Category Archives: Media

Stepping Up: Arkansas High Theater

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Allison Hall

Arkansas High, of all things, is probably least known for its theater program, but I have a feeling that that is about to change. In 2014, a new instructor was introduced and he couldn’t be doing a better job. Since the arrival of Mr. Hamilton, set design, casting, cast and crew chemistry and much more has blossomed. The most recent production, performed four times from April 21 to April 24 by both a white cast and a red cast, blew my mind having one of the most energetic casts I have seen in a while. I attended the white cast performance only, yet it is clear to see that there is a lot of new and eager talent moving up the theatrical ladder at Arkansas High.

Harvey, an original 1941 piece, was performed amazingly by the white cast. Upon entering the student union at Arkansas high, the audience was swept away by melodic notes of what is assumed to be songs of the era. The atmosphere was great. Sitting in eagerness, the audience is greeted by a very vivid and optically pleasing set as the curtains open at seven. Differently than typical shows, the music didn’t stop. It continued and followed a light footed maid around the set. The really cool thing about the set was the fact that it was double sided and rotate friendly. The curtains never closed. While scenes changed music played and the audience got to experience the creation of a new area, which, to me, added to the elegance of the show. Everything ran so smoothly and gracefully. Even the characters seem completely natural.

Speaking of characterization, the cast was phenomenal, particularly James Hodges playing as Elwood P. Dowd and Semaj Harris who played Judge Omar Gaffney. Hodges did exceptionally well in creating this quirky, smooth, and lovable Elwood that made the audience chuckle and aw at his innocence. Elwood came across as this pure child-like man and the audience fell in love. It really worked in contributing to the idea of the imaginary bunny (sort of an imaginary friend that a kid would have) and the thought of Dowd actually being mentally unstable (kind of a coping mechanism for whatever the issue may be). Spoiler alert, in the end Elwood is fine, but Hodges’ use of swift arm gestures and naturalized interaction with a rabbit that’s obviously not there kept the audience guessing. It felt magical. Mr. Harris was a different story. The audience had love for him, but for completely different reasons. His over the top stereotypical judge persona and use of a typically authoritative klutz accent sent the audience over the edge. It was funny. And I don’t mean funny like I just heard a joke about the economy and chuckled. I mean funny like I just saw another flying lawnmower video pared with random music and laughed until I cried. His timing is impeccable. This added so much to the comedic vibe he put off. He paused at just the right moments to keep the audience on the edge of their seats. Venturing from these two, the entire cast was really incredible.

In the end, Harvey was fun and family-friendly and actually entertaining. I’m still in awe. I can’t wait to see the next show in the fall. I urge that you do the same!

TAMUT Hosts Casino Night in Eagle Hall

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Andy Verke Jr.

On Sunday, April 24th Eagle Hall, on the campus of Texas A&M University-Texarkana, turned into “little Las Vegas”. The room was full of blackjack tables, roulette, a craps table, and a bunch of eager students/faculty earning chips to put towards a raffle drawing.

Each person was given a cup full of colored chips and could earn black chips while playing different games. For every five regular chips, a person was given one raffle ticket. For every black chip, a person was given four raffle tickets. The casino opened up at 6p.m. and students/faculty could play until 8:30p.m. before they had to put their raffle tickets in which ever gifts they were trying to win. Some of the prizes that were available included: 20 oz. Yeti Bottle, 30 oz. Yeti Bottle, $50 gift card to Bass Pro Shops, and a $50 gift card to Texas Roadhouse.

Just as in Las Vegas, not everyone came out with a prize but everyone had a great time. There were small competitions for “table pride” between each table on which table could win the most prizes. Although there was no announced winner, every dealer at every table was proud that at least one person from their table took home a prize.

Ratchet & Clank: Kicking Asteroid on a PS4 Near You

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Aaron Caraway

April 12th, 2016 saw the release of Ratchet & Clank on PS4, part of a now 14-year old video game franchise held exclusively on Playstation consoles.

The latest installment in the Ratchet & Clank series is a video game adaptation of the animated movie of the same name, which is an alternative re-telling of the original 2002 title on Playstation 2, conveniently also titled Ratchet & Clank. “The Game based on the Movie based on the Game”, as developer Insomniac Games describes it.

