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Review: Lviv National Philharmonic Orchestra

By Grace Vuolo

Last week, on February 1, Houghton University had the privilege of hosting the Lviv National Philharmonic Orchestra of Ukraine in our very own Wesley Chapel, conducted by our very own conductor, Theodore Kuchar. President Lewis opened the concert, praying that it would be a blessing to all performers and visitors. His prayer was most assuredly answered. This concert was a surreal experience both for musicians and nonmusicians alike. While this writer reviews from a musical background and technical perspective, regardless of the knowledge of the listeners, the effects of the musical magic enveloped the entire room. The unmatched rush of watching professional musicians tune as the lights dimmed was enough to encompass and enhance the already heightened anticipation.

The first piece performed by the orchestra was a chamber symphony for strings and a solo flutist by Yevhen Stankovych. The coordination between the soloist and the full-string ensemble was absolutely incredible. The flutist played rapid scales and arpeggios with precision and accuracy while the strings played with animation and an array of various techniques providing different sounds. The string’s layered harmonies and flutes uplifting levels of emotion conversed to express a lively story filled with intensity and intention. Kuchar conducted with clear direction and enthusiastic involvement in each and every sequence.

The second piece played was a Brahms violin concerto. The violinists’ bows moved in perfect unison on each note. Kuchar’s conducting led to clear-cut dynamic changes in every instrument, from the soothing relaxation of soft strings to the intense acceleration of bursting brass. The communication between brass and strings during the call-and-response sections sent a vapor of perfectly synced music swirling about the entire chapel. While the orchestra worked beautifully together, the true star of the Brahms concerto was the lovely and extraordinarily talented Vladyslava Luchenko. Luchenko believes that she sees “the musician’s true purpose in being a guide to a person’s most sacred, hidden unconscious…a profound healing tool, a bridge to the higher dimensions.” The skill level that she displayed was on a level that I cannot imagine many musicians reaching in their lifetime–yet, her performance was nothing less than inspiring. Her movements were swift and precise and led the orchestra beautifully. The percussionist used the timpani to drive the beat perfectly into Luchenko’s gorgeous notes and patterns. There must also be a special shout-out to Houghton’s own graduate student Melissa Kleinberger who had the amazing opportunity to perform with the orchestra and played her cello magnificently. Congratulations, Melissa!

The third piece was Dvořák’s ninth symphony in E minor which followed Kuchar expressing Ukraine’s thanks to the U.S. for the intellectual and financial help it has sent, making it possible for the Ukrainian government to function and the orchestra to come perform at Houghton. The piece was played with such passion and emotion that the gratefulness of each and every player could be felt.

To top off the performance, the orchestra played a piece of entirely Ukrainian origin, showcasing the musical roots of the orchestra. As the piece came to a conclusive end, members of the orchestra held up a Ukrainian/United States flag. The entire performance was so filled with emotion and heart. Kuchar’s pride and love for the Lviv National Philharmonic Orchestra of Ukraine was clear and passed through to the audience.

Thank you, Professor Kuchar, for sharing with us the gift of hearing your orchestra perform, and for treating us with the same love that you showed the musicians last Wednesday night. ★

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Book Review: Lock the Doors by Vincent Ralph

By Julia Collins

Lock The Doors (2021) is a mystery YA novel recommended for ages 14-18 (though even if you don’t fit the age group, you will still likely enjoy the book and relate to the characters). This is author Vincent Ralph’s second book. Ralph lives in the UK and has a wife and two sons. 

16-year-old Tom Cavanaugh and his family have just moved into a new house. Tom does not like this as he struggles with OCD and anxiety due to seeing his mother abused by her ex-boyfriends. Even though she is happily married to Jay now, Tom is still skeptical about how safe they are. He sees holes on the outside of his bedroom door and thinks that the previous occupant must have been locked in. Then he finds the words “HELP ME” written on the wall. It doesn’t take long for Tom to become scared of the house as something was definitely wrong.

