Oh Sir Paul, You Can't Do That

According to MSN.com, Sir Paul McCartney is the first artist signed to Starbucks new record label. On the one hand, as a Starbucks barista, this should put me at one degree of seperation from my idol, but seriously, why does one of the most successful artists in the world need a coffee company to produce his records? As much as I love Paul, I'm not quite sure about his decision making processes ("Give My Regards to Broadstreet" anyone?).

Cry Me A River

Are you dying to know who your ideal sensitive boy musician is? The wait is over. The sensitive boy musician selector (which I wrote) is up on gURL.com.

Maybe I could work for New York Magazine...

I totally had this idea.

I've been talking about it for a month or so. I've been really fascinated by the young cast of "Spring Awakening" because the show is about sexual awakening and adolescence, and the cast members have all either just gone through that or are still going through that. Also, the fans of the show are teenagers themselves, so there's another interesting dynamic there. I'm pretty bummed that New York Magazine beat me to the punch, but I can take comfort in the fact that I had an idea worthy of New York Magazine.

And I'm not going to be bitter, I applaud Brian Keith Jackson on his article. He gets to the heart of what I think is really interesting right in the first paragraph:
"There’s a real sweetness on that stage (not to mention one real coupling), and now the young actors are effectively pop stars. Among a generation not exactly known for flocking to musicals, they’ve set off a whole new wave of swooning, YouTubing fandom. Brian Keith Jackson spoke with them about the show, their lives, and what they listen to when they’re not singing 'The Bitch of Living.'”

Although "Spring Awakening" is based on an 1891 German play, it is essentially a musical for the YouTube generation. The scenes are fairly short, broken up by musical numbers, which are basically mini-rock shows, perfect for those with short attention spans. "Spring Awakening" is the only show I've ever seen with it's own MySpace page and the line between fan and friend is becoming increasingly smaller.

Jackson asks what I would have asked--What do they do when they go out, what do they listen to, what is it like to date a co-star, and what the fans are like. His individual profiles of the actors are fairly short, but each one gives a sense of who these teenagers are.

Even though I couldn't write the article, I'm glad somebody did, so please read it and if you have a chance, see "Spring Awakening."

gURL power

This semester, I'm interning at gURL.com, a website for teenage girls thirteen and older. My first piece is on the website, a guide to therapy. And after you're done reading that, tell us what you think "emo" means.

With Love...

Hilary Duff's latest single is shamelessly titled "With Love." I say shameless because earlier this year, Duff launched her perfume, also called With Love. When I first saw the music video, I thought it seemed like a blatant advertisement for the fragrance, only to find out that part of it is actually used in a commercial.

"With Love" is the first single off her new album, "Dignity," to be released April 3. Hilary's music has always been bubble-gum fare, but lately she's been moving away from her cookie-cutter image. She seems to be following some of her peers/rivals, going for an electronic dance sound similar to Lindsay Lohan's "Rumors." She is also going for a more mature look. While the short black wig doesn't really suit her, it's refreshing to see her with a little more meat on her bones (she could still stand to gain a few pounds though, and while she's add it she could dye her hair blonde again).

Although I miss the old Hilary, the more I listen to this song, the more addictive it becomes. I've been a fan of hers since "Lizzie McGuire," and I've enjoyed her music since she sang the words, "It doesn't matter where I go with my boy shoes and my rock star phone," in her first single, "I Can't Wait." I like "With Love" for the same reason I liked that and everything she's done since-- it's fun and entertaining and it makes me want to do a crazy dance.

Click here to watch the video.

"Bridge to Terabithia"- Save Yourself Some Money and Read the Book Instead

It's hard for me to look at a film like "Bridge to Terabithia" objectively. I love the book by Katherine Paterson and consider it one of the most beautiful children stories I've ever read. While the film version is a fairly accurate interpretation of the novel, a passive viewing of a film cannot compare to reading a story that is all about the powers of imagination.

"Bridge to Terabithia," directed by Gabor Csupo, was released nationwide on Friday. Disney and Walden Media, producers of "The Chronicles of Narnia: The Lion, The Witch, and The Wardrobe," teamed together again, far more unsuccessfully, to produce this film.

Jesse Aarons (Josh Hutcherson) is a boy from a poor family. The middle child in between four sisters, he works hard at his chores, wants to be the fastest runner in his class, and is a talented artist. When Leslie Burke (AnnaSophia Robb) moves in next door, she teaches him how to escape the bullies and pressures of his home life by imagining a secret land called Terabithia.