Ratchet & Clank (2016) tells the story of Ratchets joining the Galactic Rangers and saving the galaxy from evil Chairman Drek with a small robot named Clank, originally a warbot in Dreks army but much smaller and less intimidating than intended thanks to some defect. Players explore several alien worlds in their quest to defeat the Blarg (ruled by Chairman Drek of Drek Industries), using various (one such example being the Groovitron, which forces any enemy in the area to dance – another is the Pixelizer, a shotgun which transforms enemies into low-resolution retro versions of themselves) to progress.

Much of the game hearkens back to the original 2002 release, although Insomniac Games does take the opportunity to call attention to other titles in the franchise through popular guns and artwork in the extras menu. The game also uses some scenes directly from the upcoming film.

Ratchet & Clank (2016) is available at any major electronics retailer for 40 dollars exclusively on Playstation 4 consoles. The Ratchet & Clank movie opens in theaters April 29th.

Dark Souls III Review: Prepare to Die, One Last Time

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Aaron Caraway

“YOU DIED.” The phrase is boldface, red text, center screen and demands attention. This is the tagline of the Soulsborne series – spanning five separate entries and an updated re-release of one – and has been since 2009 for good reason. Following the success of series progenitor Demons Souls, the first entry in the Dark Souls trilogy released in 2011, and I’ve followed the train of death and despair ever since. There’s a reason this series has such a loyal following, and developer From Software proved you could summarize the reason in two words only – “YOU DIED.”

If that describes the sort of experience that will have you beating your head against a wall in frustration to you, you’re not far off. Recently released Dark Souls III represents the challenges awaiting series newcomers and series veterans alike – you are Unkindled, and tasked with ushering the Lords of Cinder back to their thrones so that you might fuel the First Flame once again before the Age of Dark begins. Much like other games in the Soulsborne series, this is about all the context you get for your adventure – more on that later. I bring this up to highlight that it is the gameplay, not the narrative, that takes center stage.

Dark Souls III‘s gameplay format, like entries before it, is of a “level-boss” format – players will explore area after area, conquering enemies and traps to reach the end. Should you fall at any point in this journey, well, “YOU DIED.” That statement takes all the more meaning when you realize that your souls – the all-encompassing resource for game progression, from leveling your characters stats to upgrading their weapons and purchasing new gear – are no longer on your person, instead left at the spot of your demise. Fail to reclaim them before you fall again, and they – along with whatever progress you made since leveling or upgrading weaponry – will be gone forever. The only things left will be your will to continue forward after such a frustrating setback, and your experience with the game and its obstacles that you have already acquired. This is what has separated the newcomer from the veteran since the release of Dark Souls II – once you’re used to the tricks up From Softwares sleeve, you’re far less likely to fall victim to them. The same holds true for Dark Souls III – I found myself having little trouble with the areas themselves and more with the clash in gameplay mechanics – again, more on that later.

What never quite translates from gameplay in one entry to another is the boss encounters, and Dark Souls III shines just as brightly here as its predecessors. At the end of each area of enemies, traps and moody atmospheres lies a boss that will not hesitate to put you in the ground every single time. What further elevates them past the likes of their predecessors is that now, every boss has two phases, sometimes beginning partway through their health bar or at the depletion of their first one. The level of depth it adds to these encounters is enthralling – managing your supply of Estus Flasks, the main and oftentimes only source of healing in the game, becomes crucial. The more you can save in Phase 1, the better your chances of skating through by the skin of your teeth during Phase 2.

It deserves mention, of course, that you need not face these dangers alone. You’re free to call allies to aid you and with the inclusion of a password system first introduced in Bloodborne, these can now be your friends! Their supply of Estus may be limited and their health scaled down, but the extra pair of hands can mean the difference between life and death for many. Of course, this is not without its drawbacks – more people fighting a boss means its health increases to match, so one unlucky hit and a player may find himself fighting a battle alone meant for two. In addition, to send for such aid, you must be Embered, a state in Dark Souls III that considerably boosts your HP but opens you up to invasions by other players, regardless of it you have souls in the level or if there is anyone available to help you through the world. Believe me, they could care less.

