Home Blog Page 2016

New editor-in-chief to take over the Hurricane

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Brian Poliakoff, a junior majoring in media management and political science, has been elected the new editor-in-chief of The Miami Hurricane by the Board of Publications Committee.
“Brian is going to be a fantastic editor,” said Jordan Rodack, current editor-in-chief of The Miami Hurricane and member of the board. “He’s a passionate journalist who has the integrity and objectivity to make this a top-notch paper.”
Jorge Arauz, current Hurricane news editor, and Danielle Scott, Hurricane managing editor, were the other candidates for the position.
“This election was a very competitive one,” Rodack said. “We had three great candidates who would’ve done a tremendous job had any of them been elected- it’s a shame that only one of the candidates could win.”
Rodack said he decided not to run for the editor-in-chief position for the upcoming semester because he wanted to enjoy his final semester.
“Brian’s a great guy and I know he will be a good leader,” Arauz said. “Judging by the way he transformed the sports section, I know he’ll raise the level of professionalism of the paper.”
“My focus as editor-in-chief will be to continue Jordan Rodack’s vision,” Poliakoff said. “I feel that currently there is complete trust and camaraderie within the staff.”
“I can use the fact that we’re friends as a leadership tactic,” Poliakoff said. “If deadlines aren’t met, not only is the boss being betrayed, but friends are also being let down.”
Poliakoff graduated in 2000 from Lower Marion High School in Philadelphia. There he was sports editor and news writer for the Merionite, the school newspaper. Poliakoff has also written for the Main Line Life, a weekly newspaper that covered the suburban Philadelphia area.
Poliakoff started writing for the news and sports sections of the Hurricane his freshman year. Last fall, he held the position of assistant sports editor until he was promoted to sports editor in March.
“I walked in here as an eager, dorky freshman ready to become involved,” Poliakoff said. “I don’t think I’ve left the office ever since.”
“I feel that I have diversified the sports section by covering a wide range of varsity and intramural sports that were not as recognized in the past,” Poliakoff said.
“Brian’s done an excellent job with sports,” Scott said. “I firmly believe that he can extend what he’s done with sports to the other three sections of the paper.”
Poliakoff said that he has been contacted by several parents of student athletes who have requested clips of articles that have been printed.
“I felt that taking over the editor-in-chief position was the next step to take toward my professional goals,” Poliakoff said. “I felt I did all I could with the sports section and was ready to move on to improve upon the paper as a whole.”
Among the changes that Poliakoff plans to make are developing a camaraderie between the News section and Opinion and encouraging Life and Art and Sports to continue with the diversity and span of topics they have tried to cover throughout the year.
“Overall, we’ve done a great job this past semester,” Poliakoff said. “We just need to work on incorporating more on-campus events and continuing to reach out to our most important demographic, the students at UM.”
Poliakoff says he plans to meet with all the section editors and members of the staff on an individual basis before the beginning of the spring semester.
“I want to get feedback from everyone working with the paper,” Poliakoff said. “This is in no way going to be a dictatorship.”
Poliakoff believes that the Hurricane has the potential to win any award that’s out there at the collegiate level.
“I know that there are awards within the state of Florida and throughout the country that we are interested in submitting work to,” Poliakoff said. “There’s nothing more rewarding than getting our paper recognized.”
Poliakoff encourages all those who are interested in a staff position at The Miami Hurricane to stop by UC 221 and fill out an application.

Leigha Taber can be contacted at l.taber@umiami.edu.

Fourth graders take field trip to UM

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The UM campus was filled with the sounds of frolicking fourth graders from Little River Elementary School of Liberty City last Friday.
The students visited UM after five weeks of learning about the benefits and realities of college life from UM students involved in the Kids and Culture program.
“Our goal is to reach inner-city kids in the Miami area and inform them about the possibilities of obtaining a higher education,” Jenn Haddok, co-president of Kids and Culture, said.
“Many of the students we visit haven’t had contact with college students and don’t realize their potential for attending college and their potential for success in college,” Haddock said.
During their visit, children were exposed to a variety of cultural dances, a magic show performed by a UM chemistry professor and a tour of the Lowe Art Museum, among other activities.
“We got to learn good science and go to the museum today,” said Craig Washington, one of the fourth graders. “We also saw a dorm room and a classroom with a big TV.”
Haddock says that organizers learned as much from the experience as the children did.
“I have really enjoyed the contact with the elementary school kids,” Haddock said. “The way they open up to us and really listen to what we have to say is amazing.”
“It’s so rewarding to bond with these kids,” Haddock said.
Kids and Culture began four years ago as a program under LINK.
This is their first year as an independent organization.
They are expanding the program to include events throughout the entire year and to encourage more UM students to become involved so that they can work with more inner-city schools in Miami-Dade County.
Currently, the organization has nine classroom instructors and six officers who are students at UM.
Those involved with the program say it has been a beneficial experience.
“It’s a wonderful program,” said Diana Vega, a classroom instructor. “They really look up to us.”
“It is a great program because it exposes the children to a new environment that they are unaware of,” said Ms. Church, a UM alumna and one of the participating elementary school teachers.
“The program gives these kids the encouragement they may not get at home, and they really respond well to having us in their classroom,” Haddock said.
For information, email Kidsnculture@hotmail.com or stop by UC 240, the Butler Volunteer Service Center, for more information.

