Call-Response-Release

How do you review the arts?
For me this question only leads to more questions. First of all, what are the arts? Should it be how do you review culture? And furthermore, why do we need anyone to review it?

This may sound cliché, but art can be anything and everything. From the exhibit at the A+D gallery at Columbia College, to your masterfully designed toothbrush with the tongue scraper on the back, the romantic mid-life crisis comedy flick, or perhaps even the pile of bricks next to the sidewalk on Broadway. It’s all art. This may be somewhat of a post-modern stance, but where we sit today as a society we are gradually reducing our reality and culture to a greater discourse of abstraction.

In 1980, Hans Haacke wrote that “purely visual art is increasingly unable to communicate the complexities of the contemporary world,” recommending, “hybrid forms of communication, mixture of many media, including the context in which they are applied as signifiers.” So I believe the role of the critic is to evaluate the success to which the art piece is conveying the intended message; and his job is to break down the signifiers and try to communicate the context of the piece.

How I review the arts is best explained in this quote from Lucy Lippard’s writing, “ The Lure of the Local.” “‘Call, response, release’- as a metaphor for the communicative art process, from society to artist to community. Connection of people and places, with the artist as medium or catalyst, comes first.” The role of the critic in reviewing the arts is to give their response to the art piece and artist, to dispense the context, and to describe the extent to which it is successful. Of course this opinion is purely subjective, but a critic develops an analytical eye and a format for reviewing that a normal art-goer may not possess.
“The criteria for art and for public interaction diverge so drastically that the education of public artists and their publics (including their critics)-together-is crucial.” Yet, sometimes people don’t see it as crucial because it could be argued that a critic’s opinion is just another stance on the artwork—but I truly think anyone can benefit from differing viewpoints.

So when I personally review the arts I’m trying to let the public know the straight info and facts on the piece, exhibition or show, along with what the exhibit is trying to do or convey, and to what extend it succeeds or fails. With this basic outline the critic is also entitled to slip their opinion in as well. They respond and then release. But if only it were as simple as it sounds. Critics have a lot of power; they can come together and make a nobody someone, or do just the opposite and knock a well-known, famous artist off their pedestal.

Without the critic in our world I think art in our society and culture would not posses as high of quality because there wouldn’t be a critical eye scrutinizing it, and the public would be less informed as a whole of the art world and lack any guidance or introspect into artists and their works. We need critics. So I will leave you with this simple quote from John Bergers, “Ways of Seeing;” “everything we see and read about art requires an expectation.”

Chaos at Columbia College

On the night of Friday, April 28th Columbia College featured Empires, Deerhunter, and headliner Crystal Castles for what they called “Chaos Week,” hosted by the Student Programming Board. Personally, I was really excited for Crystal Castles, I took off work because I had been intending to see them for some months now, but had never made it to one of their Chicago performances (and what better than a free show.) So three friends and I headed downtown via blue line, arriving “fashionable” late for the 6:30 doors only to find a line stretched around the block and down the alley of the 1104 South Wabash building.

We each let out some curse or another and hesitantly joined the back of the line, wondering why the doors weren’t open. A CC security guard and a small girl in a flowery dress approached us. They warned us that they were just about at capacity and couldn’t violate fire code, and that any non-Columbia student most likely would get the boot. Well, we had one non-Columbia person with us so we started to get a little worried. The girl and guard approached us again to inform us that the donation of $10 for non-Columbia students was now mandatory. Although this sucked, it guaranteed that my friend’s boyfriend could enter. We waited in that line for about 50 min, which was ridiculous considering we were late and doors were at 6:30.

After screeching at people budging in line in front of us we finally reached the door. And as we did the security guard counted us off, 498- 499- 500. Capacity. My friends and I were the last ones to enter. We also missed the opening act “Empires,” who I’ve never heard of or listened to but I don’t think that’s a problem because they were later booed by the CC crowd when brought up by Deerhunter.

So upon entry, I come to find that everything is a carefully calculated advertisement for Coca-Cola’s new product, “Sprite Green,” which launched campaigns in New York and Chicago this past month. In a slender green aluminum bottle, this drink boasts to be a naturally sweetened, reduced-calorie beverage. There were girls among the audience wearing green t-shirts with trays of Sprite Green, all the screens behind the bands featured projections running ads on loop, and pretty much every light was shining a shade of green. It was all just a giant Sprite Green pitch. At one point a SPB person even came up on stage and shouted, “Yeah Sprite Green! Hold your bottles up in the air.. and if you don’t have one…get one!”

This wasn’t the only nauseating aspect to the concert though. I came to find that most of the crowd came to see Deerhunter, who was terrible, and late. We had been informed that their plane to O’Hare had been delayed and that’s why doors went from 6:30 to 8:00. Deerhunter easily sounded like precious ambiance. I mean that in a complimentary way, especially because that was not the concert mood I was in (looking forward to the screeching screams of Alice Glass) But instead got front man Bradford Cox and co. who seemingly tucked the audience into their world of hazy feedback vapors, vocals so gentle they'd barely stir a sleeping colicky infant, and arrangements that pool everything together with layers of synths and distortion until the instrumentation nearly crests over Cox’s vocals. I was bored to say the least. But it only got worse from here.

Crystal Castles didn’t come on for over an hour after Deerhunter finished. In that time a DJ took over, who actually wasn’t awful. But it was appalling how long it took for them to even get on stage. And by the time they were up there, they were still doing a sound check? When Crystal Castle’s Ethan Kath came on, it sounded so terrible that people actually cheered for the DJ to come back on.. and at this point so did I. The other member, Alice Glass came out only then did the music start to resemble their digital distortions that seem reminiscent of Ataris and old-school Nintendos, accompanied by Glass’s agonized vocals. But I felt like you could hardly hear her, even after their absurdly long sound check. Glass is also known to jump into the crowd, which CC security guards were NOT ok with. Any audience members who followed her lead were immediately thrown out and taken into the hands of Chicago Authorities who waited outside the entrance. Not cool.