The character you play can also mean as much as who you play with. To begin, the potential for building a play style you enjoy is vast – you can wield heavy weapons, armor and shields, go lightweight with quick-hitting weapons, cast spells of various types such as Sorceries, Miracles and Pyromancies or, if you choose, some combination of these aspects. You are only limited by your progression through the game, and what stats you level – do I get the stats to wield the shield along side my great sword, or the stats to cast that powerful spell I found? The choice is yours, and it means far more than it should, by Dark Souls standards. Released before Dark Souls III, Bloodborne was a spiritual successor to the series – welcomed by the Soulsborne community, it favored fast-paced, skill-based gameplay in a Lovecraftian setting, in contrast to the patience driven fantasy world of the Dark Souls games. Dark Souls III attempted to merge the two styles, with little success. The game is highly enjoyable, sure, but also unreasonably frustrating at times, when the game pits the standard style of play of patience and learning for your survival against the high-speed encounters of Bloodborne. Time and time again, I found myself frustrated with certain bosses and encounters simply because I couldn’t keep up. Although the ability to respect your character can be unlocked early on, it can’t get you back the materials you used to upgrade your weapons of choice, and feeling that spending unnecessary time farming these items and the souls to level was actually a viable course of action spoke to me, as I know from past experience with the Dark Souls games that no such changes could actually improve my performance within the game.

The payoff for clearing these encounters, however, was something that the Soulsborne series strives to do – highlight achievement, and produce a strong catharsis from clearing such a mighty hurdle, no matter its validity. It’s a drug present in both gameplay and narrative, where the distinct lack of direct storytelling has fostered an entire community of players pouring through item descriptions, exploring areas, taking notes and comparing them with fellow lore-seekers, ultimately to themselves paint the world they play in. It is a process of finding oneself, through challenge after challenge, that ultimately shaped the franchise to its current state.This, I find, is the greatest thing about Dark Souls III. It is a sterling example of the creative process, one that pushes players to improve and developers to improve right along side them. It will be flawed, whether inherently or inconsequentially, but it has never stopped, and will never stop, keeping players coming back for more. In the all-too-grim words of Dark Souls III NPC Eygon, “Enough death to leave you broken, time after time.”

Broken in, sure, but who’s counting?

Developer: From Software

Publisher: Bandai Namco Entertainment

Platform(s): PC, Xbox One, PS4

Release Date: April 12th, 2016

Review: “The Jungle Book”

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Richardson Rutter-Reese

“The Jungle Book” was a welcome visit from an old friend. Once again written and produced by Disney, the movie was a combination of a live-action and CGI work. For those not familiar with the work, it is a story of an orphan boy, Mowgli, who lives in a forest among his animal companions. The new take draws on elements of Disney’s original animated movie, and Kipling’s original work.

The story revolves around Mowgli trying to find his place in the jungle. From when he was found, Mowgli has been raised by a pack of wolves. During a period of peace, Shere Khan,  a tiger, threatens to kill Mowgli when the truce ends. As Mowgli’s wolf pack debates on if he should remain in the wolf pack, Mowgli voluntarily leaves.

Throughout the rest of the movie Mowgli goes through various trials throughout the jungle. Mowgli has an encounter with Kaa, voiced by Scarlett Johansson, he comes face to face with a swarm of bees, gets washed away in a rushing river, and ultimately, comes face to face with Shere Khan.  

Beyond singing along to “The Bare Necessities”, and “I Wanna Be Like You”, the story is one of accepting others, believing in yourself, and standing together against adversity. Mowgli faces adversity not from Shere Khan, but from those he considers family, and from himself. We not only see Mowgli grow into who he is, but seeing others around him accept Mowgli even though he is different.

“The Jungle Book” is an excellent film. Older viewers will find this not only a welcome return, but a significant movie that can stand on its own. Younger viewers will be enthralled by the cinematics and animation.

“The Jungle Book” is a worthy movie of anyone’s time. 5/5

Kael vs. Kubrick: “A Clockwork Orange”

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Allison Hall

“Is there anything sadder — and ultimately more repellent — than a clean-minded pornographer?” In addressing Stanley Kubrick’s A Clockwork Orange, Pauline Kael, as quoted above, regards Kubrick and his film as unimpressive and unnecessary eroticism. In rebuttal, I argue that the elegance of violence in the film works toward overall horror,  the sexualization within society does little for dehumanizing the “straight” citizens in opposition to Alex, and, in compliance, Kubrick does employ strategic, questionable methods in pushing the audience to view Alex as the ultimate good guy, or at least victim, within the film.

