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The Philadelphia Story

-Theatre Review by Diana Mumford–

The Philadelphia Story, now playing at the Charlottesville Live Arts Gibson theatre, December 13^th-January 18^th, was originally written in 1939 by Philip Barry. The revival follows a wealthy family that has been largely unaffected by the Great Depression. Barry’s approach to the slice-of-life concerns of the upper crust of society was adapted for the silver screen the following year. Both the play and film originally starred Audrey Hepburn as the lead, Tracy Lord, a socialite en route to self-discovery.

After ridding herself of her alcoholic first husband, Tracy, at present played by Elizabeth Trevor, finds a new partner in stalwart George Kittredge, played by Ray Smith. With her own love life seemingly in order, she and her family struggle with the burden of her father’s affair. The family’s troubles grow when two reporters are sent by Sidney Kidd, a tabloid mogul, to uncover the clandestine scandals of “fashionable Philadelphia.”

The reporters, Liz Imbrie and Mike Conner, played by Grace Trapnell and Daniel Prillaman, nimbly deliver dialogue wrought with dry wit. Mike’s introduction to the Lords completes Tracy’s excess of gentleman callers. The predicament of a well-to-do woman with three lovers is hard to sympathize with, but Trevor’s resurrection of Hepburn’s role is noteworthy. Trevor gives depth to the potentially one-dimensional socialite role with her depiction of her character’s genuine need to be presumed a flawed human.

Audiences will feel transported in time. The show opens with a movie projection that provides the Lord families’ back-story, an interesting and effective choice by director Betsy Rudelich Tucker. The visual incorporates traditional filming styles from the 1940s, and the device is used again between acts to move the story along. Likewise, the physical staging is done tastefully in the minimalist style of the wealthy. The wardrobe echoes the set by including well-executed vintage-inspired looks in monochrome grey tones. In classic Hollywood style, the Lord sisters change into overdone motley when peacocking for the reporters.

Tracy’s younger sister, Dinah, played by Camille Kielbasa, presents a catalyst for further discord. The table is set for drama when she invites Tracy’s ex-husband, C.K. Dexter Haven, played by Brad Frazier, to lunch. Dinah’s character has the potential to skew gratingly cutesy, but Kielbasa’s talent is apparent. She manages an intelligent performance while staving off an overly sentimental portrayal throughout the course of the play.

The parental figures in the play also deliver impressive performances. The stodgy father Sandy Lord (Johnny Landers) and mother hen Margaret Lord (Jennifer Lawless) seem entirely comfortable in their parts while Stewart Moneymaker as the lecherous Uncle Willie is both hilarious and cringe-worthy.

Barry’s play underscores the idea that humans are messes wrapped in clever packaging. As the reporters prying into the Lord’s lives, uncovering their moral shortcomings, Tracy is forced to realize her imperfections.

The Philadelphia Story is a light-hearted peak into high society. Despite the play’s sentimental romantic comedy ending, entertaining dialogue and the likeable cast create an enjoyable atmosphere into which audiences will happily escape.

***

Post Photo Courtesy of: http://www.livearts.org

Traphouse Rock

-Album Reviewed by Jake Kresovich–

Few young bands manage to put forth an album as compositionally sound as Traphouse Rock by Kids These Days. This unlikely group of high school students from Chicago, IL have created a powerful and persuading sound.  Their eight piece outfit is led by Vic Mensa on vocals, but he is not the only star on stage. Macie Stewart offers beautiful melodies on the keys and with her backup vocals. Produced by Jeff Tweedy of Wilco, Traphouse Rock blends hip-hop, blues, jazz and funk into a unique sound that begs listeners to press repeat.

Traphouse Rock rhythmically builds up and relieves tension through a number of powerful, loud ballads. The album opens with the cleverly named track, ‘(Intro)mental’ which features the piano lightly introducing a simple melody.  Once established, drums and a gentle bass fall in underneath. As the tune becomes increasingly complex and more directed, tension compounds, driving the raising the tempo, almost out of control.  Finally the guitar sounds with a soulful solo that releases all the pent up energy.

An interlude composed of radio sounds follows. The operator plays the tuner in search of a suitable station until the Traphouse Rock party begins with the third song, ‘GHETTO.’ Here listeners are immediately introduced to Vic Mensa rapping over the band’s rendition of ‘Smells like teen spirit,’ giving a nod to the youth and wildness of the band members.

The pinnacle moment of the album arrives early in the fifth track when Mensa rhymes ‘Don’t harsh my mellow’ over a dark, driven piano line.  The song is raw and tormented.  “Shut the fuck up” Mensa screams before diving into a chorus where the name of the song is repeated.

Traphouse Rock’s only guest appearance is by a young, up and coming Chicago artist, Chance the Rapper on the track ‘Wasting time.’ Chance’s verse builds as he appeals to his “darling Nicki.” He tells her that he loves her but feels he wasted time on her and is unable to understand what love actually is.

The second to last song, ‘L’Afrique’ stands out. Stewart offers a beautiful introduction over a light melody played by the keys and trumpet, pleading with the listener to open their eyes to the world and take in all that is offered. Mensa, meanwhile, adds in verses that are again a contrast to previous lyrics, touching listeners with a more reserved tone.