The film was marketed as another "Narnia," which was a mistake. Although the book does make reference to the Narnia stories, Narnia is a real place, whereas Terabithia exists only in the minds of Jesse and Leslie. In the book, the world of Terabithia is never really explained, leaving it up to each child to imagine it. The creatures that appear in the film are never mentioned in the book.

The misleading preview for Terabithia shows the children battling giants, vultures, and strange animals that look like porcupines. At least the film itself stays away from making those scenes the central part of the story. From what I've read, viewers are surprised that these creatures did not take up more time in the film, but the story is not about that. What happens in Terabithia is not as important as what its existence means to the children.

Katherine Paterson is an expert in the way children and adolescents think and express themselves. Hutcherson and Robb are believable in their roles, but I was more moved by their characters reading Paterson's words than watching them on the screen. Of all the actors, 7-year-old Bailee Madison, who plays Jesse's younger sister May Belle, is the talent to watch for. She captures May Belle's stubborness, innocence, and idolization of her older brother in some truly heartbreaking scenes.

The book was published in the '70s, and although the story is timeless, the film was placed in the present time with a quick reference to the internet. This would be less of an issue, if it wasn't for a crucial scene in which a teacher (the always enjoyable Zooey Deschanel) calls Jesse and a Saturday and takes him to a museum. Call me cynical, but it seems very unlikely that such an event, however innocent the intentions, could occur in today's society.

This is not why the film doesn't work. There is nothing awful about the film, but it doesn't work because it just isn't that memorable. It's an interesting companion piece to the book, but it would be a disservice to see the film without having read the book.

Michael J. Fox was Alex P. Keaton

I just wanted to share some exciting news. "Family Ties" is finally coming out on DVD on February 20. How did I not know about this? Of course, this leads to the dilemma, do I buy the first season when it comes out or do I wait for the inevitable complete box set? I believe there were 7 seasons, so I could be waiting a while. Either way, that was a nice pick-me-up from those winter blues.

Words are fun

I'm going a little stir-crazy. I've been locked in my apartment for two days after the snow storm. So I've been thinking about random things. And today I was thinking about the word "blog." I don't really like the sound of the word, it sounds like something really unpleasant, but I like multi-purpose words.

I used to work at the dining hall while I was at Tufts (they had the best white pizza ever) and we had to wear these shirts that said TUDS, which stood for Tufts University Dining Services. But we would call ourselves TUDS, as in people who work for dining service. The singular form is TUD, as in, "Who is that sexy TUD playing 'It Wasn't Me' in the dishroom?" (Sexy TUD can also be abbreviated to STUD). The great thing about the word is that it can also be a verb, as in, "I'm tudding tonight," or, "I can't go out tonight, I have to go tud."

Blog operates the same way. A blog is a noun, but blogging is a verb. And I have no doubt that it will soon be used as an adjective, as in "Have you ever noticed so-and-so has an inherent bloginess to him?"

This is what happens when it snows.

This Book Will Change Your Life

For one of my classes this semester, "Arts and Arts Criticism," each student has to read a book by a critic in his field. I chose "Love is a Mix Tape" by Rob Sheffield.

I devoured this book. I would have finished it sooner if it wasn't for silly things like classes and an internship. I found myself taking the local instead of express subway just to have more time to read. As I told somebody the other day, I loved this book so much that it is hard for me to talk about it. But since I'm presenting about it on Wednesday, I better figure out how.

Rob Sheffield is a contributing editor at "Rolling Stone." He has written for various publications including "Spin" and "The Village Voice." When he was 23-years-old (in 1989), he met a girl named Renee. He married her in 1991 and she died unexpectedly of a pulmonary embolism in 1997. In "Love is a Mix Tape," he explores his grief using 15 mix tapes. This is the bravest work by a music critic that I ever read.

Although I am reading this book for a criticism class, this is in many ways the opposite of criticism. Criticism, in the strictest terms, is supposed to be objective. Sheffield looks at every piece of music in the most personal way. And he doesn't write about it in terms of whether it is "good" or "bad," but what it means to him. The very idea of creating a mix tape is a way to make a piece of music belong to you, by fashioning a new way to listen to the songs.

There is one particular tape that he made over a year after Renee died. "This is a classic example of a tape that tries to ruin a bunch of great songs by reminding you of a time you would rather forget," he writes, "Sometimes great tunes happen to bad times, and when the bad times is over, not all the tunes get to move on with you... Individually, all the songs on this tape make me smile, but lined up in this order, they make me shudder..."