Kael claims that the movie is classified as “clean-minded pornography” with the intent to arouse audiences because of Kubrick’s “pedantically calculated scenes”, however, this strategy does just the opposite. The rape scenes are riddled with savagery in that Alex doesn’t seem connected to anything he’s doing. He definitely seems to be getting pleasure, as demonstrated in the raping of Mrs. Alexander when Alex is dancing to his cover of Singing in the Rain and laughing all the while. So, yes, the experience is arousing for Alex, but does little for the average audience member. If anything, the unsettling detail accompanied by the fluid and vibrant motions hinting at Alex’s excitement during his intentional violent fits create disgust. Arguing that Kubrick’s A Clockwork Orange is pornography is debatable because whether or not the intent of these scenes are to arouse is unknown, but on either side of the argument, it seems unjust to claim that whatever it is remains clean-minded.

Kael argues that the innocence and whimsical nature of the violent acts, such as the pairing of classical music with brutality, remains as reasoning for it to be looked at as comical and light-hearted, but Alex is raping someone. This is observed in the first attempted raping of a young woman by another unrelated group. Pornography has the intent to arouse the audience and this scene just shouldn’t. This woman is suffering and very obviously feeling distressed, as seen in her cries for help. The elegant music and fluid choreography emphasize the innocence felt by the teens and therefore creates more of a sickening atmosphere than an arousing one. These children are toying with this innocent girl and exploiting her for their own enjoyment, not hers. No matter what way it’s looked at, it’s a crime and a discomforting one at that. The added classical music or other just furthers the idea that Alex likes this and sees nothing wrong with what he is doing. He likes rape. And the fact that such innocence in Alex’s mind is mimicked in his actions, his “schoolboy” like and accepted behavior, elongates the intended repellents from Alex’s actions and, more so, the society that has created him.

In Kael’s review, she suggests that “the trick of making the attacked less human than their attackers, so you feel no sympathy for them…” is a thing. This doesn’t actually seem to be Kubrick’s goal. As stated previously, Kubrick does well in disconnecting Alex and making the audience feel uncomfortable with the ease urged toward Alex’s endeavors. Each victim acts as a victim might. Nothing seems peculiar or off-putting. In fact, the Alexander home is very welcoming and warm and Mr. Alexander’s mental stability has flown out the window afterwards. Kael claims that “the “straight” people are far more twisted than Alex; they seem inhuman and incapable of suffering” because Kubrick’s over-sexualized community adds even more “deformity” to the plot. The problem remains that it is unclear in the film just how long society has been this way. These elderly citizens could have been born into this. It’s normal for them. Take the scene with the fit cat lady for example. Her house is riddled with sexual vulgarity, but still when answering the door to Alex remains fearful and skeptical. She isn’t violent. One could argue on the contrary using the battle scene between her and Alex as an example, but that’s just self-defense. What attacked person wouldn’t try to save themselves? Alex broke in to a house with locked doors and high windows. She is also older, accounting for her dominant attitude. While it may be a plausible argument to say that the sexual respects add twist to the concept, what isn’t clear is why this makes the adults and other characters less human. It only pushes the concept of a crippled societal structure by pushing the question of why these sexual exploitations are acceptable in such a society. The adults aren’t acting in any way vulgar or crass. As a matter of fact they seem frail and confused, as shown through Alex’s father upon Alex’s return home. Not trusting a flawed society seems to be the ultimate message for the film.

In the end, there is no hiding the fact that Kubrick is pushing Alex to be the abused protagonist. Because of what Kubrick has portrayed society to be, sexual and crime run, the audience is very capable of pinning everything on the man. Kael says that “Kubrick has removed many of the obstacles to our identifying with Alex” in comparison with Burgess’s novel. Apparently, Alex’s habits are cleaned up in the film and throughout he is given opportunities to play the innocent bystander. For example, after leaving the government facility and returning home, he finds himself to be actually homeless and ultimately alone. The audience, at this point, feels bad for poor little Alex and the rest is history. From the start, glimpses at the disorganized and faulty world around Alex and the aggressive nature of what is arguably all teenagers leads the audience to believe that Alex is a product of society to begin with. In the end, after he is “cured all right”, the audience sees that what Alex is now is a product of what the authorities have yet again made him and not only through the conditioning, but also through bribes and hush profits. Kubrick’s argument isn’t that man should accept what man has made, but rather man should blame authorities for what man has made.