Along with unique, original compositions, Traphouse Rock features a number of covers of popular songs.  In particular, the horn section offers an impressive rendition of Radiohead’s ‘Creep’ during the song ‘Bad Billikan’ and the jazz ballet ‘Summertime’ in the album’s final song ‘A Man’s Medley’.

Offering more ups than downs, Traphouse Rock leaves listeners feeling empowered, and with a sense that one person can conquer the world alone. The album showcases the creativity of the young minds behind Kid’s These Days, is emotionally packed, and will liven any situation.

***

Post photo courtesy of: http://metrojolt.com

Mary Ruefle

TRANCES OF THE BLAST

-Book Reviewed by Kendra Bartell–

The world was designed and built

to overwhelm and astonish.

Which makes it hard to like.

from “Fireworks.”

It’s striking that Mary Ruefle would name her new collection Trances of the Blast, given the definition of trance: “a half-conscious state characterized by an absence of response to external stimuli, typically as induced by hypnosis or entered by a medium.” Here, the medium is of course, words. The words in each poem, like the world, are designed and built to overwhelm and astonish readers. Ruefle makes each blast entrancing, for that one moment of reading it on the page and beyond. These poems will stick.

In the first poem, “Saga,” Ruefle opens with what becomes a central motif for the entire collection: the time given to each of us as a life. Central questions with which Ruefle grapples is what is the difference between time? What happens to us, and “a life?” This opening poem sets the stage for her inquiry:

Everything that ever happened to me

is just hanging–crushed

and sparkling–in the air,

waiting to happen to you.

The poem begins with a pessimistic definition of what a life is, but through the cyclical nature of Ruefle’s linguistic connections, it turns out that it’s not quite as depressing as we thought. These “rifts and sagas” of life are “filled with /music and the smell of berries and apples,” even though there is also “shouting when a gun goes off/and crying in closed rooms.” Ruefle is honest about the ups and downs of life, the crests and troughs of these waves.

Visually, Ruefle’s poems are intriguing. Many are presented in single stanzas, often times taking up an entire page. This marks a shift in Ruefle’s poetic aesthetic from some of her earlier works. Oftentimes, in previous poems, Ruefle would signal readers when the big moment or revelation was coming: either stanza breaks or a colon would emphasize the significance of her diction. In Trances of a Blast, however, the longer stanzas force readers to balance each line or sentence on its own merits against the others and ponder the poem as a whole. Ruefle’s intention is to make readers spend more time with these poems and for them to decide on their own what is important.

That being said, some of the more visually unusual poems are also the most sonically or thematically playful as well. One of the most memorable poems in the collection is“Le Livre de ma vie” or, “the book of my life.” This poem uses short stanzas (the majority are couplets, following an opening tercet), that allow for huge paratactic leaps and bounds. For example:

I love you.

But who is the I

and who is the you?

Mr. Potato Head

Mr. Potato Head

…

Help me behave,

Weeping in the dark earth.

The jumps occurring between stanzas allow readers to ponder the statement. Mr. Potato Head figures as the malleable self that changes through the experience of one’s life, but he is also a figure for a higher power that can serve as a guide through this same experience. It’s a feat to pull off an exclamatory plea to a children’s toy, but if anyone can accomplish this, it is Mary Ruefle.

Trances of the Blast is an enchanting and mesmerizing ride along with one of our most gifted poets through “Middle School,” “College,” childhood, and middle age. The Blast becomes a figure for each of our lives, and the trances we slip in and out of while experiencing these moments. The poems count backwards, entrancing readers and also provide the gong to wake them up. In the collections final poem “Picking up Pinecones,” the speaker poses the question “I’ve spent my life in a forest./Picking up new things,/will it never end?” This is the last gong of the book–a call to arms to sit up and take notice of the forest around you–will your trance never end?

Trances of a Blast

Mary Ruefle

Wave Books, 2013 (Seattle & New York)

***

Enough Said

-Film Reviewed by Lisa Umhoefer–

Enough Said explores the life changes that parents face when sending their kids off to college. Eva (Julia Louis-Dreyfus) is a divorced mother. She must balance her job as a masseuse while trying to cope with her daughter’s departure from home. Unbalanced by the sudden change, she seeks a fresh start.

The film was one of James Gandolfini’s last projects before his death, adding a new dimension to the career of this beloved actor. Gandolfini stars as Albert. When Eva meets him at a party she attends with her friends, Sarah and Will (Toni Collette and Ben Falcone) she has already made the mistake of declaring loudly that there is no one at the party to whom she is attracted. Albert proclaims the same in a sweet effort to mitigate some of her embarrassment and the smiles they exchange establish their budding affection.

The first date is a success. Albert plays a believably, sweet, teddy bear of a man and Eva is clearly smitten. Complications arise, however, when it turns out that one of Eva’s massage clients, Marianne (Catherine Keener), is also Albert’s ex-wife. This awkward revelation comes after Eva has listened to a series of damning complaints from Marianne about her ex-husband that she agrees sound awful. Now Eva realizes she is dating the source of her client’s aches and pains.