At school, Tom meets Amy, whose family had previously lived in his new home. During their first meeting, Amy’s mother was present, which made her uncomfortable. However, the next time Tom and Amy see each other, she is warm and friendly. Amy and Tom quickly become friends, and they begin to feel very comfortable around each other. Tom learns that Amy used to sleep in the bedroom that is now his own and later, at a party, they dance and kiss. Soon after, Tom walks Amy home and meets her parents. Although she denies it, he can tell that something is off about them. Her mother, Jane, is suspicious and cunning, and her father, Chris, is indifferent to his family. Tom does not trust them and concludes that they used to lock Amy in her room. When Tom has dinner with her family for the first time, he discovers that her younger brother, Will, is an artist. Tom recognizes Will’s handwriting to be the same as the “HELP ME” on his wall. Horrified, Tom begins to spy on Amy’s family to figure out what happened to Will and Amy in their old house. What he finds is devastating. The reader has to read it for themselves to get the full effect, as it is a very intriguing read! 

I would rate this book a 9/10. It was hard to get into, as there is less action, but the climax is stunning. Tom is an interesting character to read about, while Amy is more mysterious, and my perception of her shifted several times. Overall, this is a good book that I enjoyed reading. I am looking forward to more thrillers from Vincent Ralph.★

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Review-Once Upon a Time in Hollywood (2019)

By Caleb Tiedemann

There is no doubt about it, Quentin Tarantino’s ninth film Once Upon a Time in Hollywood is amazing! Typical of Tarantino, it’s a fun film full of heart and love. Of course, those interpretations are subjective if you know anything of his filmography. Tarantino is very much one to push the limit in movies, a fact that I admire and love about his work. His lack of care about what other people think of his films really just unleashes him to create the wildest movies ever. OUATIH is probably Tarantino’s most relaxed film, toned down in violence, it delivers wonderfully in ways completely unexpected from the director. However, it should be of no surprise that he would flip the script and surprise audiences with something so uncharacteristic of himself.

OUATIH is a simple film. There are no real convoluted plot points or anything out of the ordinary. The movie takes place in a day of the lives of actor Rick Dalton and his stunt double, Cliff Booth in late 1960’s Hollywood. Rick, played by the marvelous Leonardo DiCaprio, is an actor who has fallen out of the limelight after leaving the television show that made him famous to pursue his acting career in movies. As with any gamble, there is a chance it does not pay off and, in this case, it does not. By his side, is his stunt double/friend Cliff Booth, played by Brad Pitt who offers both support and understanding in his buddy’s time of hardship. As an aging television star, Dalton has to come to terms with the fact that he is not only older but also not as popular as he used to be. Being in the limelight for so long makes this transition incredibly hard for him, and DiCaprio plays the part of a struggling and insecure actor so unbelievably well. There’s irony in there somewhere. The situation is made worse for Dalton when, living next door to him is up-and-coming movie star Sharon Tate and her husband, big-name director Roman Polanski. In a world of shining and fading stars Rick struggles with where to take his career, often abusing alcohol as his vice. 

Meanwhile in the outskirts of Hollywood, trouble grows in the form of the Manson family cult. Charles Manson was a talented manipulator and white supremacist who feared an “apocalyptic race war.” He formed his cult in college by targeting those who were socially inept or emotionally insecure. Over the next couple of years, he formed a “family” of about twenty individuals; through LSD and “unconventional sexual practices,” he was able to turn them into his dedicated and devoted followers. For those of you who are unaware, this was a real cult. They were responsible for the deaths of seven individuals, namely actress Sharon Tate. Though the only events depicted in the movie are the attempted murders of Sharon Tate, it is nonetheless important to provide a backstory of history. Under the commands of Manson, he ordered his followers to “kill them as gruesomely as you can.” Later one of the murderers admitted that they killed Tate because, “we wanted to do a crime that would shock the world.” So, when watching this movie, I knew how it was going to end. Or I thought I knew. Tarantino often rewrites history in wonderful ways and this movie is no different. The end of OUATIH is one of the most absolutely insane things Tarantino has done. 