Almost as much as this book is about Renee, it's about the music of the '90s, and Sheffield is also dealing with the grief of the end of the '90s:
"I get sentimental over the music of the '90s. Deplorable really. But I love it all. As far as I'm concerned, the '90s was the best era for music ever, even the stuff I loathed at the time, even the stuff that gave me stomach cramps. Every note from those years is charged with life for me now. For instance, I hated Pearl Jam at the time. I thought they were pompous blowhards. Now whenever a Pearl Jam song comes on the car radio, I find myself pounding my fist on the dashboard, screaming, 'Pearl JAM! Pearl JAM! Now this is rock and roll! Jeremy's SPO-ken! But he's stil al-LIIIIIIIVE!'"

This book is just as funny (as you can see from the previous passage) as it is heartbreaking. Sheffield knows how to write funny without being obvious or over-the-top, and he writes beautifully about loss without being manipulative.

Perhaps what I love most about this book is that Sheffield doesn't discriminate when discussing music. He admits to loving top 40 radio, he even admits to loving "MMMBop," and he devotes equal time to these as to Nirvana or the Beatles. While there are some jabs at bands like Cheap Trick, he doesn't resort to snark.

I'll leave you with one line that pretty much sums up the book. It's a line for anybody who has had to deal with the pain that comes along with listening to music that is reminiscent of someone or something that is no longer around. "I knew I would have to relearn music, and that some of the music we'd love together I'd never be able to hear again."

Spring Fever

I finally saw "Spring Awakening" (oh how I love student rush) and I am happy to report that the hype was founded. I haven't seen every new Broadway production this year, but so far, I will have to agree with every critic who named it the best musical of the year.

If you're unfamiliar with the show, "Spring Awakening" is based on an 1891 German play by Frank Wedekind. The controversial play deals with adolescents trying to understand their sexuality in a world where they are taught to fear their desires. The musical is also set in 19th century Germany, but the musical numbers bridge the past and the present. Actors sing into microphones, turning each scene into a rock concert. There are seats for the audience on either side of the stage and ensemble members sing from there, dressed in jeans and t-shirts.

So much has been written about the show already, so I will let "Spring Awakening" speak for itself. Here is a video of the song that has been stuck in my head since Thursday, the adrenaline-pumping "The Bitch of Living" (music by Duncan Sheik, lyrics by Steven Sater). Pay attention to John Gallagher Jr.'s (he's the first one you see in the video) electrifying vocals.

A Few Good Dannys Without a Suitable Sandy

Last night 14 potential Dannys and Sandys had a chance to wow America at the first live show of "Grease: You're The One That I Want." After the airing, viewers voted for their favorites and at the next show in two weeks, one Danny and one Sandy will be eliminated. After two hours of being entertained by the guys and horrified by the women, my hopes for the Broadway production are waning (and they weren't very high to begin with).

Twelve finalists had been chosen, but no reality show would be complete without a twist, so producer David Ian brought back the two contestants that they were the most sorry to lose, Matt Nolan and Ashley Anderson. This means that next week we will still be stuck with 12 competitors and the end remains nowhere in sight.

Nolan is a sweet boy who really wants the part and the audience loves him. I love him too; I mean he cried when he was eliminated, but he has no training and he is always going out of tune. There is no way he will be ready to star on Broadway, no matter how much he practices. And if I hear Ian call him "green" one more time, well I probably won't do anything other than get annoyed, but can someone please give him a thesaurus.

I can sort of understand bringing Nolan back, but Anderson is atrocious. I know "Grease" co-creator Jim Jacobs loves her because she looks like his image of Sandy, but her lack of talent was obvious at the first audition when her voice cracked three times. I have a feeling she won't make it to the next round, so hopefully we can be rid of her for good.

Other than Nolan, I think any of the Dannys would be decent, but I'm rooting for Austin Miller, Derek Keeling, or Max Crumm. From the beginning, Miller seemed like the most obvious choice. He is the only one with any real experience, and he has already paid his touring company dues. He might have benefited from singing a different song last night, as "Mony Mony" did not really showcase his vocal abilities.

Derek Keeling's rendition of "Crazy Little Thing Called Love," on the other hand, proved that he has the looks, the moves, and the voice to be a real threat to Miller.

Crumm is the wild card that almost got eliminated because he doesn't look like Danny Zucko, but the judges seem to like him and it would be nice if America went with the anti-Danny. After he rocked "Summer of '69," he just may be my favorite.

While I would pay (as long as they were student rush prices) to see any of those three Dannys, I could not see myself sitting through a 2 hour show with any of the girls. They have nasally pop voices that seem more suited to American Idol. Kate Rockwell has the biggest potential and I agree with the judges that she has the best voice, but considering who she is competing against, that is not saying much. She is from Blue Ash, though, and since I live there until I was 3, I feel like I should root for her.

