It's like taking Janet Reno for a make-over

The Harrison Red Line Stop. For five years I have departed the southbound trains onto this stop for school. It is dark, wet, creepy, cold, and overwhelmingly smells like a toilet. Pretty much everything has an “out of order” sign on it. The walls have been painted far too many times, and it is almost always flooded to some extent. About six months ago Columbia College Chicago, in collaboration with Jones College Prep school took on the task of "brightening up" the 80-year old station. Their project, entitled "Harrison Haiku" consists of placing colored vinyl stickers on the white tile of the lobby of the station in various designs. Then the walls are littered with eight student authored haikus, written on the walls with black vinyl lettering. The result is a painfully bright and rather unattractive display.

For me, I don't care what the Columbia students and staff are trying to say with this project. Like everyone else who uses the Harrison stop, I want to spend as little time in that smelly hole as humanly possible. I would much rather the station be remodeled, or stripped and repainted, or at least cleaned thoroughly. No one has the time or motivation to stand around in the lobby and read random 17 syllable haikus. This project feels like putting cheap mustard on a turd sandwich. It’s not very appealing, and it doesn’t really make it any better.

The Roosevelt station, in contrast was taken over by the museum campus. Despite the fact that their graphics are much more tastefully done, the station as a whole is clean, well-lit, and looks very nice. Even then, I wouldn’t really want to stand around and read Haikus, but the designers of Roosevelt station don’t expect you to. They expect you to glance at them in passing, to enjoy them aesthetically. They even go to the level of putting in some ambient music to add to the short experience.

So the project was a nice thought, but it really should wait until the CTA does something with that station. It has to happen sometime soon. The only silver lining here is that this whole project could be literally ripped off of the wall in minutes, which hopefully they do sooner, rather than later.

The Musician's Studio

Meant to resemble “Inside the Actor’s Studio,” The Musician’s Studio is a television show featuring in-depth interviews of guests that have been successful in the field of music. Aside from the guest and host, this is an entirely student run production. This collaborative project had students from the Television department offering their services as camera operators, sound operators and grips, the Arts/Entertainment Media Management department was represented by the stage management team, and the students in the Music department made up most of the audience. The stage was set like it was prepared for a concert, littered with instruments, a grand piano, a stand-up bass, a drum set, a xylophone.

For anyone who’s ever been part of a “live” studio audience for the taping of a television show, you know that it is rarely shot in order from start to finish. The stage manager began the evening with a short introduction, followed by a request for the audience to be taped “performing” some reaction shots to use in the post production process. He wanted chuckling, laughter, thoughtful interested looks, polite clapping, and finally louder clapping. Where those shots end up in the finished product is completely up to the editor.

The host of the show then introduced the guest; Fred Wesley Jr. Among many other musical achievements, Wesley was music director, arranger, trombonist and a primary composer for James Brown from 1968-1975. When Wesley walked onto the stage carrying his blue-belled trombone, I expected Columbia music students to take their places at the many instruments carefully placed on the stage. Unfortunately, that did not happen. It became obvious that the instruments on stage were merely set pieces when Wesley began playing one of his songs by himself. He is obviously a very skilled trombonist, but I could not help but be disappointed by his performance with no accompaniment. The trombone is just not meant to be played by itself. While he played his four song set, I found myself wondering if all the Musician’s Studios were like this one, where the guest performs by him/herself. If so, that is really disappointing. To have a group of Columbia students involved with the performance would really have added a much needed dynamic to the show, and would have been a unique experience for those students.

After the short performance, the stage manager instructed the crew to set up for the interview. Two plush chairs, a small in-table and two red coffee mugs appeared on the stage within a few minutes. The interview began with the host explaining the goal of the interview, which was to explore the life, art and business of being a musician. For the most part, the interview followed that formula. It came across as a nice conversation between two music lovers. About halfway into the interview, I found myself fidgeting in my seat. This was really not much of an interview, more of an opportunity for Fred to recite his career’s story from start to finish.

