Review Essay

With my review essay I considered a lot of things, a painting, "Uh huh Her's Cd", and even an old cartoon show called Invader Zim. But for some reason I kept thinking about Dave's block party, his show and why he'd left. So I thought that instead of focusing on Dave totally, I'd use some of the elements that I wrote about in that review to guide my review essay. Which will examine the movie Hancock. Not many people like it. One reason could be how Will Smith portrayed a superhero on scene or the stereotypical image of the black male within society. I personally enjoyed the movie. But not exactly a fan of Dave's more racy and stereotype humor. Although having said that I really enjoyed his block party. It was a change for him. Getting back to topic though, I really think that Hancock almost parallels some of the jokes Dave goes for. However where Dave succeeds, a movie like Hancock in most peoples eyes seems to fail, because they don't get it. Why is that? And from Will's movie roles he doesn't seem to act in anything unless there's a purpose behind it. I'm sure he saw the black male image in this piece, but he still did it. Will played with those boundries a little bit, which is what Dave is practically famous for. Going somewhere no one else has gone for the best or worst, its still puzzling how Will's movie and Dave's comedy for the most part content wise are almost mirror images.

Chilli's a lot of pepper less fun (Enhanced)

Without a doubt expensive taste is a luxury; especially in this year of stimulus based dollar menus and financial commercial jargon. So whenever the chance presents itself, be it sub par, top notch or in between one can’t help but to get a little giddy. Its bye bye microwaveable easy mac and hello heaven.

That’s why places like Chili's, The Olive Garden and even Shooters were established. Each embodies a certain niche and level of expertise. The Olive Garden has practically the perfect service except when the waitress or waiter abandons you in your time of hunger. But even with that the food doesn’t fall by the waist side. Shooters on the other hand is like a self serve gizmo. Its very much reminiscent of a free-for-all. Therefore thoughts of guilt and angst towards Granny who cut you off in the stir-fry lane is totally optional. As for Chili’s… well speaking of expertise, lets just pepper in some fun…

At arrival, or rather survival, I entered the scene devastated by the rain only to cross the threshold of a colorful little place called limbo. And being a newbie to the whole Chili’s scene but no doubt a fan of the commercials, I was all too eager to taste what they had to offer. The hostess was nowhere to be found and my party was seriously about to take our own seats until someone finally spoke to us. Seated in a booth of triangular proportion we sat for a good five minutes till our server popped up hastily. Typical drink to choice appetizer exchange came next, followed by the Terminators all to cool catch phase.

With the wait the atmosphere beckoned. It screamed urban and even club. It couldn’t have been the all too loud electric green scattered everywhere or the male bartender shimming like a salt shaker. Or even the cold instead of hot water in the bathroom. But either way the place was hip, one could not help but notice the plasmas. The table tops were adorn with simple mosaic patterns, delicate and light, almost terracotta in tone. While the booth seats were a loungy blue and comfortable.

Once the waitress finally came back the evening took an off-putting turn. With the Boneless Hot Wings and Hot Spinach & Artichoke dip we wanted garlic bread for dipping; instead we got duped. The bread was slimy on one side and titivated with burnt particles on the other. My sisters’ lemonade had a strain of hair half way in the mix. And the waitress scrambled to and fro. She seemed apologetic for the mishap, but with its occurrence it opened another can of worms. Lets just say the manager was more than helpful. His waitress rarely came back to check up on us and instead handed off piles of napkins periodically once the real food came out. And if you needed a refill, getting her attention was like getting rid of a gapers delay midday. And like a car wreck, this dining experience went up in flames. I took a fork full the zesty rice that accompanied my Honey BBQ ribs an I thought I’d die of pepper and salt intake. It was more like rice mush, and even harsher with the added lemon ingredient. Complements to the chef for diminishing my taste buds.

The spiraling downward didn’t end there, all we wanted was the check. It would’ve been better to be rushed then endure the never-ending dine out from hell. Keep it simple with this one folks, the Sweet Shots are by far the only upside to this restaurants’ fiasco. Aside from the main course dishes you can recognize.

So if you’ve got a strong stomach or a weak bowel movement. Definitely choose this Chili’s because it’s got the flavors you’ll love at the prices you’ll want.

3CVJE and the Jazz Pop Choir

A sea of fresh color spilled from the stage like a leaky facet. Hues so lavish in demeanor, it’d make my color strategies teacher leer. Greens, purples, reds and blues courted the audience through the Jazz Pop Choirs’, “Old Devil, We All Need Saving, and Swingin with the Saints.” While Columbia College Chicago’s Vocal Jazz Ensemble (3CVJE) wooed us with, “ I’ll Be Seeing you, Home Coming, and on the Red Clay,” just to name a few. In combination, bold instrumental performances created an alluring atmosphere of thrill and wonder.

Unlike other jazz performances I’ve seen, the 3CVJE and the Jazz Pop Choir sounded more contained. Mimi Rohlfing directed both groups. And for the most part that works given the nature of the performances. They were vocal and on more than one occasion overshadowed the instrumentalists. For instance, The Jazz Pop Choir used a poppy color coding system to distinguish which group they belonged to. The male group came from the back of the Concert Hall, sporting reds and blues. I also spotted some burgundies and even some really loud versions of red. Each of the male members wore black ties.

With the female chorus they took on a similar approach except they wore these greens and purples. Oddly enough their attire was more consistent. And as the band played on, the female choruses voices carried from behind the audience gracefully, as they approached the stage.

Once both groups were in position they literally flooded the stage. Some members were lingering along the sides but still enthusiastic. In some ways it reminded me of my old high school choir, except the stage at Lane was definitely more suitable for larger choruses and bands. Whereas in Columbia’s Concert Hall, it didn’t accent these vocalists. Because their voices were far to large to be confined to such a small milieu. If one of the singers did a solo or if the chorus for that matter sung a verse in a high pitch, it sounded almost too loud. Sounds like this could have hit the audience as overbearing or a bit too rambunctious. The guy in front of me shook his head and plugged one of his ears in a disapproving way. Gestures like that can be disputed but, if implied it’s a fairly common gesture, just as laughter. Which also had its roundabout given light snickers when someone stumbled or sounded way out of tone. But for the most part the bulk of the audience was respectful. Because the performances were good both lyrically and vocally. It was just the lack of space for the performers. With a larger room mistakes or the choruses awkward tone could be masked. It would work to their advantage. Plus if they wanted, the band wouldn’t be totally sectioned off and pushed nearly halfway backstage. But either way each musician still played with their hearts. Especially Alex Marianyi on saxophone.