Being Marianne’s friend, while dating the biggest source of her unhappiness, proves difficult. But Eva can’t help herself. She has given into the temptation to gossip about Albert, and soon Marianne’s opinions of her ex-husband are influencing her own first impressions. Eva begins to see only Albert’s flaws, adopting Marianne’s pet peeves and standards. This leads to an inevitable confrontation in the worst possible scenario, and we witness Eva walk away like a wounded puppy with her tail between her legs.

A superb script, Enough Said makes some powerful observations of human behavior and comments on the many ways that people can err in their relationships. One of the most uncomfortable scenes transpires at a dinner party put on by Will and Sarah for Eva and Albert. Eva bullies and berates Albert in front of her friends pointing out the different faults that she and Marianne have zeroed in on. Audiences sympathize with Albert. Viewers will also wonder how much of Eva’s complaints are really based on her own feelings, and what impressions and misimpressions are the fault of her association with Marianne.

The film portrays the uncompromising nature of people. When one of Marianne’s chief complaints about her ex-husband was that he did not have end tables for his bedroom, Eva finds herself making the same complaint. Stubborn, Albert still refuses to act. Ultimately, he and Eva reach a resolution only because Eva abandons her wishes on this issue, not because Albert makes an effort to change or accommodate her desires.

The message is clear: the only way to happiness is to lower expectations. Audiences recognize, however, that this is probably not a sustainable solution, and they will be critical of the action when it appears that Eva and Albert are merely making another cycle through the obstacle course of dating, divorce and recovery. Unfortunately, lopsided relationship compromises contradict the spirit of the film. As the actors try to convey happiness, there is underlying sadness and resignation that complicates their situation and moods.

Enough Said is the fifth film feature written and directed by Nicole Holofcener, who is also an accomplished TV director. Audiences will appreciate Holofcener’s finesse crafting scenes where characters painstakingly digest new events in their lives. One feels on the set or in the room with Albert and Eva, and the drama connecting them and dividing them as a workable couple feels real.

In a world of slam, bam action movies, it is a luxury to watch the non-rushed, nuanced performances that Julia Louis-Dreyfus and James Gandolfini deliver. Enough Said is a well-packaged work that is worth a view even if in the end happiness is just a matter of settling.

Post Photo Courtesy of http://www.fastcocreate.com

“The Other Side of Pali” By Emily Lee

The Other Side of the Pali

Book Reviewed By Roger Market

The Other Side of the Pali is a wonderful short story collection written and designed (in paperback form) by Emily Lee. The book’s cover is deceptively simple, but it is also inventive and breathtaking. The overlapping colors brought on by ripped pages are expertly placed, as if by a trained graphic designer. Which makes perfect sense because Lee is a graphic designer, too. Suffice it to say, this is no ordinary self-published book.

It starts with “Two Views of the Sea,” an otherworldly and yet very real tale of Hawaiian sisters Margaret and Ginny. When Margaret discovers an old Hawaiian myth, the sisters go on an underwater adventure together but still manage to have completely different experiences. This is a story steeped in myth and the idea that twins are not carbon copies but individuals in their own right. At age fourteen, Margaret and Ginny still have plenty to share, but now they are veering off, separately making discoveries about the world and themselves.

“The Other Side of the Pali,” the title story, appears later in the book. It is yet another tale of Hawaiian sisterhood, but this time, it’s serious. This time, the sisters involved are all grown up, and they’re dealing with the iniquities that come with age. On a purely emotional level, this story stands out. Easy criers should bring tissues.

“Sugar,” which is easily one of the most depressingly hilarious views of old age I’ve ever seen, brings on the laughs in a big way. The phrase “some things never change” is a bit of a cliché today, but in this story, it’s definitely true. The reader won’t believe how far these old friends and competitors will go to one-up each other. I’ve read the book several times, and I laugh out loud at this story every time.

“Cast-off String” is a beautiful vignette detailing the remnants of a lost love, as well as a burgled home that now “hums with someone else’s energy.” Despite the sorrow that permeates the first half of the story, the last line is so airy and delicate that it reinvigorates the reader, lifting him or her back up like the feather at the end of Forest Gump.

“Doctor of Restraint” takes a turn for the creepy, as a young doctor-in-training finds himself trapped with his mentor in a horror show of medicinal history. This story stretches believability a bit thin, however, as does “The Critique.” While these stories are not among my favorites, I love that they still manage to do what the rest of the book does on a fundamental level: present the two sides of a duality so crucial to the human experience. Fear and confidence, life and death, comedy and tragedy, sanity and insanity, Lee is consistent in her approach to storytelling, and the book ties together well.

“Rorschach Ink” is perhaps the most unrealistic story of the collection—but deliciously so. Readers may groan at the thought of reading a story about therapists; however, they should stick with this one. Here, Lee shows that borderline magical realism may be the key to a good, or at least interesting, therapist story.

Lee also has a gift for creating and relieving tension. Her wonderful sense of pacing fuels my appreciation for the penultimate story: “Balloon Ride.” If the stories in this book have been building up to something, this is it: the heartbreaking story whose final line will have the reader gasping at what just happened, yearning for more but feeling satisfied all at once.