My biggest problem with the show is that the judges are too nice. The only one that is somewhat brutal is David Ian, the token British judge, but even he seemed to be holding back. Olivia Newton John seemed to think that everybody was wonderful and had great personalities. The next guest judge is Andrew Lloyd Webber, and one can only hope that he is less diplomatic and that by then the girls will have stepped it up a notch.

*I would also like to note that "You're The One That I Want" is a song from the film, not the Broadway production. I'm wondering if they are going to add it in to this revival, considering everybody will be expecting it. I just find it odd that everybody keeps referring to the film version, which is very different than the stage version.*

How Can it Be 30 Degrees in LA?

Some quick notes on the Golden Globes:

It was fairly predictable. I got 18 out of 25 (I was most surprised by "Babel," "Ugly Betty," and America Ferrera). I haven't seen any of those, but how can "Babel" be the best movie if it didn't win anything else? Something doesn't add up there. But the "Ugly Betty" people and Ferrera were so excited, so I'm happy for them. That's how you're supposed to react when you win an award.

I knew Meryl Streep was going to win, but I just have to say, and I know this is an unpopular opinion (although I know some who will back me up on this), she is a terrible actress. She overacts in EVERYTHING she does. I don't care how long she has been doing this, she's always the same. Her speech wasn't bad, though, except she can't pronounce volver.

Yeah Eddie Murphy! He deserved to win, but his speech was so boring.

Not to be mean, but ha ha Leo. You got nominated twice and you still didn't win.

I'm all for Warren Beatty getting recognized, but Tom Hanks said "balls" and "1962" too many times. He could have saved about 10 minutes. Still, I am a sucker for career montages.

I miss Ludacris. He was at every award show last year. The Golden Globes needed more Ludacris.

I really need to see "The Queen" and "The Last King of Scotland," but they're not playing in Syracuse right now.

I've been watching too much E! today...

Grease is the Word, Rolling Stone is Not

Tonight I had the opportunity to catch up on some reality television. Last week, I missed the premieres of "You're the One That I Want" and "I'm From Rolling Stone," but because I love musical theatre and because I want to be a music journalist, I had to check these shows out.

"You're The One That I Want":
It was only a matter of time before somebody had the bright idea to capitalize on the success of BBC's "How Do You Solve a Problem Like Maria." In that show, hopefuls auditioned for the role of Maria Von Trapp in a new West End production of "The Sound of Music." If an American counterpart to the show had to be made, "Grease" was the right choice. It's campy and just as loved as it is hated, perfect for reality television.

Theatre producer David Ian, "Grease" co-writer Jim Jacobs, and director and choreographer Kathleen Marshall are looking for a Sandy and a Danny for their new production of "Grease," scheduled to open in June 2007.

Last week, auditions were held in Los Angeles and Chicago and tonight the final auditions were held in New York. There were some decent talents, but you have to wonder why people who can't sing or who are obviously wrong for the parts would humiliate themselves by auditioning. Also, the audition process is really unrealistic. I was suprised, however, at how nice the judges were. They were willing to give some of the "singers" second chances, even ones who did not deserve it.

Overall, the show is enjoyable, but I could do without the behind-the-scenes drama. Still, for a Sunday night guilty pleasure, it ranks up there with "Desperate Housewives."

"You're the One That I Want" airs Sundays at 8 p.m. on NBC

"I'm From Rolling Stone":
There are people who want to work for "Rolling Stone" or a successful magazine like it, and who work hard to try to get there. But MTV and "Rolling Stone" have partnered to give six slackers the chance of a lifetime--the chance to write for "Rolling Stone" (the winner gets a staff writer position). I missed the first episode, but what I saw tonight was enough to disgust me.

The episode focused on three of the six: Colin, Krishtine, and Russell. Colin's assignment was to interview We Are Scientists. He went in completely unprepared and had no idea what to ask. He even told them that they had a concert that night, as if they didn't know. It was painful to watch. Somehow he managed to write a blog entry and was the first one of the group to publish on the website, setting the standard pretty low.

Russell is, according to MTV's website and himself, the best writer in the group. He did seem to be the most capable of completing a successful interview. I'd put my money on him, except the preview for next week shows him coming in late to work. It wouldn't be MTV without a little drama.

Krishtine interviewed El-P and when she finished her assignment, her editor asked her to rewrite and to ask him some follow-up questions because she was missing some important facts. Krishtine whined about how annoying it was to rewrite something and also said she never does follow up interviews. She's going to be a great journalist.

Thank you MTV for turning rock journalism into another excuse for drunk twenty-somethings to make fools of themselves on national television (not that drinking has never been a part of rock journalism, but at least many of those journalists had talent).

