YAWN…
So unfortunately this weekenad was a bore…nothing going on in South Beach, nothing going on in the Grove, and absolutely no good house parties.

Oo…a sighting
The P.I.M.P. of comedy was out this weekend with full force. Steve Harvey was sighted at the infamous News Caf

This foursome from Orange may be Cali’s sweethearts, but they’ve yet to tug at my heartstrings. This was my first impression with a cursory listen to their CD. However, in giving the album a run through, with the exception of maybe two or three tracks, it’s more than decent and actually enjoyable. So who knows, they might just tug at yours – give them a listen.

Anyway, their debut full-length album is compiled of 11 rock tracks. “Panic” has some good chords before taking off with some heavy rock, but it settles back down to an appealing electronic resonance. After a while, all the tracks start sounding a bit similar, but it’s a good okay. I like “Cover Up” because it has a catchy rhythm to it while maintaining distinctive lyrics – “fill your heart with cause… the better part of me is stolen whenever you go.” I will credit them intriguing guitar intros, causing me to hold back from skipping on to the next track. “We give up sometimes” was one of the better few with a stirring tempo and thumping drums. “I quit my scene” talks about a relationship while “Drive drive drive” definitely got me moving and was my fav. – “we can drive far away, we can start over.” The electronic guitar riffs were pretty good and “Clear and conscious” was an appropriate finale with a leisurely melancholic strumming of the guitar. They remind me somewhat of the pre-fame Blink 182 – Dude Ranch days without being too punk.

And hey, props to them for coming up with a creative and humorous band name. So pick up Name Taken’s album Hold On, which was released last Tuesday.

Christie Asencio can be contacted at c.asencio@umiami.edu

Counting up to about 800 pages, the Guide to Getting it On is the size of some textbooks, however, this textbook is one any person would definitely want to read. Filled to the brim with chapters upon chapters of information about sex, there is no doubt that the book leaves anything uncovered. Not mentioning the occasional hand-drawn and rather explicit pictures that are included, the book is a work of art.

Interestingly, this work of art is a fourth edition, with eight new chapters, 51 new drawings and almost 3,500 updates and text changes. Translated into almost every language, the book speaks to people across the world, reinforcing the idea that sexuality is a universal language. Related to that, the book covers all sorts of topics, leaving no person left behind, transitory of gender or sexual orientation.

The chapters are listed under the “Bed of Contents” which is just a hint for readers at what they are in for. Under the title, some chapters listed are “30,000 Thrilling Vibrations,” “The How-To Part,” “Culture and Kink,” “Gnarly Sex Germs,” “Sex & Sects,” and finally “A Goofy Goodbye.” Behind the table of contents is a “Warning & Disclaimer” that proudly proclaims that although the book is 800 pages of pure sex, it isn’t perfect nor should it have the final say on what goes on inside or outside of the bedroom. A rarity for a sex guide to be written from such a soft standpoint, the writer doesn’t fail to mention the importance of using protection or warning about all the nasty germs that can be contracted from sex; not everything mentioned in the book is meant for everyone.

As acknowledged in the book, sex is merely a reflection of the fashion for that time being, but for now, the Guide to Getting It On is by far the best manual for anything sex-related. A winner of three awards and recipient of several rave reviews by magazines, press, and journals, the Guide to Getting It On is completely worth the money spent. Any reader would be amazed at the things seen and learned within the pages of this text.

The Guide to Getting It On is $19.95 and can be found in most bookstores.

Joanna Davila can be contacted at j.davila1@umiami.edu.

Ghostface Killah, also known as Tony Starks, has dropped his surname and moved over to the Def Jam label, joining Wu-Tang cohort Method Man. This being his fourth album, and while he still claims his ties to the Wu, it’s clear that he has left the former style behind for an approach all his own. The Pretty Toney Album is a celebratory, hedonistic album that has Ghostface weaving his confidence and brash values throughout. At times the samples even overshadow the rap, but for the most part his flow fits nicely to the Motown style sounds. The producer credits go to the RZA and Ghostface with a variety of guests contributing to the mixing process. The album is also littered with guest appearances of the likes of Missy Elliott, Jadakiss, Jackie-O, K. Fox, Sheek Louch, Styles P, and Trifle.