Kathleen Fordyce can be contacted at K4Dice@aol.com

UM chooses winner of UM Idol

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UM students and Cane Records voted Matt Feld as their choice for the UM Idol winner this past Wednesday.
Feld was voted into the top spot after weeks of competing with over 50 singers who auditioned.
“I just started singing recently,” Feld said. “The first time I sang publicly was at my high school’s basketball game about a year ago.”
Originally from West Palm Beach, Feld attended Hofstra University in New York last year. He asked to sing a song with the house band at a club when he was home over the summer. The band happened to have two UM School of Music graduates in it who recognized potential in Feld.
They directed him to Professor Larry Lapin, the director of the jazz vocal program at UM.
“He sings great,” Lapin said. “And we always need guys in the program.”
Feld was accepted to the UM School of Music two days before classes began this fall.
Since the beginning of the semester, Feld has been performing at clubs and other venues, including Titanic, every weekend, perfecting his performance skills.
He sings with the Fifth Avenue Band, a professional wedding and social event band, and with his own R&B band.
“R&B is my main influence,” Feld said. “I love Musiq Soulchild, Brian McKnight and Ginuwine. I love hip-hop, too.”
As the first UM Idol, Feld received a year-long record contract with Cane Records. He will record a six-song CD to be released next year.
“I’ve got three originals ready to record,” he said. “Everybody keeps asking me what songs I want to cover. I’m not sure I want to cover any songs – I’m not sure yet what will be on the album.”
Feld says he’s not the type to hog the spotlight, but so far he is handling his new-found fame well.
“My best friend’s step-mom asked me for my autograph,” he said, “in case I make it really big.”
Feld is mostly excited about the prospect of having his own CD and getting to make music with other great musicians.
“I love singing,” he said. “I’m going to sing till I die.”
His advice to other performers: “If you love it, go do it. That’s all you can do.”

Jaclyn Lisenby can be contacted at jlisenby2001@yahoo.com.

Lack of interest moves Cane Craze to spring

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For the first time in Cane Craze history, the two-day sports event that was to be held this past weekend was postponed because an insufficient number of teams signed up to participate.
“I’m very disappointed,” said Jason Carroll, assistant director of intramurals. “A lot of time and effort was put into planning this event, but I guess students just didn’t want to play this weekend.”
Cane Craze is an annual sports event organized by the Wellness Center in which teams composed of 20 people compete against each other in various sports and activities over a two-day period.
This year would have marked the ninth season of the event.
Jerry Prieto, supervisor at the Wellness Center and fifth-year student, said that by 5 p.m. on Tuesday, Nov.19, the sign-up deadline for Cane Craze, only four teams had enlisted.
“After the deadline we had to take down all the old flyers and make and set up new ones extending the deadline until noon on Wednesday, hoping that more teams would sign up,” Prieto said.
But by noon on Wednesday only two more teams had enlisted, for a total of six teams, two short of the minimum required to hold a tournament.
“It is not feasible to hold the tournament with six teams,” said Carroll, explaining that six teams would not be able to cover the costs of staffing and organizing the event.
Carroll added that there is not an established limit for the number of teams that can enlist.
“Last year we had 13 teams sign up and we did more publicity this year,” he said.
Carroll explained that additional banners were hung up in the residential halls this year as opposed to advertising solely around the Wellness Center, as had been done in previous years.
Although the lack of participation did come as a surprise, Carroll attributed this to the fact that this year Cane Craze was scheduled in November.
“At this time of the year students are worn down, preparing for finals and getting ready for the semester to end,” he said.
Prieto agreed that the scheduling of the event might have been the problem.
“At the end of the semester freshmen have already formed their group of friends,” he said. “At the beginning of the semester they probably only know their roommates and the person next door, so they are more inclined to participate in events like Cane Craze. It’s a good way to meet people.”
Scheduling for Cane Craze was planned so that it would not coincide with football games or other events.
“We did a re-shuffling of the schedule this year, but when I was planning it, I thought this would be a good weekend for the event,” said Carroll.
Some students who participated in the event last year said that they would have done so this year had they been aware that the event was going to take place.
Junior Santiago Jaramillo, who headed the team LATAM in last year’s Cane Craze, said he would have participated in the event, but he did not receive any information about it in time to register.
“It seems to me that this event is mostly advertised to people on campus, in the residence halls,” he said. “I live off campus and did not hear about it, which is a shame because I had a lot of fun last year and would have liked to do it again.”
Organizers have decided to postpone Cane Craze until Mar. 1-2, exactly a month after Sports Fest.
“Hopefully Sports Fest will give us a good opportunity to promote the event,” Carroll said.
The activities include basketball, flag football, inner tube water polo, kickball, crazy soccer and volleyball. Board games and video game competitions are also included, as well as a mystery event that is unknown to the participants until the moment of the competition.
All full-time UM students, faculty and staff are eligible to participate. Each team is encouraged to have an equal number of men and women.

