The Daily Collegian - 1/30/07
Winter break makes one realize a few things. First, not having a job is awesome. Second, sitting at home and doing nothing can get boring. Third, Hollywood is in its death throes and nobody's around to read its last rites. It seems movies these days, for the most part, have been sub par. While there are some exceptions (this year, most notably The Departed, Little Miss Sunshine, Casino Royale, Borat, as well as a few others) nothing has really happened in recent years to help Hollywood out of the grave, to help it back up to where it once was.
What happened to the raw acting ability? Where are the Bogarts and Bergmans and Brandos of today? The answer, in one simple word, is editing. With today's editing processes, an actor no longer has to act well - they only have to look good. Check out The Lord of the Rings trilogy. While Peter Jackson did a great job directing the movie, the cast leaves the films with something to be desired. Special effects mask the acting and make it a visual monument, but what can be worse than Sean Astin, Viggo Mortensen, and Sean Bean all on the screen together? Not to mention Liv Tyler, who lowers the bar even more. Maybe the studio should have thought about putting another any other female lead instead of her (with the exception of J. Lo and Mariah Carey, of course).
The real problem may be money. As soon as actors, directors and producers start using their talent and influence solely for monetary gain, movies start to dive into the dirt. Good example: Gus Van Sant. In 1997, Van Sant directed one of the best dramas of all time, Good Will Hunting. The hit film won two Oscars (Best Actor in a Supporting Role to Robin Williams and Best Writing, Screenplay Written Directly for the Screen to Matt Damon and Ben Affleck) and was nominated for seven others (including a Best Director for Van Sant. He lost to James Cameron for Titanic). Following Van Sant's enormous success in the movie business, he made what was quite possibly one of the most ill-conceived plans for any movie remake, ever. Its name was Psycho.
Having a remake of Psycho would be like having Steven Spielberg remake The Godfather. Although Spielberg is a phenomenal director, one of the best of all time, he could never make The Godfather comparable to that of Francis Ford Coppola's. That being said, Gus Van Sant is not one of the best directors of all time. Granted, he's no amateur, but he doesn't compare to the truly great directors of the movie business. In remaking Psycho, Van Sant tries to conquer Alfred "The Master of Suspense" Hitchcock. In so trying, Van Sant created a remake so despicable and utterly revolting that the only thing the DVD is good for is a drink coaster. Don't think it starts and ends with Van Sant. Hundreds of other directors are milking the industry of its money and credibility each day with no end in sight.
There is still a last glimmer of hope for the movie industry - Indie films. Yes, the very same films that rarely appear at any corporate cinema. They give a hope for a new entertainment industry by bringing life to where it once was. Indies show Hollywood that those multi-million dollar movies about meaningless romance and absurd action are complete trash. They prove that actors can still act and real cinematography isn't dead. Indies are more real, more down to earth, more about making a movie for its artistic value rather than its shock value.
Take away the gratuitous sex and violence from any given high-budget movie and roughly 95 percent of that movie is scrapped. Now take away the gratuitous sex and violence from any given Indie and the movie is totally unaffected. (Most) Indies, as with all great films, are based on the fact that there is no extra scene or bit of dialogue which can be deleted without taking away from the overall meaning and idea behind the film itself.
Now there is still a chance for Hollywood, and it's up to everyone who ever has been or will go to a movie theater. We, the people, are Hollywood's No. 1 consumer and all I ask is to just pause a minute before selecting your movie of choice. If you really want to see the newest Halloween or the crappy remake of a classic movie then by all means, go and see it. Just be warned, if you go and support it, Hollywood will make another one. It will take those precious budgeting dollars away from a better, thought out, more poignant movie for a campy, idiotic "thriller" or pointlessly dull comedy.
Ultimately, it is up to the spender to allocate Hollywood dollars and revive or destroy the entertainment industry. You decide what Hollywood produces, so start using a little thought before you throw down that $10 at the movie theater; spend your money wisely.
Tuesday, May 27, 2008
New Music Tuesday
The Daily Collegian - 1/30/07
With an inherent ability to convey meaning through the combination of words and instrumentation, Graham Coxon transcends the gap between the United State's music scene and the United Kingdom's. Although he has only charted in the UK, Coxon has what it takes to be a successful, worldwide star. Coxon is absolutely and totally refreshing and his newest work, "Love Travels At Illegal Speeds" is an almost flawless gem which tends to go unrecognized in record store bargain bins.