The acting in this movie is wonderful, DiCaprio and Pitt both manage to be loveable and relatable as they realize their place in a tumultuous movie industry is constantly changing. Meanwhile Margot Robbie as Sharon Tate is a wonderful depiction of the golden age of Hollywood, its beauty, elegance, and grace, all destroyed by a senseless act of violence. It was what truly changed movies forever. The setting is beautiful. Tarantino completely remodels all of Los Angeles to fit his 1960’s childhood dream. The scenery, the sets, the costumes, it’s all gorgeous. Getting a behind the scenes look at how movies are made is an interesting change of perspective. The score and soundtrack are also great; using classic songs that just helped me to fall in love with this movie. It is a completely unique experience that had me fascinated and intrigued all the way through.

When I first saw this movie, I was kind of disappointed; this was the guy who gave us Pulp Fiction, Inglourious Basterds, and Django Unchained, where did it all go wrong? Yet at the same time I was completely smitten with this world he built, and I had no idea why. It was not his style, but at the same time it was, it felt different and that’s why I loved it so much. Throughout it completely subverts your expectations and builds up tension in an amazing way with fun characters and a real story. It’s magnificent. This movie has since become a comfort movie to me, one that is relaxing and fun until the final act of mayhem. Ultimately it is a movie I enjoy completely and sometimes competes with Pulp Fiction in my mind for the best Tarantino movie. It offers everything I want and amazes me with every watch. I strongly recommend this movie. ★

Final Grade: 10/10 (A+)

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Spider Man: No Way Home (2021)

By Caleb Tiedemann

MAJOR SPOILER WARNING!

Spider-Man: No Way Home was one of the most hyped-up and anticipated Marvel movies to come out this year. All of this was primarily thanks to the rumors and the advertisements that Marvel practically forced down your throat until you could not go anywhere without hearing or seeing it. After a year of average Marvel, I was starting to feel burnt out and hoping the future would be b6etter. Little did I know that Jon Watts was going to drop one of the best Marvel films of all time right into my lap, to cap off 2021. I arrived home for Christmas break and caught church and breakfast with my friends. Then we went to the mall and mentally prepared ourselves for better or worse. Two and a half hours later, we all came to the same conclusion, “WOW!” I do not think it is too far to claim that Spider-Man: No Way Home is nothing short of a masterpiece.

No Way Home picks up right where Far From Home left off: Mysterio revealing Spider-Man’s identity to the world. With Spider-Man/Peter Parker’s (Tom Holland) friends and family at risk, he seeks help from Doctor Strange (Benedict Cumberbatch). When Strange tries to cast a spell that makes the world forget Peter Parker is Spider-Man things go horribly wrong and dangerous foes from alternate dimensions appear to put him to the test. In the end, Peter learns the true cost of what it means to be Spider-Man. 

Similar to the other movies I review, there are many amazing details to go over. Let’s start with the elephant, or elephants in the room, the names that everyone wants to hear. The appearances that made the people in my theater scream, clap, cry and shout: Tobey Maguire and Andrew Garfield. The appearance of these characters sent me into an insane frenzy of love and joy. Being one of those 2000s kids, I grew up with Maguire and Garfield, and seeing them back in their titular roles was jaw-dropping and nostalgic. Their intro was not superb but I loved it way too much to be annoyed. Tears and shouts of joy filled the theater on that day. A moment and feeling that cannot be matched. I felt young again, I felt nothing but joy to see them back in action.