Andrea Alegria can be contacted at nealegria@aol.com

Students petition for Village approval

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UM officials and student leaders are in the process of gaining support from the student body via a petition and personal testimonials for University Village, scheduled to open in August 2004 and pending final approval from the City of Coral Gables.
“The University has been extremely excited about student reaction to the University Village,” Dr. Pat Whitely, vice-president for student affairs said. “Many student leaders have volunteered to help and approximately 1,000 students have signed the petition so far.”
“The Village plan will help create more of a sense of campus community and will give students more opportunities to enjoy lectures, theater, films and other activities,” Whitely said.
Many students have been showing support of the University Village since the student body became aware of the plans earlier this month.
“In supporting the University Village students are helping to continue building onto the evolution of the University into a truly first-class institution of higher learning,” senior Julio Barroso, student leader, said. “Additionally, such added features as the University Village only serve to make our University more popular to potential students, in turn making our degrees more valuable.”
“If UM is striving to be a top research school and wants to attract people from across the country, it needs to have a place to put those students,” Andrea Wagner, third year law student, said. “It is a great incentive for grad students to come to UM since they spend so much of their time at school doing research and studying.”
“As students we often don’t get the chance to help make such a tremendous contribution to our campus that will benefit generations to come,” Barroso said.
According to Barroso, student government and the student body agreed upon an increase in the student activity fee to help fund the building of the Wellness Center.
“It would be really hard to imagine the campus without the Wellness Center,” Barroso said. “It has truly improved campus life.”
Students can show that they are in support of University Village in several ways.
“I think the students can best show their support for University Village by both informing themselves and other students of the what the project entails, along with writing letters of support to the Coral Gables planning boards,” Alexis Martinez, second year law student, said. “While the petitions also show support, letters allow the planning board to hear more about why the students want and need University Village.”
“One could simply sign a petition, or you can become more involved and come to city meetings to show your support,” senior Mary Clark, student government secretary, said. “Every student needs to know that they are needed and that they have the power to make a difference.”
“There is no action too small,” Clark said.
The new residential community will house 1,091 undergraduate juniors and seniors, graduates and law students in 398 apartments and provide 1,058 on-site parking spaces.
Each apartment will have one, two or four bedrooms and each room will have a private bath for each resident and include a fully furnished living and dining room, a kitchen and a washer and dryer.
Other amenities may include a pool, a fitness room, study areas and computers.
“University Village will allow for hundreds to stay extremely close to campus and also help with the horrific parking problems that we all complain of,” Martinez said. “We all know that housing is a problem for the University; just think about students scrabbling to get roommates and secure their living arrangements every spring.”
Students have been asked to show their support of the University Village by sending an email to universityvillage@miami.edu.
Messages supporting the Village will be shared with Coral Gables City officials during the public hearing process.
The meetings with the City of Coral Gables have been postponed until December.
For more information contact 305-284-6728 or visit www.miami.edu/universityvillage.

Leigha Taber can be contacted at l.taber@umiami.edu

News Briefs

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Enter the Elie Wiesel Prize in Ethics 2003 Essay Contest–first prize is $5000. This contest is open to undergraduate full-time juniors and seniors. Additional information, guidelines and an entry form can be found at www.eliewieselfoundation.org. Contest deadline for submission is Monday, Dec. 2, 2002. For more information contact the Honors Program at 305-284-5384.

With the recent re-opening of the second floor for parking in the Ponce de Leon Garage, all holders of current UM parking permits and temporary passes are welcome to these additional spaces. Stay tuned for future updates on the imminent completion of this expanded facility. As a reminder, the temporary parking lots located behind the Lowe Art and across from the Daystar Health Center are scheduled to close on Dec. 7.

FIU, UM and The Working Group for Pre-Modern Studies presents “Mouth of the River,” on Friday, Dec. 6 and Saturday, Dec. 7 at 8 p.m. at the Wertheim Performing Arts Center on the FIU University Park Campus. Tickets are $5 for students, $8 for faculty/staff and $10 general admission. Seating by reservation only. For reservations call 305-348-3789, or for more information call 305-348-3358.

Due to an expected high turnout of students for the Virginia Tech vs. UM football game, the entire regular student section will be reserved for UM students only. However, tickets in a special East End Zone section will be sold to UM students (for their guests) before the general public can purchase them, and the students will be allowed to sit in that East End Zone with their guests by simply showing their valid UM ID.

