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(11/17/09 9:32pm)
David Bowie, aliens and a video cameo of a mock President Obama. The only word to describe All College Theatre’s (ACT) edition of this year’s murder mystery is “ridiculous.”
“2009: A Space Oddity-Murder at Zero Gravity or How I Learned How to Stop Worrying and Love the Alien” continued the tradition of catered playful actor-audience interaction on its opening night Friday Nov. 13.
Brower Student Center was transformed into the Excelsior, a Russian Space Station thought to be abandoned, but secretly inhabited by a U.S. soldier, an eccentric Russian family, an alien and a monkey. In the confusion of the encounter with the inhabitants, the jean-obsessed Jean Genie is murdered and a full cast of peculiar characters claim responsibility, turning the space station into a playground for murder, infidelity, David Bowie references and possible incest.
The members of the Bahktin family, the only original survivors of the space station, were the most entertaining characters of the night. Maddie Patrick, senior sociology and communications studies major, utilized every part of her body to portray the forceful Katarina Bahktin. The combination of her exaggerated waddling and facial expressions, complemented by a strong stereotypical Russian accent, created a hysterically demanding presence.
Equally comical but slightly more gentle, was Mikhail Bahktin, played by sophomore psychology major John Eldis. Equipped with an eye patch and a squat stance, Eldis charmed the audience with his simplistic pride and masterful and, again, stereotypical accent.
Playing their slightly ditzy daughter, Anya, senior English major Heather Duncan completed the picture of dysfunction, with her coy stupidity and expert imitation of naivety.
Noah Franc, sophomore history major, created a particularly unlikeable persona for Major Tom, with an arrogant stride and gruff address of the other characters. His brash attitude toward the Russian family made any sympathy for his character impossible, whether or not intentional. While his success in this respect captured the anticipated rogue soldier attitude, it overshadowed any attempts to appeal to his character such as his randomly inserted monologue and his supposed love for Anya.
Justin Mancini, sophomore English major, also achieved an unpleasant character as Officer Cosomono. Though Mancini initially accomplished drawing suspicion with shifty eyes and an obnoxious wielding of authority, his inconsistent stutter was both distracting and unconvincing. Sophomore art education major Kelsey Long provided a refreshing counter to Cosomono, with a perfected false, sweet tour-guide demeanor, that switched seamlessly to a controlling grammar Nazi.
Liz So, self-designed international study major, played both Jean Genie and Chimp 527, the murdered and the murderer. Her portrayal of the jeans fiend and chimp was successful through her squeaky voice and hyperactive bouncing around Brower food court, highlighting both her boundless energy and the play’s creative utilization of space.
Though the Bowie references were at times excessive, especially an unwarrantedly long cast-wide break out into a revised “Ashes to Ashes,” “2009: A Space Oddity” was the product of evident tremendous effort, that produced a show that was both infectiously hilarious at times and consistently entertaining. The diversity of characters — from a twitching conspiracy theorist, a doctor with a vendetta against “X-Files,” to a “bitch with a gun” — provided infinite quirks that created the brilliant chaotic atmosphere of the play.
According to director Mark Smith, junior communications studies major, rehearsals for the play began three weeks prior to opening night. “2009: A Space Oddity” is the brainchild of Smith, along with Steve Avigliano, junior English major and Ray Fallon, senior English major. When asked the source of their inspiration, the three self-proclaimed Bowie fans referenced a comment Fallon had previously made.
“The murder mystery is typically written by idiots,” he said. “And we’re all idiots, and so we’re perfectly capable of writing it.”
(11/10/09 9:08pm)
Despite having the support of President Obama and spending millions on his campaign, Gov. Jon Corzine lost his bid for re-election on Nov. 3. His candidacy didn?t garner much attention on campus partly because the College Democrats decided to divert their previous focus of supporting Corzine in the gubernatorial election to other matters.
In an 11—8 vote on Oct. 5, the group voted to shift the focal point of its efforts from the Corzine campaign to other areas of interest according to Sarah Burdick, club secretary and sophmore journalism major.
According to Burdick the other issues the group decided to focus on include national issues such as health care and gay marriage.
Club members that continued to support Corzine were “still provided with the means to work for the campaign,” she said, adding that she supported Independent candidate, Chris Daggett.
The decision was made shortly after Democratic Lt. Gov. candidate Sen. Loretta Weinberg spoke at the College on Sept. 30.
Though Weinberg had scheduled to meet with club leaders prior to the forum, a previously booked event in Bergen County on gang violence prevented her from making it to the College on time according to Brian Block, president of the College Democrats. Weinberg didn?t arrive until 45 minutes after the appointed time of the forum.
When asked if the Senator?s lateness and failure to make the meet-and-greet had any connection with the group?s decision, Block said this was not the case.
“We commend Sen. Weinberg for taking time out to talk with us and students, and in no way did she insult us or feel that we were not worth her time … Essentially we do not as a club endorse Corzine, but we are not against him either, just focused on other matters,” Block said.
Vice President Alex Berger was the former campus coordinator for the Corzine campaign but rescinded the role due to conflicting beliefs with the campaign on the responsibilities of the position.
“We kind of parted on how we wanted to do things on campus. They wanted me to take a more active role in convincing the students and articulate why he was the better candidate, which I would have been fine with, but I felt they had a duty to convince the students by coming on campus,” Berger said.
When asked what he felt prompted the vote in the club, Berger identified Corzine?s declination of the College?s invitation to host a debate with the candidates as the turning point for many students.
“There was a feeling throughout the club and College that Corzine was not a friend of public education,” Berger said. Berger attributed the feelings of neglect to the College?s “middle child syndrome” mentality — the College is ignored in comparison to its neighboring giants Rutgers and Princeton.
Despite feelings of animosity toward Corzine?s cuts in funding and his failure to visit the College, Berger and Block stressed that a majority of the College Democrats still supported Corzine, even if the group no longer collectively focused on the campaign.
“I personally urged the members to vote to continue work on the campaign because of its national implications for the Obama agenda and Democratic ideals in general. Further, in my opinion, if the youth vote doesn?t turn out and turn out for a Democrat, then our vote may not be looked to in the future for key support,” Block said.
Whether or not Corzine?s defeat was a product of disillusioned young voters, the victor of the election wasn?t exactly an overpowering presence on campus either.
