Tuesday, April 28, 2009
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.
Monday, April 27, 2009
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.
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.
Monday, April 20, 2009
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.
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.
Monday, April 13, 2009
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.)
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.)
Monday, April 6, 2009
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.
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.
Monday, March 30, 2009
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.
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.
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