"I'm From Rolling Stone" airs Sunday nights at 10 p.m. on MTV

Here's Johnny (and the Sprites)

Really good children's television, programs that children and adults can enjoy together and are educational as well as entertaining, is hard to come by nowadays. Even "Sesame Street" has lost some of its wit and replaced it with boring segments like "Elmo's World." So, it's a relief that Disney had the good sense to bring back John Tartaglia's "Johnny and the Sprites."


"Johnny and the Sprites" began as short segments in between Playhouse Disney programs in 2005. The segments were successful enough to convert into half-hour shows. The new "Johnny and the Sprites" premiered on Saturday and it airs every Saturday and Sunday at 10 a.m.

"Avenue Q's" John Tartaglia created the show. He plays Johnny, who moves to the woods to work on his music. There he meets the Sprites, colorful puppets who only he can see. Moms will surely enjoy "Johnny and the Sprites" for Tartaglia's adorable facial expressions and boyish charms and children will love him because he doesn't talk down to them. If that isn't enough, Tartaglia enlisted the help of some of the best musical composers currently working on Broadway to create memorable songs.

Stephen Schwartz ("Wicked") wrote the catchy theme song that would fit perfectly in "Avenue Q" with raunchier lyrics. Mark Hollman ("Urinetown"), Robert Lopez ("Avenue Q"), and Michael Patrick Walter ("Altar Boyz") also contributed. In one episode, the characters try to spot a rare bird, a Nospotalotacus. The clever song with its nonsense lyrics like "Give it a shotocus" could fit right in with Cole Porter and Ira Gershwin phrases, except this song also teaches children about team work.

Tartaglia's costars, the Sprites have personalities that children can relate to-- Basil is bookish, Ginger is stubborn, and Lily is serene. Tartaglia also voices Sage, known as the oldest and wisest Sprite, although he is actually forgetful and likely to fall asleep in the middle of conversations.

Another Avenue Q alum, Natalie Venetia Belcon (she played Gary Coleman), plays the only other human, Johnny's friend who has about as many jobs as he has songs.

Whether he's playing off puppets or humans, Tartaglia makes every scene believable. Not since Jim Henson has the bar for children's television been set this high.

Corbin Bleu and KeKe Palmer Push Disney Channel to the Limit

If the advertisements for "Jump In!" are any indication, Disney Channel is hoping for another "High School Musical" success. Although it remains to be seen whether the film will become the phenomenon of its predecessor, inspiring concerts and merchandise, "Jump In" has at least two things going for it-- it is far more entertaining and the characters are far less annoying.

The movie, which premiered on Friday, January 12 (and will probably be playing every weekend until "High School Musical 2" premieres), stars Corbin Bleu (the only tolerable actor from "High School Musical") and KeKe Palmer ("Akeelah and the Bee"). Bleu plays Izzy, a boxer trying to make his father (David Reivers, Bleu's real life dad) proud. When Mary (Palmer) and her double-dutch team lose one of their members, they ask Izzy to step in, and he learns that not only is he as talented with the jump ropes as he is in the boxing ring, but he loves it as well.

The story is not unfamiliar territory for the Disney Channel. A boy interested in "girly" activities and being teased for it was the subject of "Eddie's Million Dollar Cook-Off." But "Jump In" is making baby steps toward breaking ground. First of all, the film features an inter-racial couple, one of whom is a female boxer. Also, for perhaps the first time in Disney Channel film, the bully is multi-dimensional. The audience gets to see how his troubled home life affects his personality. He even redeems himself in the end.

What really sets "Jump In!" apart from the most recent Disney Channel films and places it in a class with the highlights of years past is co-stars who you can care about (i.e. who you don't want to punch in the face). Bleu plays Izzy's arrogance with charm that doesn't feel fake. Plus he has great hair. Palmer is a perfect match for Bleu, playing her Mary with equal parts attitude and vulnerability.

For a movie about musicals, the singing and dancing in "High School Musical" was vomit-enducing. In "Jump In!," the jumping is captivating and professional. The actors had to master tricks such as push ups and flips while jumping rope. The soundtrack, featuring adrenaline-pumping sports-arena style songs by Bleu and Palmer (Disney Channel never misses a chance for future recording stars), adds to the excitement in those scenes.

"Jump In!" is not a masterpiece, but compared to the recent disappointments, it is a big step for the Disney Channel. Now if only I can convince them to cancel "High School Musical 2."