Chris Christie, the first Republican to win a statewide gubernatorial election in 12 years, declined to attend a debate at the College in Oct ober following Corzine?s decision to not attend. His running mate for lieutenant governor, Kim Guadagno, also failed to come to campus.
According to treasurer of College Republicans, Brian Hackett, the College Republicans took an active role in Christie?s campaign by participating in phone banking, sign blitzes and rallies.
“Of course the College Republicans could always be more active on a variety of levels, but we were very busy and did our best to help all our Republican candidates,” Hackett said.
Hackett identified the group?s support of Christie as a response to Corzine?s tuition increases, tax increases and a need for change in New Jersey.
“Jon Corzine and his sycophantic Democrat allies have been a disaster for New Jersey,” he said. “Christie is direct, honest and genuine. I agree with him on most of the issues, and am so happy that he was elected because he is such a breath of fresh air, and a sign of hope for a more honest, leaner, and affordable New Jersey government.”
(11/04/09 2:12am)
Waves of creeping fog, ominous music and crimson lights transformed the Kendall Hall main stage to the vampire-invested Carfax Abbey. Craving a night of terror, and perhaps culture, students’ thirsts were quenched by the Roxey Ballet’s presentation of “Dracula” the ballet on Oct. 27.
The Lambertville-based contemporary ballet company mesmerized the crowd with an original re-staging of Bram Stoker’s novel “Dracula.” Featuring the choreography of Mark Roxey, a combination of original and other music, and extensive set and video projections, the ballet captured the simultaneously seductive and frightening story of Count Dracula and his victims.
The choreography of the production combined classical ballet with more inventive modern moves without sacrificing technique.
Dracula’s three wives, played by Janessa Cornell, Joanna DeFelice and Catherine Long, brilliantly accomplished this. The three maintained the graceful synchronization expected of Pointe dancers, yet much of their routines consisted of convulsive movement such as abstract extensions, split rolls on the floor and lifts in which they coiled around and fell from their partners in a snake-like manner.
Julia Cobble as Lucy, the latest victim of Dracula’s seduction, mastered the appearance of being under the Count’s control, abruptly flowing in and out of arabesques at his whim.
Though Dracula (Marc St-Pierre) was a vital presence in the duet that establishes Dracula’s control over Lucy, with flawlessly executed lifts, the amount of time he danced independently was disappointing given his role.
Although duets such as those between Dracula and Lucy, and Mina Harker (Evalina Carbonell) and Jonathan Harker (Jesus Pacheco) were perfectly coordinated, when all the couples danced simultaneously, their timing was consistently off, some instances more glaring than others.
Se-Yong Kim as R.M. Renfield, the first of Dracula’s victims who is initially deemed insane by his peers, exercised striking precision as he repeatedly fell and contorted himself in response to Dracula’s hypnosis. Impressive jumps and leaps while in a straight jacket flaunted Kim’s expertise.
In addition to tackling an unconventional topic for a ballet, the company boasted its innovative nature with its largely theatrical undertones.
According to the company’s Web site, the production “breaks through the normal boundaries of dance performance to draw the audience deeply into the world created by the dancers and the story.”
This was chiefly accomplished through each performer’s intense facial expressions, which conveyed a range of emotions. The performers communicated passion, fear, rage and sorrow with their entire bodies. The incorporation of the set, as well as props such as wooden crosses, garlic necklaces and hospital stretchers also aided in illustrating the story to the engaged audience.
“I thought it was amazing. The people were so talented. It was a really interesting ballet, definitely different from any ballet I’ve ever been to,” said Michelle Pinamonti, junior special education and Spanish major.
With the aid of dynamic lighting, fog, fangs and powerful music, the performers developed the plot without a sound, with the exception of hissing and the occasional blood-curdling scream.
(11/04/09 2:06am)
Peace, love and lots and lots of drugs. Welcome to the counter culture of the 1960s. Detailing the descent of a 16-year-old girl named only by the title, “Go Ask Alice” illustrates the isolated effects of an era characterized by rebellion.
The book is the diary of a young girl of middle class suburbia who unwittingly initiates a dependence on drugs when she is slipped LSD at a party. Though critics have long suspected that the book’s editor Beatrice Sparks is the actual “anonymous” author, the book distinctly presents Alice’s voice throughout.
With the typical recipe for rebellion — parents that don’t seem to understand, a boy that won’t notice her and a new town where she doesn’t “fit in” — the book has great potential for cliché. However, as Alice liberates herself from heavy drug use, only to find herself controlled by her cravings, her sincerity compels the reader to sympathize with her through her experiences.
The tragedy of the diary lies in her realization of her gradual decline and her inability, despite brief interruptions of success, to stop it. Though her parents support her in her rehabilitation, and friends share in her experience, she finds herself ultimately alone in her addiction and self-hatred. Whether or not the account is biographical, Alice comes to life through the pages of her diary. Though the circumstances may seem extreme and the climate heightened by historical context, Alice’s insecurities and tormenting reflections are frighteningly relatable.
At 192 pages, “Go Ask Alice” is easily a read-in-one-sitting endeavor. Written in a stream of consciousness style reminiscent of Holden Caulfield’s ramblings, Alice’s diary is engaging and haunting, with an important message for anyone willing to listen.
(10/27/09 4:16pm)
Energy siphoning bugs, ice records and money- honoring monkeys. These are just a few of the unconventional pieces presented in Holman Hall’s latest exhibit, in which six artists challenge the role of technology in capturing the societal and political climate of Mexico City.
“Distortions: Contemporary Media Art From Mexico” features media art that begins with the concept of distortion, which manifests in unexpected messages on the highly industrialized human condition.
The exhibit, which debuts tonight, Wednesday Oct. 28, is the product of a year-long effort by curators Karla Jasso, Ricardo Miranda Zúñiga, associate professor of art, and Sarah Cunningham, director of the art gallery, to bring the artists’ work to the College. Miranda was impressed by the media art in Mexico City at the “Transitio MX” festival in 2007, due to its strikingly different approach to technology than that of other countries.
“The work’s main point isn’t all about technological invention, but applying new technology to social and political themes or social political realities,” Miranda said.
Iván Abreu’s “m(r.p.m)” is particularly indicative of this technique. In a live performance, Abreu plays the Mexican national anthem on a record made of ice. As the record begins to melt, the song becomes distorted beyond recognition. Abreu said the message of the work in terms of the distortion theme lies in the fact that it consists of “a historical song, taken to a material that is very short lived.”