3CVJE on the other hand is another story. When they approached the stage they literally fitted perfectly, having six females (three Sopranos and three Altos) and four males (two Tenors and two Bass). Their clothes were kind of fancy. The men woredblack tuxedos with baby blue ties while the women in front wore these burgundy, champagne blouses. They were all crisp and clean like their sound and even more precise. The band although sometimes overshadowed, they accented 3CVJE. They were cool, all they needed were a few pairs of shades.

Feeling the music really got the performers into the mood and scat singing took center stage. It took normal vocal improvisation to the next level with vocal freestyling. Vocalists mixed random sounds and syllables usually without words and improvised melodies and rhythms so that they could create almost instrumental look-alikes.

All in all 3CVJE and the Jazz Pop Choir as well as the Bands’ performances were quite a sight to see. They’re an adroit band of performers and definitely worth listening to. They’ll be out on the prowl again at both Buddy Guy’s Legends and Spertus Institute with guest star jazz singer Mark Murphy on May 15.

Dave Chappelle

Everyone seems to know funny man Dave Chappelle and within the comedic realm his often times coarse antics have won him the spot light. On more than one occasion he can be seen on his Chappelle Show portraying a celebrity in the most outlandish of ways. Crossing the line or not with the infamous “Pee on You,” jingle or his Rick James impersonation and costume scramble. He’s taken his stand up to the next level with his misfit skits and for the most part fans are gobbling it up. Conversely in this phase of Dave Chappelles life he changes his course. He creates a Block Party in the mist of Brooklyn, NY on September 18, 2004 on Downing Street in the Clinton Hill neighborhood on the corner of Quincy. His life long dream manifested itself into the mainstream through documentary. Bringing together a collection of Musicians, old and new school. The line up included Mos Def, Talib Kweli, Erykah Badu, Jill Scott, The Roots, Kanye West, Common, Big Daddy Kane, Kool G Rap,The Fugees, Bilal, Dead Prez,Cody ChesnuTT, John Legend and Central State University’s Marching Band.

Dave was the Producer & Writer as well as funded the film with his own money. Along side director Michel Gondry, whose work load includes Eternal Sunshine of the Spotless Mind (2004), The Science of Sleep (2006) and Be Kind Rewind (2008). They were able to create Chappelle's Block party, inspired by Wattstax (1973 documentary). Just as in Wattstax, here we get even more of that life likeness and relatable feel that is in some instances more experimental. It doesn’t look overly flamboyant like most movies that hit the big screen. Its has its own appeal, reeling in comedic and concertgoers alike. The environment was unlikely and because no one saw Chappelle’s block party coming it made it all the more shocking. Everyone wanted to know why. And for those who knew about it and actually went to Chappelles concert they were able to respect it more. Because it was a collective experience and brought together people that before may have never even associated with certain ethnic groups. For me it got me to thinking about the little block parties the neighborhoods have. Its probably the one time everyone is able to come together. But unfortunately having said that, there is a entirely different experience and expectancy when seeing anything on the big screen. There are certain aspects of life one has to experience in order to receive the total message.

Given that clause Chappelle's Block party came out at a time when people were just getting over the 2001’s September 11th attacks. Some people were still in mourning. I can honestly remember all the God Bless America signs and the United States flags hung in every window and posted in every front yard, swaying from side to side. Some people may have thought that Chappelle’s movie came at a bad time because it could have easily been seen as, “He’s throwing parties in NYC when soldiers are off to war, hasn’t he got anything better to do?” Then we have other occurrences in 2005 that split the country even more. It fostered to the old ways when relief efforts more than just failed. The people in New Orleans were practically left to die. Bodies surfaced, and could be seen in the massive floods clutches. And news stations monitored it everyday. We saw people practically begging for help, asking when aid was coming and where is the government. One disturbing picture was that of Former President George W. Bush flying over the scene, staring out his window. FEMA failed to adhere to their policies. People were dying of starvation, heat, and even looting to survive. And every now and then we’d see someone being rescued from a roof. Military action was also administered to keep the peace amongst any hostile behavior.

It was a tragic ordeal. Hurricane Katrina, was no joke and Chappelle Block party in a way may have made it seem so. Other accounts included the runaway bride scandal, then later on came Dave Chappelle’s abrupt disappearance. Rumors surfaced that the comedian had a drug problem and that he checked into a mental institution in Durban. What had happened? Was it the pressures of Fame? Or perhaps something more prominent, internal that drove him to leave? He was offered over 50 million dollars for his comeback season. Something traumatic had to have occurred. I mean with the success of his movie, and his career status escalating, one would think Chappelle had no worries. And when he left, people that once backed him and who he called friends practically sold him out.

Doing some research I discovered that during the filming of one of Chappelles sketches (the incomplete season), a white crew member was laughing in a way that made him feel uncomfortable and ultimately rethink the show. Chappelle said "it was the first time I felt that someone was not laughing with me but laughing at me.” It happened during his pixies sketch. Where pixies appear to people and encourage them to reinforce stereotypes of their races. In the sketch, Chappelle is wearing blackface and is dressed as a character in a minstrel show. Which historically a minstrel show represented the satirical attack on black people in contemptuous ways and characterizing them as ignorant, lazy, buffoonish, superstitious, joyous, and musical.

But with Dave Chappelle’s Block Party we see him doing something totally different. He’s bringing people together, and for the most part avoiding injudicious behavior. Which if he hadn’t that could have been taken in a ton of ways, and in a lot of ways his block party became a truly positive thing. What I think happened was that he reverted back to older times when black portrayal was a practically negative image in society. He didn’t see himself as entertaining anymore, but more so feeding a monster. The crises that African Americans have often had to battle, self identity, stereotypes and racism.

Whenever it comes to the African American cultural experience nobody wants to hear of the tyranny of long ago. Horrendous tales of Slavery, Jim Crow, and Segregation. These issues are considered old news. Or the chains that weigh down the black individual. Some might say what's the basis? We live in a modern era where things like racism and ethnic notions no longer exist. It’s said time and time again that to move forward as a people African Americans must see past all the hurt and inhumane treatment of the past (and not just slavery). But that is what’s anticipated.