In conclusion, while I disagree that detail takes away from the dramatization of the violence and the modern citizen within the film is dehumanized, I believe Kael is right in saying that Kubrick pushes a little too hard in wanting the audience to see eye to eye with Alex and accept what he is.

Work Cited

Kael, Pauline. “Stanley Strangelove.” Visual-Memory. The New Yorker Magazine. January 1972. Web. 4 April 2016

The New Summer Blockbuster

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Jamie Williamson

The comic book movie is today’s go-to blockbuster. It seems not a year goes go by without a comic book being turned into a movie and people flocking to see it. Many comic books have been around for years and it seems the movies are going to do the same. Comic book movies have become the new summer action movie. They are the quintessential popcorn movie, and are made to appeal to a wide range of people. The comic book movie is made for every generation.

The comic book movie is created to generate sequels and keep the franchise going for many years. The comic book movie franchise makes so much money on the merchandise it produces and all the revenue it gets from being the top movie at the box office. The merchandising is a big part of how the comic book movies stay relevant. They provide costumes for kids as well as action figures. They also revamp the comic books to embrace the movies to keep everything up to date and incorporate both the newer and older generations. Making movies that build on each other is a way for the audience to stay with the characters they love. These movies prove how much people love to go and watch the characters they have seen on the page come to life.

With the recent trend of making comic book movies is there going to be a downslope in its relevance. Will people get tired of the comic book movie motif and want something original or different to entertain them at the movies? This has been a topic of much debate, but it doesn’t seem like it has phased the big studio companies as they continue to make these movies. Maybe the comic book movies will fade away eventually, but for right now they seem to be unstoppable like many of the heroes in the movies.

Comic book movies have pretty much solidified their place as one if the trends that will keep people coming back to see the characters save the world again and again. These movies while having been around for many years have only really become insanely popular in the last five years. It seems like these movies can do no wrong in the eyes of the public.

Is Frozen More Than What It Is?

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Leira Moore

We all love and adore Disney, even when we’re in college. Most of us are now closet fans. As for the ones that don’t hide in the closet they have begun to dissect Disney, and how the characters relate and tie into each other. Some theories have made a lot of sense and make one wonder what Disney is truly up to.

Some may already know about Disney’s hidden Mickey where they subtly put a Mickey somewhere in every movie, or how Disney pays tribute to older movies in the new ones and vice versa. For instance in Beauty and The Beast, Belle stated that her favorite book had to deal with a man disguising himself as a prince, far off places, and daring sword fights, which alludes to Aladdin having come out a year later. Disney also put Scar from Lion King as a rug in the movie Hercules. When, in fact, Lion king came out a few years before Hercules. Yet, is there something more than Easter eggs or cameos?

I believe so because in the Disney world most of the characters tangle into each other’s lives in some way. The most obvious is family ties. Lets start with Belle and Beast. The ongoing theory is Jane from Tarzan is the granddaughter to them. That explains Jane’s accepting nature of Tarzan and why the tea set from Beauty and the Beast appears. To make it a little more interesting, the director who did Tarzan also did Frozen and he does imply that the parents did not die on the boat and suggest that those were Tarzan’s parents. To recap Tarzan is the brother to Elsa and Anna. There’s more. Frozen ties into the Little Mermaid by implying the first ship that’s sinking into the ocean was Elsa’s parents’ ship. Of course someone created a map that shows it wasn’t improbable for the ship to find its way into the Little Mermaid territory. Another common theory is Elsa’s parents were on their way to Rapunzel’s wedding when the ship sinks. In Frozen, Elsa’s coronation is three years after her parents death, but is it a coincidence that Rapunzel comes out threes years almost to the day before Frozen? Perhaps, but it creates a connection when Rapunzel and Flynn arrive to Elsa’s coronation. It is also hinted that Rapunzel’s mom, is sibling to one of Elsa’s parents, whether it’s the father or mother is up for debate.

To expand the universe a little more, Ariel’s mother in the Little Mermaid supposedly makes a cameo appearance in Peter Pan and gets murdered by Captain Hook. In the second Little Mermaid, it states that Ariel’s mother is killed by pirates. Also, common knowledge puts Ariel and Hercules as cousins considering Ariel is the daughter of Poseidon and Hercules the son of Zeus, while Zeus and Poseidon are brothers. The ties don’t stop there considering at the end of the movie when Ariel is marrying Prince Eric, the King and Grand Duke from Cinderella, are also in attendance. At that time in history it was common for royalty to invite other royals to major events. This also explains why Cinderella makes her cameo appearance in Frozen. Everybody who is anybody attended Queens Elsa’s coronation, even Lumiere and Cogsworth attend which hints that Belle and Prince Adam, also known as beast, are in attendance.