All About Eve...and Adam and the Snake

Last review for NYC immersion, also workshopped with Alex Ross:

“The Apple Tree” could be renamed “All About Kristin.” Kristin Chenoweth plays four roles in the revival of this 1966 musical comedy, and makes full use of her shtick as a diminutive yet curvaceous diva with a big voice. It is her name on the marquee, but the show wouldn’t be successful without two dynamic male co-stars, Brian d’Arcy James and Marc Kudisch, whose comedic timing and vocal prowess match hers.

“The Apple Tree” opened on Dec. 14 and is playing at Studio 54 until March 11. Aside from a 2005 Encores! concert production, this is the first revival of the Jerry Bock and Sheldon Harnick musical because the right cast has finally come along to reprise the roles originated by Barbara Harris, Alan Alda, and Larry Blyden.

The three-part show is based on short stories that explore the relationship between man and woman—“The Diary of Adam and Eve” by Mark Twain, “The Lady or the Tiger?” by Frank R. Stockton, and “Passionella” by Jules Feiffer. The Twain episode is by far the most compelling of the three. Chenoweth and James are hilarious as the first humans trying to make sense of the world and their feelings for each other. There are also moments of tenderness as when Chenoweth sings “What Makes Me Love Him,” a moving song about the illogical nature of love. But it is Kudisch who does the most with his one scene. As the Snake in Eden, he combines slithery mannerisms with sex appeal as he tempts Eve.

The tacky and over the top “The Lady or the Tiger?,” a tale about a doomed romance with a choose-your-own ending, feels the most dated, especially with Jess Goldstein’s turquoise and gold-encrusted costumes and John Lee Beatty’s bright colored sets, equally hideous.

“Passionella,” a Cinderella story set in Hollywood in the ‘60s, would also feel stale were it not for acting choices, such as a dead-on Liverpudlian accent by James as rock star, Flip the Prince Charming.

Bock and Harnick’s score is catchy, but it does not challenge the actors. Chenoweth, famed for her high notes, has only one high D and James is also restricted to his middle register.

The trio may work together again in the upcoming “Young Frankenstein.” Perhaps Mel Brooks will write some songs that will better showcase their undeniable talents.

The Freewheelin' Bob Dylan Revisited

Review #2 from NYC immersion (my first review on an exhibit). This one was workshopped with Alex Ross of the New Yorker.

On July 25, 1965, Bob Dylan electrified the Newport Folk Festival with his backup rock band, where he alienated fans and gained new ones by switching from acoustic to electric. Bob Dylan’s American Journey, 1956-1966 offers new insights on his progression towards that change. Using a wide range of artifacts and memorabilia, including typed song lyrics, handwritten letters, and video clips, the interactive exhibition chronicles Dylan’s early career.

The exhibit, organized by Seattle’s Experience Music Project, is on display at the Morgan Library and Museum from Sept. 29 to Jan. 6.

Large crowds were drawn by the name “Dylan,” and the room at the Morgan was a tight squeeze. However, the small space was utilized to the fullest extent. The material was displayed in chronological order, starting with his formative high school years. A 1959 Hibbing High School Yearbook signed from Dylan (then Robert Zimmerman) offered clues into his enigmatic personality with his barely legible handwriting and bad spelling.

A picture of Zimmerman from the same yearbook shows a chubby-faced young man as opposed to the gaunt Dylan we’ve come to recognize. A member of the Latin and Social Studies Clubs, his goal was to “join Little Richard,” which may come as a shock to those who thought he was betraying his folk roots when he went electric. He was clearly influenced by rock and roll even in those early years.

Another influence on Dylan and the folk tradition was “The Grapes of Wrath.” In a 1958 essay on the novel, the high school junior received a B. The first page of the paper is displayed with comments from the teacher saying that he could have done more with the topic, showing yet another side of Dylan—the lazy student.

It is impossible to understand Dylan’s development as an artist without the music. Listening stations for the seven albums from the time period include useful information such as date of release, key tracks, and why it matters. These provide context for even the most casual fans, but even the takeaway value of the exhibit is high, no matter how much prior knowledge one has or how many times one has heard the albums.

If I Can Make it There, I'll Make it Anywhere

I just spent over a week in New York City as part of my arts journalism studies. We each had to write three overnight 350-word reviews which we workshopped with some big names in the business. This is my first review, which I workshopped with Eric Grode of the New York Sun.

I Love the '20s

Shows like VH1’s “I Love the ‘80s” offer nostalgia and sarcasm for the price of one. The new musical comedy “The Drowsy Chaperone” operates on a similar principle. A character known as Man in Chair (Jay Douglas) invites the audience to listen to his favorite musical, also titled “The Drowsy Chaperone.” Man in Chair comments throughout the show, recognizing the faults in a show he clearly worships, proving that you can have reverence for the Broadway musical and deride it too.