After the concert abruptly ended, I couldn’t wait to get out of there. Lights were turned up, the rubble of Sprite Green was everywhere, and no one seemed happy. In retrospect I wish I had gone to work instead of go to this big crappy advertisement for Sprite’s new product. But after all I guess Columbia is the commercial school for the commercial artist - so I should be used to this by now.

Alternate Reviews on Crystal Castles:
Pitchfork
BBC

Southern Graphics Council Traveling Exhibition

Printmaking is an art medium that is most responsive to changing technologies, while also retaining many otherwise obsolete techniques. Print artists find themselves uniquely situated in the sense that they employ the latest digital imaging tools and centuries-old techniques for hand made mark making. This past March 25th- 29th Columbia College Chicago had the honor of hosting the Southern Graphics Council Conference 2009. Although the conference has come and gone they left their mark at the C33 E. Congress building where they feature their Traveling Exhibition.

Columbia is the first venues to host this traveling exhibition which features prints and drawings on paper created by members of the Southern Graphics Council. These prints have been juried by the Southern Graphics Council Printmaker Emeritus, Warrington Colescott, to best present works that embody the continually evolving practice of printmaking and its role in contemporary art. The aim is to present ways in which artists continue to innovate and push the boundaries of printmaking while maintaining a respect for the use of traditional methods and techniques. Which is the perfect fit with Columbia College where the magic word seems to be “innovate.” The mission statement of Columbia says they aim to teach students to expertly do the work they like to do, and to master the crafts of their intended occupations, as well as discover alternative opportunities to employ their talents and create change. It’s all about pushing the boundaries here.

This traveling exhibition showcases pieces that were everything from screen printed, intaglio, etched, aquatint, mezzotint, relief, lithography, to photo polymer etching, monotypes with vegetable dyes, woodblocks, linocuts, and combinations of these. There is such a diverse outcome when it comes to printmaking. The processes are so specific and different, not one piece was a like. Yet, I thought the traveling exhibition didn’t show case everything printmaking can be. I assume they were all small prints and similarly framed because the show is meant to, “travel.” But if you really want to “push the boundaries” why not mount the work in ways that break away from sterile white walls, to include installations, printed artists’ books, graffiti prints and paste-ups on city streets, 'zines and comics, even work that exists only in cyberspace.

One aspect of printmaking that I’m really drawn to is the concept that a print is not merely a photographic reproduction, it has an element of originality to it. And even if you print a plate more than once, you in most cases will never result in an identical print. “An original print is a fine art process that produces multiples. An original print is not a copy of a reproduction- each print is an original-created and hand pulled by the artist.” Maybe in this sense I am a formalist, but I enjoy this element of authenticity in artwork and as our world becomes increasingly abstract, virtual and harnessing new technologies, this value seems to be depleting in importance.

Printmaking traditions are a source of strength, but also a source of isolation. We now realize that our resources are limited, that what is done in one location will probably affect someone, somewhere else. And printmaking may now be seen as an art that is falling between the cracks of new technological advances and is no longer seen as a relevant form of printing just because it is a very meticulous, time consuming, tedious craft that has given way to laser ink jet printers- where an identical print is guaranteed every time. But I think its still important to hold strong to traditions and to create works that are irreproducible and have a certain aura and personality from all the labor put into them that you can’t get from a digitally drawn image.

The Southern Graphics Council Traveling Exhibition funs March 9th- April 24th, 2009 and is free and open to the public Monday- Thursday 9-7 & Friday 9-5.

C33 Gallery
33 E. Congress
Chicago, IL 60605

Prose for the Passerby

On January 30tth, 2008 the Harrison Redline subway station bore the poesy fruits of the collaborative works of two downtown institutions, Columbia College Chicago and Jones College Prep. Their goal of The Harrison Haiku Project was conceived as both a means to showcase the creative product of Columbia Poetry students and to contribute to the downtown southern loop community where both schools reside. After getting approval from the CTA to adopt the Harrison station, the school’s Office of Campus Environment held a competition with Interior Architecture students to design the physical installation. Then workshops were held to choose original Haikus created by college students from Columbia and high school students from Jones.

These Haikus span the columns of the dark damp subway tunnel and with each step deeper comes more prose. I hate to say it.. but this prose blows. At this point in the project, a mere year and a half later these “flaky” haikus are missing letters, the font is a dull black and don’t really do much of anything aesthetically except take up space. These haikus are adjacent to ill designed geometric orange and yellow leaves that concave with the subway’s clammy ceiling. No doubt suggesting a season of “change” to come these visual designs bite.

The everyday passerby doesn’t even seem to notice this “change.” Being only fully displayed and explained at the entrance of the subway, most commuters are in too big of a huff down to the train to notice anything other than their watches. This poor representation of art when noticed just makes you wonder, “why?” Why would an art college design the potential “gate” to their school to look like it’s falling apart? Did one school not hold up their end of the deal? Or does this say that kids in the south loop receiving an education just simply not care.

And technically, not to nit-pick, but the haikus showcased aren’t even academically correct. They are intended to give a snapshot into a harmonious natural moment in time, and not involve characters or action. Yet, all the flaky prose seem to contain both elements. Yet, I suppose it’s meant to provide an urban twist on the poetry. But throughout my time spent in the Harrison station, this just leaves me wondering, “What is art?” And is that really what were they going for?

The whole project just seems conflicted in the way that it’s incorrect haikus represented in an almost street like graffiti way, even though they have been granted permission to perform this station’s restoration. But if it is in fact a restoration.. why is it falling apart already?! I do regard this station as the “gate” to the southern loop and I think it’s time for a real facelift. This project gets overlooked by such a large demographic and populous of people in one day, it deserves a little credit and respect or it should just go.