Drawing heavily on the 70s and 80s punk scene, Graham Coxon melds the thick guitar sound of The Ramones, screaming solos and quick upstrokes of The Clash, and a singing voice that sounds as dirty as Sid Vicious all while melding them into his own unique sound. Any fan of old-school punk will immediately take to "…Illegal Speeds" and recognize Coxon's inherent ability as a musician.
As a former guitarist of Blur, Coxon is no stranger to the music business. Perhaps it is this which truly defines him as a musician. By knowing how to put together the sounds he so beautifully makes, Coxon makes his music flow and bend to his will, creating the perfect atmosphere for each piece. Also, as an accomplished multi-instrumentalist, in the style of Thom Yorke and Beck, Coxon plays almost all instruments on "…Illegal Speeds."
A main highlight on "…Illegal Speeds" is Coxon's ability to craft a song. He uses raw emotion and seems to draw on himself to perfect his music. He loves what he does and makes us love his work as well. The problem with "…Illegal Speeds" lies in the fact that it is truly hard to pick out any outstanding track on the album. All of the 13 songs are great in their own right and cannot be judged in comparison to the others. "…Illegal Speeds" is phenomenally pieced together and expertly arranged.
Even though Coxon is a brilliant singer and songwriter, "Love Travels At Illegal Speeds" can, at times, sound a little more like a remake than it should. Although this is by no means a reflection on the entire album, pieces of various songs on "…Illegal Speeds" are very similar to other more famous songs. At times, the resemblance can be uncanny. Take "Gimme Some Love." While it is one of the catchiest songs on the album, the songs orchestration sounds like a blatant rip-off of The Sex Pistol's "Anarchy in the UK," just with new lyrics.
Immediately the question is raised of why Coxon couldn't be more subtle about his influences. Be that as it may, the duplicative nature of some songs do not detract greatly from the album itself, they only make it seem more amateurish than Coxon should be.
"Love Travels At Illegal Speeds," although not without flaws, is one of the best albums to be released in a while. Surprising is the fact that Coxon is relatively unknown outside of the UK while his music represents some of the best new rock out there. Whether you are a rock fan, a punk fan, or just want to try something new, go out to your local music store and pick up a copy of "…Illegal Speeds."
With an inherent ability to convey meaning through the combination of words and instrumentation, Graham Coxon transcends the gap between the United State's music scene and the United Kingdom's. Although he has only charted in the UK, Coxon has what it takes to be a successful, worldwide star. Coxon is absolutely and totally refreshing and his newest work, "Love Travels At Illegal Speeds" is an almost flawless gem which tends to go unrecognized in record store bargain bins.
Drawing heavily on the 70s and 80s punk scene, Graham Coxon melds the thick guitar sound of The Ramones, screaming solos and quick upstrokes of The Clash, and a singing voice that sounds as dirty as Sid Vicious all while melding them into his own unique sound. Any fan of old-school punk will immediately take to "…Illegal Speeds" and recognize Coxon's inherent ability as a musician.
As a former guitarist of Blur, Coxon is no stranger to the music business. Perhaps it is this which truly defines him as a musician. By knowing how to put together the sounds he so beautifully makes, Coxon makes his music flow and bend to his will, creating the perfect atmosphere for each piece. Also, as an accomplished multi-instrumentalist, in the style of Thom Yorke and Beck, Coxon plays almost all instruments on "…Illegal Speeds."
A main highlight on "…Illegal Speeds" is Coxon's ability to craft a song. He uses raw emotion and seems to draw on himself to perfect his music. He loves what he does and makes us love his work as well. The problem with "…Illegal Speeds" lies in the fact that it is truly hard to pick out any outstanding track on the album. All of the 13 songs are great in their own right and cannot be judged in comparison to the others. "…Illegal Speeds" is phenomenally pieced together and expertly arranged.
Even though Coxon is a brilliant singer and songwriter, "Love Travels At Illegal Speeds" can, at times, sound a little more like a remake than it should. Although this is by no means a reflection on the entire album, pieces of various songs on "…Illegal Speeds" are very similar to other more famous songs. At times, the resemblance can be uncanny. Take "Gimme Some Love." While it is one of the catchiest songs on the album, the songs orchestration sounds like a blatant rip-off of The Sex Pistol's "Anarchy in the UK," just with new lyrics.
Immediately the question is raised of why Coxon couldn't be more subtle about his influences. Be that as it may, the duplicative nature of some songs do not detract greatly from the album itself, they only make it seem more amateurish than Coxon should be.
"Love Travels At Illegal Speeds," although not without flaws, is one of the best albums to be released in a while. Surprising is the fact that Coxon is relatively unknown outside of the UK while his music represents some of the best new rock out there. Whether you are a rock fan, a punk fan, or just want to try something new, go out to your local music store and pick up a copy of "…Illegal Speeds."