The last story in the collection, “‘Ilima Lei,” takes the reader back to Hawaii for one last look at the culture that has clearly stolen Lee’s heart and underscores not only the book’s title but also its energy. In this story, Lee yet again takes an often-belittled element, the dream sequence, and provides something so refreshingly beautiful and frightening that the reader will wonder why it was ever considered a cliché. Alana of Ka‘a‘awa is Hawaii’s mute treasure, and it is perhaps her final scene that best evokes the Hawaiian feel of the book and brings it to its natural close.

And then the reader has nothing to do but literally close the book and feel that painstakingly designed square form in his or her hand. A perfect fit for short stories.

***

The following collaboration, composed of three poems by Kentucky resident, Kelsey McMurtrey, were originally inspired by the artwork of Monologging artist and Hawaii resident, Lauren Elyse. Kelsey, whose monologue, Customer Service, recently won first prize in the 2013 annual summer Monologue Contest connected with Lauren in early October through monologging.org. The two spent several weeks passing scans of Lauren’s paintings and drafts of Kelsey’s poems back and forth via email.  Their exciting collaboration inspired thematic discussions and imaginative storytelling. Lauren’s paintings take us back in time to the glory days of show girls and Hollywood magic. Likewise, Kelsey’s delicate prose, reminiscent of John Dos Passos’, USA Trilogy, embraces iconic history, creating new scenes, characters and powerful moods….

Vignette

They Call Her Brooklyn

“Cyclamen” Lauren Elyse

Sometimes,

they find her dancing.

Swaying side to side,

flitting bits of laughter

catching in her steel netting.

She enchants their hollow eyes,

with her thick escape routes,

her curling roads pulling them from present cares.

She caresses their calloused hands,

their burdened souls.

Adjusting their tearing shoulders

of tweed,

they cling to her

every word,

perched on her fragrant cables.

They fall asleep on her

wind whistled songs,

her sad, salty melodies.

Never realizing

they are

drifting

off

to

death.

Robert Gould Shaw III

“Gladiolus” Lauren Elyse

Slender fingers with fire-red nails

paw at his ego of twenty-something years

most nights in the dark apartment on forty-second.

Opaque clouds of tumbling desires

stay hidden under

his carefully coiffed hair—

a sweet tobacco smile disguising

hidden walkways of his heavy mind.

Her silver whispers weave

patterns of weak promises

through his ears,

caressing, affirming—

shriveling before they reach him.

He sits,

hears the tick-tocking of his smooth pocket watch,

waiting for freedom from barred escapes

of a wanting heart—

for a love he cannot have.

He smiles at her,

wishing it were another.

A Season Undone

“Rose” Lauren Elyse

His pocketbook emerges,

brown-creased—

slick with bills,

fleeting folds of lamp lit moments.

I look over his shoulder,

see addresses, names of people

I once mirrored.

Condensed ink numbers,

scribbles of measured wealth.

He calls me darling,

motions for my waist,

shows me a crinkled pastel photo.

Some place he will take me,

come Spring.

He tells me the roses are the finest there, in Italia.

I nod,

smile slipping,

sliding,

gone—

chew a fingernail bit.

Perhaps the roses would make room

for me to bloom there,

with them.

Post photo courtesy of Lauren Elyse 

Tawk Tomahawk

-Album Reviewed by Jake Kresovich–

Bands rarely sweep you off your feet with mellow, entrancing vibes that beg to be put on repeat in the same way as Hiatus Kaiyote. The four-piece band from Melborne, Australia has a sound reminiscent of Erykah Badu’s emotionally driven compositions. Led by front woman Nai Palm, Hiatus Kaiyote put forth their debut album, Tawk Tomahawk, earlier this year.  Although the album didn’t get much attention upon its first release, the music found its way to the right ears. With encouragement from Questlove and other well-respected musicians, the band re-issued Tawk Tomahawk under Sony Masterworks’ imprint, “Flying Buddha.”

The album fades in with a guitar riff that slowly takes form as a drum beat falls in underneath. Layered on top, Palm’s voice guides the direction of the melody. “Mobius streak” welcomes the listener with a warm melody that is uplifting albeit restrained, setting the tone for the album.

In the ensuing songs, the music becomes more confrontational. The short tracks of “Ocelot” and “Boom Child” explore coarse and heavy melodies but pleasantly retain a hint of Palm’s soft voice.

The album reaches its crescendo with the song “Lace skull.” Here, Palm’s voice loses its aloofness from earlier in the album and grows more assertive. No longer does her expression feel like an accent to the music. She is the driving force. This change in direction is further emphasized by an upbeat tempo from the rhythm section.

Intermission? Listeners relax as two instrumentals return the mood to a more sedated state reminiscent of the album’s intro. The respite is necessary to prime us for what’s ahead:

“Nakamarra” rounds out the album with a beautiful, heart-warming ballad. Palm’s uplifting voice again takes control. She sings of her admiration for her friend Hannah and the artist Doreen Nakamarra, an influential Australian artist known for her work with mentally disabled Aborigines. Her words and tone float like a bird flying freely in the wind, inviting anyone along for the ride. She repeats, “I love you, I love you, I do…” in a tone that draws in, embraces and warms the listener.