Coveying Space- PhotoDimensional

Do you ever wonder what gets lost in translation when sharing a three-dimensional object embedded in a two-dimensional print? Is there a tension created from the flatness of the 2D print and the spatial relationships of the 3D object being portrayed? Most of “PhotoDimensional”s artists make photos about sculpture—often with curious twists on one of photography’s traditional roles, the documentation of sculpture. Others literally make sculptures out of photos. The Museum of Contemporary Photography in conjunction with its Columbia College Chicago affiliate bring you work that supplies answers to questions current day artists struggle with.

This relationship between photography and sculpture has been an interest of artists ever since the invention of photography. Even Louis Jacques, Mande Daguerre and William Talbot recorded sculptural objects through photography, such as marble statues and plaster casts in the late 1830s and early 40s. This being an early attempt to overcome this new invention’s limitations, especially pertaining to dealing with visual spatial dimensions. Yet, with the advancement of technologies and digital renderings there are artists who use photography in this current day to meet more practical ends of documenting sculptures that may be less permanent and more ephemeral or remote. For instance, the earth art of Robert Smithson, or Andy Goldsworthy. It’s the same for performance artists as well. But along with this the question is raised about concerns of these documents lacking some aspect of “firsthand experience.”

Curator of the show, Karen Irvine, has particular interests that lie in the limits of spatial representations, which in turn yields to some of cleverest works on display here. On the third top-most level of the gallery you will find American artist Melinda McDaniel and Venezuelan artist Susana Reisman who makes sculptures out of photographic materials. McDaniel takes images of various textures and cuts them into strips and proceeds to form them into minimalist sculptures that elude the original subject matter of the photos. Hung in an Eva Hessa fashion, Reisman makes use of strips of light sensitive paper outside for days at a time, varying the degrees of exposure thus creating abstract patterns and gradients along with various weather marks. I found these two pieces to be the two of the most imperative pieces to the curators main theme of the show.

Spanish artist Pello Irazu combines painting, drawing and sculpture in photo with many layers that are translated in such a way that they invite to viewer to imagine the passing from the experience of one dimension to another. These compelling images create and illusion that’s difficult to reconcile in the mind’s eye. True, Irazu engages a theme that’s been around since the early 20th century, but his well-executed work has plenty of aesthetic appeal. While the show doesn’t break any new art-historical ground, it doesn’t make any grand claims, either: It’s simply a comprehensive, carefully assembled look at its subject.

As you descend into the second level of the gallery you come upon American artist John Coplans who started photographing his body at age 60, focusing on creating images that utilize the body in a sculpturally aesthetic way.

Featured on the first floor isolated in a dark side room of the gallery space is the video work of German artist Bettina Hoffmann. She uses a slowly panning video camera to present multiple points of view on subjects who are completely still. Entitled “La Ronde” 2004, the piece causes the viewer gets the sensation that the still life photograph has opened up for him or her to navigate through this specific frozen moment in time. Hoffman cleverly reminds us that for every given shot, 359 other angles are possible.


Immediately after this you are drawn into Debris Field, created by Chicago artist Heather Mekkelson. She makes three-dimensional sculptural objects inspired by disaster photographs she finds on the internet and in newspapers. Mekkelson isolates interesting details from these photos and translates them into sculptural forms, which she distresses so they resemble the original disaster. This is an example of a piece that I did not understand until I read wall text and researched further. Although fascinating to look at, the work has so many differing elements and blank gallery space doesn’t contribute to the destructive nature of what’s trying to be portrayed.

Although I found this exhibition compelling and thought that each artist translated dimension in fresh and comprehensive ways, I felt that without the wall text and contextual background an audience might not fully understand what the curator wanted to get across. And I still feel that the concern of a photo lacking “firsthand experience” was not fully investigated and considered either. Although that consideration may break into another medium or combination of media all together. While the show doesn’t break any new art-historical ground, it doesn’t make any grand claims, either: It’s simply a comprehensive, carefully assembled look at its subject.

Each contemporary artist featured had such different ways of traversing the mediums of sculpture and photography, and I feel yielded answers to the limitations of photography that invite the audience to imagine passing from the experience of one dimension to another and back again. I think this is a concept that all artists past, present, and future will and have struggled with and no matter what media is being dealt with must consider and scrutinize.


PhotoDimensional ran February 13th – April 19th, 2009.

Museum of Contemporary Photography
Columbia College Chicago
600 S. Michigan Ave.
Chicago, IL 60605

312.663.5554
mocp.org

Bob Ross is Boss for Generations to Come...

Bob Ross is best known as the host of the public television series 'The Joy of Painting', in which he creates a beautiful painting right before our eyes in a heart-warming half hour segment completed in real-time. Encouraging his viewers to follow along on their own, Bob instructs even the most novice hobby painters and aims to prove that painting is not just for snobs or elitists.

Using his wet-on-wet oil painting technique, he guides his viewers with his soft-spoken instruction through a step-by-step process to create harmonious landscapes similar to his. But what I find interesting is a vast majority of viewers are not painters, and do not paint along upon viewing the program. I never did… I would be inspired as a second grader to paint after the program ended, using Rose Art watercolors and computer paper; but what’s so appealing about watching someone else paint? Yet, ever since I was a child I’ve been mesmerized by Ross’s masterful works, encouraging words of wisdom, and quirky 80’s sayings.

The program aired 1983-1995, and still appears as reruns in many broadcasted areas. As Bob Ross welcomes you to the show you are taken into a world where only you the viewer, Bob, and the canvas exist. Using only his supplies and products he begins by brushing mere hues of color into the canvas, and within minutes you are transported to a calming landscape and state of mind that only Bob can convey. I think that viewers get a sort of emotional release just from watching this man paint. They are elevated to a form of relaxation and wonder for a mere 30 minutes, as Bob encourages the audience to lay down “happy little trees” and “lil buggers” where ever they please.