Freedom Writers Full of Emotion
The Daily Collegian - 1/29/07
"Freedom Writers"
Directed by Richard LaGravenese
Rated PG-13
Grade: B-
"Freedom Writers" does for the 2000's what "Stand and Deliver" did for the 1980's except with less fun, not as many life lessons, and more drama. The basic concept behind "Freedom Writers" is that even underprivileged inner-city youth deserve the same opportunities that suburban white kids do.
It is a true message that the film sometimes overlooks in order to add senseless scenes to help create "emotion." While not everything in "Freedom Writers" is perfect, the emotions and overall acting are done, for the most part, superbly. Let's use the "Sergio Leone" method of evaluation.
The good: While first impressions are always the best, sometimes actors can overcome a weak beginning to a film by creating a strong middle and end. Hilary Swank, playing the part of a teacher named Erin Gruwell, managed to do just that in "Freedom Writers." As the movie started, she seemed too fake in her portrayal of a real-life person. She seemed like she was, unfortunately, acting the part.
As the movie progressed though, more specifically at the start of her first monologue, there was a change in both her attitude as an actor, her character as a teacher, and the audience's reaction to the film. It's a truly moving scene. One of the best parts of "Freedom Writers" is the number of emotional scenes. While some came across as over-the-top, many were really touching and made the experience worthwhile.
The bad: The main place where "Freedom Writers" went wrong was by having scenes that did not contribute to the overall message of the film. Although these scenes helped with character development, there could have been some added scenes that developed characters more thoroughly while sticking to the central theme a little better. Also, the intensity of the film wavered throughout. The first third of the movie is full of racial tension and, although the tension's eventually lost, the intensity dies with it. If "Freedom Writers" is a truly great film, the same intensity showed by racism would have been carried through the film by other driving forces.
The ugly: The film is one of the most slowly moving movies of this year. With a two hour running time, "Freedom Writers" really feels much longer. Classroom scenes need to be amped up and given a boost of pizzazz - or even just better dialogue. The problem in the dialogue was not in its simplicity, but in its monotony. Although some scenes were quite moving, the bulk of the talking in the movie just seemed canned and passé.
"Freedom Writers," although it has its shining moments, really ends up being an attempt to create a reaction from the audience while trying to force emotions where there aren't any. At some times the actors, script, and direction fall together so perfectly but at other times they seem so distant. "Freedom Writers" is definitely a good film if you are into movies about education, but it lacks the substance to make it truly great. If you were expecting the next Hillary Swank Academy Award, look somewhere else. She gives a great emotional performance but the rest of the movie does not fall neatly into place around her.
"Freedom Writers"
Directed by Richard LaGravenese
Rated PG-13
Grade: B-
"Freedom Writers" does for the 2000's what "Stand and Deliver" did for the 1980's except with less fun, not as many life lessons, and more drama. The basic concept behind "Freedom Writers" is that even underprivileged inner-city youth deserve the same opportunities that suburban white kids do.
It is a true message that the film sometimes overlooks in order to add senseless scenes to help create "emotion." While not everything in "Freedom Writers" is perfect, the emotions and overall acting are done, for the most part, superbly. Let's use the "Sergio Leone" method of evaluation.
The good: While first impressions are always the best, sometimes actors can overcome a weak beginning to a film by creating a strong middle and end. Hilary Swank, playing the part of a teacher named Erin Gruwell, managed to do just that in "Freedom Writers." As the movie started, she seemed too fake in her portrayal of a real-life person. She seemed like she was, unfortunately, acting the part.
As the movie progressed though, more specifically at the start of her first monologue, there was a change in both her attitude as an actor, her character as a teacher, and the audience's reaction to the film. It's a truly moving scene. One of the best parts of "Freedom Writers" is the number of emotional scenes. While some came across as over-the-top, many were really touching and made the experience worthwhile.
The bad: The main place where "Freedom Writers" went wrong was by having scenes that did not contribute to the overall message of the film. Although these scenes helped with character development, there could have been some added scenes that developed characters more thoroughly while sticking to the central theme a little better. Also, the intensity of the film wavered throughout. The first third of the movie is full of racial tension and, although the tension's eventually lost, the intensity dies with it. If "Freedom Writers" is a truly great film, the same intensity showed by racism would have been carried through the film by other driving forces.