Ale de la Puente also addresses a major symbol of national identity in her video installation “Interrogation.” In coordination with slow motion footage of a damaged Mexican flag, six halogen lamps are positioned to face the video. The lamps are motion- censored and eventually overpower the image of the flag. Incorporating a similar irony to Abreu’s work, Puente seems to comment on the importance placed on objects as symbols of nationality. In a more generalized application, Puente said the “dancing of a fragmented symbol” represents instances when there are “so many lights on something, you are blinded in ways that you may not realize.”
“Resistance” is a physical and symbolic representation of the tension between Mexico and the U.S. in regards to immigration and militaristic borders. Using metal wire known as resistive that consumes great amounts of energy from an electrical grid, Marcela Armas creates the outline of the physical Mexico-U.S. border. The excessive amount of energy it uses and creates serves as a metaphor for the dynamics between the two countries.
“Statistical Galvanometers” or “GE” looks at the effect of three major elements — the peso-to-dollar exchange, the cost of oil, and the cost of tortillas — on every day life. By using what is intended to resemble a device used to measure electric currents, Iván Puig provides a literal demonstration of how complicated financial systems translate to every day situations and consequences.
Gilberto Esparza continues this commentary on daily life with his series “Urban Parasites.” Originally designed to exist on the street and steal energy from the city’s power grid following the fashion of Mexico City street vendors, the exhibit features the creatures “ppndr-s” and “moscas“ (flies), which are made of recycled materials. In stealing energy from its surroundings, the creatures serve as a “disturbance of space and order,” Esparza said.
“Water Zoo,” from Gerardo García de la Garza’s “Trilogy of Money” allows viewers to see the watermarks on bills via a magnifying device. In addition to focusing on an element of currency that is usually concealed, García de la Garza’s piece surprises viewers with watermarks of various animals, rather than the typical historical figures. In focusing on what is usually regarded simply in terms of its security value, García de la Garza challenges viewers to see another, aesthetic perspective.
“It is a tour through a safari of money, by extracting what’s invisible,” García de la Garza said.
“Distortions” is open tonight through Dec. 2.
(10/20/09 3:38pm)
Underage drinkers may receive a break thanks to a new bill recently signed into law by Gov. Jon Corzine.
In an attempt to curb alcohol-related deaths among minors, “9-1-1 Lifeline Legislation” grants immunity from prosecution to up to three minors who have been drinking if they call for medical assistance for another intoxicated underage drinker. The law applies to the person needing assistance and up to two individuals who aid in seeking help.
When asked if the legislation was an effective way to decrease alcohol-related deaths among minors, associate director of Campus Police Capt. Timothy Grant acknowledged the positive qualities and possible faults of the bill.
“If the legislation increases the likelihood of underage drinkers calling for medical assistance when faced with an alcohol-related emergency, it has a chance to help avert some tragedies. Alcohol issues, however, demand a comprehensive and thoughtful approach. No single action can solve this problem,” Grant said.
The bill’s potential to encourage underage drinking with the possibility of immunity has been a point of contention among critics.
“We don’t want the law to be interpreted as condoning underage drinking. Students should view the law as ‘good samaritan’ legislation that affords them an opportunity to call for medical assistance when a fellow student’s life may be in jeopardy,” Grant said.
In order to qualify for immunity, the minors are required not only to call 9-1-1, but also cooperate with law enforcement and medical responders by providing their names and remaining at the scene with the sick minor.
Student opinion of “Lifeline” varied only slightly, those asked expressing hope that the law would eliminate the fear of legal repercussions in many situations. Many said they thought the bill would encourage students to call for help for a friend suspected of having alcohol poisoning, when previously self preservation was a primary motive for abandoning a friend in need.
“It’s a good way to prevent kids from being scared. It will save a lot of lives,’’ said junior biology major Laurie Dabaghian. When asked if she thought the bill would incite abuse due to the possibility of immunity, Dabaghian said she did not. Other students, however, recognized that there are prospective dangers existent in the legislation.
“I feel like it might motivate people to be more proactive in those situations. At the same time, they may be more likely to take advantage of it, use it as freebees because at the end of the day they will be in less trouble,’’ said junior nursing major Jessica Munoz.
According to Grant, “the College’s policy may need to be adapted to reflect this legislative change.” Under the College’s current policy, students under 21 who are charged with either consumption or possession of alcohol may be subject to removal from assigned housing, expulsion, and/or their parents may be notified according to the College’s Web site. New Jersey state policy dictates that underage individuals charged with either consumption or possession of alcohol may be subject to a $250 fine for the first offense, and $350 for any subsequent charge. Courts may also suspend the offender’s driver’s license for six months.
Though the status of the legislation’s application at the College is still ambiguous, Grant said ultimately, “Students will be the ones to determine the effectiveness of this legislation. Sometimes saving someone from alcohol poisoning is a matter of convincing fellow students to act. If providing immunity will encourage a greater number of students to call 9-1-1 when faced with that type of situation, that would be a welcomed result.”
(10/20/09 3:32pm)
In an effort to focus more on students living off-campus, the College has expanded the role of director of community standards with the introduction of Angela Chong as the temporary Associate Dean of students and director of student conduct, according to Vice President for student affairs James Norfleet.
Norfleet said the position is not newly created and is a replacement that “was redefined and expanded to meet the College’s educational mission and priorities.”
It incorporates duties previously assigned to the director of Community Standards, a post that was eliminated earlier this year when core functions of the former Community Standards department were realigned under the Office of the Dean of Students, Norfleet said.
In an e-mail Norfleet said the responsibilities of the new position will require Chong to “oversee non-academic student conduct, serve as a policy and strategy adviser to the dean of students, and lead initiatives that foster student learning and responsible citizenship.”
The revised role will encompass all non-academic student conduct, with the intent of improving the College’s relationship with nonresidential students. Chong explained this element of her position in an interview.
“The (College) identified that we have a portion of our student body living off campus and not one role dedicated to checking into what the needs are of that population,” Chong said.
Because she has only been acting as associate dean since Sept. 14, changes to student conduct are still in the preliminary stages. Chong said she is still becoming accustomed to the College and “learning about the campus community, climate and culture, and determining what the needs are.”
According to Chong she is evaluating current student conduct policies in order to plan future initiatives.