Global Spectrum is proud to be the exclusive provider of food and beverage for the University of Miami Convocation Center. Global Spectrum seeks to provide qualified non-profit groups and civic organizations a unique fundraising opportunity. Providing volunteers to assist with concession stand operations as cashiers, vendors and stand workers can help groups meet and exceed their fundraising goals while ensuring the best possible service to our patrons. The program provides community exposure for the groups as well as community service experience for student volunteers. For more information contact University of Miami Convocation Center, Global Spectrum, PO Box 248281, Coral Gables, FL 33124. Phone: 305-284-8246 or email:eshoup@miami.edu.

UM mascot Sebastian the Ibis needs your vote for Capital One’s All American Mascot Challenge. Make Sebastian the National Mascot of the Year. Your vote counts! Check out the 12 mascots in the race and vote now for your favorite! Polls close Dec. 20, 2002 at 11:59 p.m. ET. The winner will be announced Jan. 1, 2003. Go to www.capitalonebowl.com/ to vote.

Thanksgiving Day is a time to offer thanks, but some would say being thankful shouldn’t be limited to just one day. According to the latest scientific research, gratitude might be something we ought to practice throughout the rest of the year.
“Religions and philosophies have long embraced gratitude as an indispensable manifestation of virtue, and an integral component of health, wholeness and well-being,” says Michael McCullough, associate professor of psychology at the University of Miami and one of the investigators on the Research Project on Gratitude and Thankfulness: Dimensions and Perspectives of Gratitude.
So far, several gratitude studies conducted by McCullough, co-investigator Robert Emmons of the University of California, Davis and colleagues have found compelling evidence that being grateful had a positive impact on people’s psychological and physical well being.
The long-term research project, which is supported by a grant from the John Templeton Foundation, entails three main areas: (1) developing methods to cultivate gratitude in daily life, (2) developing a measure to reliably assess differences in an individual’s disposition towards gratefulness and (3) designing experimental studies to distinguish the causes and consequences of gratitude and indebtedness.

Campus Calendar

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TODAY
From 9 a.m. to 1 p.m., the University of Miami School of Law will host an open house for prospective law students. The event will provide students an opportunity to tour the law school complex and to attend panel discussions featuring members of the law school’s faculty, student body and administration. Check-in begins at 8:15 a.m. and the first panel is scheduled for 9 a.m. For further information or to register for the open house, visit the School of Law’s webpage at www.law.miami.edu/admissions/reccalendar.html or call the Office of Admissions and Recruiting at 305-284-6746.

Signs, 8 & 10 p.m. @ Cosford Cinema. Sponsored by CAC.

Underclassmen, today’s your last chance to get your yearbook photo taken. There’s no sitting fee or appointment needed–first come, first served. Stop by UC 229 between 11 a.m. and 6 p.m.

Ten Spot at the Rat @ 10 p.m. Join us at the Rat for Casino Night and catch MTV’s Real World Las Vegas.

NOVEMBER 27
The Wellness Center will be open from 6:30 a.m. – 9 p.m. today.

Organizations must RSVP online at www.miami.edu/coso by today to be a part of the C.O.S.O Spring Involvement Fair on Thursday, Jan. 23 from 11 a.m. to 2 p.m. on the UC patio.

NOVEMBER 28
The Wellness Center will be closed today.

Second Thursdays are Gallery Night on Miami Beach from 6 – 9 p.m. Tour Miami Beach art galleries via shuttle bus, free of charge, the second Thursday of every month. Call 305-673-7500 for more information.

NOVEMBER 29
The Wellness Center will be open from 8 a.m. – 9 p.m. today.

The Bank will be premiering at Cosford Cinema at 7:30 p.m. A brilliant young mathematician (David Wenham) is on the verge of discovering a formula that could predict fluctuations of the stock market when he is taken under the wing of Slick Banker Simon O’Reilley (Anthony La Paglia). In this world ripe for avarice and corruption, these two men will initiate one of the biggest banking scandals in decades.

NOVEMBER 30
The Wellness Center will be open from 8 a.m. – 9 p.m. today.