Over the radio I can recall a caller, clearly of Caucasian decent telling Black people to, "Get over it." And for the most part African Americans are over it; slavery and all its negative impulses. It's in fact the society, mass culture, pop culture and the media who've not. There are portrayals of the black individual that float around as clear as day. Negative connotations that anyone could easily turn a blind eye toward. And instead of most drawing the line, we instead hear, “Oh it’s funny, so it okay or Its only comedy.”

We have the Rap artists of today who are practically nesting on a fortune of rhymes that are not only derogatory towards women but are very polluting to the young minds. Who are already pounded with enough subliminal messages as it is. Isn’t it just a little too convenient how for every African American music video there’s a constant reminder of how they should act, look, talk, behave, and even think. Or perhaps how the acceptable more ideal beauty is lighter than the more darker toned person. In a study I saw not to long ago in a program entitled “A Girl like Me,” one portion of the video did a study on young African American children. Innocent boys and girls were asked which doll they preferred, the white or the black doll. Most of the children picked the lighter doll. But what was truly shocking was that one little girl in particular was asked which doll looks bad? She answered the black doll. And when asked which looks good she pointed the white one. Then when asked which looks like her she handed the speaker the darker doll. Its disturbing. This child may grow up hating the color of her skin. There’s definitely a warped sense of, mentality, self worth, identity and the ideal beauty. She was only a preschooler.

Then we see young black men practically thrown into a world of drugs in order to become like they’re musical idols, their favorite rappers. Its seen as okay, to be hustlers, that supposedly grind to make ends meet, to help a mother or to help themselves to get the latest name brand items. Because you’ve got to look fresh to be cool. And if you don’t then you’re a loser. Dropping labels in a song has become common place, and because a celebrity is rocking the latest fit then its imperative that the fans do so as well. It ultimately feeds into the materialistic grapple that not only plagues the black individual but anyone else who buys into it. It’s easy to get caught up in the storm.

Haunting words and images that were representational of the black community, the black individual as it seems are forever standing, no matter how muted it maybe these issues find there way back into the lime light. Dave Chappelle had to have seen this. In one statement he said he’d had enough. And that he was embarrassed with himself. He was looking through a narrow vantage point when it came to black culture, stereotypes and self improvement. Chappelle had to rise above his own stereotype, the stress of fame and what really matters. He did this with his movie. Back in his interview with Time magazine after his disappearance Dave Chappelle reported that he was staying with his friend Salim, and not in a mental institution or on drugs. He said he went to South Africa to find "a quiet place" for a while. He stated what he can do there is think, eat, sleep, and laugh.


(I saw Dave Chappelle Sundance Channels Iconoclast with Maya Angelou and he looked truly happy.)

Notes on Revision

Since I've never really heard of Arrested development my first instinct was to get as much down as I could about what the two episodes were about. But that didn't work so well because there's but so much that can get covered. So character discussion became the bigger issue for me. There were plenty of people in class who knew the characters, so I had to hit the mark. With the revision though I took a little detour. In stead of omitting a bunch of lines I used what I had and just built on it. Paragraphs were repositioned and sentences were moved into more reasonable places. I checked spelling and corrected the choppy sentences and made my statements clearer. Reading it out loud really helped and all the comments rocked. I think they all helped make this revised version ten times better than the original.

Arrested Development Revised

The Bluths have got it. An as the pilot episode begins it sets us in Orange County California. Michael Bluth is standing near the railing of the boat looking out at a vast ocean smiling. Elevator music with a beach hippy feel plays in the background and the executive producer Ron Howard acts as narrator. Everything looks good on the surface. Money’s no object an as long as they can remember it has been more than enough to feed their lavish needs. It being embezzled money.

Michael Bluth, played by Jason Bateman, on the other hand disagrees with the families, “to good to be true finances.” He’s the nice guy that’s been a loyal worker in his father’s company for more than ten years. Michael’s also a loving father to his young son George-Michael Bluth (Michael Cera) and the attic resident of his father George Bluth Sr.’s (Jeffrey Tambor) model home, which as bizarre as it may sound, still functions as the companies’ selling tool. But as Michael sees it, everything up till now has been worth it, even the infamous banana stand. Because what Michael wants most is the promotion. Who else could be more qualified? Gob? Buster? Lucille?

George "Gob" Bluth II (Will Arnett) is the oldest brother. Gob pronounced, “Job,” is a part-time magician. Tony Hale plays Byron "Buster" Bluth. He’s the youngest / graduate student who’s frequently seen trying to give his family back massages. And Lucille is the family’s resident head case. “Charge it,” is her middle name.

At the boat party more qualified family members pop up and engage in conversation with Michael. All the while the narrator introduces Micheals’ family members giving their occupation. However, Ron hints at more than the usual name and label most folks are use to. Given that connotation the narrator not only hands us these small side notes about the actors and actresses in character but the players themselves throw bold curve balls.

Lucille Bluth is one in particular. Played by Jessica Walter, Lucille comes out of left field with the comment, “Look what the homosexuals have done to me.” Very risky but strangely enough it’s given a slick comeback, played off by Michael, “You can’t just comb that out and reset it?” Sarcastic and wacky mellow dramatic lines like that are prominent in this show. And where Arrested Development succeeds other comedic sitcoms seriously flatline. Because there’s always the cliché slapstick comedy or those moments of awkward silence that we all know too well. But to hear the actors/ actresses to poke fun at the norm in a way that unravels our way of thinking is worth watching. Areas of society that are in most cases off limits and can become offensive make for peculiar yet interesting topics.

Take Lindsay Bluth Fünke (Portia de Rossi) Michaels’ twin sister and activist. She’s definetly the socialite Lucille’s daughter and is by no means short when it comes to words. “It’s a Doberman let it have its ears,” is one of her just being frank quotes. Her voice is raspy with a hint of old Hollywood. She’s married to Tobias Fünke (David Cross) whose presented as questionable and is no doubt made fun of. Their daughter is rebel Mae "Maeby" Fünke (Alia Shawkat) and in a bizarre chain of events is impossibly the love interest of George-Michael Bluth, maybe.

The Bluth family indeed plays their role, leaving little to the imagination. Unfortunately poor circumstance ensues. Papa Bluths been digging a little too deep in the cookie jar and now due to his father’s sudden arrest, Michael must lead the family that he wants no part of. This swift change of events in the Pilot episode also leaves Micheal Bluth’s dream of succeeding his father, just that, a dream. His world seems to crumble at the announcement of his mother’s name. The scene was like that of someone who’d prepared an Oscar acceptance speech and didn’t touch the stage. The tough plow didn't end there as their boat was raided. The father was taken into custody for swindling money from the company. It’s up to Michael to pull the family together should he accept.