I would like to see the finished product of this show, mainly to see how all the post-production elements come together, but I left with one question on my mind: What was the motivation in producing this show? Is it meant to entertain? Then the producers need to rethink the format. The interview is nice and casual, but will get very dull very quickly to anyone who isn’t a huge fan of jazz or funk music. Is it to educate music students? This is probably the case, but I have a hard time imagining what the students could have gotten out of this particular experience. They might be able to extract a few morsels of wisdom from the interview, but not much else. The Musician’s studio will premiere on a Friday night in the near future (the stage manager wasn’t specific) on channel 20 WYCC.

CCC Field Work

I will be the first to admit that I have not utilized CCC to its fullest potential. After almost 5 years of attendance at CCC, I find myself knowing just about as much about Columbia now as I did when I first started. This was mostly my choice. To me Columbia is a place where I go to school to get a degree in order to get a better job than I would with just a high school diploma. CCC is not a place to hang out, it is a place to be taught, then you go home. Im sure that this is not the case with a lot of students at CCC, but it is with me. So when im asked what two places are the most representative of Columbia, I have a hard time answering.

One place that is very representative of ccc is the lobby of 624 S Michigan ave. Like all of Columbia's buildings, it was not originally built to be a college building. So lots of things just don't serve the purposes of a school, especially the elevators. Like clockwork, everyday around 15 minutes before the morning, afternoon and evening classes start, the lobby fills up to the point that you can't close the door behind you. Everyone is struggling to get on one of the extraordinarily slow elevators, trying to balance being polite enough not to piss anyone off and being aggressive enough to get to class on time. Then 20 minutes later, the lobby is dead quiet. This emulates exactly how I see Columbia. Everyone trying to get to their destination (or graduation date) as efficiently as possible, and little more.

The second place is the first floor of the film building. The reason this place feels like Columbia is because of the variety of things that go on here. On one hand, you have people relaxing, eating from the plum café, maybe reading the red eye, or surfing the web. On the other, you have people working on the audio visual equipment, perhaps getting ready for a performance on the stage. You have an art gallery being set up, you have people sitting in groups networking, or having production meetings. Theres always something going on here. So it stands out in my mind when I think of Columbia.

wii would like to play

Since its release the Nintendo Wii has taken the video game industry by storm. Even now, some stores still struggle to keep the console in stock. Nintendo’s plan was to create a non-intimidating console that was so easy to use, and intuitive, that people who have never touched a gaming console would be able to pick up the controller and play. The wii did not provide cutting edge graphics or media center capabilities like the Xbox 360 and PS3, instead, the wii provided a whole new form of control to the user. Aptly dubbed the “wii-mote,” this familiarly-shaped controller uses some of the standard buttons and triggers found on most controllers, but what really makes this controller different is the motion control. If you’re playing a baseball game, you swing the wii-mote mimicking the way you would swing a bat. If you’re bowling, you make the same movements you would as if you were bowling, with the wii-mote instead of a bowling ball. This has the potential to translate into all sorts of controls, like punching, slicing, shooting, etc. Nintendo’s ad-campaign consisted of two Japanese men driving around demoing the console to American families. The commercials would show people of all ages enjoying the console. Their goal was to create a console everyone in the family, even adults would enjoy playing with their kids.

For the most part, they succeeded. The console is intuitive, and simple, to a fault. Aside from the new controller and a few web applications, the wii fails to bring anything new to the table. The lack of real high-definition capability, online gaming, and media center capabilities turn away most of the “hardcore” gamers. Also, the game developers have struggled with the utilization of the motion-controlling. The wii’s release shooter, Red Steel, with its point-and-shoot type control, felt clumsy and unfinished. The role playing game Zelda fared much better, but it had a much more limited use of the motion control.

Many people, myself included, searched for a wii in the “shortage” (there is still speculation on whether or not the shortage was deliberate, creating false demand). After finally getting my hands on one, I began playing the game that came with the console, wii sports. This game is meant to get gamers used to the new motion controls, and it uses them to the fullest. Gamers can choose bowling, tennis, baseball, boxing, and golf, all of which use the motion control. These mini-games are simplistic, especially graphically-speaking, however they use the motion controls well, and are very entertaining.

Wii is not a bad console, in fact to an extent it lives up to its original name, “Revolution.” It is a good little system, and it has forced Microsoft and Sony to reevaluate their consoles. However, to someone used to playing online with the Xbox 360, or staring in awe at the amazing graphics of the PS3, the wii seems more like a novelty than anything else. I ended up selling my wii, and honestly, I haven’t missed it. It’s great for families or a group of friends, but personally, I’ll stick with my 360.