DECEMBER 1
The first Friday of each month, art lovers are toured via mini-bus limousine to Coral Gables art galleries and Books & Books bookstore from 7 – 10 p.m. Buses run continuously throughout the evening, allowing guests to spend as much time at each stop as they like. Call 305-444-4493 for details and more information.

album reviews: It’s Christmas time in Hollis Queens…2 hip hop gifts

TALIB KWELI
Quality
*** 1/2

One thing that made Reflection Eternal (Talib’s first LP) such a refreshing break from the standard hip-POP routine was the solid production by Hi-Tek. A rapper/producer combination of this caliber had not been seen since Gangstarr. After observing the success and respect that Premier and Guru had collected over the past decade, one has to wonder: what would make someone want to change from that successful format? Quality is Kweli’s answer. This answer should only receive half credit, seeing as Kweli labels himself nothing more than an MC, and this album is trying to accomplish more than one MC can handle. The lack of continuity on the album is far more apparent when doing the habitual “scan” after picking the album up, then letting the album ride all the way through. Still, even after a thorough listening, one cannot help but wonder if Kweli took some kind of Greyhound tour of a bunch of East Coast studios, laid some rhymes down in each of them, then said, “Yo, this is some quality shit!” Because that, not counting the DJ Quik-produced “Put it in the Air,” is basically the sound and feel of the album. For better or worse, ten different producers on a 15-track album do nathan to lend to flow, something Talib is undeniably blessed with. Quality is not a bad album, nor is it a flawless piece of “quality.” What Quality is, is a very spirited effort by Kweli to branch out, without taking a good look at how far from the tree he has strayed. Still, there are some standout tracks that make nearly any imperfections on the album seem insignificant, for instance: “Guerilla Monsoon Rap,” “The Proud” (minus the chorus), “Get By” (minus the R&B), “Gun Music” (minus the beat)- ok, well…

NAS
The Lost Tapes
****

Every time you put this on, you will wonder, “How the hell could Nas have lost ‘Doorags’?” This first track does more than the rest could ever hope – it would be like Don McLean starting a concert with “American Pie” then playing music inspired by “American Pie” the rest of the night. After skipping the first track (author’s advice: save it for later) each song does an adequate job of building. Nas does what he should have done on Nastradamus: lyrically make sense. Songs like “Nothing Lasts Forever,” and “No Idea’s Original” make up for titles like “U Gotta Love It.” This is a rap album, period (something sorely missing today). The only problem seems to be that it is almost a Christian rap album, and this is a little too much “undercover hyping” for Nas’ upcoming LP Godson. That album pokes its head out throughout the album, making these “tapes” seems far from “lost,” rather “guided.” The overdone chorus on “Black Zombies” kills the song; “Poppa Was A Playa” suffers from the same syndrome – regardless Nas raps like only Nas can. The only question I would like to ask Nas is: “If you (and all of us) are God’s son (children), why are you acting like God is your big brother?” Still, the answer to the less lofty, and heavily debated question, “Can Nas still make a tight album?” is “Yes.”

Sven Barth can be reached at big_sven@hotmail.com.

Rob Schneider: CAN HE GET ANY WORSE?

If the Fox network debuted a show next season called “When Good Comedians Go Bad,” Rob Schneider would be the main character. Schneider, the writer and star of disposable comedies like Deuce Bigalow: Male Gigolo and The Animal, will release his new atrocity, The Hot Chick, on December 13.

Schneider has followed in the larger footsteps of his friend and fellow “Saturday Night Live” alum Adam Sandler by writing and starring in his own movie, Deuce Bigalow, in 1999. By this time, Sandler was an expert in the lowbrow comedy genre, releasing a string of highly profitable films starting with Billy Madison in 1995.

Schneider, in a press meeting with Life & Art at The Ritz Carlton in Key Biscayne, talked about his introduction to show business, and his evolution from stand-up to “SNL” to soggy semi-stardom. He indirectly credits Sandler, his “co-star” in several films, with his current movie career. Fledgling with supporting roles in early ’90s movies like Home Alone 2: Lost in New York, and, Demolition Man, Sandler gave him a lead role as a goofball male prostitute in Deuce Bigalow.

Even though hell didn’t freeze over, Deuce Bigalow was a box office hit. Schneider co-wrote the film, and immediately starred in and co-wrote a new comedy, The Animal – about a man who transforms into a half-animal. Going up against odds that would boggle John Nash, The Animal was a box office success as well, especially given its miniscule budget. Now, Schneider has decided to challenge all higher beings to a round of “American Gladiators” with his newest mishap, The Hot Chick.

The Hot Chick, which Schneider promoted by touring the country with co-writer/director Tom Brady and lead actress (the ever hot) Anna Faris, is the most moronic plot to date. A good-looking and popular high school girl wakes up one morning to find herself transformed into an ugly middle-aged man (enter Schneider). Here’s when the hilarity is supposed to ensue, but unfortunately the audience is left on a small island populated with blatantly annoying jokes. Even worse, not one stupid joke is in the spirit of Happy Gilmore’s excellent “You’re gonna die, clown!” scene. In case you didn’t find Sandler’s recent disappointments, Little Nicky and Mr. Deeds, awful enough, Schneider’s new film is much worse.