You could tell that Maguire and Garfield were both thrilled to return to their roles as they both acted with all their heart, making it seem as if they never left. Tom Holland gives his ultimate performance in this film as Peter is driven to the edge of his sanity, broken and beaten, by trying so hard to be the friendly neighborhood Spider-Man. Alfred Molina’s return as Doc Ock is another smile-inducing moment. When he is turned good, he is so wholesome and happy, being able to truly be Alfred Molina instead of Ock. Then there’s the other villains: Rhys Ifans’ Lizard, and Thomas Haden Church’s Sandman. Both get further personality development and fun moments as classic villains. Jamie Foxx’s Electro also stood out as an awesome performance. Despite not being blue or balding, Foxx was given a great opportunity to make amends for the previous butchering of Electro. 

Now, we get to talk about the MVP- Green Goblin. Willem Dafoe returns as the titular Spider-Man villain, the one who started it all. Dafoe’s performance was nothing short of legendary. He truly brought his crazy back without a second thought. I personally loved him so much more through this movie as he adopts a very similar personality to that of Heath Ledger’s Joker. The way Goblin tanks punches all while smiling and laughing is one of the most bone-chilling scenes. It gives off the Batman/Joker interrogation scene vibes from the Dark Knight. Instead of having an ulterior motive, the Goblin just wants to break Spider-Man in any way he can, and he almost does. He kills one of the people closest to Peter, driving him nearly mad with grief and instilling vengeance within him. Similar to how Maguire and Garfield had to learn to deal with the grief of losing Uncle Ben and Gwen, so must Holland. Due to the Goblin, Peter is brought to the edge of his sanity, almost losing who he truly is along the way. This was one of the most heartbreaking, surprising, and emotionally well-done things in this movie.

Visually, this movie is stunning. The CG is believable and works well. The Doctor Strange fight is beautiful. Getting tossed back into the mirror dimension is always a visual treat. The cinematography is jaw-dropping. The humor was also fantastic. The interactions between the villains are funny, and the interactions between the three Spider-Men are hilarious. The movie does an excellent job of balancing humor with heart. The humor never feels out of place and never overstays its welcome. Small little details can be revealed in the shortest of sentences. They even got Willem Dafoe to say, “I’m something of a scientist myself,” again. I mean, come on, how could you not like this movie?
Now, for the plot. Previously, the Spider-Man movies have been nothing but fun and adventure, with no real stakes and no real character.  . This does not mean they are bad by any means, but it makes them lesser than, especially if Peter is the exact same after six movies. In this movie, there are stakes and so much development, and not just development for Peter, development for a whole cast of characters from the last twenty years! For once, Spider-Man can’t just get out of trouble by swinging away and making a quip. He is stuck, trying to help everyone and balancing the weight of the world on his shoulders. In the end, he has to make the ultimate sacrifice and let everyone forget he is Spider-Man to save the universe. The ultimate sacrifice that really cemented his reign as a legendary hero. 

Grade: A+

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Movie Review: The Great Gatsby

“[Nick] ventured, ‘You can’t repeat the past.’

‘Can’t repeat the past?’ he cried incredulously. ‘Why of course you can!”

Courtesy of 8tracks.com
Courtesy of 8tracks.com

Unlike Jay Gatsby’s attempt to repeat the past, director Baz Luhrmann’s endeavor to bring The Great Gatsby to the screen yet again was the refreshing and unique spin that this acclaimed American story needed.

In 1926, F. Scott Fitzgerald’s, The Great Gatsby, made its screen debut in a silent film production directed by Herbert Brenon. Following in 1949, Elliot Nugget directed a black and white “talkie” version. Yet a third version was created with a screenplay by Francis Ford Coppola and direction by Jack Clayton in 1974. That most recent version starred actors still known today, such as Robert Redford and Mia Farrow, but many critics, such as Roger Ebert, were unimpressed.

All this to say this classic story needed a fresh spin to redeem it from some of its less than impressive predecessors. Luhrmann’s adaptation was created in conjunction with musical genius Jay-Z, who also served as executive producer for both the film and album. The duo was joined by composer Craig Armstrong, whom Luhrmann had worked with in previous projects, such as Moulin Rouge.