He repeatedly stated on the show his belief that everyone had inherent artistic talent and could become an accomplished artist given time, and practice, and was often fond of saying, “We don’t make mistakes, we just have happy little accidents.” All this encouragement feels good… even when you’re not participating!

Bob Ross has built his fortune off his instructional videos, books, and painting sets and supplies, but donated his show to public television. Bob Ross historian and former business associate Annette Kowalski (along with her husband Walt and their daughter) presently run Bob Ross Incorporated from the quiet suburbs of Washington, D.C. People clamor for his books and videotapes, his brushes and paints, his discarded drop clothes. What kind of easel does he use? What's gesso? They want to know everything, and they're prepared to put it all down on their Discover card.

The Bob Ross empire leverages no small degree of delicate sorrow from its participants: often audience members fall in love with Ross before they realize he's been dead since 1995. Viewers who maintain emotionally wrenching, co-dependent television relationships with him latch onto him even harder once they discover he's "not here" any longer. They simply cannot let go- thus causing a sort-of cult following.

Nearly 15 years after his death, Bob Ross is still an icon of afternoon public television. And as one generation of viewers and amateur painters grows older, it looks like the next might be ready to embrace his eclectic charm and encouraging rhetoric.

Just this past week on Thursday April 2nd, fans of Bob Ross were able to come together for “Beat The Devil Out Of It” - Bob Ross tribute party in New York City at Gallery bar on 120 Orchard Street. This event consisted of a look-a-like contest, a $1 raffle with exclusive Bob Ross brand products, lessons in painting "happy trees," and a special performance featuring the Boss Ross tribute dance troupe Titanium White Hot Dancers, plus a gallery of Bob Ross-inspired artwork! Holy shit, right?

The event organizers gave all proceeds to an organization that helps teenagers living in shelters pursue art by promoting creativity, "as a means of transforming lives, just as Bob Ross believed." And I’d like to think he'd be very proud.

So not only is there a following still coming together to honor Ross the Boss but I recently discovered that Bob’s ethics and masterful skills are being sought by a younger generation- on a virtual level. Back in April of 2006, news broke that a Nintendo DS, Wii, and PC games based on The Joy of Painting were in the works. Little was known about the games except that they were scheduled to be developed by AGFRAG Entertainment Group, a small studio largely concentrating on PC flash games.

Unfortunately, the game is currently in limbo. On the Bob Ross Game Yahoo Group, which the developers used to keep gamers up to date on the project, the following message was posted:

"AGFRAG is no longer involved in the development of ANY Bob Ross Game. Please contact Bob Ross Inc. for further information. Thank You."

So that’s a bummer… hopefully the happy virtual trees, mountains, and clouds will someday come into existence, but while it is possible that another developer may hop onboard, Bob Ross Inc. would be hard pressed to find another taker for what looks to be a merely cult project.

I thoroughly enjoy watching The Joy of Painting even if I’m not painting along, and I would love to play it in video game form as well, but I believe Bob Ross’s peaceful demeanor and appreciation for art and life is an example for all mankind to follow for generations to come.

I find “The Joy of Painting” therapeutic, humorous, and highly entertaining for adults and children of all ages. I recommend that everyone should become regular viewers. So Join Bob Ross on Chicago’s Create channel that airs on Tuesdays, Wednesdays, and Thursdays. http://www.createtv.com/CreateProgram.nsf/vProgramsByNola/BJOY?OpenDocument&Index=
And Bob Ross products, merchandise, instructional videos and books can be found on: http://www.bobross.com

I Hate TMZ. period.

• Serena Williams' Butt Goes Jet Skiing
• K-Fed Spotted buying donuts
• Hugh Hefner's B-Day -- The Party to Die For
• Dr. Dre and Joanie "Chyna Doll" Laurer spotted walking on a beach
• Chesney Goes Topless with Playboy Chick
• Brittney Spears ALMOST goes to jail AGAIN!

For those of you unfamiliar, these are the kind of headlines you’ll catch with Harvey Levin's 30 excruciating minutes of the obnoxious TMZ TV- AOL Time Warner owned gossip show, shown daily on your local Fox affiliate.

Tune into an episode of this and you will be bombarded by terrible video clips, and paparazzi photos of B-list celebrities going about their daily lives. And there’s no actually articles or stories to go along with these images, it’s nothing more than mere “witty” anecdotes and put-downs from Harvey Lenin and his army of smug “employees.”

What I find the funniest about TMZ TV is between these clips and photos they will cut to an office scene with Harvey and these obnoxious people sitting in their cubicles, passing around their campy remarks. And when something amusing or somewhat clever is said, the head honcho, Harvey walks over to his clear erase board and writes it down, as if that makes them look like they have legitimate office jobs, and they are participating in some sort of a diligent business meeting. I kid you not.

They have a website as well that’s equally revolting. It’s so distasteful and nauseating that I always have to click away before I can remember to look for anything remotely amusing. I can find nothing entertaining or redeeming in any of the site's content, and if I do, it’s the same as the show; there’s NO actual information, it’s just their stupid remarks and anecdotes on a photo. It's all just base and poorly written and arbitrarily amoral. I mean good god let's try to have a little style while we ruin people's lives, eh? Making a mockery of these people is what’s paying your bills after all!

So do you know what's funny about TMZ? Why is this show is still on the air?
No, I'm... uh, I'm actually asking.

Are people drawn to the crude, mean-spirited humor? Maybe they are the types that feel better about themselves if they can put down well-known celebs who make gobs more money than they do doing almost next to nothing. The only legit reasons I can think of for people to actually enjoy TMZ would be maybe they like to follow fashions of what celebrities are wearing, or maybe they just like seeing the ridiculous lifestyles these spoiled people live are entertaining to them. Or perhaps, viewers think it’s their responsibility to call out spoiled stars for the stupid shit they do.