Tawk Tomahawk is beautiful album that invites listeners on a journey. This album begs to be played front-to-back, again and again. The future-soul style of Hiatus Kaiyote draws from music legends, improvising and adding unique emotions to the score that can’t be duplicated. Those looking for a pleasing escape into a picturesque world created by sound need look no further. Hiatus Kaiyote strikes the right chords and melodies.

Post Photo Courtesy of: http://www.u-fm.it

David Shoemaker, Eric Park and Jeff Murray in “Orphans” Photo Courtesy of Ken Stanek

Orphans 

– Theatre Review by Rachel Wooley–

When life’s circumstances leave someone orphaned, how long does the term “orphan” apply? Does a person outgrow the label once they reach adulthood? How do they get past the hole that the absence of a loving and supportive parent leaves in their lives?

In Orphans, now playing at the Fells Point Corner Theatre, all three of the play’s characters grapple with this last question. Treat and his younger brother Phillip live together in the old family row house. Their father has abandoned them and their mother has died. They survive on a diet of Starkist tuna and each brother deals with the ramifications of their family’s tragedy a little differently. Phillip, who is played with incredible skill and delicacy by David Shoemaker is essentially a shut-in, hindered in part by his nervous tics. Much of Phillip’s reclusiveness is self-induced, but his older brother, Treat (Eric Park), makes sure Phillip remembers that the outside world is a hostile place. In his misguided attempts to protect his younger brother, Treat encourages Phillip’s behavior and even refuses to let him learn the alphabet or how to tie his shoes.

But Treat can’t be home to watch Phillip all the time. He is the breadwinner of the family, making a living through petty theft. When Treat returns home and proudly shows off his collection of stolen jewelry, watches, and wallets, Phillip is uninterested in the loot. The curious younger brother prefers to hear about the people Treat has encountered outside.

The FPCT crew has created an incredibly detailed set to accompany the show. Throughout the messy row house where the play takes place, a few of Phillip and Treat’s mother’s things remain, including one red stiletto that Phillip harbors obsessively. Treat, meanwhile, threatens to discard these items. They “ain’t doing nobody any good,” he says, forcing Phillip to throw the partner-less shoe out the window. Phillip is taunted by the shoe’s presence on the lawn, however, and can’t resist retrieving the memento of his mother.

The situation becomes more complicated for the brothers when Treat decides to give up his career of hold-ups and jewelry theft in order to take on something more lucrative: kidnapping. Enter Harold (Jeff Murray), his first victim.

David Shoemaker as “Phillip” and Eric Park as “Treat” in “Orphans.” Photo Courtesy of Ken Stanek

Things don’t go as planned. When Treat phones Harold’s office to demand ransom, nobody believes that Harold has been kidnapped. In fact, nobody seems to care what happens to him. Meanwhile, Harold worms his way out of his poorly-tied ropes and befriends Phillip, who’s supposed to be watching him.

Once freed, Harold considers the desperation of his captors and decides not to leave. Instead of viewing Treat and Phillip as villains, Harold sympathizes with the sad state of the two abandoned boys, who are clearly in need of a father figure. Harold, who was an orphan himself, is obsessed with caring for what he calls the “Dead-End Kids.” He quickly sets Treat up with a job and a salary that’s great even by today’s standards (the play was written in 1983).

Within two weeks, change is evident. The boys’ house is clean, and cans of Starkist tuna have been replaced with Harold’s homemade meals. Harold is adept at  approaching each of the boys individually because he sees himself reflected in each of their personalities. To coax Philip out of his shell, Harold buys him a pair of loafers without laces. He also circles their home on a map of Northern Philadelphia to ease Phillip’s worries about getting lost should he finally go outside.

Treat, however, is more complicated. New clothes and the promise of money and women entice him, but Treat’s tough persona doesn’t leave much room for Harold’s emotional encouragement.Treat’s attempts to overcome his rage (with Harold’s help) leave him struggling and confused. Complicating matters, Treat senses Phillip’s growing allegiance to Harold and feels displaced. “Don’t I always take care of you?” he demands of Phillip.

Jeff Murray as “Harold,” Eric Park as “Treat” in Orphans, Photo Courtesy of Ken Stanek

Harold, meanwhile, has his own problems. Aside from loneliness, he’s haunted by a dark past, and some shady business dealings he left in Chicago. Nevertheless, Harold (perhaps owing to Murray’s skillful interpretation of the role) is somehow always genial with the brothers, even when he’s waving a gun in Treat’s face.

This story, though full of beautiful moments, can only end tragically. Both the brothers’ and Harold’s lives are irrevocably changed in the course of the show, and Director Steve Goldklang has skillfully woven their performances together, arriving at an incredibly moving conclusion.

The show is gritty, but moments of humor layer and accent the personalities of the three characters, deepening their relationships. The contrast of intense confrontational scenes with lighthearted and tender moments keeps audiences engaged in the trio’s emotional journey until the bitter end. Audiences will appreciate the characters’ explorations of what it means to be family and the intricate and unexpected bonds that can form between human beings.

Orphans is showing at 8:00pm Fridays and Saturdays and 2:00pm on Sundays. There are also two Thursday evening shows, November 14 and 21, also at 8:00pm.

