old motorcyclist, speeding,

yelling obscenities, and shaking his fistalongside an 18-wheeler that had made a leftturn of questionable etiquette on a CorpusChristi, Texas, street, lost control of the cycle,fell off, and was fatally dragged underneaththe truck (October). And in Tampa, Fla., a 20-year-old man chased down another driver(both in pickups), finally jumping onto thefirst driver’s door so he could punch himthrough the window. The distracted drivercontinued on for two blocks but finally hit atree, which caused the truck to roll over ontothe man clinging to the door, and he died atthe scene (October).

THINNING THE HERDAlbuquerque emergency

r o o m p h y s i c i a n S a mSlishman is working to launch his EndorphinPower Co., which is a homeless shelter pro-viding drug rehabilitation based on vigorousexercise at on-premises workout stations.However, Slishman also wants his center tohelp pay for itself by selling the electricpower that could be harnessed by his down-and-out population’s daily workouts (pedal-ing, lifting, working the treadmills).Endorphin Power, Slishman says, will be thecity’s flagship for “social rehabilitation andrenewable energy.”

BRIGHT IDEAS

Dentist Mohamedraza Huss Bhimani(Orland Park, Ill.), whom police say fondledthree female patients, was arrested in hisoffice while he happened to be working onanother patient, in mid-filling (October).(The patient had to rush to another dentist tofinish the job.) And Dr. Leon Gombis (OakLawn, Ill.) had battery charges filed againsthim after he, wielding pliers, ripped a capout of the mouth of a 58-year-old patient,believing (mistakenly) that she was behindon her payments (January).

DENTAL FOLLIESThe owners of FM 106.7 in York, Pa., hav-

ing ended the station’s country-music formatbut not yet having introduced a new one,played “Pop Goes the Weasel” 24 hours a dayduring the interim (February). And a recentlyactive methamphetamine lab (fuel, tubing,foil, coffee filters and a liquid compound)was discovered in a search of cells in thePikeville, Tenn., county jail (December). Anda Pacifica, Calif., father filed a $15,000 claimagainst the school district, saying officialshave not stopped students from taunting his12-year-old son, who is an internationallyacclaimed ballroom dancer (September).

MORE TO WORRY ABOUT

Copyright 2004 Chuck Shepard, distributed by Universal Press Syndicate

030404buzz0326 3/3/04 4:34 PM Page 1

2 JUST A SMALL TOWN GIRL, LIVIN’ IN HER LONELY WORLD | MARCH 4-10, 2004 buzz

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Copyright Illini Media Company 2004

Volume 2, Number 9COVER DESIGN | Jordan HerronEditor in chief Marissa MonsonArt Directors Meaghan Dee & Carol MudraCopy Chief Chris RyanMusic Jacob DittmerArt Katie RichardsonFilm Paul WagnerCommunity Emily WahlheimCalendar Maggie DunphyPhotography Editor Christine LitasCalendar Coordinators Lauren Smith,Cassie Conner, Erin ScottbergPhotography Christine Litas, Roderick Gedey Copy Editors Chris Ryan, Jen Hubert, SuzanneSitrick, Erin GreenDesigners Adam Obendorf, Sue Janna Truscott,Jordan Herron, Glenn Cochon, Chris DepaProduction Manager Theon SmithSales Manager Jon MalyMarketing/Distribution Melissa Schleicher,Maria Erickson Publisher Mary Cory

BUZZ STAFF

insidebuzzQ & A with director of Staerkel Planitarium

Saying goodbye to an old friend, Record Service

The work of artist Derrick Holley

Oscar wrap-up

Hip-hop Awareness Week

The Story

Music

Arts

Calendar

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10

12

24

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As both a professor at ParklandCollege and director of the StaerkelPlanitarium, the second largest plan-etarium in Illinois...

In November of 1969, with nothingmore than a pad of paper, a pencil,and a catalogue, a student run...

Derrick Holley is a local artistwhose work is currently on displayat Highdive and ...

Some might say thisyear’s Oscars were action-packed, and filled withsuprising...

This Saturday is a big night for hip-hop lovers as Melodic Scribes, d-lo,Spinnerty, Brother Ali and Scratch...

BY MARISSA MONSON | EDITOR IN CHIEF

Supersize nom o r e ! T h a t ’ s

right, McDonald’shas decided tophase out the supersize option from its13,000 restaurants nationwide. The phase-out comes after pressure from the publicconcerning the health value of the extra friesand cola. They have phased in yogurts, sal-ads and fruit.

I for one applaud McDonald’s for taking astep to fight obesity in this country. Well,sort of. I’m not sure the absence of thesuper-size will curb weight gain. The prob-lem lies in the greasy burgers and fries, notthe few extra fries the consumer receiveswhen they heartily answer yes to theinevitable question, “Would you like thatsupersized?”

How’s this for a slogan: “McDonald’s,home of the salad.” Doesn’t quite soundright, does it?

According to an Associated Press article,McDonald’s spokesman Walt Riker said,“This core menu, which has been underdevelopment since 2002, simplifies ourmenu and restaurant operations and pro-vides a balance of choices for our customers.A component of this overall simplification,menu and balanced lifestyle strategy is the

ongoing phase-out of the Super-size friesand Supersize drink options,” Riker said.