The acting and cinematography of the film were stylistically unique and fairly well received, but the soundtrack was perhaps most notable.  The soundtrack, a composition of upbeat brash hip-hop combined with traditional jazz melodies and other contemporary sounds, was a means to bring the Roaring Twenties to the modern era. Luhrmann said, “The question for me in approaching Gatsby was how to elicit from our audience the same level of excitement and pop cultural immediacy toward the world that Fitzgerald did for his audience. And in our age, the energy of jazz is caught in the energy of hip-hop.”  Jay-Z’s $100 Bill carries an electro-rap beat that bluntly chops in and out of Nick’s wistful recount of Gatsby’s woes.  The hard beat and pointed lyrics serve as a description of Gatsby’s life of luxury and “decade of decadence, ill reverence, irreverence.”  Later, Lana del Ray’s haunting, Young and Beautiful, rises and falls, as Gatsby and Daisy’s intimate relationship climaxes within the Gatsby estate.  To name a few other contributors, Florence and the Machine, The xx, and Gotye all add key elements necessary to bring back to life the vibe of the Roaring 20’s.

In terms of acting, DiCaprio stepped up to the role of nouveau riche and mysterious Gatsby himself.  Throughout the film his, “Old Sports,” get repetitive, but they do the job to stress his tiresome and affluent lifestyle.   However, Tobey Maguire’s performance in the role of the young and naïve Nick Caraway who quickly gets caught up in Gatsby’s bourgeoisie living is weak. Though Maguire’s character is meant to get lost in the decadence of Gatsby’s spendthrift life, his performance is much overshadowed by DiCaprio. Lastly, Carey Mulligan struggles to balance and convey the love triangle she has been caught in, yet her sub-par performance is overall acceptable.

Perhaps the harshest criticism of the film should be directed at what is also considered it’s greatest strength–its unabashed and garishly over-the-top ostentatious storytelling. Luhrmann’s riots of color and extravagant party scenes take away from Fitzgerald’s intimate and personal story of self worth and the struggle to mend relationships. Gatsby’s doomed romance is repeatedly overshadowed and shoved to the side, due to unapologetically excessive depictions of the leisure class. Some critics point to the films of Quentin Tarantino as having the feel Luhrmann was ultimately striving to achieve, yet failed to accomplish. However, this flaw seems minor when compared to the

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Distinguished Artist Review

I admit I had my reservations about Friday night’s VOCES8 concert. Within my first two years at Houghton, I heard the famed Chanticleer sing sweet melodies from the Wesley Chapel stage and they set a high standard. So when I saw that a group called VOCES8 was coming to campus, I immediately and rudely thought, “What, so we couldn’t get Chanticleer?”

Courtesy of www.voces8.com
Courtesy of www.voces8.com

Trying to keep an open mind, I saw that they were from Britain. That is a redeeming quality; I like the Brits. I would spend another semester in London in a heartbeat. I like their characteristically dry sense of humor. I like their museums, their fish and chips, their countryside. They have a lot going for them—James Bond, Mr. Bean, corgis.

Arriving last Friday night at the chapel, I hoped VOCES8 would play up their “Britishness.” They did not disappoint on any level. The octet of singers, six men and two women, sang a program entitled, “British Invasion Mixed.” They had not even sung any notes yet, and I was already halfway to being won over by their program title. Looking across the page at the list of singers, I saw British last names like Dickins, Wardle, and Dressel and first names like Barnaby and, yes, Dingle.

But all British love aside, these eight people knew how to sing. And sing practically anything. This program was the most diverse I had heard in a long time. Their repertoire spanned a timeline of roughly five hundred years. They sang Renaissance pieces by Byrd and Praetorius, jazz songs by Nat ‘King’ Cole, a gospel piece, “Go Down Moses,” and a wide assortment of popular music, including songs by Mumford & Sons, Simon and Garfunkel, and The Beatles. And the genres were not all clumped together, either. One minute I was listening to Renaissance and the next, jazz.