“Part of it is trying to access current policies and procedures that are already here, accessing what the needs of the community are, and also comparing that to the best practices in the field and determining whether they would be successful programs here,” she said.
Though new to the College, Chong plans to open up discussion with the off-campus community to receive feedback on what changes need to be made, while working to make sure the policies regarding student conduct are consistent in treatment of students.
“It is a balance between finding out what things we can do to be more inclusive of our off-campus population, and at same time determining what we need to do to help address student conduct off-campus,” she said.
Chong will be serving the position on a one-year interim basis since a formal search couldn’t be conducted prior to the beginning of the fall semester according to Norfleet.
The salary range for Chong’s position is currently set between $71,000 and $115,920 annually according to Matthew Golden, executive director of communications and public relations.
(10/20/09 3:04pm)
Eden, Heaven and Hell on Earth collided in the Don Evans Black Box Theater for All College Theatre’s (ACT’s) production of Arthur Miller’s “The Creation of the World and other Business.”
The unconventional rendition of “Genesis” and John Milton’s “Paradise Lost” presents a controversial picture of the dynamic between God and his creations. Lucifer incites sympathy, and God is a bit of a hothead. Comical at times, ultimately haunting and thought provoking, Miller deconstructs biblical archetypes and leaves the audience questioning … everything.
The play opened on Oct. 13 to a small audience. Though sparse, the crowd animatedly received director and 2004 alumnus Jonathan Elliot’s version of Arthur Miller’s 1972 production. According to Elliot, the original cast only calls for one woman — the role of Eve. Elliot’s decision to make the angels, and specifically Lucifer, female roles, surprisingly highlighted the women of the story as free thinkers contrary to biblical stereotypes. This alteration developed a fascinating new dimension to Miller’s work, something that the performers masterfully captured throughout the production.
Senior English major Heather Duncan was brilliant as Lucifer. Through her fluid movement and wide-eyed expressions, Duncan conveyed the cunning, yet genuine intentions of Lucifer to achieve peace. Duncan’s unwavering eye contact with Eve, played by junior biology major Rose Filoramo, established the sense that she was Eve’s “only connection to femininity,” as Elliot said — one of the intentions of having Lucifer played by a female.
Though freshman biology major Dan Loverro mastered his role as a tempered father figure, many instances of his rage as God seemed forced. When expressing satisfaction with Adam and Eve, his gentle adoration was achieved organically, while moments of defeat came across as more recitation than reaction. While Loverro succeeded in humanizing God, his internal conflict could’ve been more strongly established.
The play begins as slow-paced comedy set in the Garden of Eden, but quickly transforms into tragedy as each individual character struggles to identify his or her purpose. Adam clings to his blind obedience of God, while Eve falls in and out of doubt with the help of Lucifer. Though there was some line stumbling, no instance interrupted the flow of the performance.
Junior communications major Mark Smith as Adam clearly captured the different manifestations of his eagerness to please God, differentiating ignorant devotion shown in the garden, from the nostalgic, automatic obedience beyond Eden. Through consistently clear facial expressions and believable portrayal of anguish, especially while giving birth, Filoramo flawlessly showed Eve’s vulnerability to doubt.
Sophomore cognitive science major John Cherney was frightening as Cain, unstable with explosive jealousy and hatred. With the addition of a teddy bear, sophomore history major Casey Perno posed the perfect contrast as Abel, innocent from his introduction.
The utilization of space and the set in this play was impeccable. The murder of Abel, coupled with music and perfectly coordinated movement, was terrifying. The subtle presence of Chemuel played by freshman vocal music education major Alli Gibbons, junior communications major Julianna White as Raphael, and junior interactive multimedia major Shelley Snyder as Azrael, behind the action added an even greater haunting element to the scene.
The day prior to opening night, dramaturge and assistant production manager Noah Franc, sophomore history major, hosted a discussion about the religious context of the play following a dress rehearsal that was opened to the campus. Among topics discussed were the play’s alteration of the Bible, Lucifer as a possible protagonist, and God’s relationship with his creations. Elliot and assistant director Jillian Hernandez, junior philosophy major, also discussed the intent of the play.
“The concept we came up with is hate comes up in places where love used to be … We don’t hate anyone until we’ve loved them,” Elliot said. “Lucifer and God, it’s the biggest breakup in the world.”
(10/06/09 4:01pm)
Democratic Lt. Gov. candidate Sen. Loretta Weinberg stressed that a Republican victory in the gubernatorial election would result in “national repercussions” during an open forum on Sept. 30 sponsored by the College Democrats.
Despite arriving 45 minutes late, Weinburg covered an array of topics including Gov. Jon Corzine’s relationship with President Obama, higher education and gun control.
Weinberg said Corzine’s defeat would result in a push for conservative legislation by Republicans in Washington D.C. and would therefore result in problems for the President.
“A Republican victory would be a chink in his armor,” Weinberg said.
When asked how she would respond to students’ anger aimed at Corzine for increases in tuition costs, Weinberg responded that the governor’s progress in higher education was tailored more to students.
“We’re trying to help the individual student, rather than the institution through the use of TAG (Tuition Aid Grants) and the STARS (Student Tuition Assistance Reward Scholarship Program)… these are tough economic times for everybody,” she said.
Weinberg also said Corzine is positioning the state in the right place for what Democrats believe will soon be “turning an economic corner” and that as they see state resources freeing up, their first priority will be to continue the expansion of educational opportunities “for all our kids.”
Students of various degrees of political zeal attended the forum, including some members of the College Republicans, although they left before Weinberg actually arrived.
“We want to show that Loretta Weinberg does not have support. New Jersey is in the worst business climate, and Corzine frankly hasn’t done anything … Students voted for Obama because they wanted change, so they should vote for Christie for the same reason,” said Gina Lauterio, vice chair of the College Republicans.
Lauterio also said that being liberal in college is seen as a cool thing, and that this is something that needs to be changed. When asked if anyone from the Christie campaign would be visiting the College, she said plans were not in place.
Lauterio and some other representatives from the College Republicans left the forum prior to Weinberg’s arrival due to the politician’s lateness.
“She’s 45 minutes late during midterms for students,” Lauterio said before leaving.
Brian Block, president of the College Democrats, commented on the departure.
“It’s unfortunate that they left. It’s good to have them here to bring in questions for debate,” he said.