The ugly: The film is one of the most slowly moving movies of this year. With a two hour running time, "Freedom Writers" really feels much longer. Classroom scenes need to be amped up and given a boost of pizzazz - or even just better dialogue. The problem in the dialogue was not in its simplicity, but in its monotony. Although some scenes were quite moving, the bulk of the talking in the movie just seemed canned and passé.
"Freedom Writers," although it has its shining moments, really ends up being an attempt to create a reaction from the audience while trying to force emotions where there aren't any. At some times the actors, script, and direction fall together so perfectly but at other times they seem so distant. "Freedom Writers" is definitely a good film if you are into movies about education, but it lacks the substance to make it truly great. If you were expecting the next Hillary Swank Academy Award, look somewhere else. She gives a great emotional performance but the rest of the movie does not fall neatly into place around her.
New Music Tuesday
The Daily Collegian - 12/12/06
It is rare for a young group to release a completely innovative, almost beautiful debut, but, ladies and gentlemen, it has happened. With their self-titled debut EP, The Inner Banks sound more like they belong on a new age Western soundtrack than their self-described "music for headphones and roadtrips." And, although they do not typify any specific genre, they do make beautiful music.
The only way to describe The Inner Banks would be neo-classical crossed with ethereal vocals topped with just a dash of rock. Sounding more like an Americanized version of the band Air (a France-based electronic group) than anything else, The Inner Banks have quite possibly made a name for themselves in the indie underground.
While by no means Grammy-winning material, The Inner Banks might be the groundbreaking start to a neo-classical revival. By blending the perfect amount of poppy beats with classical instruments, hollow vocals, and electronica, The Inner Banks have created what will hopefully continue to be their defining characteristic.
Characterized by the sparse vocals of Carolyn Shultz and the compositional genius of David Gould, The Inner Banks also contains slide guitar, piano, violins, horns and just about any other instrument found in a music store. With such an ambiguous sound, The Inner Banks do not sound like any particular group. Using bits of Philip Glass's neo-classicalism, Air's electronic sound, and just a little guitar found in pop music, The Inner Banks are innovatively flaunting their music making abilities in every key change, note and breath on the EP.
One of the best parts of The Inner Banks is the layering of instruments.
Especially seen in "Rhino," this provides real substance to what might draw listeners away: a lack of vocals. As not all of the songs on "The Inner Banks" contain vocals, the varying voices of the instruments carry the full weight of the song. Even when vocals are present, though, the instruments are still more forceful and driving, making the perfect blend of thoughtful, tireless music.
Possibly most surprising about The Inner Banks is the refined and thought-out nature of the songs - more than any new release should have. Although most of the musicians have had some experience in other groups, it has only been under two years since the idea of The Inner Banks came to be. The sounds that they make are sophisticated, unforced, and real. It is almost like they copied some of the best moments in music history, but changed them to make it theirs.
Listeners should feel fortunate, because The Inner Banks released a longer EP then most bands do (just over 30 minutes). With only seven tracks, it is a great glimpse to get a feel for how the group will progress in the future. This amazing compilation of songs might just be a fluke, many hours of hard work, or pure talent; it is hard to tell which.
So, thank you DAG! Records, thank you Carolyn Shultz, thank you David Gould, thank you The Inner Banks. The music industry needed this release, needed the change from meaningless lyrics and power chords. If one word could sum up what "The Inner Banks" has succeeded in doing, it would be "wow."
Available only on cdbaby.com ($12) or on iTunes ($6.93), "The Inner Banks" is must for any music listener looking for a change. With the amazing "Anthem," (as well as every other track on the EP), "The Inner Banks" is worth every penny of whatever price listeners pay.
It is rare for a young group to release a completely innovative, almost beautiful debut, but, ladies and gentlemen, it has happened. With their self-titled debut EP, The Inner Banks sound more like they belong on a new age Western soundtrack than their self-described "music for headphones and roadtrips." And, although they do not typify any specific genre, they do make beautiful music.
The only way to describe The Inner Banks would be neo-classical crossed with ethereal vocals topped with just a dash of rock. Sounding more like an Americanized version of the band Air (a France-based electronic group) than anything else, The Inner Banks have quite possibly made a name for themselves in the indie underground.
While by no means Grammy-winning material, The Inner Banks might be the groundbreaking start to a neo-classical revival. By blending the perfect amount of poppy beats with classical instruments, hollow vocals, and electronica, The Inner Banks have created what will hopefully continue to be their defining characteristic.