Instead of creating a jarring affect, the switching back and forth between styles kept the overall tone of the performance fun and light. Of their varied format, Sally Murphy said she “was pleasantly surprised by their playful willingness to branch out into different genres.” They were not afraid to spice things up a little either with some funny choreography, like in the James Bond tribute, “Nobody Does it Better,” or the ending number, “Slap that Bass.”

Most of the members of VOCES8 would periodically come to the mic and say a few words about the next selection. One such member included the aforementioned Dingle. I think if I ask people who went to the concert in several months’ time what they remembered most about the program, they would mention Dingle, and not just because of his unusual name.

As the tallest member of the group, with dark-rimmed glasses and well-poofed hair, Dingle immediately captured the audience’s attention. His string bass impersonations kept the jazz pieces alive, while his fragmented, witty speeches into the mic kept the audience chuckling. Not to mention how everyone swooned at his beautifully resonant solo during the opera medley encore. Oh, and do not forget his drunk play acting during said encore as well.

But not only Dingle enchanted me. All the singers kept me invested in their performance with the overall atmosphere they created. This concert was about enjoying and appreciating a wide range of music, all the while having a fun and relaxing evening.

While there are not any more Distinguished Artist concerts this year, there will be some next year, and I encourage all Houghton students to attend. They are free! Non-students have to pay fifteen dollars. But the free part is just a bonus. These concerts provide students with a professional-level performance right here on campus. It is fun to get a little dressed up and hear some good music. And if there is another “British Invasion” at some point, you would not want to miss it.

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The Grammys: A Broken Promise

Courtesy of http://venturebeat.com/
Courtesy of http://venturebeat.com/

Although such declamations are hardly conventional, this article had better begin with full disclosure on two accounts: I did not watch the 2013 Grammys, and, before writing this, I did not know anything about the Grammy Awards in general. This look is from a newbie. It is not my intention provide a comprehensive list of the winners and reactions; such an angle would be both stale and, from my perspective, ill-informed. I will, instead, try to bring some things that I do know to the 2013 Grammy Awards.

For those not familiar, pitchfork.com is a Chicago area music blog publication, which offers reviews, exclusives, interviews, breaking news, video releases, and
recommendations. Off the record, it is only fair to mention that Pitchfork is, in some sense, analogous with snobbery. Such criticism is neither ill deserved nor a secret. Keeping this reputation in mind, ponder this pattern: the worse the Pitchfork review, the better the Grammy reception.

After absolutely lambasting the 2010 “Sigh No More” release, nowhere does Pitchfork even utter the name of the 2013 Grammy-winning “Album of the Year,” Mumford and Son’s “Babel.” And although the winner for “Best Alternative Album,” Goyte’s “Making Mirrors,” is given time of day for a review, Pitchfork actually rated it lower than three of the four losing Grammy nominations, two of which appear on the website tagged under “best new music.” A Pitchfork search for Bonnie Raitt, the 2013 Grammy winner for “Best Americana Album” will only yield a Bon Iver cover of one of her songs. Artists take note; if Pitchfork slights you, you may be in for a golden statue.

Some readers familiar with both Pitchfork and the Grammys may take issue with the above juxtapositions: isn’t it obvious that the two are after different things? Let’s find out. The tagline to Pitchfork’s website reads, “the essential guide to independent music and beyond.” The Grammys, on the other hand, are charged with “honoring achievements in the recording arts and supporting the music community,” as “The Recording Academy” section of official website states.

If both of these claims are to be taken seriously, then the relationship between the two is actually pretty clear. Pitchfork operates within a specific, small, dry spot underneath the umbrella of “the music community;” it is within precisely this genre-niche that the three Awards discussed in the previous paragraph belong. The question, then, is should we take both claims seriously? Is one unforgiving but honest, and the other, while ostensibly broad, much less open-minded than service to the “the music community” ought to demand?
Consider the Rolling Stone’s review of “Babel” on September 10, 2012. Apart from suggesting a lot of things that I don’t pretend to understand, including the implications of the group doubling down on “the ‘ole time religion” and the complications of using ‘church flavor’ to supersize and complicate love songs,” the article does bring some interesting observations to the forefront.