Things like this disturb me, but what bothers me even more is the insatiable greed with which many people devour celebrity gossip. They feed on it, almost as though it gives them sustenance, and I'm greatly concerned that our society has become dependent on knowing whether or not Nicole Richie and Paris Hilton have become friends again. It seems we are more concerned with what celebrities are doing with their endless wealth than what our own family members are doing on the other side of the country.

Dave Chappelle's Block Party- Keepin' Black Music Alive

September 18th, 2005- imagine a backside block in Brooklyn, New York, where over 5,000 people of differing ethnicities gather together to see various artists and musicians “keep black music alive.” Kids in maroon and gold uniforms stride in towards the stage; they are supercharged, overflowing with the babble and commotion of rudely alive inspirational music spewing out of their instruments. And leading this whole ensemble is the one, and only, Dave Chappelle. The Central State University’s Drum Line Marching Band is leading into a legacy of historical performances set up by the unfazed, newfound Chappelle. Where Kanye West’s performance leads up to the reunited Fugees, this is “Dave Chappelle’s Block Party.”

Yet, a year prior to this sensational show Dave painted a picture of someone struggling to come to terms with his position and power as well as with the people around him. Not knowing if his satiric take on race, sex and pop culture was getting too profane, or offensive.

Back in 2004, Dave Chappelle was holding the reins on “The Chappelle’s Show,” a sketch comedy program that received huge ratings. But on April 28th, 2005, he walked away from his program and vanished into speculation. Going on his third season for Comedy Central, the show worth a $50 million deal, was put on hold. Not even his publicist, agent, or writing partner knew where he had gone. Christopher John Farley of TIME Magazine asked, “ Why did you take a break?” Dave responded, “My personal feeling is I didn't like the direction of the show. I was trying to explain it to people, and no one was feeling me. There's a lot of resistance to my opinions, so I decided, Let me remove myself from this situation. You hear so many voices jockeying for position in your mind that you want to make sure that you hear your own voice. So I figured, let me just cut myself off from everybody, take a minute and pull a Flintstone—stop a speeding car by using my bare feet as the brakes.”

By fleeing to Durban, South Africa, Chappelle may have found some peace of mind, but he threatened a career for which he has long yearned. Yet, that same year, he held an old school block party in Brooklyn, inviting some of the most intelligent, and classiest hip-hop acts to perform. Having his newfound total and creative freedom, he invited Mos Def, Talib Kweli, Common, The Roots, Jill Scott, Erykah Badu, Kanye West, Dead Prez, and the reunited Fugees, for a knock out performance. So “Dave Chappelle’s Block Party” is a chronicling of the party and events prior to it.

Three days before the blowout, Dave went to his old hometown of Dayton, Ohio to give out free “golden” tickets, accommodation, and travel to people in his ’hood. Yet some of them still refused this amazing opportunity, claming that, “ rap music composes a lot of foul music which is not proper for children or adults.” But I find this to be a generalization that is completely untrue. Sure, many “gangster rappers” may dive into vulgarity and glorification of violence more than necessary, but this isn’t all rap and hip-hop musicians. Michael Eric Dyson states, “For many black and white Americans, hip hop culture crudely symbolizes the problems of urban black youth.” And within the context of mainstream media and pop culture, hip-hop/ rap carries a message of anger, vulgarity, sexism, misogyny, sexual promiscuity, domestic abuse, parental disrespect, rejection of authority, glorification of violence, as well as drug use, rape and murder. Yet, it is not a racial divide, because as Dyson states this is thought among blacks and white Americans. Although, In Block Party, the performers are presented as average people, not all “blinged” and “iced out,” covered in diamonds and designer gear. They are only there to appeal to the audience by what they possess, their outstanding skill in music, art, and performance.

In one of the interviews, The Roots describes how, before any of them had record deals, they and many of the other artists used to run in the same circles in Brooklyn and jam together at hip hop clubs. It shows on stage. These are seasoned performers and they like each other. They’re not trying to outsell each other, they are just joking around with Dave, as he pretends to sing, prank, and go off with his hilarious antics on stage.

After seeing Dave Chappelle like this, on stage killing this performance, it makes me wonder why did he went on his hasty hiatus? Was it all due to the pressure of execs and contracts? Or was he losing faith in his jokes? Chappelle say’s in TIME Magazine, "If you don't have the right people around you, and you're moving at a million miles an hour, you can lose yourself." So it sounds to me like he was surrounded by “yes-men” saying, 'you're a genius!’ 'You're great!’ 'You’re killing it!' But among those close colleagues, I’m sure Chappelle's growing distrust set off no small amount of anxiety.

The Chappelle’s Show works because it talks about what America finds difficult to talk about: race. In our current day racial divisions are becoming more and more complex, harder to understand, and increasingly more challenging to discuss. That's where Chappelle comes in. He takes all those stereotypes about race and puts them in our face. He makes us deal with it. Laugh at it. But not ignore it.

The buzz in Block Party comes from the music, which has a loose, burning joy that’s rare to behold in a live rap performance, and also from Chappelle’s wicked prankster glee, which spreads throughout the movie. This movie is a testament to the power of unity and celebration of black music. The CSU drum line keeps up the moral of the party as the exhilarating performances provide a snapshot into a certain historical musical moment. Like one chapter leading into another. But just as we won’t be hearing the last of the Fugees for they will live on forever as the pinnacle of mid-1990’s hip-hop; same goes for Dave Chappelle’s comedy who proclaims, “You haven’t seen the last of me!”

Released on March 3rd 2006, Dave Chappelle’s Block Party was produced by Michel Gondry, written by Dave Chappelle, and produced by Bob Yari and Roge Productions.