In the coming episode," Top Banana" Michael is literally thrown into this massive responsibility. The family’s practically broke and they’re all living under one roof. Tobias is job hunting but Lindsay actually books the jobs. Young George-Michael is promoted to Mr. Manager and he’s keeping his teenage urges at bay, with his cousin Maeby as his employee. George Bluth Sr. is working the family from behind bars like a mob boss. His wife Lucille is definitely his right hand.

Finishing The second episode not only did it branch out on other characters but it continued to keep the focus. There were times when it jumped around, but as the episode progressed you could see how everything connected in the end. Because the angles that were given weren’t solely Michael Bluths (even though he's a big part), we saw other relatives.

Arrested Development is witty and foreign to the reality tv show arena. It’s funny, realistic and enjoyable. I predict more changes in the characters demeanor and growing closeness of a family due to circumstance. Michael may even discover that no one’s ultimately in control and that even if failure awaits him, he still has his dysfunctional family to hold onto.

Arrested Development

The Bluths have got it. It being embezzled money. Which as of lately has been more than enough to feed their lavish needs. Michael Bluth, played by Jason Bateman, on the other hand is discordant and seemingly looks to be the all around good guy, which just so happens to be the case. Micheal’s been a loyal worker in his fathers company for more than ten years. He’s a loving father to his young son George-Michael Bluth (Michael Cera) and the attic resident of his father George Bluth Sr.’s (Jeffrey Tambor) model home that still functions as the companies’ selling tool. He wants the promotion, who else could be more qualified? Poor circumstance ensues, papa Bluths been digging a little to deep in the cookie jar and now due to his fathers sudden arrested, Micheal must lead the family that he wants no part of…

As the pilot episode begins it sets us in Orange county California and Michael Bluth is standing near the railing of the boat looking out at a vast ocean smiling. Elevator music with a beach hippy feel plays in the background and the executive producer Ron Howard acts as narrator. Family members seem to either pop up and engage in conversation with Michael or he finds them, and as we soon learn having his own secret agenda in mind. All the while the narrator introduces Micheals’ family including their corresponding occupation. However, Ron hints at more than the usual name an label most folks are use to. Given that connotation the narrator not only hands us these small side notes about the actors and actresses in character but the players themselves throw bold curb balls.

Lucille Bluth is one in particular. Played by Jessica Walter, Lucille comes out of left field with the comment, “Look what the homosexuals have done to me.” Very risky but oddly enough it’s given a slick comeback played off by Michael, “You can’t just comb that out and reset it?” Sarcastic and out there mellow dramatic lines that you don’t normally hear poke fun at the norm, areas of society that are in most cases off limits become they can become offensive to different groups. The mother /socialite isn’t short when it comes to words and neither is her daughter Lindsay Bluth Fünke (Portia de Rossi) Michaels’ twin sister and activist. Her voice is raspy with a hint of old Hollywood. She’s married to Tobias Fünke (David Cross) whose presented as questionable and is no doubt made fun of. Their daughter is rebel Mae "Maeby" Fünke (Alia Shawkat) and bizarre very impossible love interest for George-Michael Bluth, maybe.

The oldest is George "Gob" Bluth II (Will Arnett). His laughs although not trying to be funny, are more serious and straight forward. Gob pronounced, “Job,” is a part-time magician. Tony Hale plays Byron "Buster" Bluth. He’s the youngest / graduate student whose frequently seen trying to give his family back massages.

The Bluth family indeed play their role, leaving little to the imagination. Thus character study is leaked rather than a guessing game. In a swift change of events Micheal Bluth’s dream of succeeding his father ends at the announcing of his mothers name. The scene was like that of someone who’d prepared a Oscar acceptance speech and didn’t touch the stage. The tough plow didn't end there as their boat was raided. The father was taken into custody for swindling money from the company. Its up to Michael to pull the family together should he accept.

In the coming episode," Top Banana" Michael is literally thrown into this massage responsibility. But he soon learns that even if failure awaits he still has his dysfunctional family to hold onto. Another thing that I discovered with this second episode was that it not only branch out to other characters but it continued to keep the focus given the weird plot. There were times when it jumped around, but as the episode progressed you could see how everything was being pulled together. Because the angle that were given are not solely Michael Bluths (even though he's a big part) but that of other relatives. I predict more changes in the characters demeanor and growing closeness of a family due to circumstance. Arrested development is witty and foreign to the reality tv show arena. But Its funny and realistic and enjoyable.

Blue Note 7

Define Jazz.

By definition it’s strong yet flexible in sound and composed of rhythmic understructure. There are basic tunes, chord patterns and a highly sophisticated harmonic idiom.

With Blue Note 7s’ performance at Columbia Colleges’ Music Center Concert Hall came all this and more. This all star band features septet comprising pianist and musical director Bill Charlap, trumpeter Nicholas Payton, tenor saxophonist Ravi Coltrane, alto saxophonist/flutist Steve Wilson, guitarist Peter Bernstein, bassist Peter Washington, and drummer Lewis Nash. They came out to celebrate the 70th Anniversary of the Blue Note Legacy. And with these jazz musicians came a following unlike any I’ve seen. There were old folks, youngsters and most importantly college students.

As the band opened up, the audience like your typical spectator seemed anxious enough. From the quiet throughout the crowd the band knew what needed to be done. They passionately let sound loose and while their harmonies came together the audience indulged itself into the jazzy relief. As their sound increased we could hear the fierceness of what Blue Note 7 had to offer us for the night. What to be expected was no longer unknown and from the approvals shouts, whistling and oh yeahs the audience knew without a doubt that this concert hall was the place to be.

Announcing their next song, Blue Note 7’s sound shifted suddenly. It came off lighter as they gave tribute to the late Jackie Mclean, playing, “A Ballad for doll,” a song he wrote for his wife Dollie. You could feel the romance within this song. It spoke even with the lack of words. Their sheet music spat variation and with their next piece “Mosaic,” came the more in depth jazz feel. Solos and ensemble improvisations were spot on. The musicians were covert in their approach at first then broke out into intense instrumental scores that intermingled with the crowd. Each band member stood out. The trumpeter, bassist and drummer really did it of me here. They were intense and bold taking full advantage of their solo pieces. Rehearsed or improvised they pleased.

The crowd roared for more as the band thanked everyone then exited stage left. Cheering continued and to our surprise the band came back out all too eager. They played Party time, and shook the concert hall.