The album begins with Ghostface answering a barrage of questions, preaching on the state of hip-hop that now, “the game got real.” Never one to hold back his opinion, Ghostface possesses a very rowdy style though defiantly still aggressive, as he raps of a harsh, gangster lifestyle balanced with love for his friends and life. While many of the tracks are lighthearted and give a summer feel to the album, he still touches on dark issues. “It’s Over” has Ghostface talking of his demons when he first hit the scene, speaking of his problems with drugs and gang life. “Be This Way” is a statement on the plight of the hood as he proclaims that, “if we don’t change a lot of shit, shit’s gonna always be this way, I’m tired of you all.”

It’s clear that Ghostface enjoys what he does, asserting himself while still smart enough not to hate on others. The most dominate theme on Pretty Toney, beside the one of change, is Starks’ blatant sexuality. Decorum is not in Ghostface’s vocabulary as he never holds anything back when it comes to talking about sex and women. The dance track of ‘Tush’ with Missy Elliott wants everyone to get down and dirty as they rap off of each other revealing in what ways they want it. While his rhymes can be quite explicate at times, it’s all in good fun and Ghostface is quite aware of his carefree nature, in fact he flaunts it around at times with the handful of skits in between tracks.

While soul is sampled throughout the album, Ghostface even lends his rendition with “Holla,” though he sounds much like Old Dirty Bastard’s crooning on “Cold Blooded.” It’s clear that Ghostface’s roots come from Marvin Gaye rather then Rick James. The other single that is getting play right now on BET is “Run” with Jadakiss — a quick tempo and stark portrait of how crime manifests itself out of control as he says, “if you’re selling drugs in the school zone…Run!”

The Pretty Toney Album is Ghostface’s declaration that he has been one of the most innovative rappers around for more than ten years and his style is as tight as ever. Whether he will receive the recognition he deserves is another story, but with Def Jam behind him, everyone should be able to notice his genius.

Ross Whitsett can be contacted at r.whitsett@umiami.edu.

Located at the center of the most beautiful city in South Florida, the Merrick Festival is just the kind of cultural whirlwind you’ve been thirsting for. Right across from City Hall, this little production definitely hit the spot. The area was an enriching celebration, with all types of art work for sale contained within little white tents packed tight against one another, each one with drastically different artistic styles. One could see such varied styles as abstract art, whimsical paintings appropriate for a young child’s room, sensual paintings of scantily clad women, an all-Cuban tent which contained oil paintings as well as vintage prints, and tons more. Oil paintings mostly prevailed, though jewelry, ceramics, accessories from India, orchids, and even food could be found.

Ahh yes, the food. On Saturday, the food tent was featuring Tuscan Cuisine from the province of Pisa, Italy. The main feature was their Risotto, a rice platter resembling the popular Paella of Miami; only it was made with white rice and some sort of miraculous seasonings and sauces yielding heaven on a plate. Made on a mammoth pan of about four feet in diameter, the scrumptious meal lasted the day, but for four bucks a pop, it’s a miracle that it did.

As if all this weren’t enough, a stage at the center of the festival was constantly in action. The festival featured dance and theatre productions for adults and children, pop groups, and even the Miami Bach Society and the Coral Gables Opera. The festival lasted from April 17 through 19 from 11 a.m. to 7 p.m. Even though the art tents closed at 7 p.m., the festival didn’t stop there — at 7:30 p.m. on Saturday and Sunday night they set up a large screen in front of City Hall free and open to the public, where they played foreign films. On Saturday, they presented Cinema Paradiso, an Italian Oscar-winning film by Giuseppe Tornatore which went rather well with the Italian Cuisine. On Sunday they played a 1966 French film called Un Homme et Une Femme (A Man and A Woman), directed by Claude Lelouch, which also complimented the French cuisine featured that day.

This compact, dense little cultural affair was delightful in all aspects. It was a refreshing dip into international cultures. If you missed it, all is not lost; this fanciful, ethnically drenched event takes place every year at around the same time, so make sure you don’t miss it again.

Deborah Acosta can be contacted at d.acosta2@umiami.edu

Sweet Charity follows the adventures of ballroom hostess Charity Hope Valentine, a perpetual optimist, (Tara Callahan) who is looking for love in all the wrong people. Dumped in the first scene, Charity then has a brief star struck romance with Vittero Vidal (Brain Blattman) before meeting panic prone Oscar Lindquist (Nick Wishnazski) in an elevator at the YMCA.

The story and music bring audiences into the theatre, however, it is the ensemble dance troupe that keeps you there past intermission. Not that the acting is that bad, the actors try really hard, but the flashy dancing easily steals the show. Of the songs, “If My Friends Could See Me Now” and “Hey, Big Spender” are the only standouts — twenty minutes after the show the others prove to be forgettable.