In addition to school aid, Weinberg highlighted what she identified as the positive elements of Corzine’s administration. According to Weinberg, 600,000 children are covered under Corzine’s family care program. She also said the program is the same one former President George W. Bush vetoed before leaving office. Weinberg discussed Republican nominee Chris Christie’s promise of mandate-free health care, which she said would translate to mass problems for the public.
“When they need real health care, they won’t have it,” she said.
As a self-proclaimed sponsor of women’s health and gay marriage legislation, Weinberg intends to focus on Corzine’s family agenda if elected.
“Whoever has the job will be able to help set the standard, the stage, the grounders for what it will be in the future,” she said.
While Weinberg detailed her work on increased gun control, job creation in the private sector, increased pre-school funding and gang awareness and prevention in schools, there is one development which she hasn’t been a leading sponsor — the legalization of medical marijuana.
“I think that I would wait until I hear all the pros and cons of it. I think that medical marijuana, when carefully controlled and used in the right circumstances and the right reasons is something I’d consider,” she said in response to a question from the audience member.
In reference to the criticism of both parties for negative advertising, Weinberg agreed the summer advertisements for the election were too negative. Still, she said that recently the advertisements have aimed to reflect more of Corzine’s positive qualities. For some students these advertisements are their sole interaction with the election.
“We know it’s Corzine versus Christie, other than that you see the slander on TV,” Brenda Kish, junior early education major, said.
Though the audience fluctuated throughout the forum, some students attributed the scarcity to the College’s lack of political enthusiasm.
“I thought the auditorium would be packed, and there’s no one here. The College is absolutely apathetic,” junior secondary education major Eli Goldman said.
However, Erin Caragher, director of the youth vote for Yes We Can 2.0, a Democratic organization that focuses on reaching out to Obama voters, held that Weinberg’s appearance demonstrates the Corzine campaign’s efforts to involve youth in the election.
“Chris Christie isn’t engaging college campuses like Corzine. Christie isn’t encouraging young people to vote,” Caragher said.
Throughout the forum Weinberg expressed confidence in winning the election due to the result of recent polls, which she said have indicated that the difference between each candidate’s support has declined.
“This is a democratic state and the Democrats are coming home,” she said.
(10/06/09 3:23pm)
Defying every stereotype of the hipster's musical repertoire, Carlon not only refuses to be clumped into the all-too-encompassing indie genre, but redefines what it means to be a band on the rise.
“People say indie music as if it is a certain type of music …buying too much into that is silly,” said lead guitarist and vocalist Ryan McGlynn in a phone interview, adding that indie technically refers to independent record labels. While the term has transformed into a standard of categorization, Carlon’s eclectic sound cannot be pigeonholed to something as primal as indie.
Carlon’s recently released album “Johari Window” showcases the band’s audacious convergence of everything from country to psychedelic rock.
“We’ve decided that as long as it sounds good to us, its ok,” McGynn said.
The album’s first track, “Mixed Messages,” is charged with luring guitar riffs and fierce vocals and drums, setting the energy and diversity for the rest of the album.
The next track “Cantoulope” is testimony to the band’s seamless liminality. The interwoven bantar, along with the harmonized lyrics, result in a soulful combination of country and folk. “Where the Driveway Ends” follows this same wavelength, bringing in more rock undertones, which build and become more prominent as the song progresses.
“Haunt” is both sinister and seductive in its fast paced, talking-singing style, demonstrative of their frequent comparison to Modest Mouse.
This haunting theme continues with “Rutherford,” which is undeniably infused with Pink Floyd. The dreamlike ebb and flow of the cymbal and echo of the glockenspiel screams influence from “The Wall.”
The theme of the album is based on the psychological Johari Window model developed by Joseph Luft and Harry Ingham, which divides an individual’s awareness and interaction into four categories — open, blind, hidden and unknown. The band cleverly works the theme into “Red Rover,” using the children’s game as a sort of metaphor for life as a battlefield and death as inevitable, demonstrated by the refrain “Hands holding up your name/make a chain of everyone you know/Red Rover, Red Rover send a good spirit over/Reap hope out of what they sow.”
In addition to exploring the dynamics of relationships, McGlynn said the theme also shows “how we grew together in making this album.”
The New Jersey based band has been playing together for four years. The band consists of rhythm guitarist Michael McWilliams, who shares lead vocals and writing the songs with McGlynn, drummer Milo Venter, and bassist Jared Pollack.
“Johari Window” was recorded in a warehouse in Fairfield, N.J., which accomplished the album’s authentic, often pervasive sound. McGlynn said they wanted a place they could “frolic, a happy music land.” The band spent nearly everyday for a year in the “happy music land” recording the album.
“It was dirty, but it was home,” McGlynn said.
When asked how the band was able to bring so many different styles together in in the album, McGlynn said, “We all sort of communicate musically so that all these different facets come together.” Though the band has been compared to giants such as Kings of Leon, Pink Floyd and My Morning Jacket, it is clear that Carlon’s simultaneously feisty, funky, surreal, soft, soulful sound is all their own.
(10/06/09 12:33am)
Members of All College Theatre (ACT) staged a fake protest last Thursday, Oct. 1, to promote its production of Arthur Miller's "The Creation of the World." The show runs Oct. 14, 15 and 16 at 8 p.m., and at 2 p.m. and 8p.m. on Oct. 17 at the Don Evans Black Box Theatre.
(09/29/09 7:27pm)
What do you get when you combine the acoustic mastery of Yim Yames, the multi-instrument and producing skills of Mike Mogis, the almost haunting voice of M. Ward, and the poignant presence of Conor Oberst? A fusion of talent that transcends the disconnect of other collaborations.
“Monsters of Folk” brilliantly blends the distinct sounds of these four musicians without defining their separate influences. Different from other collaborations, “Monsters of Folk” serves as a confluence of sound, listing each song as written, produced, and performed by Monsters of Folk, asserting their intricate integration.
The four ‘monsters’ achieve a sincere camaraderie as they swap instruments throughout the album, a cooperation that becomes evident in the smooth transition between songs.
“Baby Boomer” showcases this consistently balanced exchange, alternating between Ward, Oberst, and Yames on vocals.
While there are moments when perhaps hints of the individual artist are evident, such as “Man Named Truth” where Oberst’s influence pervades the emotionally charged, yet simple lyrics, the incorporation of the other three prevented the characteristically rapid riffs from being overpowering.