The reviewer gives Mumford and Sons praise for a “shinier, punchier, more arena-scale” performance. He twice compares the new sound to U2 and suggests that the accompanying lyrics are full of “Biblical metaphors swirling like detritus in a Christopher Nolan film.” Whatever original or unique elements that, three years ago, squeaked “Sigh No More” painfully onto Pitchfork have since been completely replaced with a new, homogenized amalgamation of Batman and Bono. Music that once belonged, however tenuously, in the realm of indie is now awarded for having become something else.

This is not meant to be an indictment of the Grammys. The point is not to praise the obscure and denigrate the popular. The issue lies in addressing a broken promise. Despite its own proclamation, the Grammys are about performance and popularity. The Award Show is a reproduction of the radio punctuated by mini-Super-Bowl halftime shows. Some genres are elevated and others, such as the small and shrinking categories devoted to alternative, americana, and folk, are neglected. What should, according to its own standards, support the “music community” actually and simply reinforces the music industry.

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Indie Rap Goes Mainstream

Don’t waste another minute if you haven’t yet heard Macklemore’s album The Heist; get on iTunes, YouTube, Pandora, Grooveshark, or Spotify and listen to it.  It is by far the best rap album of 2012.

Courtesy of http://respect-mag.com/
Courtesy of http://respect-mag.com/

Ben Haggerty, known by his stage name Macklemore, in conjunction with young producer Ryan Lewis, released his first studio album on October 9th 2012. The Heist quickly rose to the top of the charts, landing number 1 on iTunes within hours of its release, number 2 on US Billboard 200, and selling over 78, 000 copies within the first week, all without any mainstream promotion or support.

Macklemore is not your typical rapper. He studied at Evergreen State University, and during his time as a student he worked with Gateways for Incarcerated Youth. He is an intellectual humanitarian activist and gay rights advocate, and he is concerned with reaching the younger generation and educating youth about cultural identity.

The most notable aspect of The Heist is its vulnerability. Macklemore doesn’t simply expose his life in any voyeuristic fashion, nor does he get carried away whining about the hardships of wealth and popularity. Instead, he is honest about the socio-economic issues that affect so many of us.

While Haggerty did check himself into rehab for drug-addiction in 2008, this only further fueled his desire to take a stand against drug use. With lyrics like, “That’s the same stuff Weezy’s sippin’… And tons of other rappers that be spittin’ hard,” he calls out Lil Wayne and other mainstream artists whose work makes light of drug abuse. He continues to sing in “Starting Over”, “If I can be an example of getting sober, then I can be an example of starting over.”

The Heist is also filled with theological and philosophical contemplations that have been lacking in popular music. In his single “Same Love,” he addresses the long lasting homophobia that exists not only in our culture but especially in rap, singing, “If I was gay, I would think hip-hop hates me.”

Courtesy of http://act.mtv.com/
Courtesy of http://act.mtv.com/

He continues to write, “It’s the same hate that’s caused wars from religion, gender to skin color, the complexion of your pigment, the same fight that led people to walk outs and sit ins, It’s human rights for everybody, there is no difference… No freedom till we’re equal, damn right I support it.”

Another issue Macklemore engages with is our cultural addiction to consumerism. He addresses this with a hint of humor in his hit single “Thrift Shop,” attacking the ridiculousness of consumerism with witty lines like, “oh that Gucci – That’s hella tight. I’m like, “Yo – that’s fifty dollars for a T-shirt… I call that getting tricked by a business.”