Of course these are just a few fan theories about the family ties of the characters and how their lives tend to mix and mingle often. However, as all theories go, one can always poke holes and find faults. For those like me who grew up on Disney, it reveals that Disney has grown up with us. We have grown up to decode and analyze the movies and continue to look for Easter eggs and cameos. Ultimately, who knows what Disney is truly up to, but it is fun to reminiscent and explore interesting theories other fans have discovered.

Stax Museum…Telling the History of American Soul Music

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Anthony Hamilton

The iconic Stax Museum of American Soul Music in Memphis, Tn.

The iconic Stax Museum of American Soul Music in Memphis, Tn.

In the Soulsville neighborhood of Memphis, Tennessee, there sits a building that has the appearance of an old movie theater from my childhood, however, this building is so much more, and does it ever have a story to tell.

The building I speak of is the Stax Museum of American Soul music history, and the museum is very rich with Soul music history and traditions from Stax’s humble beginnings as Satellite Records in 1957 all the way to Wattstax in 1973.

In the 15 minute movie that precedes the tour, there were the inevitable comparisons to Motown, which was broken down (I believe) by Isaac Hayes who noted that Motown’s artists had more of a sound of charm school, whereas Stax artists had a more gritty and not as clean sound which Hayes said illustrated the blood, sweat and tears of their work.

During the movie, everyone in the group I was with was dancing in their seats as the movie was playing. Songs such as Green Onions by Booker T. and the M.G.’s, Try a Little Tenderness by Otis Redding, I’ll Take You There by the Staple Singers, and of course the Theme from Shaft by Isaac Hayes were all recorded in that building.

Along with these hit records, one of the most legendary artists in the music business, Aretha Franklin was also born in the Soulsville neighborhood. By virtue of being signed to Atlantic Records, she also had dealings with Stax records, because of the distribution deal they had with Atlantic.

Upon entering the museum exhibits. The very first few exhibits concentrate on the beginnings of Soul music, as well as Gospel, as the two are very heavily intertwined.

As I continued on through, I started to see exhibits from acts, that I would call old school, such as Ray Charles, Sam and Dave to name a few.

The exhibits did an excellent job of bringing the movie to life. The movie, for example, pointed out how the popularity of Stax was an accident, and most of their musicians were people from the Soulsville neighborhood, and how early on, Stax was less like a business and more of a family atmosphere. The many pictures from the recording sessions back this statement up.

As I continued my tour, there was everything from vinyl records by the walls full, to outfits the artists wore on stage to instruments that were played during their shows. They also had a mock setup of their actual recording studio, both the booth and the lounge, and the autographed instruments that Booker T and the M.G.’s used. Then there was the customized Cadillac that Isaac Hayes drove, and a video of their performance from Wattstax which was performed at a Los Angeles area festival set up to commemorate the Watts riots in 1965. That show was performed before a packed house at the L.A. Coliseum, and the record sold 500,000 copies within a week.

My favorite exhibit by far was a tribute to Soul Train, the Saturday morning answer to American Bandstand which allowed many Stax artists their first real television exposure. The exhibit played Soul Train performances of Stax artists including the Staple Singers and Rufus Thomas.

Another one of Stax’s high points in pictures was Otis Redding and the Stax Revue performing in Europe. Despite all of the racial tension here, the Europeans embraced Stax in the same manner that America embraced the Beatles. All of their European shows were sold out in 1967.

The iconic Stax Museum movie theater entrance

The iconic Stax Museum movie theater entrance

Isaac Hayes' customized Cadillac Eldorado.

Isaac Hayes’ customized Cadillac Eldorado.

The Staple Singers Gold single "If You're Ready (Come Go With Me)

The Staple Singers Gold single “If You’re Ready (Come Go With Me)

The Soul Train exhibit featuring the Staple Singers.

The Soul Train exhibit featuring the Staple Singers.

Upon preparing to leave the Museum, there are several pictures of Dr. Martin Luther King, taken the day before he was murdered in Memphis. The Stax artists spoke on how his assassination was the beginning of the end for Stax. The musicians at Stax were various nationalities, but their concerns was the music, and the family atmosphere despite the racial tension in Memphis at the time. Once Dr. King was killed, they were no longer able to be colorblind, which in turn affected their musical output.