The first track “Dear God” establishes the tone for the entire album, initiating the continual address of the uncertainties of the human condition with a soulful, nearly psychedelic beginning. Songs discuss everything from solitude to death to life decisions, all which return to the fundamental questions of existence and relation to God. The sometimes somber connotations introduced by “ Losin Yo Head” and “Magic Map of the World” are countered by the optimistic “Goodway” and “Ahead of the Curve.”
Just as the album balances musical influence and theme, the Monsters of Folk also flawlessly converge genres. “Sandman, The Brakeman And Me” and “Goodway” sneak in tinges of country, following the pattern of a majority of the songs, which are a mixture of folk, rock, country, and at times, psychedelic.
The chemistry these four possess, first discovered when on tour together five years ago, certainly translates to their collaborative project. Despite the album title, Mogis, Oberst, Ward, and Yames have more than proven themselves masters of folk and everything in between.
(09/22/09 6:07pm)
Many were lured by the prospect of seeing “that guy” from Vh1’s popular “I Love the...” series. Some were die-hard “The State” fans itching for nostalgia. Others liked the idea of cheap entertainment on a Monday night.
Whatever preemptive expectations audience members arrived with on Sept. 21 at Kendall Main Stage Theatre, “The Awesome Life of Michael Ian Black” served the College with more crudeness and sarcasm than they were anticipating.
Black strolled onto stage — in attire he would later admit made him look like he “works in a Verizon Store”— to thunderous applause.
Despite his somewhat delicate demeanor, Black addressed the audience with a strong, powerful voice.
In an interview preceding the show, Black stated that the dynamics of college performances aren’t much different than his normal stand-up.
“If the joke works, I think it will work for all audiences, as long as you don’t mind me talking about shitting on your tits. If you’re that kind of audience, it might not work,” Black said.
With physical demonstrations to accompany the concept, Black ultimately decided that Kendall’s audience wasn’t that kind of crowd.
The crowd’s accepting applause spurred the introduction of other crude brainchildren, such as the “Bro-Job” and “gummy testicles” called “gum balls.”
Black’s sarcastic brand of wit was magnified by his blunt quips on topics ranging from his children’s non-creative Halloween costumes to The Signal’s headlines.
Though Black insisted in the interview that he was unsure where he found inspiration, it became clear as his act progressed that his everyday life provides infinite substance.
“It’s a question that comedians and artists in general get asked a lot … I don’t know that there’s a way to generate ideas. They’re like quirks. They just sort of exist. And it’s your job to find them, and I run them through the particle accelerator of my mind,” Black said.
Straying from the path of former comedians performing at the College, Black initially discussed the location of the College, rather than its name, after a “terrifying” journey to the show.
“Trenton, New Jersey, where hope comes to die, we don’t think we’re radioactive … It’s a scary fucking place you go to school,” he later added, “I know why you call it, ‘The College of New Jersey,’ because you can’t call it College of Trenton.”
Showing off his pre-show research, Black further connected with the all-too-eager audience over the recent parking debacles and the drunken escapades appearing in “Cop Shop.” Black maintained his collected countenance as he acted out the latter.
A New Jersey native, Black brought sincerity to his hatred of his home state.
“I got the fuck out as soon as I could … I know there is a lot of N.J. pride here, but it’s misplaced,” Black said, getting even the loudest Jersey enthusiast to chuckle.
Though he delivered the same sardonic, nearly arrogant tone characteristic of his former work on the sketch comedy show “The State” and Comedy Central’s “Michael and Michael Have Issues,” Black proved surprisingly spirited as the night progressed. Ending with an anecdote about skydiving, Black held the audience’s attention until the anti-climatic end. Only a true master of comedy could end a show successfully with a vomit-induced failed attempt at manliness.
Comedy Central’s favorite “roaster,” Greg Giraldo, opened the night with a roast of nearly everything, ranging from alternative fuel and health care to individual audience members.
Giraldo established a trend of interaction with the audience for the night, which began with the interruption of a joke on stem cell research by two disoriented latecomers. As the two hovered in front of the stage trying to find their seats, Giraldo finally couldn’t overcome the distraction.
“Can I get you a marching band to walk you in?” he asked.
Giraldo turned distraction into a positive by incorporating audience members’ input as they chimed in. Though rougher in appearance than his following act, Giraldo’s relaxed attitude created an unconventional comfort between the comedian and the audience.
“I like how Greg Giraldo can just take jokes from the audience. He’s really funny,” said freshman finance major Gina Holzheimer.
The audience seemed as good-humored as the comedian as he singled out students, despite Giraldo’s assertion that, “This is why I can’t do college shows. You kids are too nice.”
Though Giraldo depended on crudity and racial stereotypes for a majority of his act, the shock of his jokes left many in uncontrollable fits of laughter. The distance of the stage seemed to lighten the offensive content and grant vast creative freedom, a fact Black addressed in the interview.
“You’re beholden only to the audience, which obviously is a big thing to be beholden to. Once you get onto stage, no one is going to kick you off,” he said.
(09/15/09 3:49pm)
It’s dirty. It’s catchy. You’ve never heard of it. Saint Motel’s EP, “ForPlay,” introduces a sound that squeezes somewhere between indie-rock, psychedelic-rock, and sex.
Boasting an addictive six tracks without mindless pop beats, the Saint Motels released their debut Sept. 8 under One For the Records/Get Fresh Records. The Los Angeles based band consists of A/J Jackson on guitar and vocals, A Sharp on lead guitar, Greg Erwin on drums and Dak on bass. The four met in film school, a history that translates to their animated music and inventive videos.
Jackson delivers the sexually-charged lyrics with swagger and a smoothness that would make you think he’s sporting a pompadour. “To My Enemies,” incorporates a flavor of swing that transitions into a string of Sharp’s impressive slide-guitar solos. Be advised: If you listen to this song in public, you will have to fight sudden uncontrollable urges to dance.
“Pity Party” and “Eat Your Heart Out” invoke traces of influence from giants such as Kings of Leon and U2 but intermittently return to the ’50s rock feel of “To My Enemies.”