It is Friday morning and Schneider sits in a classy meeting room at the Ritz, looking tired and sleep-deprived, in a half undone pink-ish dress shirt. His unshaven face and scraggly hair are not merely symptoms of laziness, but instead a desperate sign that he needs a break. Based on his upcoming list of tour stops, he probably won’t be using a razor correctly anytime soon. According to his publicity crew, they had flown in from Philadelphia the night before, rushed to the UM screening of The Hot Chick and then were immediately brought to the Ritz for sleep. It is difficult to imagine Schneider passing up all-night SoBe clubbing and free drinks at the drop of a “You can do it!” for an early bedtime, and from the look of his reddish eyes, no one would have known anyway.

Deuce Bigalow was a tolerable effort for a first timer like Schneider. It was no Oscar nominee, but it fit snuggly into the Sandler genre. The Animal took a downhill turn, with a couple of salvageable laughs amidst the million-dollar idiocy. The Hot Chick, which Schneider insists is his best work, is surely his worst, or at least his least funny. There is no real specific aspect of the film that’s horrible; it’s a combination of many bad moments that make it pathetic.

In person, Schneider is funny and likable, genuinely struggling to fight his exhaustion to entertain us media folks. His funny quips about being a woman (“I felt like I was allowed in the house, but not in any of the interesting rooms.”) and his dead-on Christopher Walken impression were a few of the comedic highlights, and most of his answers were lengthy and in depth. Still, it felt like he had been answering these questions for years, which of course he has been.

One of the more interesting things to come out of the interview was Schneider’s apparent dislike of “SNL,” which gave him his big break in show business. He seemed to appreciate the exposure, recommending it to anyone, but emphasized his disgust with the politics of the whole thing. He said he had no desire to guest host, although he was due back in New York the next day for a special appearance on the show with Sandler, debuting the new “Chanukah Song.” It was surprising to hear that he doesn’t keep in touch with any of his former “SNL” coworkers, Sandler being the exception. Other Schneider shockers included his former use of method acting, his love of Mexican directors, and the fact that of all the people in Hollywood, the one he would most like to meet is director Spike Jonze (Being John Malkovich).

One of Schneider’s good friends is Brady, a former writer for “The Simpsons,” “The Critic,” and Schneider’s short-lived TV show, “Men Behaving Badly.” This is Brady’s directing debut, and his second experience co-writing a movie with Schneider, after The Animal.

Brady was also on hand at the hotel, doing interviews alongside Faris. They both put a little more effort into their answers, and seemed more rested. Faris was transformed by her change in hair color, leaving her unattractive black-haired Scary Movie lead role behind for the cute blonde sidekick in The Hot Chick. Unfortunately, her hairdresser doesn’t give acting lessons, and her upchuck in serious moments from Scary Movie to The Hot Chick proves overwhelming. She doesn’t drag the movie down, and she’s great to look at, but her performance is poor.

The overall impression from the interviews and movie was that Brady and Schneider are talented people who have decided to borrow bad cinematic habits from Sandler. As Sandler’s flicks get worse, so do Schneider’s. For their next film, Schneider and Brady are contemplating a sequel to Deuce Bigalow. Hopefully they will realize that the stupid-meter is about to break. If Brady can channel his old “Simpsons” writing and Schneider can channel the Deuce Bigalow character one more time, the duo should make enough money for a swimming pool. Come on guys, “you can do it!”

Shawn Wines can be reached at shawnwines@aol.com.

Philosophize this:Can a skeletal marionette with hollow bones find his/her soul?

Imagine if Socrates painted surrealism, Descartes picked up a drawing pad, and Nietzsche tried his (nihilistic) hand at sculpture. Well maybe the fusion of philosophy and art isn’t such a comfortable notion, yet Cuban artist Carlos Estevez consistently injects his artwork with a stimulating dose of the metaphysical. Estevez’ exhibit Circo Metafisico (Metaphysical Circus) headlines at the Diana Lowenstein Gallery in Miami.
A mock marionette stands quietly in the center of the room, a myriad number of strings lacing from the wooden block overhead to holes in a statue’s body. On the surrounding walls hang Estevez’ eerie, constellation-like creations, beckoning to the viewer like small, dark closets.
The universal element in Estevez’ work is the skeleton-like figures, done in white chalk lightly scratched over black paper. Spindly, anthropomorphic figures are connected with bolt-like white and red dots, giving an overall feeling of cosmic machinery. Occasionally, the artist jolts the darkness with an unexpected block of color in bright green, purple, or blue.
Seemingly making a parallel between the human race and the animal kingdom, Estevez tunnels through the ever-problematic condition of man and his instincts. In “El Arte de EngaOarse Mutuamente (The Art of Mutual Deception),” animal heads are placed on human bodies, the creatures holding masks of human faces in front of their own. Similarly, in “El Hombre y sus Circumstancias (Man and his Circumstances),” a lion tamer and the beast he subdues have been transposed. The lion’s head sits on the man’s body, its voracious jaw wrapped around the man’s head, which rests on a lion’s haunches.
Circo Metafisico also explores the dark underbelly of human nature, complementing the marionette theme of manipulation. In the startling “El Arte de Encantar (The Art of Enchantment),” a snake charmer lures a serpent that coils out from his own stomach. The sole subject of “El Marabarista (The Juggler)” is one of Estevez’ trademark skeletal figures, juggling tiny versions of himself.
Fortunately, the artist doesn’t confine his work solely to the tortured musings of the internal psyche. “El Individuo en la Historia,” in a nod to Cuba’s explosive political struggles, depicts a decorated military figure literally outweighing a group of common people on a scale. “Deporte Universal (Universal Sport),” a more lighthearted composition, shows two figures wrestling.
Most striking is “Les Risques de l’amour (The Risks of Love),” which stands out not only for its French title, but its implicit theme of romance, from which Estevez has until now shied away. In a well-worn, but still penetrating metaphor, a male and a female figure are pictured swinging on trapezes, in hopes that the other will catch them.
Whether you’re a self-proclaimed deep thinker or just taking Philosophy 101 to fulfill your humanities requirement, Carlos Estevez’s blend of art-philosophy is sure to stimulate your neurons. As Socrates mused, “life unexamined is life not worth living.”
Circo Metafisico runs through November 30th at Diana Lowenstein Fine Arts. Call 305-774-5969 for more info.