“The Drowsy Chaperone” that the audience is watching opened last May at the Marquis Theatre. The show, directed by Casey Nicholaw, is a clever commentary on musical theatre with depressing undertones about a lonely man whose only companions are old records.

“The Drowsy Chaperone” that Man in Chair is listening to opened in 1928 and is an over the top musical with two-dimensional characters. Janet Van De Graaf (Sutton Foster), is an actress who is about to get married and leave the limelight for good. Shakespearean mixups ensue, while the necessary “B-plot” involves a producer, Feldzieg (a play on Ziegfeld for the theatre buffs), and a pun-happy gangster duo recalling the literate gangsters of “Kiss Me Kate” (another show within a show). Man in Chair always makes sure the audience is as ultra-aware as he is. A scene involving numerous spit-takes is only funny because the Man in Chair tells us it isn’t.

The two shows come together in Man in Chair’s living room with a charming set design by David Gallo. The staircases and romantic gardens of the scenery seamlessly take over Man in Chair’s space so the audience is just as transported as he is.

For a show about musicals, it’s odd that its biggest flaw is the absence of memorable songs—the central ingredient of a musical. The bland score written by Lisa Lambert and Greg Morrison is barely made interesting even with help from Foster’s commanding voice and fancy footwork. Still, it’s hard to argue when Man in Chair says, “The Drowsy Chaperone” does “what a musical is supposed to do.”

Movies

I've seen quite a lot of movies this holiday season, so here are some brief reviews:

"Deck the Halls," directed by John Whitesell, starring Danny DeVito and Matthew Broderick, released Nov. 22- Not as horrendously bad as one might have guessed, this silly tale about a man who wants his house to be seen from space might be worth watching on video, if everything else is checked out. Still, it has its moments, thanks mostly to the always enjoyable Kristin Chenoweth.

"Unaccompanied Minors," directed by Paul Feig, starring Lewis Black and Wilmer Valderrama, released December 8- An amusing pre-teen movie about a group of unaccompanied minors snowed in at the airport on Christmas Eve. Although the ending is predictably sentimental, this feel good film has enough bite to make it one of the better Christmas movies of its genre (especially compared to last year's "Cheaper by the Dozen 2").

"The Holiday," directed by Nancy Meyers, starring Kate Winslet, Jack Black, Cameron Diaz, and Jude Law, released Dec. 8- Due to a shortage of romantic comedies this holiday season, this film will have to do. Cameron Diaz and Kate Winslet switch apartments for the holidays in attempts to escape the men in their lives. Diaz still can't act and Law fails to humanize his perfect man of a character, but Black is surprisingly charming and Winslet is a believable everywoman. Cameos abound in some pretty clever scenes about the film industry.

"Night at the Museum," directed by Shawn Levy, starring Ben Stiller, Dick Van Dyke, and Robin Williams, released Dec. 22- This original story about a museum that comes to life at night is a great family film because it teaches children (and adults) the importance of history and museums. Noteable performances among the able star-studded cast include the spunky Mickey Rooney, Ricky Gervais as a David Brent-esque (but kinder and G-rated) museum director, and Owen Wilson and Steve Coogan as two hilarious miniatures.

"Pursuit of Happyness," directed by Gabriele Muccino, starring Will Smith and Jaden Christopher Syre Smith, released Dec. 15- Although there is already Oscar talk for Will Smith in his turn as poverty-stricken Chris Gardner, his son Jaden Smith steals the show as his on-sceen son. His chubby cheeks and sweet smile are enough to cause any Grinch's heart to grow three sizes.

"Dreamgirls," directed by Bill Condon, starring Jamie Foxx, Beyonce Knowles, Eddie Murphey, and Jennifer Hudson, released Dec. 25- This musical extravaganza is not without its faults (most notably the sometimes confusingly placed musical numbers), but the performances make it the best holiday film that I've seen this year. The buzz about Hudson's unfortgettable turn as Effie was founded as she has a powerful voice and can act on top of it (unlike Knowles). But if anybody is going to get an Oscar for the film, I'd predict the already established Murphey who could have a future in musical theatre if his comedy career falls through.

Arjona-Mania

Read my review in PopMatters of Ricardo Arjona's Theatre at Madison Square concert (just to clarify, the Theatre at Madison Square Garden is not the same as Madison Square Garden, it's an error on PopMatters, which I'm sure will be fixed shortly).