As a choreographer Clay James is exceptional, as a director he is unfocused. His actors are all underachieving and his pace is off, evident in the dramatic scenes between songs. “The Rhythm of Life” sequence is entertaining, the dancing, singing and dancing become a blur of colors and sounds, but once again, it ends without making any lasting impression.

The lighting and sound were done very well. The stage was still in its’ “arena” format from Chekhov week earlier this year, so the set changed between scenes. Fortunately, that wasn’t nearly as often or as distracting as it was in Anton in Show Business (especially without the audience plant). Additionally, the TVs with the stylized and occasionally funny subtitles above the stage were a great idea.

The various costumes worn throughout the play were very rich and colorful. The hippie clothes from “Rhythm of Life” to the random Central Park goers all dressed lively and different were eye-catching. Ironically, the costumes for the chorus line sequence (“I’m a Brass Band”) were vastly superior to the cut up fire hoses used in the finale of last semester’s A Chorus Line.

Overall, Sweet Charity is mildly funny, has some amusing songs and impressive dance scenes. The acting is decent, and the directing lackluster. The songs are entertaining (if largely forgettable) and the dancing steals the show. Overall, one of their better shows this year.

Sweet Charity is playing on campus through April 24 at the Jerry Herman Ring Theatre, 1312 Miller Drive. Shows are at 8 p.m. with a 2 p.m. matinee on Saturday. Tickets are $8 for students.

Jonathan Twiggar can be contacted at j.twiggar@umiami.edu.

“Tonight, tonight, tonight I saw a play, with girls and boys all over the place. Tonight, tonight, the world is dull and trite, with actors staggering upon the stage. Today, West Side Story was just a musical, a thing one saw in passing, no better than all right. You danced, what for? What was just a musical is now a dreary booooooore. Tonight, good night, I hope that when I dream, I won’t dream of this sad fright.”

Playing at the Hillel Theatre on campus, West Side Story directed by Nicole Wichinsky had good actors, but the dancing was another matter entirely. The opening dance number introducing the Sharks (Puerto Ricans) and the Jets (White boys) was awkward and unsynchronized. When one guy jumped up, others had already landed, while others hadn’t even leaped off the floor. The dancing was pretty disgraceful, and at one point, they reminded me of a certain keg party I attended where most of the male dancing could be equated to drunken staggering. To their credit, the number was rather complicated, but on the other hand, their dearth of skill in that department should have clued Wichinsky off toward toning down a few of those high kicks and pirouettes. The acting of course is always essential, but in a musical such as this, where entertainment depends mostly on the shock value (since the story is naturally rather flat), the dancing is just as vital in keeping the audience awake.

The girls were just as unsynchronized in the more technical numbers, but worse, awkward looks always sprung upon their faces as they strained to no avail leaping up into the air. The main and supporting actors were alright once the dancing was over with. Maria (Rose Sirna), was adorable and starry-eyed most of the time. Her love interest Tony (David Rosa), was rather gallant and romantic throughout. They both had voices, Sirna hitting high notes with apparent ease. The biggest flaw in Sirna’s acting was in the end when she seemed almost absurd when she was trying to project melancholy gravity. She should definitely tone down a bit of the dramatic exaggeration in certain parts (i.e. when she would confront certain characters by pushing and then leaning on them as she would lose her footing and slide down to the floor wailing).

The supporting actors were just as good, if not better. Bernardo, (the leader of the Sharks) and his girlfriend Anita (Michelle Gonzalez) were excellent. Gonzalez practically stole the show; she exuded sex and charm with every look, every stride. The Puerto Rican accents were exaggerated in most of the actors, but the New Yorker accents the Jets possessed were excellent.

Tons of energy dribbled out of the actors, but that didn’t get them through those dance numbers. Again, dancing is an imperative part of West Side Story, and without it, the musical falls short of delivering the audience anything memorable. If you’re jonesin’ for some West Side, my advice is to go and rent the movie. If you decide to go, for ass-sakes, take a cushion, the seats aren’t the best.

West Side Story is being performed at the Hillel Theatre, 1100 Stanford Drive on the UM campus. Tickets for UM students are $10, $15 for non-UM students, and $20 for general public. Shows are April 15-24 at 8 p.m. and April 18 at 2 p.m. and 8 p.m. There are no shows on Fridays, but shows on Sundays and Mondays are only $8 for UM students. For additional information visit www.gotoquantum.com.

Deborah Acosta can be contacted at d.acosta2@umiami.edu