Its attraction to cinema, and therefore storytelling, becomes evident when Motel paints the vivid image of destruction surrounding dictatorship in their first single. “Dear Dictatorship” begins with a delicate, luring melody, which immediately transforms into explosive guitar riffs, mirroring the chaos imposed by the dictator. The song concludes with the haunting tone of the beginning, barely leaving evidence of its preceding intensity.
“Do Everything Now” essentially serves as the anthem of the EP, encouraging various degrees of debauchery, justified by “This life is your life just get it on” and the refrain “Do everything now… We’re still young.”
“Butch” again brings in the different era feel but decorates the familiar beat with crisp, abrupt guitar riffs and a techno-initiated, but Pete-Townshend-inspired climax. The track’s gradual build of the gentle beat contrasts comically with the blunt and somewhat shallow lyrics.
(09/08/09 11:47pm)
Though the packed 600-plus pages may be daunting, Ayn Rand is a philosophical, literary force in “The Fountainhead.” With a raw, yet infinitely descriptive style, Rand depicts unconventional characters that forcibly deliver reality, reflecting both the hideous and glorious existent in humanity.
The story primarily revolves around the tenacious Howard Roark, an aspiring architect who, due to his refusal to conform to the standards of tradition, has been expelled from the most respected school of architecture in the country, Stanton Institute of Technology. Roark defies convention in his determination to build, despite the criticism and eventual hatred directed from society. Rand contrasts Roark’s heroic plight to that of Peter Keating, the valedictorian of Stanton, and immediate golden boy of Guy Francon, of the famed Francon and Heyer architecture firm.
The novel is presented in four parts, which alternate between the perspectives of the main characters, granting insight to the ascension and descension of Roark and Keating (respectively) in society. Rand demonstrates the flaw of mankind in elevating self-degradation, granting the highest position to the “second-handers” of society — those who exist solely through the approval of others, thereby eliminating their ego.
Rand’s stance on the self-inflicted loathing of society is mind-blowing. Through the compelling speech delivered by Roark to a court attempting to convict him, Rand identifies the flaw of humanity in condemning pride. Rand forces readers to rethink selfishness as portrayed by society, which equates the ego with evil, a notion which resonates beyond the 1940s setting.
While there certainly are political undertones, they are primarily in service to Rand’s philosophy of objectivism. Her assertions of self, driven by self-interest, do cater to capitalistic ideology. However, there are no points of political preaching in this novel. The focus of the story is on the individual. Though you may ultimately disagree with Rand’s political beliefs, the characters and dynamics of society present infinite perspectives of interconnecting liberal and conservative notions. There is no definitive line, with generous common ground. After all who doesn’t love a good “stick it to the man” story?
The novel is dense but refreshing in its ability to deliver an entire philosophy in a painless package, which will consequently make readers question…everything. For this reason, “The Fountainhead” is an essential read for every rising college student, who is constantly harassed by the idea of practicality in choosing a career. Don’t choose a major because your mom wants a doctor in the family, or some aspiring Nietzsche professor has declared the profession of your dreams dead. Perhaps after reading Rand, students will learn to follow Roark’s example.
Welcome to Signal Rants, the all encompassing pseudo rant section. Know a band, book, movie, play, or miscellaneous starving artist that you think deserves a little light? Contact Katie Brenzel at brenzel2@tcnj.edu to write for Signal Rants!
(08/25/09 5:47pm)
Summer is over. Accept it.
Fortunately for you culturally inclined (or those tired of Super Smash Bros. tournaments), the fall line-up of entertainment promises an exciting semester.
Who to thank: WTSR
Where: Kendall Television Studio
When: 8 p.m.
Like music? How about free stuff? The WTSR concert series not only provides both, but classy pink chairs are involved.
For the all-encompassing alternative rocker, New York based Viva Mayday will grace the studio Sept. 15.
The Flying Change arrives in Kendall Hall Main Stage Oct. 6, introducing songwriter Sam Jacob in what he deems “Landscape Pop,” which features a combination of artists likely to satisfy an audience with a broad range of musical interests.
For future concerts, visit wtsr.org.
Who to thank: The College Union Board (CUB)
Tomorrow come to the 3 for 3 Comedy Night, featuring Ronnie Jordan, Esther Ku, and Andrew Kennedy at 8 p.m. in Kendall.
This semester CUB has a number of bus trips planned for those itching to get off campus. Locations include the Philadelphia Zoo on Aug. 30, Point Pleasant on Sept. 5, New Hope, Pa. on Sept. 27, Washington D.C. on Sept. 26 and a Phillies Bus Trip on Sept. 28. Be sure to keep a look out for posters with more details.
Like to laugh? De-stress and relax at this semester’s comedy show. Comedian Michael Ian Black from Comedy Central’s “Michael and Michael Have Issues” will perform Sept. 21.
For those looking for something beyond trick-or-treating or binge drinking, the Roxey Ballet Company will perform Dracula The Ballet in Kendall Hall in October. According to the company’s Web site, this contemporary ballet company “presents fresh, kinetic dance choreography that enables dancers to forge an interactive bond with audiences.”
Who to thank: TCNJ Musical Theatre (TMT)
Where: Kendall Hall Main Stage
When: Nov. 19 to the 22
TMT organizes both large and small-scale productions throughout the year. This year’s fall production is “The Wedding Singer,” which will run from Nov. 19 to the 22.
According to the TMT board, karaoke nights in Brower Student Center are planned once a month. Be sure to look out for TMT’s annual Broadway Night sometime in October to see performances showcasing a variety of musical numbers from your favorite shows.
Who to thank: Mixed Signals
Where: TBA
When: Monthly
A night with this improvisational comedy troupe is a great remedy for the stress of all nighters and endless study sessions. Look for postings around campus for specific dates of these free, monthly shows.
Who to thank: All College Theatre (ACT)
When: TBA
ACT’s first production of the year, “Creation of the World,” opens the second week of October. For location and ticket details keep a look out for posters around campus.
The second production is ACT’s annual Murder Mystery. This show is a campus favorite, providing catered food and an interactive performance that will keep you guessing
(08/25/09 5:41pm)
As Welcome Week starts to simmer down and awkward icebreakers give way to back-to-school anxiety, fall entertainment at the College has just begun.
On Tuesday night, Café Under the Stars, hosted by the College Union Board (CUB), jump-started what appears to be a promising year for campus bands.
Though the event turned into Café Under a partially lit ceiling due to the weather, the Brower Student Center Food Court filled by the middle of the night.