Blue Note 7 will be traveling the world throughout 2009 during their 70th Anniversary Tour

Distorted Signal

To say Larry Gallaghers’, “Can I Go Now?” is conventional is a bold understatement. Its brazen, awkward and beyond the holy sh*t, “I’m deep,” innuendo. There’s depth to his lyrical miscommunication that tosses the listener like a salad. And instead of holding the ghastly onion or adding a pinch of ground pepper, Larry offers audiences a new flavor; one of congested harmony, ill subject matter, and candid vocal structure.
Where has this fellow been?

Once a magazine journalist, turned Zen Buddhist monk, now a solo artist Larry’s definitely been busy…And is by no means new to the music biz. His first CD, “An Endless Chain of Accidents,” got his artistic expression underway. Unfortunately he’s not your typical music man. His corky sound seems to have been lost amongst the massive mainstream tidal waves that hog airtime on local radio stations. But it’s perfectly understandable given his bizarre and wayyyyy off the wall topics in Can I go Now i.e. Try not to think of bugs, Little Martian Girl or the always distracting Horny teen sluts.

Can I go Now’s song selection is strange and otherworldly in atmosphere. In, “Try not to think of bugs,” it opens with a combination of instruments, flute, oboe, tenor saxophone and even the bassoon. Listening to the symphony behind Larry’s voice is far more compelling than squirming in your seat at disturbing lines that constantly kick off, think of bugs. The “Tarantulas live only in the south, And they’re much too big To climb inside your mouth,” line is perhaps every arachnophobes nightmare. Tarantulas do that? They seriously climb in the victims mouths? This song fuels every bug loathing icky sound. Clammy hands and weak stomached alike will be haunted by the earwigs marching and the fly’s tongue magnified. I must admit Larry’s got quite a bit of dark humor in his lyrical flow which isn’t necessarily geared to entertain but possibly added for shock value.

Take the song “Horny teen sluts,” for instance who writes that? Larry does. And needless to say he does it with little regard to the listeners taste. He slaps in the piano opening in a classical tone, slow and blah. Then all of sudden, we’re thrown into a explosive B-3 instrumental take over and explicit lyrics procreated to sound playful yet alluring.

With Little Martian Girl and Tired of Me, we get a softer side to this eccentric artist. There just like any other love song. We hear the time consuming longing, the need for someone, and wanting something that’s no longer there. It’s the redundant love after heartbreak song. Larry uses this pitch to create the eerie plane that spooks audiences in Little Martian girl, but pierces our hearts in Tired of me. Each makes good solemn stories and unlike his other songs is suppler in background music. In Little Martian girl he uses the Theremin, Clavinet, Wulitzer, B-3 and the Prophet. The sound is not as bluesy as Tired of Me (which uses the reed organ) but it definitely has a few ounces of it given the spacey theme.

Other tracks, “I am better than your God, You look so good in clothes and I’m sorry for what my people did to your people,” are questionable. They very well could be intentional given his weird tone throughout the CD. But as far as subject matter goes these selections are very much skip button material. Give or take, “You look so good in clothes,” because it has a jazzy feel that might appeal to some, minus the lyrics.

Poetic in undertone, wordy and very much detailed, Larry Gallagher is a writer by trade. He’s a man of many instruments, and of many friends. Being modest his singing isn’t the best. He’s highly different from the Beyonces’ or the Jared Letos’ of the world. His work is unpredictable in nature and mixes yet rarely matches. Thus his works are seen as distortions of his bigger mental picture. Some might find this CD pointless, a jumble of random words, instruments and a gaggle of suggestive material, which only leads into the, “he shouldn’t have said that,” arena. While others may spot a fresh perspective.

Either way it’s worth a listen whether on the actual CD or a sneak peek on Rhapsody. Larry’s work has the ability to stick with you regardless of it being good or bad. It’s guaranteed that audiences will go away remembering a certain line, or a strange instrument amongst the commotion that is, his music madness.

Immobile Subjects

Photography as an art is often times misunderstood. It may not jump out of the frame like a painting does. But it definitely has its perks.At Columbias' Museum of Contemporary Photography (MoCP), Bettina Hoffmann and Florian Slotawa show that perk, can be compelling, thought provoking even eerie.

In Hoffmanns' piece, "La Ronde," a 12 minute dvd, the audience is exposed to a variety of scenes depicting real life through staged scenarios. Scenes like the Breakfast scene showcase a believable family portrait. We see the family sitting at the table, each looking to have their own role, the father, mother, first son, the second oldest daughter, third son then the youngest son. The room is naturally lit and instead of Hoffmann filming the family engaging with each other or even eating, she instead breaks the scene down into a series of stills, like one big rotating photograph. As the artist puts it, the camera circles around the periphery of people traveling through space, and the surrounding objects within a photograph.

With the first scenario being the breakfast scene, we get a glimpse of this normal looking family. Their lives are up for public scrutiny even the environment they’re housed. How come there’s little food on the table? Or how come the daughter has a look of distain on her face, as she holds the pen in her hand? Her face is anxious about something. The youngest child is literally passed out on the table. We see someone in deep thought. The mother, with semi-dark shadows under her eyes and the guy at the end of the table with his hands folded midair under his chin. Why is the son sitting beside the father starring at him with unease? However the fathers’ look is stoic. Going around the table at first glance it looks like your average family breakfast.

The audience no doubt takes on the roll of director or peeping tom, as the camera navigates through a scenery of objects and even human subjects that are frozen in time. Hoffmann calls her human subjects static objects. Because they are living beings within the piece, unnaturally imitating the always motionless objects that are so to speak, "just there." They take on the likeness of objects and formulate a sort of disconnectiveness to the supposed structured family and it fits. What should the modern family look like? Hoffmann raises questions, about her subject matter and through her stills.

As the camera slowly rotates from left to right, it not only takes the viewers focus off of one person to another but it in fact opens up the space, so that we are allowed to see more than just the static objects. We see their environment, thus things like what they drink or what look they have on their faces become even more intriguing. The rotation process in its own mind is a bit redundant, but it gets Hoffmanns' job done, giving the piece a narrative appeal. The low almost ambient sounds accompanying each piece within the video, gives it a dramatic maybe even a slight theatrical undertone. It's no wonder she used film to showcase her photography then just take snapshots. She changes our way of seeing.