Post Photo Courtesy of Ken Stanek

Photo Courtesy of: http://www.daz3d.com

America is Going Street

Fashion Report by Dorothy Chan and Kendra Bartell 

America is going street. Miley has moved her address from sweet pop Nashville to twerk hip-hop queen with grillz and a Jordan swimsuit to match. Beyonce and Jay-Z are music’s it couple. Rihanna is dominating both the billboard and fashion charts with her provocative lyrics and her even more provocative outfits. Pictures of grillz are dominating tumblr. Yes, hip-hop has officially become the influence of our generation—it’s the byproduct of America, from our music to our fashion to our lifestyles. As Pharrell Williams puts it, we’re “injecting dressed-up luxury into hip-hop style and thereby influencing a new generation of guys to consider more than just a pair of baggy jeans a reflection of their youthful vitality.”

Streetwear has become the trend for at least a few seasons now. Since Givenchy debuted its Rottweiler sweatshirt (tee version available here), high fashion has been going from couture to street and back and forth. Today, brands such as Givenchy, Rick Owens, Yohji Yamamoto, and Marc Jacobs dominate the runways. These brands have a casual, yet high end, tough yet effortless vibe to them. Black is in more than ever. Leather is in more than ever. Sweatshirts, bomber jackets, sneakers, beanies, and snapbacks are back in. It’s the 90s + hip-hop + couture + an x factor of fashion. What’s behind the resurgence of these styles?

We’ve all seen the couture outfits debuted on runways, but how does the presentation of high-end designs actually influence our lives? Streetwear in Asia and America is a global phenomenon. The terms streetwear and street fashion are generally used to chronicle what everyday people wear on a regular basis. Streetwear started from the surf culture of the 1970s, and was further influenced by skate culture, hip-hop and Japanese fashion  It’s about looking tough rather than preppy and polished on the streets. There’s also an unabashed element of color. In summary, it’s not “stiff.” Here are a few examples, and please note that streetwear is also big in Asia.

If Comme des Garçons and Bape are breaking the bank, you might want to try cheaper options. Luckily, high street stores such as River Island and Urban Outfitters are offering plenty of alternatives. In fact, streetwear’s influence seems to have climbed up the ladder of social importance so high that it’s now entering the trickle down phase. Popular clothing store Forever 21, known for its cheap imitations of high fashion lines, has been upping its streetwear game, seemingly imitating all it can get its hand on. Now, that’s not necessarily a bad thing—girls on a budget want nice digs, too—but it is an interesting phenomena. Streetwear was once actually associated with people on the street, the cultures we like to ignore and look over—the minority culture white America tries so hard to distance itself from. What does it mean that now, one of the major shopping stores for middle-white America is producing affordable streetwear (with a majority of white models)? Is it appropriation for Forever 21 to sell “Lounge easy sweatpants” that are almost a direct knockoff of Rihanna’s River Island Collection’s “Embossed Leather Pants” only a little comfier? What does it say about our culture and the way streetwear has entered high fashion’s consciousness now that Rihanna has designed a major line that is already almost all sold out online?

Photo Courtesy of: http://www.graziadaily.co.uk

Rihanna’s River Island Collection is an interesting case study in the proliferation of high-fashion streetwear. River Island is a London based high-street store with a number of worldwide markets. Its physical stores are mostly in Europe, but thanks to the world wide web, we can purchase their clothes all over the world. Rihanna’s line, however, seems to know who its audience is. It’s not just those normal high-fashion customers, its also her biggest fans, who may not necessarily be the wealthiest fans. Her line offers a range of price points. A majority of the “bigger” items, that is, the maxi dress, the leather pants, are in the $300 range, but there are also some affordable prices. The Midi Skirt is only $100, and the Stripe Cropped Sweater is only $87. While these are not Forever 21 prices, they’re not fashion house prices either. Rihanna herself is doing a great job of marketing this streetwear collection to those who wouldn’t have known it was a phenomenon–that is, her more sheltered fans. Those who follow Rihanna on instagram and twitter, however, cannot escape the pictures of her dressed in her own collection items, taking advantage of the marketing opportunity. It worked, though, and a lot of modestly priced items are already sold out online, with the option to try and find it in stores.

Another retail giant to middle-class mainstream American markets is the ubiquitous Urban Outfitters. They are taking a similar marketing strategy to Rihanna and River Island, but seek middle line prices. The general consensus is that Urban is a bit “classier” and better made than Forever 21, so their primary market are people who care about the quality of their clothes a little more and are willing to shell out a bit more dough for the name connotations. Their tactic is to seem better put together and appeal to price/ vs. quality concerned consumers. However, their basic pattern is the same: sell streetwear to the people. They sell a similar Army Pant to what Rihanna is selling, but at the modest price of $59 (here). They even have a whole tab dedicated to hoodies and sweatshirts, bordering the line between streetwear and “high” fashion. Some hoodies are dedicated to repping cities (See Chicago, New York), while others are mixed materials of lace and jersey.

Women remain the main consumers of the fashion industry, so while streetwear has its masculine appeal, the job of fashion houses and high street brands is to make it appealing to women. How or why exactly is streetwear appealing to the contemporary fashionista? The biggest fashion icons in history (think Audrey Hepburn and Princess Di) were known for their feminine style. But today, tomboy is in. Perhaps as the image of the independent woman is solidifying, fashion is changing with it. If men can dress as dandies, women can dress as tomboys—it’s a fun balance of the masculine and feminine in everyone.