Sicko

A lot of people hate Michael Moore. Why? I’m not sure, maybe it’s because he forces people to see things they don’t want to see, brings ugly truths to light, where most people would be happy leaving them in the shadows. Some say his research is flawed, or false, or fabricated. Well, I have to tell you, if that’s the case, I was fooled by Sicko. This film literally pissed me off. Which I think was Moore’s intention. His point was to fire you up, get you pissed off and hopefully make a difference. Now, do I think everything, every fact, in the film is completely true? No, not at all. I’m not that gullible. But if even half of what Moore presented is true, it should be enough to piss off anyone living in the US. I come from a small family, where until I was 20 years old and got a job that had benefits, I had zero health insurance. My mother couldn’t afford it. She still took me to the doctor when I got sick, but I had no insurance. I was so proud the day I signed up for health insurance with my work. I knew that health insurance companies were shady, but I thought, “Surely they wouldn’t or couldn’t deny me care that would save my life, I have health insurance!” Apparently, I was wrong. Health insurance companies in the US are businesses, and are built and function within a business model, in which the goal is always to make the company money. The only way for Health insurance companies to make money is to collect insurance money, and deny care. Regardless of what Michael Moore says, that fact’s logic is irrefutable. Socialized medicine may not be all candy and roses like Moore portrays, but they are based on being a public service, not a business. That makes all the difference in the world.

In terms of the film’s style, Michael Moore discards the typical “talking heads” documentary style in lieu of a more relaxed, “follow me with a camera, let’s see what we find” kind of style. This style is apparent in all aspects of the film. His rather dark comedic/ironic undertone is apparent in his choice of music, and even his choice of narrating the film himself. Personally I don’t care for him as a narrator, but it adds to the relaxed, personal feel he wants to deliver. Overall his technique was very entertaining, and made a potentially dull topic interesting, fun and at the same time, infuriating to watch. I have to say my favorite part in the film is where Moore walks around Europe, and asks citizens how much they pay for healthcare. They laugh at him. They literally laugh. The thought of being burdened with healthcare costs is laughable to them.

Looking at rottentomatoes.com, where I usually go to find reviews that conflict with my own, I found myself staring at a screen full of positive reviews. Critics called Sicko Moore’s best film to date, evenly funny, moving, and an eye opener. I completely agree. Even if this film went a little overboard at times (did he really need to go to Guantanamo Bay?) it is a film that needed to be seen in America. Michael Moore’s ultimate goal is awareness, to force people to see what they need to see. This film may have had a direct impact on the current presidential campaign as well. The democratic campaigns are both touting what they call “universal healthcare” plans. Now, neither of these plans are universal healthcare in Moore’s definition (he made that publically known recently) but at least it proves that the government has been forced to look at it more closely. I’m trying to be optimistic, but I’m not holding my breath (I hear holding your breath is bad for you, and my medical insurance probably doesn’t cover it ;)

Asian Street Fashion

Street fashion is clothing designed by (and worn) by people who are not fashion designers. The Center for Asian Arts and Media at Columbia College has given us the opportunity to participate in an experience they call: Everyday Runway: Asian Street Fashion and Beyond. Located in the C33 Gallery at 33 E Congress, this is a collaborative art gallery that takes the viewer through the streets of Tokyo, Seoul and back to Chicago again. This gallery primarily consists of photography, but there are also several non-photographic displays of clothing, shoes, accessories, and even toys. In terms of presentation, they really let the photographs speak for themselves. The pictures are focused, but often busy, so the artists didn’t bother to clutter the area around them too much. They even resisted hanging items from the ceiling, something often seen in galleries. The pictures, mostly printed on matte paper and mounted on foam core, are around 18x24 inches, with a few being a larger 35x48. The foam core gives the photographs a slight (but much needed) depth.