Characterized by the sparse vocals of Carolyn Shultz and the compositional genius of David Gould, The Inner Banks also contains slide guitar, piano, violins, horns and just about any other instrument found in a music store. With such an ambiguous sound, The Inner Banks do not sound like any particular group. Using bits of Philip Glass's neo-classicalism, Air's electronic sound, and just a little guitar found in pop music, The Inner Banks are innovatively flaunting their music making abilities in every key change, note and breath on the EP.
One of the best parts of The Inner Banks is the layering of instruments.
Especially seen in "Rhino," this provides real substance to what might draw listeners away: a lack of vocals. As not all of the songs on "The Inner Banks" contain vocals, the varying voices of the instruments carry the full weight of the song. Even when vocals are present, though, the instruments are still more forceful and driving, making the perfect blend of thoughtful, tireless music.
Possibly most surprising about The Inner Banks is the refined and thought-out nature of the songs - more than any new release should have. Although most of the musicians have had some experience in other groups, it has only been under two years since the idea of The Inner Banks came to be. The sounds that they make are sophisticated, unforced, and real. It is almost like they copied some of the best moments in music history, but changed them to make it theirs.
Listeners should feel fortunate, because The Inner Banks released a longer EP then most bands do (just over 30 minutes). With only seven tracks, it is a great glimpse to get a feel for how the group will progress in the future. This amazing compilation of songs might just be a fluke, many hours of hard work, or pure talent; it is hard to tell which.
So, thank you DAG! Records, thank you Carolyn Shultz, thank you David Gould, thank you The Inner Banks. The music industry needed this release, needed the change from meaningless lyrics and power chords. If one word could sum up what "The Inner Banks" has succeeded in doing, it would be "wow."
Available only on cdbaby.com ($12) or on iTunes ($6.93), "The Inner Banks" is must for any music listener looking for a change. With the amazing "Anthem," (as well as every other track on the EP), "The Inner Banks" is worth every penny of whatever price listeners pay.
Guest's new film worth 'consideration'
The Daily Collegian - 12/1/06
The year was 1984 and well known director Rob Reiner introduced the world to Spinal Tap, a fictitious heavy metal band from England, in his mockumentary "This Is Spinal Tap." Let us all pause for a moment and silently thank Mr. Reiner for his expertise, directorial prowess, and his planting of a comedic seed inside of Christopher Guest's ("Best In Show," "Waiting for Guffman") head. What "This Is Spinal Tap" did for rock n' roll, "For Your Consideration" does for Hollywood, but in its own unique way.
While seeming less direct than other mockumentaries, "Consideration" follows suit with other of writer/director Guest's works by using satire and copious amounts of tongue-in-cheek humor to get his point across. All comparisons aside, "Consideration" is really a masterpiece in its own right.
The basic story follows the making of a new movie called "Home for Purim" and follows the cast and crew associated with it. When rumors start on the Internet, some of the cast get caught up in the pre-Oscar buzz and the rest of the story falls neatly into place after this.
Containing stellar performances by Catherine O'Hara ("Home Alone"), Eugene Levy ("American Pie") and Harry Shearer ("This is Spinal Tap,") "Consideration" is really stolen by Fred Willard ("Anchorman: The Legend of Ron Burgundy") as talk show host Chuck Porter. His superbly timed, almost caustic wit clashes with the seriousness of events, creating comedic value where there might not have been any.
Much of the actual humor in "Consideration" comes from its satire on current pop icons and culture. From Ryan Seacrest to Anna Nicole Smith, Ebert and Roeper and Access Hollywood, nothing was spared from the ridicule of this production. Some of the best satire came from the fictitious show "Hollywood Now," hosted by Chuck Porter (Willard) and Cindy Martin (Jane Lynch, "Talladega Nights: The Ballad of Ricky Bobby").
Now, not all of "For Your Consideration" is golden. John Michael Higgins' ("Wag the Dog") character Corey Taft is entirely too reminiscent of Will Ferrell in "Anchorman." By using the same dry humor mixed with quick monologues littered with one-liners, as well as the same overall persona, Higgins really does a mediocre Ron Burgundy impression instead of creating a Corey Taft.
Another downfall is how noticeably "Consideration" drags towards its end. With many movies going far over two hours and still staying interesting, it is a wonder why, with only an 86-minute runtime and all of Guest's experience that "Consideration" has any drag at all. Assuming that the movie was cut down, either more time should have been added or the scene placement should have been rethought.
With Guest's touch and an all-star cast, "For Your Consideration" really lights up the screen and the audience. Reviving the art form of mockumentary, Guest and his cast brought loads of laughs, shouts and even a few groans from everyone in the theater. Get ready to see one of the year's brightest, wittiest and downright funniest films.