 

 

Ultimately Stax went from being a family oriented atmosphere to a rigid business atmosphere, and as a result they ended up going under in 1974.

Renewed interest in Soul music caused a renewed interest in Soul music. Concord Records purchased the Stax catalog and made it available once again in 2000. Shortly afterwards, in 2003 the Stax Museum opened in the same spot it was located in during their heyday.

Along with the Museum, Stax is major players in the education of the Soulsville community with the Stax Music Academy and the Soulsville Charter School which both operated to provide opportunities for at risk youth in Memphis.

There are too many exhibits to fit in one story, however, if you’re ever in the Memphis area, I suggest you find your way to the Stax Museum. If you like Soul music, I can tell you, you won’t want to leave. If you would just like to learn more about them, check out their website.

Batman vs. Superman: A Fight for Contentment

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Allison Hall

 

            When you heard announcements for Batman vs. Superman: Dawn of Justice, did you think ‘finally! This is the epic battle to the death that I’ve been waiting for!’? You wouldn’t be much different than other superhero movie goers. The problem is that’s not the movie. There is build up including minor squabble between the heroes but ultimately it’s a lot of Superman with a little bit of Batman who seems to be there to satisfy the title. It remains more true to the actual story line of the heroes than what it is built up to be. In the end, Batman vs. Superman: Dawn of Justice is off putting due to confusing concepts and cinematography; however, it all seems drawn together by extraordinary talent.

The premise of the film is hyped to be a fight between Batman and Superman, however, the movie is more about Metropolis’ problems regarding Superman. This is probably due to the fact that the film is a sequel to Superman: Man of Steel. Regardless of whether it holds true to basic concepts of these characters, the movie should be able to stand alone. I don’t feel that it does. Batman is thrown into the film as a sort of public bystander with a narrow mentality. In hind sight, he seems to be a whiny, hyperactive brat. There’s no probable or obvious reasoning to the uninformed viewer behind the bat’s aggression. The film jumps from story line to story line and it’s hard to keep track of everything. Somewhere among what’s already been listed, the Lex Luthor story is brought in, Metropolis vs. Superman is touched on, and to further that the Justice League is alluded to. Aside from the movie being over packed, it is also very confusing in letting the audience know where they’re at in time. At some point you jump from what you’re seeing, to two months, to over a year and none of this is clear. Everything seems to be happening within a matter of days. It seems like a big mess of a prematurely popularized movie.

Another oddity is the use of the camera and scene jumps. The cuts do little for insinuating where you’ll be taken next. With the scenes so sparse and separated from the main story line it’s hard to understand and process what’s going on and relevant as well as what has actually happened and what remains to be false reality. There’s a lot of camera panning that adds on to length, dragging the movie out. Some of the camera shots seem unnecessary, such as the panning around buildings, and make the movie seem longer than it is or needs to be. It is typical for these shots to appear in superhero films, but so little seems to happen as far as action goes for prolonged periods of time, so these shots are just agonizing. At certain points it’s boring. There’s action, however, it doesn’t make up for the lengthy scenes. When you go to see a superhero movie, especially versus, you want constant head to head battle and a fast paced story line. That’s not what you get here. There is a lot of Superman feeling sorry for himself, creating a droll mood, and glimpses at an angsty Batman.

A big complaint remains to be the films acting and talent. Ben Affleck has received the most ridicule, but in reality he’s done his job. He plays Batman as a darker entity, which is nice, as apposed to the typical socially awkward Bruce Wayne. Affleck made a personal choice in characterization and I loved it. The rest of the movie is out of the ordinary, why shouldn’t the characters be? Another great talent was Jesse Eisenberg who plays Lex Luthor. In my familiarity, he plays comedic roles and here he’s portraying a deeper identity. He’s jumpy and energetic, not unlike his other roles, yet really portrays Luther as a character slowly descending into madness. Out of all things in the film, his characterization is one of the few things actually understood to be escalating.

This movie is less than satisfying when thinking of it in a new comer’s way. People unfamiliar with Superman or Batman wouldn’t have any trouble getting lost in the chaos. For the expert, this movie may be suitable, but for the average movie-only superhero fan, it is less than enjoyable.