New Jersey natives Pegasus Jetpack introduced songs from their album set to be released Dec. 26, including “Motel Nights” and “Unexpected.” The band consists of vocalist and guitarist Jon Irizarry, senior business and communication studies major, bassist Rick Rogers, and drummer Pat Maloney. According to Irizarry and Rogers, the three have been playing together for three years, a fact evident in their cohesive set.
“This was our first show since recording, so there were a few slip ups,” Irizarry said on their performance. Any mistakes went unnoticed by the audience, who seemed involved in the band’s polished sound.
While Irizarry and Rogers identified their music as psychedelic rock, traces of grunge and hard rock crept into certain songs.
The fusion of genres presented by The Poor Player translated to slight confusion on stage, not quite matching the sharpness of their predecessors. However, what the band lacked in consistency, they more than made up for by their energy and signature style. The band’s sound is a blend of blues, soul and rock, brilliantly performed by lead vocalist and guitarist Erik Romero, pianist Lisa Ball, drummer Chuck Winkler and Steve Voelker sporting a tenor sax,senior music majors, and bassist Dave Lester. The combination of the band’s clear love of performance and unconventional inclusion of the tenor sax set it apart from the other performers of the night.
Despite the initial scarcity of the crowd, Rare Candy performed an impressive set of originals and covers to the same caliber had the room been filled to capacity.
The band consists of lead vocalist and guitarist Matt Huston (also Signal Nation and World Editor), his younger brother Andrew Huston on drums, and bassist Ben Cole. Some of the band’s originals included “We Tell Ourselves Stories,” “Frown” and “On a Monday.
(08/25/09 4:14pm)
New York City’s Bowery Ballroom, host to rising and established artists, surged with the excited reception of Jenny Owen Youngs and Jukebox the Ghost on May 27.
The cozy but crowded hall, darkened slightly by remnants of gothic architecture, was graced by Youngs’ newest sound from her recently released album, “Transmitter Failure.”
The new album retains much of Youngs’ notable folk and indie sound from her debut album, “Batten the Hatches,” but extenuates the pop undertones to a greater degree. Songs such as “Clean Break” showed a distinct deviation from her earlier work, but possessed the same vigor and raw sincerity her fans have learned to crave.
Youngs rocked originals such as “Fuck was I” and “Led to the Sea.” She proved as energetic and friendly as ever in her inter-song banter, as well as her mellow response to a few over enthused fans with a simple thumbs-up.
Ending with “Last Person,” accompanied by Jukebox the Ghost who covers the song in their vinyl split with Youngs, Youngs invited the band to do “terrible, awesome things” to the audience.
“Awesome things” translated to a performance that echoed various influences from bands including Cheap Trick, Queen, The Beatles, and a dash of David Bowie, producing a sound that defied classification.
The band from Philadelphia consists of the wide-eyed lead vocalist and keyboardist Ben Thornewill, guitarist Tommy Siegel, and drummer Jesse Kristin. Their upbeat pop-indie tunes contrasted comically with their often apocalyptic subject matter from their newly released “Let Live and Let Ghosts.”
Youngs and Jukebox shared the stage with These United States, who kick started the night with songs from their 2008 album “Crimes.”
The indie rock band hails from Washington, D.C., and consists of Jesse Elliott, Tom Hnatow, and Robby Cosenza. Their hypnotizing folk set incorporated traces of country and psychedelic sound, producing a rough but rousing performance that established the energy of the night.
(04/29/09 12:00pm)
The end of the semester signifies the winding down of classes, signs of summer and for the culturally inclined, a fusion of arts in the Rathskeller. ?
On Saturday, the Rat was once again host to the all-day student arts festival, The Goods. The biannual festival, hosted by Ink, is a celebration of writing, music and creative work. This semester's edition brought a compilation of poetry and prose readings, solo and group musical performances, as well as a performance by headliner Matthew Rohrer.
Rohrer read from his three books of poetry "A Green Light," "Satellite" and "A Hummock in the Malookas," as well as "A Plate of Chicken" which will be available May 15. In a voice that mirrored his poetry, Rohrer read the subtle hilarity of his poems with gentle passivity.
Rohrer addressed the aspiring writers throughout his performance. In reference to his own focus on heat in his poetry, Rohrer encouraged young writers to identify their own emotions.
"Something you hate, you have to attack it in your writing, then it will become your slave," Rohrer said. ??
Freshman biology major Anh-Chi Do initiated the student portion of the performances with a reading of her poetry addressing her reconciliation of her American and Vietnamese heritages.?
Audience members were jolted by the forceful slam poetry of sophomore interactive multimedia major Esteban Martinez. His command of voice, words and movement in topics ranging from powerful reflections on ego to graphic innuendo compelled the audience to respond. ??
"You all can't be dead on this one, because I'm going to give a lot of energy," Martinez said.?
Freshman international studies major Margaret Pakutka kick-started the musical portion of the day with two originals from her demo "Rooftop Garden," which she distributed to the audience. Ending with an acoustic version of "It's Getting Hot In Here," she warmed up the audience with laughter and her relaxed eclectic sound. ?
A favorite of The Goods, "() and the Best Valentine's Day Ever," consisting of sophomore philosophy major Ross Heutmaker on guitar and both junior elementary education major Christie McMahon and English major Enrico Bruno on vocals, also got the audience laughing with altered covers of Beyonce's "Single Ladies" and Kanye West's "Heartless." ?
Students weren't alone in showcasing their talent. Professor of creative writing Jess Row delivered a slightly raspy, but soothing acoustic version of Jawbreaker's "Kiss the Bottle."
Katie Brenzel can be reached at brenzel2@tcnj.edu.
(04/29/09 12:00pm)
Campus Police discovered the message "Butts-Polak-Slut" written on three locations near Forcina Hall on April 10 at 8:20 a.m. The graffiti was written outside the retaining wall of the children's playground, on the right side wall of Lot 12 and above the double doors to the office in Lot 12.
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The front door of the gear locker between the track and soccer fields was reported damaged on April 22.
At 8:10 a.m., an individual told Campus Police he noticed the door and lock had been damaged. The items inside the locker were disheveled and some had been stolen.
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A wallet left in an unattended purse was reported stolen on April 22.
The owner told Campus police that she left her handbag unattended in Eickhoff Hall at 6 p.m. on April 21 and also in the New Library at 8:30 p.m.