Macklemore doesn’t stop there, though; in “Wings” he continues to discuss how consumerism does more than just take our money — it destroys lives. He raps about a boy being killed for his Nike Air Force IV’s. He writes, “I’m an individual, yeah, but I’m part of a movement. My movement told me, be a consumer and I consumed it… I look inside the mirror and think Phil Knight tricked us all, these Nikes help me define me, but I’m trying to take mine off.”

Macklemore’s music is refreshing. The Heist, as its name suggests, is attempting to “steal back” any preconceived notions in regards to rap. Macklemore is concerned with the socio-economic, gender-based, racial and religious issues that plague us as a society. This album is more than just a chart topper; it is one of the most important critiques of our society and a fantastic piece of artwork.

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Arts

Downton Season 3 Disappointment

So, cult-favorite Downton Abbey is back for its third season, and once again American audiences can sit back and watch in gross fascination as the drama unfolds in 1921 England.

Seasons one and two brought a myriad of tragedy as the Crawley family lost an heir with the sinking of the Titanic, found an heir through a distant male cousin, struggled through a family scandal concerning the honor of eldest daughter Mary, lost another natural heir through an unfortunate miscarriage for Cora, not to mention the trauma of World War I, and the emotional turmoil of the love-triangle between Mary, Matthew, and Lavinia.

The first two seasons were fairly believable and quite enjoyable with the exception of the unlikely resurrection of a soldier who claimed to be Patrick, the lost heir from the Titanic sinking in the first episode of the first season. But, three episodes into this season I am already growing restless and lacking a certain sense of fulfillment.

The constant bickering between Matthew and Mary is tiresome due to Mary’s insensitivity and tunnel-vision towards saving her ancestral home. The on-going saga of Bates in prison never seems to developing past glimpses of his life behind bars. The writers could at least devote more time to giving the audience just a bit of resolution, or at least answers. Then, there is the overarching “Downton has no money” issue. But I won’t get into that, for fear of spoiling even more of the season than I already have.

Promotional poster for Downton
Promotional poster for Downton

Ultimately, the success of this season and subsequent seasons will depend on how well Julian Fellowes, creator, and his team of writers planned the storyline even before the pilot episode launched. My fear, based on season three’s dismal first three episodes, is that we will all continue to watch our beloved show out of loyalty and not necessarily due to a compelling storyline.

But, what happens if we do just keep watching out of loyalty and not because it’s really good anymore? Why will we keep watching? Why is it such a popular show? I’ll be honest, when I first heard the premise I couldn’t understand why everyone was watching PBS on a Sunday night. It was not until I was desperate to procrastinate writing the first part of my senior seminar project that I really became interested in the show. Four episodes and four hours later, I was addicted.

Downton Abbey has such a cult-following because we want to be transported to a different time and place. Yes, I understand this is why we read books and watch films—escapism at its finest—but watching Downton is about the experience. Everything from the costumes to the rich inclusion of history makes this an accessible show for just about everyone. We are fascinated by people who are not like us, which is exactly what the characters of Downton Abbey are. They are privileged and have servants and live in a time we cannot conceive of. We can’t relate to the upstairs, the elite, and we can’t relate to the downstairs, the servants, so we just sit back and watch in fascination.

It’s not just the accents or the costumes; it’s more about our fascination with the polished, elevated upper class. America just doesn’t have this. Yes, we have our trashy celebrities, but we lack our refined Will and Kate. In Matthew and Mary, we see the same thing, but in 1921. Two wildly attractive, seemingly committed people trying to figure out how love and relationships work. Rocky and painful, we want them to work and succeed, so we tune in week after week, just like we peruse the tabloids religiously while in line at the Jube (excuse me, Shop n’ Save) whenever we see Kate’s pretty face or Will’s big grin.

So, while I hope the third season of Downton Abbey proves to be as entertaining and enjoyable as the first two, I have low expectations. If I am not proven wrong, I will keep watching for the sole purpose of viewing Lady Mary’s excellent outfits and seeing Matthew and Mary cobble together a first year of marriage.