Jessica Misener can be reached at jessm02@yahoo.com

Director John Singleton talks South Central, Tupac’s death, and the Dark Knight

John Singleton is a hustler, but don’t knock him. He is also a notable director – if not for his films, then for the hunger he blings like Yoda’s wisdom. Sitting in a room in the upstairs of the UC, an hour and change before his talk at Gusman Concert Hall, he chows down on two turkey sandwiches with reserved concentration. Clearly beat from a day spent filming The Fast and the Furious 2, his mind is still revved on energy – plotting – as he looks up briefly from large bites to answer interview questions.

“The film is looking good, man. We’re on schedule, but we’re over budget. We’re spending a lot of money in Florida, more than some small countries make,” he says with a laugh.

This perseverance is a product of his upbringing in South Central, Los Angeles, a place he helped flesh out in the minds of viewers, especially white Americans, with his debut film, Boyz N the Hood, in 1991. He wrote and directed the film at the ripe age of 22/23, yanking its sobering tone and subject matter from his experiences and surroundings – a battle of the mind where drugs, crime, and violence distort and camouflage the paths a young black man can choose. To quote Cappadonna, Singleton “came to the fork in the road and went straight.” This strong willed decision led to Boyz and a nomination for Best Director, making him the youngest film maker to reap an Oscar nod – replacing Orson Welles.

“South Central is still the wild, wild West. The right of passage is dysfunctional. In certain cultures, the right of passage is, well you, get a car, or you join the football team, or a baseball team, run track. There, you know, you’re either a Blood, a Crip, an athlete, or you stay inside watching TV,” he says. “I didn’t want to grow up and be a musician, a rapper, or an athlete. I wanted to grow up and be like Steven Spielberg, which is my saving grace, it saved me.”

This affinity for Spielberg, and films like Jaws, Predator, and Terminator 2:Judgement Day, has dredged up confusion among certain fans, critics, and haters alike, who do not understand how/why a marquee black director can “keep it real” with socially reflective films like Higher Learning and Rosewood, and then jump ship into a sea of popcorn for a big budget action movie – a sequel to boot. People often make instinctive comparisons to the resume of another prominent black director, Spike Lee, when Singleton’s artistic mission statement is quite different.

“I didn’t want to be considered any one type of director. I went to film school at USC to make movies. For me to be able to make different types of movies, I have to make movies that are really commercial too,” he explains. “Action films keep what’s known as the “studio machine” going – so fine, I’ll flex an action film for a little while, then I’ll go back to doing dramas, comedies, whatever.”

Time will tell if he’ll return from the lucrative pastures roamed by Jerry Bruckheimer, but count on seeing hip hop stars in his films either way. A controversial preference that started when he cast Ice Cube in his first film (impressive in Boyz), it now includes Snoop Dogg (Baby Boy’s highlight), Busta Rhymes (distracting in Shaft), and Fabolous and Ludacris in this summer’s Furious sequel (wtf?). Samuel L. Jackson (ironically, Shaft in Shaft) issued a statement in July that ripped rapper-turned-actors, labeling their hire an “aberration” and sympathizing with actors committed to the craft, who lose roles “because of some actor who’s been created.”

“Sam’s right about that. They (rappers) should study the art. They should have respect for the art. Most people put musicians in films because it’s some kind of marketing ploy. I go for it in terms of character. I had Cube study with a coach, Ludacris studies with a coach too,” he defends. “Tyrese (star of Furious 2, singer) just has way more flavor than Vin Diesel. He’s younger, he’s hot, you know what I mean? Vin Diesel’s just like, “Yuh, yuh,” Tyrese is energy.”