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Wrapped in Warmth!

You want to keep warm when your feeling chilled, but you don’t want to raise your heating bill (cash register bell cha-ching, cha-ching, cha-ching) Blankets are ok, but they can slip and slide. And when you reach for something your hands are trapped inside. Sound familiar? NOW there’s the SNUGGIE- the blanket that has sleeves!

Ahh yes.. It’s like a fleece robe that you wear like a hospital gown. What I love about the Snuggie is it’s not brilliant in the innovation of the product, but the way they sell it. Throughout the commercials they emphasize how “restricting” and “trapped” normal blankets make you feel, and how the Snuggie’s sleeves allow you to hold cordless phones that look like there from the late 80s, bowls of popcorn, books, laptops, and even babies or dogs! The pinnacle of ridiculousness is when they suggest you can wear it out to a ball game surrounded by people dressed in normal clothes like coats. And the three of them are sitting in the middle of it all, wearing these preposterous Snuggies, looking, seriously, like they are in some sort of very frightening fleece cult. It’s no wonder the people around them are trying desperately to ignore the dangerous Snuggie Family and just watch the game.

They claim that similar products sell for up to sixty dollars. Similar products, eh? Well I did a little research and discovered the SLANKET. Virtually the same product but didn’t get as hyped up. And they actually sell for about forty dollars, and come in many more colors other than burgundy, sage green, and royal blue. But the most perplexing part of the Slanket is that their website makes it totally seem like they are trying to appeal to college students. They have various photos of twenty-something year olds posing using their sleeves to the best of their abilities, watching the big game, ordering a pizza, and wearing weird wigs.

First originating in 1998, the creator was actually in college at the time. “While watching Late Night with Conan O'Brien I decided I needed to tear a hole in my sleeping bag so I could keep my upper body warm as I channel surfed during the commercial breaks. During Christmas vacation I commissioned the first Slanket to be made by my mother...and it was born.” So why haven’t we heard of the Slanket? I appreciate that every infomercial must have the ”similar products“ line in it. But in this case, well, — similar products? Really? There have been previous unsuccessful attempts to sell the blanket with sleeves? And these failed entrepreneurs decided that sixty dollars was about the right price point?

Snuggie’s are offered for the amazing price of $14.95 and not only that but they offer a bonus prize … a ”compact, press-and-open book-light,“ a fifteen-dollar value absolutely free! This makes me wonder how they decide which cheap contraption gets to be the main item and which one has to be the lousy bonus prize. Like, couldn’t this have been a whole commercial about the ”press-and-open book-light,“ and as a bonus you get the blanket with sleeves? I’m sure they have market analysts who study it.

So even though Snuggies try to appeal to men, women, and children who they assume all find it frustrating to be trapped beneath blankets, perhaps widening their intended audience made them more well known than their competitors. Or maybe it’s their humorous infomercial that’s most definitely intended to be funny that everyone knows this product from. All I know is that they are available at Walgreen’s by the checkout and there is a 1000 person pub-crawl planned for downtown Chicago on March 21st. So I may be buying one of these in the near future so I can participate along with my fellow drunken friends and their reading lights—for a blanket-covered, bar-hopping adventure!

Snuggie Pub Crawl
https://www.getsnuggie.com/flare/next?tag=os|sm|go|tm
http://www.theslanket.com/

Living Out Loud

When things get worse… they can only get better.

Yet, this isn’t the case with the 1998 film, Living Out Loud. At a glance, this seems to be exactly the sort of wry comedy that mature audiences are looking for, complete with just the kind of starring role that any actress would kill for. Here the newly divorced, forty-something Judith Moore, (Holly Hunter) begins a perplexing relationship with the door guy of her condominium complex, Pat Francato (Danny Devito). Pat has a troubled life himself: Gambling debts and the tragic death of his daughter took away all his spirit. But upon their encounter they want different things from one another, but in the end both yearn for love and support, support and love. Both in search of what a meaningful relationship is.

Throughout the movie Judith is trying to get in touch with her true self. She proclaims to her newly divorced well-off surgeon husband that, “I left me long before you did.” As he abruptly dispenses from her life Judith is left to pick up the pieces. She struggles with living a luxury life in the upper class of Upper East Side of New York, and is now an utterly alone woman, working an undesired profession as a nurse. A choice she made in an effort to be with a man that is no longer around. Throughout the film she always refers back to how she wants children, and how children make a family, and would ensure a happy life for her. But that’s something her and her ex couldn’t agree upon.

The deeper you get into this movie the more convoluted, and baffling the blurred lines between reality and fantasy become. The disjointed scenes and odd transitions seem to overshadow the narrative shortcomings make me believe that this movie is more of a character study than plot driven. The movie mostly surrounds the character Judith and Pat, yet only fully develop around Judith around as she is enveloped in her own life endeavors.

And during ALL THIS intricate undertaking character Judith feels bombarded with information that she now feels responsible for paying attention to; thus spiraling her into her own silent struggle that leads the audience in-between elaborate fantasy scenes back to her tortured reality.

Although this shared struggle becomes a pulling together and partnership when the character Pat Francato comes in contact with Judith for the first time. Judith meets him in the right mood and a fragile friendship starts to grow. She discovers that he has recently lost his daughter and from this shared feeling of loss, a relationship blossoms. But it seems Pat is looking for love, whereas Judith is looking for guidance and a sort of “father figure.”

She finds a different sort of guidance from a Jazz singer Liz, played by Queen Latifah, who sings on the Upper West side club “Jaspers.” But this guidance reverts her back to a more child-like state, taking her out to party, dance, meet men, and have various encounters with sex and drugs. Through this she “literally” embraces her teenage self and seems to come to terms with what her life is becoming. She moves out of her luxury residence and encourages Pat to pursue his dreams and open up and Italian imports store. She goes on to pursue her dream of going back to medical school and getting a career in pediatrics. But upon this, she discovers… maybe she does love Pat. But at this point it’s too late. He’s moved on, and so has she.