"For Your Consideration" is released by Warner Independent Pictures and is playing at Amherst Cinemas until Dec. 7.
The year was 1984 and well known director Rob Reiner introduced the world to Spinal Tap, a fictitious heavy metal band from England, in his mockumentary "This Is Spinal Tap." Let us all pause for a moment and silently thank Mr. Reiner for his expertise, directorial prowess, and his planting of a comedic seed inside of Christopher Guest's ("Best In Show," "Waiting for Guffman") head. What "This Is Spinal Tap" did for rock n' roll, "For Your Consideration" does for Hollywood, but in its own unique way.
While seeming less direct than other mockumentaries, "Consideration" follows suit with other of writer/director Guest's works by using satire and copious amounts of tongue-in-cheek humor to get his point across. All comparisons aside, "Consideration" is really a masterpiece in its own right.
The basic story follows the making of a new movie called "Home for Purim" and follows the cast and crew associated with it. When rumors start on the Internet, some of the cast get caught up in the pre-Oscar buzz and the rest of the story falls neatly into place after this.
Containing stellar performances by Catherine O'Hara ("Home Alone"), Eugene Levy ("American Pie") and Harry Shearer ("This is Spinal Tap,") "Consideration" is really stolen by Fred Willard ("Anchorman: The Legend of Ron Burgundy") as talk show host Chuck Porter. His superbly timed, almost caustic wit clashes with the seriousness of events, creating comedic value where there might not have been any.
Much of the actual humor in "Consideration" comes from its satire on current pop icons and culture. From Ryan Seacrest to Anna Nicole Smith, Ebert and Roeper and Access Hollywood, nothing was spared from the ridicule of this production. Some of the best satire came from the fictitious show "Hollywood Now," hosted by Chuck Porter (Willard) and Cindy Martin (Jane Lynch, "Talladega Nights: The Ballad of Ricky Bobby").
Now, not all of "For Your Consideration" is golden. John Michael Higgins' ("Wag the Dog") character Corey Taft is entirely too reminiscent of Will Ferrell in "Anchorman." By using the same dry humor mixed with quick monologues littered with one-liners, as well as the same overall persona, Higgins really does a mediocre Ron Burgundy impression instead of creating a Corey Taft.
Another downfall is how noticeably "Consideration" drags towards its end. With many movies going far over two hours and still staying interesting, it is a wonder why, with only an 86-minute runtime and all of Guest's experience that "Consideration" has any drag at all. Assuming that the movie was cut down, either more time should have been added or the scene placement should have been rethought.
With Guest's touch and an all-star cast, "For Your Consideration" really lights up the screen and the audience. Reviving the art form of mockumentary, Guest and his cast brought loads of laughs, shouts and even a few groans from everyone in the theater. Get ready to see one of the year's brightest, wittiest and downright funniest films.
"For Your Consideration" is released by Warner Independent Pictures and is playing at Amherst Cinemas until Dec. 7.
Valente's album gains "Loveless" reaction
The Daily Collegian - 11/21/06
It's a wonder why Ricky Valente has not been recognized at more of a national level. Using a seamless blend of atmospheric hard rock and lighter vocals, "Loveless Letters" (his second album release) typifies what many of today's more famous artists strive for over multiple albums: an emotional and somewhat meaningful musical presence.
With a better backing band, more musical variation and a wider distribution, "Loveless Letters" might have given Valente a glimpse at stardom. Instead, it just cements his fan's appreciation for his music while the rest of us are left unsatisfied.
Although Valente is a talented musician, all his hard work just does not manage to get him off the ground. Citing Jimi Hendrix, Thelonious Monk, The Beatles, David Gilmour, The Queens of The Stone Age, Jeff Buckley and Beethoven as some of his influences, Valente really does not really epitomize any one of these musicians. His style is, as his influences suggest, a melting pot of musical history. With hard rocking, screaming solos coupled with sparse acoustic interludes and surprisingly meaningful lyrics, "Loveless Letters" tries to vary just as much as Hendrix and Beethoven do. Try as it might, though, it does not succeed.
One of "Loveless Letters'" major shortcomings relies on the fact that it bridges the gap between 1980s and 1990s music. Unfortunately for everyone, it came a decade too late. With grunge gone and hair-metal out of style, "Loveless Letters" lies precariously balanced between the likes of Van Halen and The Gin Blossoms, with only a hair holding it into our decade.
One main problem is the soloing. Sounding like an amateur Steve Vai (still amazing), Valente does manage to tear through some riffs but betrays "Loveless Letters'" image in the process. Using less hard rock and sticking to a softer sound, even during ripping solos, would make the album more realistic and appreciative.