With Florian Slotawas',"Hotel Europa,"on the other hand his photographic approach may seem normal at first glance, but there's a definite spin. Just as Hoffmann he opens up the two-dimensional surface, except he creates individualized compartments of livable habitat. His subject is the space itself and within that space he proves that dimension is ever present. Given the look of his pieces, it may seem odd. Because each picture looks to be the same thing (just as with Hoffmanns rotations) but with each new photograph a new aspect of what the bigger picture represents becomes clearer. Unlike Hoffmanns piece, Slotawa allows connection. It may seem redundant, look blah but it allows for us to reevaluate ourselves and these objects that create dimension to our spaces.

His sculptures look like mini houses, cubicles, cave like dwellings or even childhood fortresses. Slotawas' mini homes are created within larger spaces using furniture , personal belongs, found objects and even furniture from hotel rooms to create makeshift sculptures.

Both Hoffmann and Slotawas' pieces have a PhotoDimensional appeal, given the relationship between sculpture and photography. Within their pieces the viewers perspective is constantly challenged. One in a cinematographic way and the other more simple; but no doubt both artists truly give life to the immobile subjects within these fixed moments in time.

Nikki Lee

My initial reaction to Nikki Lee's photographs were somewhat intriguing. Some reminded me of the pictures friends take to preserve and capture memories. While others looked to be more staged, yet they still maintain that certain candid realness about them. For instance the photograph with the skate boarders, was very poesy in a way ( i kept getting the notion about three, like the trees in the back, the trio of friends and their skateboards). Even so I still got a sense of real life in it. Another photo was the Hispanic women posing for the camera at the parade. Again another photo that captures a timeless moment. There smiles weren't fake and it was clear that they were enjoying themselves.

Its the first time I've seen Nikki Lee's work and I found it quite interesting that she took a get your hands dirty approach. Not only was she capturing real moments but actually becoming the persons she portrayed. Nikki took on the role many may not respect the poser. But it works in my opinion for her overall purpose. She's a actress, literary posing for the camera. Real or not its still brings up the issue about honesty, and what

With Nikki Lee's work she's always apart of the picture, becoming one of the crowd. And it does make for a interesting social experiment. It raises questions about the division between social groups, ethic stereotypes, moral values, lost of individuality in the mist of the crowd. And what is considered real and whats genuinely fake.

Notes on Revision

Honestly I felt it was necessary to edit my review on The Death List because I really did enjoy the book and I didn't give it the credit that it deserved. So I took to the suggestions of my peers, professor, and even other people. I asked around. Everyone had the same point. My need to chop that lengthy summary was a must and I had to put more of my analysis within the review.
Phase one I scrapped the entire first paragraph taking into account what Jonathan commented, "leaving enough holes in it to make the reader want to go out and read the book." This is what initially got me fumbling through parts of my review that would not only draw the reader in, but leave enough room for my analysis. And possibly enable me to discuss the author a bit more or maybe his reason for the book. Alex made some good comments as well. I took what he said into account, like some of the sentences being awkward and narrowing down my summary to two paragraphs.

That part wasn't hard at all given all the writing I had to work from. The only other issue was what to drop? Some parts could be reworded or moved to a different area of the review while other bits couldn't work without their other half. Aubree stated in her comment that I had a lot to work with and yes that was a given. But her, "less is more," idea really worked for me. And with phase two came the toughest decision. I took the WD character out of the review ( not totally because he is the epitome of the White Devil concept). WD is a complex character and if I were to explain him in depth, like I truly wanted, the review would have become more of a character study. Its best for the reader to discover this person on their own, and draw their own conclusions. Plus from the first review of The Death List, I jumped around. Trying not to give away this person (WD) identity, and made it a bit confusing for readers. Cutting him was the only option.

After rereading the older version multiple times, I still don't think I had much of a voice, and my details just went way overboard. Balance was needed and I took to editing my piece right after class.With phase three in motion I went in depth with my analysis and wrote a bit about the author. I proofread and edited again. I tend to write a lot so its still a bit long but in the end I gave the reader a taste of what's to come.

Revised: The Death List "What a mockery hath death made of thee?"

Step into "The Death List,"a spine twisting thriller, woven from the mind of award winning crime writer Paul Johnston.

Dwelling in a crappy two room flat, he can barely afford. Matt's' writing career is dead and his idea of a master plan is nonexistent. He throws his publishers and even his ex-wife under the bus in order to muster the self fulfillment he’s missing. One reason because his books aren’t selling like they use to and he’s been out of commission for quite sometime. His outlook on the biz is that publishers are looking for the hot young twenty somethings. Not the rugged looking author, whose photograph scares more than one sensitive child. Not to mention his website is also on the brink of extinction. Instead of averaging five messages a day from adoring fans he’s lucky to get five a week. His daily displacement activities include, checking his mail box, browsing his email, and even personally replying to responses from whomever is left of his fan base.

Still what more could a guy ask for? All Matt could do was hope, or…beg but even that demolishment of dignity was in vain. So he’d gone off at the mouth an kind of torched his career. Things would get better…Even if the money wasn’t piling or the creative juices weren’t flowing. Its just a small rut. He’d come back on top again…So he thought.

Trapped within the great abyss of self pity, abandonment and folly, crime novelist Matt Wells finds himself in a dire bind. With the devil pulling the strings.

Unlike Paul Johnstons' Quint Novels or even his Greek Novels, The Death List strays away from his usual routine (the Greek setting, fictional location, futuristic take or the Private eye ). In fact The Death List is set in London, a place the author calls home. The voice approach with this book was different as well, making good use of the third person format. We truly get to see inside the mind of Johnstons vibrant characters, raw and uncensored. The reader holds the secrets to the uncertainties of character situations but those discoveries may or may not elude to what may befall Matt Wells.

The Death List not only portrays a more personal aspect of how Johnston felt as being out of the loop due to illness but the relationship between a crime novelist and his/her material. It's quite interesting; what lines might a writer cross for that number one best seller? Whether threatened, bitter or just revenged crazed could ones sense of morality be swayed given the situation? What's truly good and what is evil?

Paul Johnston takes a interconnected approach as well, which can either make for an interesting turn of events or a confusing one. Rereading is not the option for everyone but given suspenseful aspect to the material it’d be worth it. Every detail has meaning unraveling fact after fact. In some instances statements are reiterated to display/build on key personality attributes and morals of different characters or even to lump a particular group together. Like the White Devil notion from Websters plays. These people were the hypocrites, corrupt evil doers lurking beneath layers of apparent probity. Johnston modernizes yet recycles this idea putting Jacobean revenge tragedies to good use. Setting the scene for an unlikely ending that'll have audiences raving.