Some main ideas of the story do come full circle… but many are left hanging. And for me as a viewer, this leaves me hanging. I realize that reality isn’t just black and white, there’s some gray area, and not everything becomes fully resolved, but some ideas in this movie just seem too undeveloped and a waste of time for the viewer and the character. The shaky foundations of the characters leave nothing to for them to build upon and seem to flit off into ridiculous tangents. For instance, Judith’s encounter with ecstasy, her mention of terrorists, and some of her odd fantasy/ flashback scenes that leave me wondering what really just happened. This not only made the movie seem to drag but also left me cringing out of ridiculousness of these unnecessary tangents. If you’ve got 100 min to kill and are looking for a convoluted romantic comedy from the late 90’s that will leave you not fully satisfied, Living Out Loud is JUST for you.

Living Out Loud was written and directed by Richard LaGravenese.

http://www.imdb.com/title/tt0120722/
http://www.amazon.com/Living-Out-Loud-Holly-Hunter/dp/0780625358

Gatorade

When I hear Gatorade, I think of neon sweat pouring out of say a sprinter as he strains to reach the finish line. But its not just sweating athletes that still reach for this sports drink, as Gatorade seems to be marketing to people involved in less intense health and fitness activities. Although it has maintained a consistent and memorable marketing message: that this drink is for high-performance athletes in need of exceptional hydration, recent products seem to be trying to broaden the customer appeal as they strive to implore lighter beverages that compete with water drinkers.

Aiming at athletes off the field or the yoga crowd, drinks such as G2 seem to be a better option than its full-bodied brother. With just 25 calories per 8 ounces vs. 50 for the original Gatorade. Or Propel which is being marketed as a mildly caffeinated water, and seen as a lower-calorie rival to energy drinks and as an enhanced alternative to plain water. Yet, still give athletes that kick they crave.

But of course they maintain their star power with professional athletes such as Tiger Woods who joins a stable of sports endorsers including the Yankees' Derek Jeter, NBA MVP Dwayne Wade, and the NFL's Peyton Manning. Among many other athletes such as, Michael Jordan, Mia Hamm, Matt Kenseth, and Serena Williams.

Gatorade gives us exactly what we need to WIN! Right? So what’s up with the recent commercial broadcasted that seems to be some third-rate Monty Python spoof featuring Kevin Garnett in a suit of armor trying to pass a bridge guarded by the Jabawockeez? I don’t really see how Jabawockeez are cohesive with Gatorades marketing messages seeing as how they are not relevant other than the fact that they wear masks, won a dance show on MTV, and can pop AND lock. And why do they want the G when they already have it in their bota bags? It’s a mystery to me.

Another mystery, a few months back I noticed various ads on taxis and bus stops around Chicago that just said, “G.” I wondered to myself what this could be advertising for? Weeks later it seemed all the “G” ads had been replaced with “G’s” with their signature lightning bolt logo through it. Was this all a big marketing scheme to get observant people wondering, or did their first simple ad’s fail to get the message across?

As Gatorade seems to be trying to appeal of athletes of every kind, they seem to be mixing up their classic ads with new goofy, humorous, ones that may even perplex the viewer. And simplistic ads that are equally as puzzling.

Check it out for yourself at:
http://www.missiong.com/

http://videogum.com/archives/free-advertising/who-does-gatorade-think-it-is_050421.html

Our Electronic Extremities

Ever since the beginning of time humans have necessitated communication. From the very first signs of life we have used a subtle process of exchange, which has now been revolutionized to mass communication. Through the transmission of signals we developed the telephone, which enabled bidirectional human conversations over distances farther than a person could shout. And with this advancement began the latter era of the handheld cellular mobile phone, which we affectionately call, “the cell phone.”

Now by the twentieth century, cell phones are integrated into almost everyone’s lives. Yet, obviously in some third world countries, the cell phone may not be as prevalent, but it’s still known to exist. From grannies to toddlers, I think it’s highly uncommon to find someone who doesn’t have, or has never had a mobile phone. And I find when I’m trying to reach someone who doesn’t have a cell phone; it fills me with a terrible rage. We all find the need to be in contact at all times at the drop of a hat. This effortless accessibility seems to be a blessing as well as a curse.

Not only that, but cell phones have so many features, that its primary reason for existence (making phone calls) doesn’t seem to matter anymore. Take the latest G1 Google phone for instance, equipt with instant access to the Internet though the single tap of a finger on its touch sensitive screen. It even has a feature where it will identify a song for you by simply having it listen to a portion of the music in question. In our society a phone like this seems to give a person a heightened status. For they have the latest and greatest, the best of the best.

This phone seemingly attests to almost all the human senses, sight, sound, and touch, leaving out only taste and smell. Maybe that’s the reason why we can’t put these little devices down, because we find them so pleasurable to the senses. I don’t know about everyone else, but if I go a day without my phone I feel incomplete and inaccessible. To me my cell phone is like another appendage. An arm, a leg, a hand or perhaps a foot. Maybe someday the cell phone will be one with our bodies. Yet, at this moment in time they are made of atrocious material foreign to our bodies, such as different polymers and plastics, with various metals in the circuitry. Or even outer casings made of aluminum alloys.

I predict that someday we will “upgrade” cell phones to be made out of more organic material, making it as similar to the human body as possible so it will be impossible to be forgotten. It will be even more of a status symbol in our materialistic superficial society. The cell phone and plastic surgery will be one in the same.