"Loveless Letters," with under a half hour of running time, dwindles and becomes repetitive and uninspiring. Valente's lyrics and composition of "Loveless Letters" are what a lot of musicians look to strive for, yet his newest EP follows too strict of a formula in all of its songs. After the phenomenal "The Borderline," all of his other songs seem repetitive. The six tracks that follow seem to reap upon its greatness in the same fashion in which Ricky Valente does: mimicking the sound of something more successful.
In "Loveless Letters," it seems that Valente tries to be someone he isn't: a national artist. With local roots and ties, he should stick to what he knows and not try and be anything else, unless he can. With a few more tracks and more time spent cutting and editing, "Loveless Letters" could really stack up to be a decent sophomore album.
While his singles might be played on a Top 40 radio station someday, it is doubtful. Valente needs to focus on building a stronger, less regionalized fan base, one with which he can elevate his status and try and outgrow what he and "Loveless Letters" ended up being: mediocre at best.
"Loveless Letters" can be bought online at CDbaby.com for $10.
It's a wonder why Ricky Valente has not been recognized at more of a national level. Using a seamless blend of atmospheric hard rock and lighter vocals, "Loveless Letters" (his second album release) typifies what many of today's more famous artists strive for over multiple albums: an emotional and somewhat meaningful musical presence.
With a better backing band, more musical variation and a wider distribution, "Loveless Letters" might have given Valente a glimpse at stardom. Instead, it just cements his fan's appreciation for his music while the rest of us are left unsatisfied.
Although Valente is a talented musician, all his hard work just does not manage to get him off the ground. Citing Jimi Hendrix, Thelonious Monk, The Beatles, David Gilmour, The Queens of The Stone Age, Jeff Buckley and Beethoven as some of his influences, Valente really does not really epitomize any one of these musicians. His style is, as his influences suggest, a melting pot of musical history. With hard rocking, screaming solos coupled with sparse acoustic interludes and surprisingly meaningful lyrics, "Loveless Letters" tries to vary just as much as Hendrix and Beethoven do. Try as it might, though, it does not succeed.
One of "Loveless Letters'" major shortcomings relies on the fact that it bridges the gap between 1980s and 1990s music. Unfortunately for everyone, it came a decade too late. With grunge gone and hair-metal out of style, "Loveless Letters" lies precariously balanced between the likes of Van Halen and The Gin Blossoms, with only a hair holding it into our decade.
One main problem is the soloing. Sounding like an amateur Steve Vai (still amazing), Valente does manage to tear through some riffs but betrays "Loveless Letters'" image in the process. Using less hard rock and sticking to a softer sound, even during ripping solos, would make the album more realistic and appreciative.
"Loveless Letters," with under a half hour of running time, dwindles and becomes repetitive and uninspiring. Valente's lyrics and composition of "Loveless Letters" are what a lot of musicians look to strive for, yet his newest EP follows too strict of a formula in all of its songs. After the phenomenal "The Borderline," all of his other songs seem repetitive. The six tracks that follow seem to reap upon its greatness in the same fashion in which Ricky Valente does: mimicking the sound of something more successful.
In "Loveless Letters," it seems that Valente tries to be someone he isn't: a national artist. With local roots and ties, he should stick to what he knows and not try and be anything else, unless he can. With a few more tracks and more time spent cutting and editing, "Loveless Letters" could really stack up to be a decent sophomore album.
While his singles might be played on a Top 40 radio station someday, it is doubtful. Valente needs to focus on building a stronger, less regionalized fan base, one with which he can elevate his status and try and outgrow what he and "Loveless Letters" ended up being: mediocre at best.
"Loveless Letters" can be bought online at CDbaby.com for $10.
Amherst College makes stand against genocide in Dafur
The Daily Collegian - 2/14/06
In an act against the genocide happening in the Darfur region of Sudan, Amherst College's Board of Trustees unanimously voted to divest and abstain from any direct investments with companies who have supported in some way the Sudanese government's mass ethnic cleansing.
The genocide was officially recognized by the United States House of Representatives on June 24, 2004, according to Res Publica, a human rights organization based out of New York.
The fighting is mainly being carried out by the Sudanese-sponsored Janjaweed (or Janjawid) which is backed by the Sudanese air force and the Native farmers of Darfur. These Janjaweed soldiers are a "mounted Arabic militia," explained United Nations-based IRIN News.