One item that vastly influences the viewer’s experience in this gallery is the nine-page booklet available at the entrance. Viewers may choose to pick up and read this booklet as they walk around the gallery, or they may choose to pick up the book after they have already seen the gallery. The reason that this booklet makes such an impact is the amount of information it reveals. As I said before, there is little on the walls aside from the pictures. Each picture has a number next to it, and there are some circular decals on the walls, but that’s about it. Each of those numbers corresponds to a description in the booklet. Knowing what the style of clothing is in each photo creates a very different experience than just blindly walking through the gallery.

I enjoyed the variety between the two major cities visited, Seoul and Tokyo. The clothing in Tokyo is very bold, with many contrasting colors (like black with red accents) and is an interesting mixture of different styles (punk, Lolita, kimono, etc.). Seoul is more toned down, but still unique. I think it is safe to assume that everyone in these cities don’t dress like what is displayed at this gallery, however there are certainly some bold design choices out there. The Chicago display was more of a modeling shoot, unlike the somewhat candid or real-life shots of Tokyo and Seoul.

I would have been nice if the photographers asked some of the people in their photos questions, like “Where did you come up with the idea for this outfit?” or “What styles influence the way you dress the most.” They could have added the answers to the descriptions in the booklet, and it would have added a different perspective.

I left the gallery wondering what a gallery would look like filled with pictures of American street fashion. Perhaps it is because I live here, but I don’t think that gallery would be nearly as interesting.

The Kiss (working title)

Living out loud is little more than “just another 90’s comedy slash drama”. Sure, it feels like it’s from the 90’s, in the kind of way only a 90’s movies can, but unlike some of the nonsense the 90’s Hollywood cranked out, I get the sense that the director (Richard LaGravenese) had some things to say, and those things boil down to a message of inspiration and a message of “life sucks, deal with it.” The film presents us with the somewhat parallel stores of Judith Moore, a recently divorced nurse, and Pat Francato, a retired gambler, now working as a doorman in Judith’s apartment building. These main characters are played by Holly Hunter and Danny DeVito, respectively. The two cross paths in an elevator, and reach out to each other forming a much-needed friendship.

It becomes rather obvious early on that despite the two main characters, this film is really about Judith. Pat’s story is touching, but it’s something we’ve all seen before: a person makes all the wrong decisions, and struggles to get back on their feet late in life. Judith’s story is by no means original, but her means of coping with her situation provide the audience with some interesting scenes. She goes through phases, starting with a sort-of mental breakdown followed by a rebellious period and finally coming to terms with who she really is. She realizes how much she changed and sacrificed for her marriage, and that becomes one of the most important messages in this film. Judith discovers this in a series of day-dreams, where she remembers the kind of person she once was and/or the kind of person she wants to be. Her unlikely friendship with nightclub performer Liz Bailey (Queen Latifah) becomes a catalyst that feeds her overall theme, “be true to one’s self.”

The film’s primary flaw resides in the awkward romantic relationship that begins between Pat and Judith. Critic James Berardinelli, however, finds the relationship appealing, "Obviously, the friendship is at the core of Living Out Loud. It's carefully developed never to go too far too fast, and both of the characters are intensely sympathetic." But in all actuality, this is a relationship that any unbiased third party would label “unrealistic,” which I find to be an interesting concept. Why is it so difficult to imagine these two people in a happy healthy relationship? Is it physical? Is it their backgrounds? Whatever the reasons, it causes the audience to be concerned with the outcome of that particular topic, and that takes away from the actual focus of the story. This film also boasts actors Queen Latifah and Danny DeVito, but in all actuality, they have rather minor roles in comparison to Holly Hunter. Perhaps if the director had chosen to make the roles more even to create more of an ensemble cast, it would have made a stronger film.

There isn’t much to say in terms of the actors’ performances. Holly Hunter certainly explored her character in great detail, but DeVito and Latifah didn’t have as much to work with, so their performances are less memorable. The music managed to elevate this mediocre film, as Michael Dequina states, "LaGravenese makes up for his occasional missteps with his musical choices. George Fenton composed the silky score, which effectively extends the mellow jazz/R&B sounds beyond the walls of the nightclub. The smooth, soothing soundtrack could not be a better fit." Looking at this film ten years after its release, I am not at all surprised with how it was received. Living Out Loud is not a bad film, but it’s not really a good film either. It probably attracted a following with some small demographic, but it wasn’t enough to call the film a success.