Here is my original version (I like this lede better):

Outside of the Hispanic community, few people have heard of Ricardo Arjona, but in Argentina his popularity is a phenomenon that can only be compared to Beatlemania. Forty-two year old Arjona (the artist’s more frequently used moniker), a Guatemalan singer-songwriter who has yet to break the North American market, is quickly becoming one of the most popular artists in Spanish-speaking countries. When he arrived at Ezeiza airport in Buenos Aires last September, he was mobbed by fanatics. His 34 shows at the theatre Luna Park in Buenos Aires sold out in just hours, breaking all ticket sale records in Argentina.

Arjona is currently in the middle of his most expansive North American tour to date. He has been selling out fairly large venues, including the Theatre at Madison Square Garden in New York City on Friday, Nov. 24 and Saturday, Nov. 25.

Arjona’s success can be attributed to the fact that his groundbreaking music, often lumped together with “Latin pop” or “world music,” characterized by political statements, sweeping orchestral ballads, songs about women and love, metaphoric language, and clever lyrics, transcends what people normally think of as “Latin music.” The Ricky Martins and Shakiras out there have great rhythms, but Arjona has something to say.

Born in Antigua, Guatemala, he learned guitar at a young age. His first career path was as a schoolteacher, but he began recording in 1988. Since then he has recorded over 11 albums, but it was not until approximately the year 2000 that he started to get noticed.

Although he has been successful on the Latin Billboard charts, his only albums to chart on the Billboard 200 were “Galeria Caribe” in 2000 which peaked at 136, and “Adentro” in 2005 which peaked at 126.

The New York concert on Nov. 25 proved that Arjona’s unprecedented popularity could translate to a North American audience. The concertgoers knew every lyric and were glued to their seats (except when they jumped up for their favorite songs).

The stage was set up like a subway station, giving the concert a theatrical look. At the beginning of the concert, images of a subway train flashed down the three screens over the subway platform. Arjona’s voice was heard offstage singing a haunting version of “Iluso” from his latest album, “Adentro” (which incidentally won the Latin Grammy for best male pop album). He was nowhere to be seen, but the screams from the audience were deafening.

His band came onstage one by one, but Arjona knows how to work a crowd and he built momentum by waiting until the second song, the ballad “Para Bien or Para Mal” from the same album, to arrive on a moving walkway.

His music is powerful and extremely personal, but it is easy to relate to, especially for the immigrants that made up most of his audience. He engaged in dialogue with his fans, speaking only in Spanish. He said, “Buenas noches, Nueva York,” and proceeded to address all the locations where concertgoers might have come from by saying buenas noches to every Spanish speaking country. His fans cheered when their home countries were named. He told his enraptured audience that he would play everything they wanted as well as what he wanted, and he delivered a comprehensive set list representing different stages of his career.

Throughout the show, he spoke about being poor, remembering when his dad bought a car. “Ustedes se acuerdan de esas cosas, verdad? (You remember these things, correct?)” he said. Images of President George W. Bush appeared on the monitors to jeers from the audience as he launched into “El Mojado,” a song off “Adentro” about illegal immigrants. He then sang “Si El Norte Fuera El Sur (If the North was the South),” from the album of the same name, a politically charged song dealing with the internal conflict between wanting to be in America and hating what it stands for, with lines like “Tienen todo pero nada lo han pagado (They have everything but they paid for nothing).”

Then there is his sex appeal. He has a ruggedly handsome face which he seldom shaves and a short ponytail, but women are most attracted to his lyrics. Although many of his songs are about being scorned by women, he obviously respects and loves the opposite sex. During “Desnuda (Naked)” off of “Sin Danos a Terceros,” the females in the audience almost swooned as he sang about how there is nothing more beautiful than a woman’s body. During his ode to older women, “Senora de las Cuatro Decadas (Woman of Four Decades),” off of “Historias,” he chose a woman in the audience (much to the jealousy of half of the rest of the audience) and sang the song to her as she wept.

Arjona’s poetic turns of phrase transform even the most basic statements into something profound. For example, in “Tu Reputacion (Your Reputation),” he sings, “Tu reputacion son las primeras seis letras de esa palabra.” That means, your reputation is the first six letters of that word, which are re puta (big slut). This does not come off as insulting as the lyrics proceed to say that if the past taught her to kiss him like that, blessed are the men who came before him.

On the opposite end of the spectrum, Arjona has a song off of “Santo Pecado” called “La Nena (The Girl).” The song is about a kidnapping of a young girl. When he sang it, he sat on a bench and stared at the floor, singing with mesmerizing passion. The images shown on the screen of a tied up girl were horrible to witness, and yet this was one of the most moving moments of the concert.

If his success in Argentina and the audience response at the Theatre at Madison Square Garden is any indication, Arjona has the potential to be the “next big thing.” Although his political messages might not sit well with some American audiences, many of his themes are universal.