The Amherst College Board of Trustees, acting in the best interests of the Natives of Darfur, as well as Amherst College, has officially blacklisted nearly 20 businesses and corporations from gaining their investments. These companies have either "direct business ties to the Sudanese government or companies whose business activities are in direct support of these companies and the activities of the government," according to Amherst Magazine.
Although they are not directly involved with these businesses as of now, Amherst College's Board of Trustees wanted it to be known that they strongly oppose the Sudanese government's actions and will not invest in any company who supports it.
"[A] divestment action should be considered rarely and only in the face of human atrocities that are wholly inconsistent with the moral and ethical values of Amherst College," said the Board after making its decision to abstain from any relations with the companies.
In making this statement, Amherst College hopes "to create a climate in which other colleges and universities will take similar action," said Jide Zeitlin, a chair on the Board. Zeitlin also said that, if enough of the clientele of various investment firms decide to relinquish their holdings in the companies supporting the Sudanese government, then the investing firms will realize that "the Sudanese government isn't worth it, and [the investment firms] will divest their [own] holdings."
Although the Board has decided not to invest in some companies operating in Sudan, it has not stopped investing with all companies in the region. Businesses that do not sponsor the Sudanese government's genocide, and instead help the Sudanese people or remain neutral in the entire matter, the board decided, should not be part of their divestment and should remain open to possible trades and future investments.
The President of Amherst College, Anthony W. Marx, noted that he wants "[other colleges] to examine their own investments in this region." A former denizen of South Africa, Marx has studied political change and believes that financial divestment can be a starting point for an influential change in the government of Sudan.
Learning from the divestment, a number of Amherst's faculty are informing their TIAA-CREF-based retirement funds to stop investing their money in the blacklisted and similar companies.
The predominately European- and Asian-based companies listed in Amherst's divestment include Siemens AG and the Ericsson LM Telephone Co., both major telecommunications retailers, as well as Royal Dutch Shell Plc.
For an entire list of the companies included in the divestment, see the Amherst Magazine Web site at www.amherst.edu/magazine/darfur.
In an act against the genocide happening in the Darfur region of Sudan, Amherst College's Board of Trustees unanimously voted to divest and abstain from any direct investments with companies who have supported in some way the Sudanese government's mass ethnic cleansing.
The genocide was officially recognized by the United States House of Representatives on June 24, 2004, according to Res Publica, a human rights organization based out of New York.
The fighting is mainly being carried out by the Sudanese-sponsored Janjaweed (or Janjawid) which is backed by the Sudanese air force and the Native farmers of Darfur. These Janjaweed soldiers are a "mounted Arabic militia," explained United Nations-based IRIN News.
The Amherst College Board of Trustees, acting in the best interests of the Natives of Darfur, as well as Amherst College, has officially blacklisted nearly 20 businesses and corporations from gaining their investments. These companies have either "direct business ties to the Sudanese government or companies whose business activities are in direct support of these companies and the activities of the government," according to Amherst Magazine.
Although they are not directly involved with these businesses as of now, Amherst College's Board of Trustees wanted it to be known that they strongly oppose the Sudanese government's actions and will not invest in any company who supports it.
"[A] divestment action should be considered rarely and only in the face of human atrocities that are wholly inconsistent with the moral and ethical values of Amherst College," said the Board after making its decision to abstain from any relations with the companies.
In making this statement, Amherst College hopes "to create a climate in which other colleges and universities will take similar action," said Jide Zeitlin, a chair on the Board. Zeitlin also said that, if enough of the clientele of various investment firms decide to relinquish their holdings in the companies supporting the Sudanese government, then the investing firms will realize that "the Sudanese government isn't worth it, and [the investment firms] will divest their [own] holdings."
Although the Board has decided not to invest in some companies operating in Sudan, it has not stopped investing with all companies in the region. Businesses that do not sponsor the Sudanese government's genocide, and instead help the Sudanese people or remain neutral in the entire matter, the board decided, should not be part of their divestment and should remain open to possible trades and future investments.
The President of Amherst College, Anthony W. Marx, noted that he wants "[other colleges] to examine their own investments in this region." A former denizen of South Africa, Marx has studied political change and believes that financial divestment can be a starting point for an influential change in the government of Sudan.
Learning from the divestment, a number of Amherst's faculty are informing their TIAA-CREF-based retirement funds to stop investing their money in the blacklisted and similar companies.
The predominately European- and Asian-based companies listed in Amherst's divestment include Siemens AG and the Ericsson LM Telephone Co., both major telecommunications retailers, as well as Royal Dutch Shell Plc.
For an entire list of the companies included in the divestment, see the Amherst Magazine Web site at www.amherst.edu/magazine/darfur.
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