Besides, some of the most influential women in fashion are embracing the whole tomboy chic/streetwear trend. Model of the moment Cara Delevingne (check out her instagram) is a self-proclaimed tomboy who plays the drums and gets tattoo after tattoo. She also recently opened up about her dating life, “I’m done with boys, they’re so annoying, all they care about is their willies. I want to behave more like a boy,” she says.

Like her friend Cara Jourdan Dunn, another popular model, is embracing the streetwear trend. Check out Cara and Jourdan cooking in onesies and Brian Lichtenberg (the guy who mocks designers with his famed Homies sweatshirt) here—a perfect mix of feminine activity and tomboy streetwear.

Supermodels aren’t the only ones sporting this trend. Fashion bloggers are emulating streetwear and tomboy chic as well. Jane Aldridge of Sea of Shoes is as well known for her 50s skirts as she is for her love of sweatshirts, leather, and menswear-inspired pieces. Top model judge and blogger, Bryanboy is also no stranger to Givenchy’s streetwear-inspired sweatshirts.

The proliferation of streetwear up and down the fashion markets poses a range of interesting questions about cultural appropriation in the fashion culture of America today. The wide-ranging options of price points one can shop at and still rock this major trend is just one piece of evidence that this streetwear fashion trend is here to stay. Racial and gender issues are no coincidence to the trends that are emerging with streetwear. After all, America is now a hip-hop embracing nation giving birth to independent girls and fashion-forward guys. Streetwear is the new “Think rich, look poor.”

Post Photo Courtesy of: http://www.daz3d.com

600 Strangers: Book Tour Encounters

-Reported By Jeffrey F. Barken–

When I published the first edition of my book, This Year in Jerusalem, I printed 600 copies. During the final print inspection, I watched sheets of paper be fed and carried by conveyor belt through the various processes of a room sized press. Stacking up on the opposite side were the olive green, matted, front and back covers that I had designed, ready to be folded around the pages of my book. As excited as I was to see my work printed, I was also nervous. In the instant that I pressed print, I committed myself to meeting 600 strangers.

“This Year in Jerusalem”
Front and Back Cover

Five months later, I’m shocked to discover that I’ve already met over 300 people. On my travels through Europe and Israel, I’ve encountered students, fellow writers and travelers, professors, hostel workers, soldiers, and families. Many have told me they think we were “meant to meet.” When this happens, I always think back to the scene at the printer’s, where I first committed to this course.

The best part about having sold so many books is that many people are keeping in touch and providing feedback. Beyond my love of words and storytelling, this was always my reason to write. I was curious whom I’d meet through the act of publishing and eager for the exchange of ideas that only books can prompt. When I ran into Dutch Author, Anouk Kemper on her last day in Tel Aviv, therefore, I knew we’d have a lot to discuss.

Anouk’s debut novel, De Almeerse Rioolmoorden, (the Eventful Year of Hans and Lilly Mulder) tells the story of Hans Mulder and his adopted daughter Lilly. Hans is a journalist writing about the ‘Sewer Murders’ in his hometown Almere, near Amsterdam. When Hans finds out that his daughter has something to do with the killings, a bizarre cat and mouse game between these two people, who will always be connected to each other, whether they like it or not, ensues.

Anouk Kemper

Not speaking Dutch, I was disappointed that Anouk and I couldn’t trade books. She, however, took a copy of mine and promised to send me some more information about her writing upon her return to Holland. Anouk devoured This Year in Jerusalem on the plane, and we were soon trading stories about the writing life in our respective countries and our personal ambitions as novelists. The following interview sheds light on Anouk’s writing process, some of the great untranslated literature that English audiences are missing out on, as well as an insider’s perspective of the publishing industry in Holland:

Interview With Anouk Kemper

Jeff:  “De Almeerse Rioolmoorden was nominated for a prize and has received a lot of attention in Holland. Where did you find the inspiration to begin the project?”

Anouk: “First of all, in my hometown. I live in Amsterdam now, but I grew up in Almere. A new, modern and very boring place 25 kilometers from Amsterdam. I was also very inspired by films like American Beauty and The Omen. In the first film Kevin Spacey plays Lester Burnham, a 40 year old man who is having a bit of a midlife crisis. I really like his cynical sense of humor. Lester was a big inspiration for my main character, Hans Mulder. The Omen was also inspiring, because it’s about two parents who raise a kid that is not their own. You never know what kind of person you let into your house and the same is true for Hans when he adopts Lilly from Vietnam. Later on he starts to realize that there is something very, very dark about her nature.”

Jeff: “Can you translate the title and first line of your book for English audiences?”
Anouk: “It’s hard to translate literally, because I don’t know how the translate ‘Almeerse’. I think it must be something like:
“The Almerian Sewer Murders.” And The first line is: ‘That is why I hate obituaries so much.'”

Jeff: “Can you describe some of the principal characters in your book? How do their mannerisms, faults and quirks help advance the plot and add texture to the narrative?”