I’m just wondering how the fast food pio-neers thought their delectable french friesand Big Macs would affect the nation’swaistline. Granted, I never subscribe to thethinking behind the lawsuits that claim,“McDonald’s gave me health problems.”Yes, McDonald’s knows how much fat is inyour burger and fries, but so should you,the consumer, just by looking at the grease-soaked bag your food comes in.

It’s great that McDonald’s is taking theSupersized stuff off the menu, but come on,folks, who’s kidding who here? America’sobesity problem is no one’s fault but ourown. Of course we want McDonald’s. Fattastes good, no one will deny that. But, let’stake some initiative. America is the fat kidthat always has Twinkies in our lunch box.As we huff and puff trailing behind Franceand England, we really have no one toblame but ourselves. We bought theSupersize, and we ate it. So it’s nice to seeMcDonald’s is being the bigger man here, soto speak.

Say no to fries all together! There’s a cam-paign slogan for the ages.

-M.M.

PHOTO | RODERICK GEDEY

Film

editor’snote

27buzz MARCH 4 - 10, 2004 | I LOVE THIS WEATHER

Jazz Crawl and Jam Session

A feast of local jazz musicians and venues, plus a chance to jam at the end of the evening;all are welcome to listen or jam

Thursday, March 4, 5pm to midnight5pm: U of I Jazz Band II at the Iron Post,

120 S. Race, Urbana6:30pm: U of I Lab Band at Krannert Center’s

Tryon Festival Theatre, 500 S. Goodwin Ave., Urbana

8pm: Susan Hofer and Friends at the Canopy Club708 S. Goodwin Ave., Urbana

9:30pm: Jeff Helgesen and Chip McNeill at Zorba’s627 E. Green, Champaign

11pm: Jam Session with the LaMonte Parsons Experience at Cowboy Monkey, 6 Taylor St., Champaign

Traffic Jam: Metta Quintet

Rejuvenate after work with this Brooklyn quintet,leaders of New York’s JazzReach program

Friday, March 5, 5pmLobby at Krannert CenterFreeCash bar

Java and JazzCecil Bridgewater with Chambana

A free, family-friendly, informal concert, with coffee and bagels for sale in the lobby beginning at 9am—you can even take them into the theatre

Saturday, March 6, 10amTryon Festival Theatre at Krannert CenterFree; tickets required

Cecil Bridgewater and guests in concert

Clark Terry, trumpetRon Bridgewater, saxophoneand the U of I Concert Jazz Band

Sunday, March 7, 7:30pmTryon Festival Theatre at Krannert Center$17 to $25Talkback after the show, free

Afterglow with Chambana

Casual night music at Krannert Center’s Interlude bar

Sunday, March 7, about 9:30pmLobby at Krannert CenterFreeCash bar

Jazz Threads Celebration Concert

A powerful combination of community and music

Sunday, May 2, 2pmVirginia TheatreFree

Jazz Threads Underwriter

Creative Intersections Sponsor

Corporate Platinum Sponsor

Corporate Bronze Sponsor

The Great Impasta

Patron Co-sponsorsFran and Marc Ansel

Anonymous

Jazz Threads is supported in part by the National Endowment for the Arts; and by the

Heartland Arts Fund, a program of Arts Midwest funded by the National Endowment for the Arts with additional contributions from General Mills

Foundation, Land O'Lakes Foundation, SprintCorporation, and the Illinois Arts Council.

There’s a great story about jazz in Champaign-Urbana.

It holds chapters from the past.Sounds from the present.And ideas yet to be lived.

Step into the groove of life in C-U

Featuring Cecil BridgewaterMarch 1 - 7 • April 29 - May 2

For information on all events217/333-6280800/KCPATIXKrannertCenter.com

030404buzz0227 3/3/04 4:34 PM Page 1

28 WHAT’S YOUR NEW YEAR’S RESOLUTION? BROKEN IT YET? | MARCH 4 - 10, 2004 buzz

MacArthur “Genius” Award-winner and composer MeredithMonk presents a solo concert showcasing her extraordinarilycreative work, capturing the audience's attention with evocative sounds from her one-of-a-kind vocal instrument.

A new work by Meredith Monk and Ann HamiltonFilled with visual and sonic wonders, mercy offers a stunningmeditation on the mystery, beauty, and sadness of life. Vocalpioneer Meredith Monk collaborates with artist Ann Hamilton,a fellow MacArthur "Genius" Award-winner whose work has been shown at Krannert Art Museum. Produced by The HouseFoundation for the Arts, Inc.

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Foudinis Caters!Special events, Fraternities,

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398-4411March 4-10, 2004 Arts | Entertainment | Community

C O M M U N I T Y

A look atfamily andfaith(Page 4)

A R T S

Local actresstakesdirector’schair(Page 6)

M U S I C

Interview withThe Walkmen(Page 9)

C A L E N D A R

Brother Ali and Scratch at Canopy(Page 14)

F I L M

The Passion ofthe Christreview(Page 22)

FREE!

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