Bob Ross is Boss

Bob Ross is best known as the host of the public television series 'The Joy of Painting', in which he creates a beautiful painting right before our eyes in a heart-warming half hour segment. Encouraging his viewers to follow along on their own, Bob instructs even the most novice hobby painters and proves that painting is not just for snobs or elitists. Using his wet-on-wet oil painting technique, he guides his viewers with his soft-spoken through a step-by-step process to create harmonious landscapes similar to his. Ever since I was a child I’ve been mesmerized by Ross’s masterful works, encouraging teaching skills, and quirky 80’s sayings, and still am to this day. I believe Bob Ross’s peaceful demeanor and appreciated for art and life is an example for all mankind to follow.

The program aired 1983-1995, and still appears as reruns in many broadcasted areas. As Bob Ross welcomes you to the show you are taken into a world where only you the viewer, Bob, and the canvas exist. Using his supplies and products he begins by brushing mere hues of color into the canvas, and within minutes you are transported to a calming landscape and state of mind that only Bob can convey. Although his painting instructions seem to result in his students creating works similar to his, I believe its only a launching pad, as Bob encourages you to lay down your “happy little trees” and “lil buggers” where ever you please. He repeatedly stated on the show his belief that everyone had inherent artistic talent and could become an accomplished artist given time, practice, and encouragement, and was often fond of saying, “We don’t make mistakes, we just have happy little accidents.” Bob Ross has built his fortune off his instructional videos, books, and painting sets and supplies, but donated his show to public television. I thoroughly enjoy watching the program even if I’m not painting along.

I find “The Joy of Painting” therapeutic, humorous, and highly entertaining and recommend adults and children of all ages to become regular viewers. So Join Bob Ross on Chicago’s Create channel that airs on Tuesdays, Wednesdays, and Thursdays. http://www.createtv.com/CreateProgram.nsf/vProgramsByNola/BJOY?OpenDocument&Index=
And Bob Ross products, merchandise, instructional videos and books can be found on: http://www.bobross.com

C33 Gallery- “If Artists Ran the Media”

This mixed media exhibit left me leaving with mixed feelings. The C33 Gallery of Columbia College Chicago is now running a collective show of artists’ responses to the American media and our bombarded society; which is always under attack of biased or slanted information presented to us by media outlets. Were constantly under the influence of advertisements, corporate, and politically altered views of our lives. So, the C33 Gallery asks, why not give artists a chance to proclaim their own perspectives?

The small gallery contained in 33 E. Congress displays a wide variety of artwork and medias. I found the inconsistency of the artworks’ mediums to be almost refreshing, yet I think the diversity of the pieces limited the intensity of the message trying to be conveyed. Some works seemed to have very direct messages, for instance the works of Spencer Ockwell. His pen and ink illustration entitled, “Just Do It,” conveyed a green communist monster barking orders at robots chaotically making Nike shoes and apparel for American consumers persuaded by slanted ads. I also found Nicole Huser’s recycled media diorama to be especially intriguing. Titled, “T.V.” it depicts an American family engulfed in consumerism around the table and is contained in the remnants of an old television set. Gluttony ensues as they stuff their cackling mouths with food as bits of advertisements and text peel off the walls and floor around them.

But the gallery was littered with artwork that although aesthetically pleasing, I found to somewhat dropped the ball when it came to the message behind the show. Eric Nowaki’s spray paint and acrylic piece, “Any Day Now,” depicted a forest lit up with various signage and semiotics in the trees. Although it had a peculiar atmospheric depth that I was drawn to, I found the idea of, “Any Day Now… the forest will be filled with neon signs,” to be somewhat lame and shallow. Not thought provoking or point driven, and merely skimming the surface. Same with another piece near the center of the room created by Katy Luxion entitled, “Make Me Pretty Sculpture.” Consisting of a woman’s bust cast out of plaster, it was cut down the sides and sewn up with pink ribbon. Which seemed to have a various open ended messages and was not congruent with the rest of the show.

Through painting, illustration, photography, video, and multimedia installation pieces this exhibit gives the artist and audience an opportunity to create their own perspectives in a world where the truth may be buried and laced with biased media outlets. The show runs till February 20, 2009 and C33 Gallery is open Monday-Thursday 9am-7pm, Friday 9am-5pm.

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I recently saw the film, "Les Triplettes de Belleville." Created in 2003, it's almost a completely silent film opens up a world of surreal french animation that you can't keep your mind off. I watched it almost a week ago and I still find myself dreaming about it. Each character has dimension despite the lack of dialog, but it doesn't need subtitles to tell the simple yet, intense story.

Its about an orphaned little french boy, whose gift of a tricycle gets him started off on an obsession with cycle-racing. His grandmother, Madame Souza, relentlessly trains him until he reaches the Tour de France. In the process of the race, he is kidnapped by a mysterious gang of crooks and taken across the Atlantic to a metropolis called Belleville. His grandma and his trusty and loveable dog Bruno race after him only to find themselves lost and confused in the darkness of an unknown city. The two end up falling in with the infamous Triplets of Belleville, whom in their hay-day were a large scale, close harmony act. But with age have grown bizzare and and batty. They slowly learn that their champion is being held up by the mafia godfather himself and will go to all lengths to get him back. I would recommend this film to anyone, especially those inflicted with a hangover.

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Purgatory Pizza: 3415 N. Clark St. Chicago IL

The name itself if off-putting. And I found the interior to be poorly designed with a tiny bar in the back corner or the restaurant, few tables, and an awkward amount of unused open space near the entrance. Creating a weird ambiance to eat a mediocre pizza. There are loosely painted red and orange flames on the wall extending to a light blue cloud painted ceiling. I feel like that's a really odd theme to create a dinning establishment with. And one of the most puzzling elements of the place is its slogan. "If you don't like our pizza.. you can go to hell!" Now is that really the way to draw customers in? I think this establishment needs to rethink their image and their pizzas.

http://www.purgatorychicago.com