“First Lines and Anouk Reading” Photo Courtesy of Anouk Kemper

Anouk: “Hans Mulder is a journalist of 56 years old. He lives in Almere with his very succesfull wife, she is an anchorwoman for the national television. Hans is cynical, sceptic and has accepted the fact that his life is pretty insignificant. His daughter Lilly is 23, lives in Amsterdam with her way older, criminal boxer boyfriend. She is completely egocentric, inscrutable and a sociopath. I’ve told the story from both their perspective, alternately. So the first chapter is from Hans’ view, second from Lilly’s, third is Hans again, and so on.  This alternation worked as a puzzle, that came more and more together after each chapter. It also made it possible to use two different tones of voices.”

Jeff: “At what point in the writing process did you realize you knew how the book would end?”

Anouk: “I already knew how it would end before I started writing. For me the ending was inevitable. It had to happen like that.”

Jeff: “How long did the book take to write?”

Anouk:I finished the first draft within 4 months. It took another two months before it was finally done.

Jeff: “What was the most challenging aspect of writing your first book?”

Anouk: “Finishing it. I worked on a lot of stories, but I was never able to finish them. I just lost my motivation after 10 pages. Also, I didn’t have enough to tell. Who does in his/her teenage years?”

Anouk: “Yes. It got a lot of attention. I gave a lot of interviews, was invited to a lot of events and everybody was constantly asking me about the book. It felt like a thunderstorm, so it took me some months before I could really enjoy everything that had happened.”

Jeff: “How has your worldview, and your writing process changed now that you have begun writing a second novel?”

Anouk: “I have a less romantic view on writing and publishing. It’s a business, an industry and people want to make money out of it. When I was working on my first book, I wanted everything to go fast. I didn’t really feel like taking a bit more time to think about what I wrote. Now that I’m already published I feel less time pressure. I realized it’s ok to work on a book for over a year. And I finally ‘discovered’ my own style. It was there already, but now it truly feels like I have a ferm grip on it.”

Jeff: “In what ways are you experimenting? Did you feel like you needed to make safer choices in your first book?”

“Anouk, Writing”
Photo courtesy of Anouk Kemper

Anouk: “In my first book there was lot’s of stuff going on, lot’s of crazy stuff: weird people, drastic plot lines, etc. It was all a bit over the top. According to the publisher it was a bit like a Tarantino film.  Now I am writing a much ‘smaller’ story, way more true to life. I don’t feel like I have to lean on the plot that much anymore, because my writing in itself got better.”

Jeff: “Please tell us about the literary community in Holland. How accessible are writers to their audiences? (What role does social media play in terms of generating book talk?)”

Anouk: “Writers are pretty accessible, I think. Especially in Amsterdam there are a lot of literary events, where writers and readers can meet each other. Social media are important in the sense that they announce the events, of course. Also, readers can easily contact writers, who use Facebook and Twitter as their personal mouthpiece.”

Jeff: “What is the process like to publish a book in Holland? (editors, agents, publishing houses etc.)”

Anouk: “It’s all about knowing people. I once wrote an article about young writers and one of the people I interviewed, told me that only one out of a 1000 comes in through the front door. All the others got in by knowing people that know people. If you want to be published, you have to go out and network. That’s also what happens at the literary events. It’s not only a place for the ‘normal audience’, a lot of editors go there as well.”

Jeff: “How do you get your book translated?”

Anouk: “A Dutch book only gets translated if it was a bestseller in the Netherlands. Like The Dinner by Herman Koch, Bonita Avenue by Peter Buwalda and The Discovery of Heaven by Harry Mulisch.”

Jeff: “What does the term “break out book” mean in Holland? Do most Dutch writers dream of having their work translated?”

Jeff: “Movie rights? What books get made into movies in Holland and should we be on the look out for a great foreign film?”

Anouk: “Again: bestsellers get a film adaption. Well, some.. not all of them. At the moment The Dinner by Herman Koch is made into a movie. Cate Blanchett is the director, so that is really cool! Be on the look out for that…”

“boek in winkel”
Photo Courtesy of Anouk Kemper

Jeff: “What types of characters are you most attracted to in your writing? And who are your influences as an author? Is there a time in Dutch literary history for which you’re nostalgic?”

Anouk: “Although I am 27 and a girl, I find it way easier to write about middle aged men. I think they can be tragic in a comical way, it’s a starting point I like to work with. The whole tragic-comic thing does not work the same with women or younger people. Not for me, anyway. Maybe that’s why I like Paul Auster and Michel Houellebecq so much. They are the masters of writing about this type of men. Another big inspiration is Bret Easton Ellis. His work shows that your main character doesn’t have to be trustworthy as a narrator. I also like Chaim Potok a lot, I always feel immediately attached to his characters. I like his calm way of telling stories.”

“A time in Dutch literary history for which I’m nostalgic? Hmm, not really. I have to admit that I mostly read American writers. I don’t know why exactly. The other week I promised myself to start reading some great Dutch writers, such as Gerard Reve, Willem Frederik Hermans and Simon Carmiggelt. It starts to be a bit shamefull that I haven’t yet…”

To read more about Anouk Kemper, visit http://www.overdose.am