While O.J. Simpson is damn lucky he had more evidence than this, Singleton offers valuably resonant proof when the conversation turns to his late friend, rapper Tupac Shakur. Tupac not only exhibited a comforting, yet kinetic chemistry with Janet Jackson in his 1993 fairweather film Poetic Justice, he also contemplated a role in 1995’s Higher Learning and the lead in last year’s Baby Boy. In fact, Singleton envisioned Tupac as Baby Boy a.k.a Jody, a man who personifies the masculine struggles/traps of life in the ‘hood contrasted with the search for maternal comfort from women and sex. Tupac’s death in 1996 ended hope that the role would prove cathartic and eye opening for an artist who was quoted in Vibe magazine as saying, “Everyone’s at war with different things…I’m at war with my own heart sometimes.”

Singleton labels a heavily debated article about Tupac’s death, published in the Los Angeles Times in September, “bullshit.” It proclaimed that the Notorious B.I.G. gave members of the Southside Crips the murder weapon and a $1million contract to slay Tupac.

“I think Tupac became the person that he wanted to become. He was a very confused kid. He worked at making everyone think he was the biggest, baddest cat around, but he was only like 5’9″, you know, a small dude, a pretty dude. You can only get shot so many times, and it’s a trip man. People don’t want to talk about that,” he confesses.

“This kid made himself into this image, it’s wasn’t that he was that person. He was conflicted. I’m about the only person who ever told Pac, ‘You should fuck music, you should just be an actor.’ The last time I saw him alive, he was shooting a video at Crenshaw Mall for ‘To Live and Die in L.A.’ I congratulated him, and his face was so…he went through a lot of shit.”

To relax, Singleton buys comic books every week. While this does not mean much to the average person, especially when he is privy to VIP rooms and Tyra Banks (a brief fling), he thanks his success for being able to do so. When he was growing up, discussions about “what tastes better: Boston baked beans or Lemonheads?” were interchangeable with dreams of a black Superman. Now he reads stacks of comics, and ponders helming flicks with comic book characters like Luke Cage, Sinbad, and Batman.

“Someone should make a true Batman. Do ‘Batman: The Dark Knight Returns’ from 1986, when the city’s going to pot, and he’s like 65 and popping those little pills just to keep going,” he says. “Now that you brought up Frank Miller (illustrator), I’m going to call up Universal and see if I can get ‘Sin City.’ It’d be a hard R though.”

Now 34, Singleton is clearly making moves and movies for himself. He is quick to admit that most people in Hollywood are sellouts, and attributes his longevity and stability in the business to “a little bit of luck, a little bit of hustle.”

Still residing in South Central, his office is also based there, on 43rd and Crenshaw. When he is not visiting/filming in Miami and partying at B.E.D, one can probably find him there – watching flicks with the doors open. He finds it a little disheartening that local kids never stop by for insight. Sometimes he wishes one would, but as he realized early on in South Central, life is what you make it.

Hunter Stephenson can be reached at Hurricaneaccent@hotmail.com.

Barely Legal

Looking through the limelight
NYC rockers The Strokes paint “The Modern Age”

Somewhere in between the shimmering lights of Gotham City at night and the smoky, penumbral basement bars of Manhattan’s high-rises, Julian Casablancas, lead singer of buzz rock group The Strokes, notes down stories about life in the big, shiny metropolis and sifts it out through filtered vocals for the rest of the world to hear. Too many bands hatch from New York’s detonating cultural cocoon, but something about the place seems to foster this continuous artistic explosion.

“I like that it injects adrenaline and direction in people,” says drummer Fabrizio Moretti about the city. “Everyone’s got a goal, everyone’s a go-getter and everyone communally lives independently. Does that make any sense? It’s a very surreal, magical place and you can get tired of living there, but I can’t pinpoint what’s wrong. I guess that’s what comes out in our music.”

Unlike some rock groups deriving from destitute surroundings and trying to elude the cavernous ditch of their circumstances, The Strokes seemingly had it made it from the beginning-each member emanates from privileged backgrounds and they’re progenies of wealthy immigrants. Casablancas (whose father John is the founder of the prestigious Elite modeling agency), Moretti and Nick Valensi, one of the guitarists, all attended Manhattan’s Upper West Side Dwight private school, and-while listening to alternative bands like Nirvana and Pearl Jam as well as older classics like the Beach Boys, the Beatles and seventies punk-the trio started playing together. Shunning the “cream of the crop” surrounding of clueless rich kids and Eminem wannabes listening to gangsta rap and righteously swearing that they’re gangsters themselves (even though they attend prep schools), Casablancas quit and Valensi left around tenth grade to pursue music. Moretti was left alone, dismayed because the other two were the only friends he had at Dwight.

Later on, they hooked up with bassist Nikolai Fraiture who was going to the Upper East Side’s prominent French school, Le Lyc