The Death List "What a mockery hath death made of thee?"

Step into "The Death List,"a spine twisting thriller, woven from the mind of award winning crime writer Paul Johnston.

As the story opens we learn upfront about Matt's current situation. He and his ex-wife Caroline are divorced and have joint custody of their daughter Lucy. In agreement the normal arrangement is he accompany Lucy to and from school everyday, making sure she gets home safely. One of the bigger perks is that he gets to spend time with her on weekends. But Caroline is this fun loving eight year olds primary caretaker. So Matt had better not half step with this woman. She got the house in the divorce settlement and no way is ashamed to show her harsh true colors. And as Matt said she’ll take any excuse to rid him from her and Lucy’s lives.

Sticking to routine, Matt manages to keeps close to his daughter. He lives just around the corner from his ex-wife. Dwelling in a crappy two room flat, he can barely afford. His writing career is dead and his idea of a master plan is nonexistent. For a while the reader can find him or herself straggling right along with Matt and his antics. So to speak he throws his publishers and even his ex-wife under the bus in order to muster some self fulfillment he’s missing. One reason because his books aren’t selling like they use to and he’s been out of commission for quite sometime. His outlook on the biz is that publishers are looking for the hot young twenty somethings. Not the rugged looking author, whose photograph scares more than one sensitive child. Not to mention his website is also on the brink extinction. Instead of averaging five messages a day from adoring fans he’s lucky to get five a week. His daily displacement activities include, checking his mail box, browsing his email, and even personally replying to responses from whomever is left of his fan base.

Still what more could a guy ask for? All Matt could do was hope, or…beg but even that demolishment of dignity was in vain. So he’d gone off at the mouth an kind of torched his career. Things would get better…Even if the money wasn’t piling or the creative juices weren’t flowing. Its just a small rut. He’d come back on top again…just like, WD1612 said. Not a friend nor foe, just a constant aggravating fan. High in praises yet read in between the lines lingo. Matt gave this stranger a glimpse of the real him and WD, took full advantage.

His on going project…

The email Matt opened that day was taunting. Who was this person, how’d he know his name. Not only did WD have information on Matt, but that of his lover Sara, his ex-wife, his daughter, mother and even his late father. He knew of his friends, the home in which he’d resided and even the name of his real birth mother. WD was smug about Matt’s real father boasting about how he could find him, just say the word.

WD’s proposition, sounded like any other person seeking a ghost writer to foot their autobiography. Just another freakish escapade? Or the incriminating ploy involving something bigger. Either way dirty money lay outside Matt’s’ door, “literally cash up front.”
What choices? Was he just a desperate man of wounded pride? Banking on revenge, just as sinister as White Devil ( hypocrites, corrupt evil doers lurking beneath layers of apparent probity). Or is Matt protecting his loved ones?

Trapped within the great abyss of self pity, abandonment and folly, crime novelist Matt Wells finds himself in a dire bind. With the devil pulling the strings.

The pace of the book is smooth and at the same time it speeds up rather fast. Lets just say the body count just keeps on coming! The urge to pull away is reasonable, given the long length and some gore. But remember this is crime fiction.

Even so, Paul Johnston takes this interconnected approach, which can either make for an interesting turn of events or a confusing one. Rereading is not the option for everyone but given suspenseful aspect to the material it’d be worth it. Every detail has meaning unraveling fact after fact. In some instances statements are reiterated to display/ build on key personality attributes and morals of different characters.

Throughout the novel there was always something eerie about how WD spoke. Even in the portions of the book where the Author Johnston allows the reader to peer inside the head of a born killer; It not only set the scene but provoked this unknown fear. Just thinking that there could be someone like WD out there watching is in a sense, spooky.

Lost in Hair Trigger

By self diagnosis, I'm a reader by default. And every so often I undergo a tedious search for fresh material. This weeks assignment gave me that opportunity within the realm of Columbia College publication. However from a students perspective, I was a bit skeptical. I've read other publications that Columbia has done like the newspaper, Echo, Demo, and occasionally I browse the theatrical journals in the library (possibly done by graduate students) but I wondered if I'd really be able to enjoy something I knew absolutely nothing about. So because I wasn't to familiar with any other Columbia publications, I focused my attention on one of the suggested publications listed on the assignment sheet, specifically Hair Trigger. Its name didn't ring any bell and it sounded odd enough that it definitely deserved being investigated. Going in I had one preconception, that it wasn't a magazine, because if it were I would have caught notice by now and another that it's very possible that its a collection of graduate student work but either way I still had burning curiosity.

My search began in our schools library 600 South Michigan. Through the main entrance the library is a straight shot past the elevators. The environment inside was like a graveyard, vacant computers, empty coffee stand and resting printers. I wasn't too surprised, seeing as it was a Saturday morning. But unlike the practically desolate library, the staff were all to eager to help. My journey lead me to the fifth floor, section 810.8H153, where I found a collection of Hair trigger issues. I picked up the oldest book, it had to be issue 11 or older. My first instinct was to flip through the pages so I fed into that urge effortlessly. Wordy, was the initial reaction. No pictures included in this issue, and for people that tend to be more visual, this may not be their type of literature. But for the folks who enjoy a bit of meat added to there reading diets no complaints here, it's definitely something that one should look into. But for the sake of the other breed of reader, I practically went through the entire assortment of Hair Trigger issues until I found one that had literally a pinch of visual among the endless words. These eight images go from black and white to color and each conveys a different story. Its a lot like illustration in a way, each significant yet in some ways abstract in meaning or purpose. These stories aren't always as clear and concrete as writing.

Hair Trigger unlike other Columbia publications is the Colleges' fiction writing department's anthology of student writing. Its a collection of prose fiction and creative nonfiction all done by both undergraduate and graduate students, at all levels of study. While reading issue 29 I also discovered that these works come from core courses like Intro to Fiction, Fiction writing (I, II) Prose forms, Advanced Fiction, and Advanced Prose forms. Fiction seminars are included, even story work shops, critical reading and writing classes, playwriting and these works can be of any genre. Hair Trigger is no stranger to award winning, racking up First place prizes in national competitions from the Association of Writers and Writing Programs, the Coordinating Council of Literary Magazines and the Columbia University Scholastic Press Association. Plus within the preface it speaks of students actually building successful careers. And even winning their own individual awards.

From first glance this looks like your typical short story book but its a community of writing that's actually being done within the college. The cover of issue 29 is a black and white photograph with children playing in water from a fire hydrant( most likely on a hot day). There's wear to this book which adds even more realness to this issue and its material. The writers are both male and female, and the chapters are arranged according to class. The titles are off the wall as well but there are certain read between the line aspects to them. My favorite was "Strange Transit" by Emily Gindleparger. Its not as long as the other stories but I could definitely connect to the character in a uneven kind of way. And it wasn't written in the usual restrictions that writing has often imposed. Which is the story behind all the other writing in this issue of Hair Trigger.There are other stories like the Photography Essays Welcome to New York: A Visitor's Guide by Matt Nighswander and then Johnathan Gitelson's "What Does it all Mean?" Chelsea Laine Wells story Grit was another story I found intriguing, it was so different from any literature that I'm use to. "Breaking ground," by Jon T. Tarack was another story I enjoyed.

The writing and even the few images in issue 29 of Hair trigger from what I've read all have this wholesome sweetness to them, while others are raw and even a bit gritty. Its a nice assortment of short stories that could get anyone in the mood for reading. Plus its student work, and how often do we get to read the thoughts of other students, so uncensored (not in a bad way). Its a chance to actually get to read something published by someone who was probably just as lost as we are. Or for that matter just as sure of themselves as we are. Although there aren't many pictures in Hair Trigger and its lengthiness may frighten, it still has a bit of everything for any type of reader, what ever your preference. It may not be for everyone but there are stories that are worth reading.

Please No videotaping or flash photography: Lecture With Anna Deavere Smith

Who is she? Who is Anna Deavere Smith? I don't know some celebrity... Have you seen her before, heard her speak anywhere else? Nope.

Constant chanting filled the lecture room. Uttering, due to lack of knowledge or for that matter what to expect. Some sat quietly, patiently waiting for the speaker to arrive. While others continued the most common ritual, talking. Educated guesses and every now an then pointing drew my attention. Not rude behavior just slight hand gestures; suggesting that a certain someone was indeed Smith, the celebrity in question. But that's gossip, and had I or other unsure students been equip for a such a unprecedented lecturer, our initial reactions would have been obvious.

Her words wouldn't have hit us as hard, creating a totally new environment around us. We'd be rattled and the adrenaline in or bodies would be as clock work and our thoughts would go into motion. Forewarnings of boredom would be out of our minds and we'd hunger for more. Questions we'd want to answer because there's no judging. Smith reached out to the audience telling us to question the official truth, develop an ear, voice opinions, create. She vouched for communication, diversity, creativity, identity and responsibility. Saying that they are all aspects of life, that we the people must be willing to except if change is this nations goal. Anna Deavere Smith referenced President Obama creating change but as he said unable to do it alone. Smith spoke of after his inaugural speech, saying there was so much trash on the ground. How is that creating change, how is that being responsible?

Why was there so much trash, if so many people believed in Obama, listened to his speech and yet nothing differed. Maybe its because so many people are accustomed to not taking care of the outside environment. It could even be laziness or the notion, this isn't my house or they've got workers assigned for that duty. People came together connected and still at the end of the day when back home, went back to their normal routine, back to the same habits. Even after one of the biggest defining moments in American history. Yet we want change and are unable to change ourselves. If we can't do a three sixty or at least a partial change in moral standing or in lifestyle we can't just expect our President to do it all alone with just his white house staff. Smith is saying that we've got to be together when it comes to change. Because to make a difference it has to be clear in our mind. And not only that but Smith made a statement about, there are more and more forms of communication (electronic) yet less real communication (perhaps verbally & artistically).

When the three figures, 2 male and 1 female, emerged from the door to the right of the stage; I could have never imagined what I or anyone else in that audience was in for the afternoon of Jan. 27th . What new perspective we'd gain from this renowned Actor, Playwright, Professor and Author. This woman who took stage, mic in hand, bottles of water at the ready, ponytail, prepared and unconventional at its best. A person who everyone out there should know, even if you've never read her books heard her speak, seen her act. You won't regret knowing at least her name, being eager or curious. Even if your a newcomer or a person whose interested in her work, any person cannot help but be blown away by the creative mind of this woman. A citizen like you an I. Someone who practices what she preaches and has a laundry list of accomplishments to show for it.

Anna Deavere Smith wasn't there to lecture you on the right and wrongs of the world or to tell anyone what to do. She just wants us to take a moment to examine ourselves, reevaluate our reasons for things, question societal restrictions, explore to what extent are we using our projects. And to ask ourselves, what will the art institutions look like that we create?

Writing

In the past I cringed whenever someone would speak about writing. It always felt like a chore or that thing I'd put off till the procrastination candle burned out completely. Because who really wants to write? Who wants to put together a lengthy research paper or go through the hassle of the printer getting jammed? Or having your work slammed by other writers who indeed look the part when a quiet person like me does not. Expression is a big deal in writing. Putting ideas in words rather than visually displaying them. Someone has to read your paper, your article that novel. And back in the day I didn't have the passion for it, for writing. We see all the time other people condemning a piece because it doesn't have that edge, or if its something like poetry, then there's a series of problems if it doesn't have a certain rhyme scheme.

Change that do that. Add a little tid bit there about-- it just goes on an on. Others trying to change the other for the better, when sometimes it just comes off as no your wrong. Don't you know there are rules to these things, to writing? Strict grammar, avoid use of slang, write clearly, change your style. It was never, why not make changes to your style, so that it works? So that it'll convey the message the author is tying to articulate.

But that's how writing was for me, at least when I was younger. As I get older I'm beginning to understand myself as a writer and as an artist. I found writing to be one of the biggest tools I have besides all the paints, old pens and canvas boards. I became what I typically refer to as a Emotion writer. I live and breathe for it no matter the genre (unless its research then that's a different story). The biggest aspects of writing for me would have to be poetry and fiction writing, movie reviews are definitely apart of my love for writing, plays as well.

Writing is necessary and is just as much a form of communication as an art exhibition or a movie poster.Creating art and writing are time consuming but that's the thing, you've got to gain that experience. Everything can't be totally visual because expression is more than just that ( and vise versa). As a artist I've always felt that everything I learn will make me stronger good or bad. I want to be versatile, and be good at more than just drawing because everyone eventually got to make a living. Who knows what could happen down the road. I may want a novel. But first I have to make my writing better, for myself, because that's the only way others will be able to feel it.