6
Thursday, March 23, 2000
MIAMI
From Page 5
with her. Ate dinner and drank Moet
with some lucky guys who happened to
be staying at the same hotel (Hotel
Nash) as Jay-Z’s entourage. Went club
bing at V Lounge with VIP admittance.
Dissed the previous fellas and chilled
with Jay-Z’s entourage. Deduced the
reason for their presence in Miami was
to film the video “Big Pimpin’,” the lat
est Hype Williams production. Were
invited to the video shoot.
Day 2 - Monday. Missed the video
shoot due to our inability to wake up at
9 a.m. Went to the beach. Went to the
"Big Pimpin’” wrap party at the Tides
Hotel. Hung out with the Roc-a-Fella
clique. Arrived at the nightclub Level
with Jay-Z’s crew. Sat VIP, drank
Cristalle and danced to the best music.
Met Tennessee Titans’Jevon Kearse and
Milwaukee Bucks' Ray Allen. Also met
Trick Daddy and Too Short. Stayed at
the Delano Hotel.
Day 3- Tuesday. Went shopping all
day at the Aventura Mall. Recuperated.
Went to Groovejet, which was horribly
fratty and Spring Break-infested. Stuffed
our faces at the late-night joint Wolfie’s,
recommended by Miami police.
Day 4 - Wednesday. Bought a great
bottle of tanning accelerator for $lO.
Went to the beach all day and got
burned. Went to Allen Iverson’s Party at
the All Star Cafe. Sat VIP, drank loads
of Hennessy. Left to chill at the Delano
withJay-Z, who was surprisingly blast
ing Dave Matthews on his stereo. Went
back to Iverson’s party, nearly touching
him from a foot aw'ay. Met some big
bailers (millionaires) who told us they’d
fly us out to the Bahamas. Ended the
SAN FRANCISCO
From Page 5
“Structure and Surface: Contemporary
Japanese Textiles.”
In the next room three parallel white
canvases titled “White Painting” hang
opposite a bright blue canvas in a room
of mid-century works. And another
wide doorway leads into a gallery of
more realistic paintings including some
that border on photography.
The walls change monthly according
to what works the museum has acquired
and what temporary exhibits the cura
tors have brought in. “The Museum has
made a number of stellar acquisitions in
the past two years, including 14 works
from Robert Rauschenberg, 22
Ellsworth Kelly works and a number of
extraordinary contemporary acquisi
tions including Chris Ofili’s ‘Princess of
the Posse,’” Silva said.
Even those who don’t follow the art
scene might have heard Ofili’s name
recendy for his dung-covered interpretive
painting of the Virgin Mary, which led to
an attempt by New York City’s mayor to
withdraw funding from the museum that
hosted the “offensive” work.
Rauschenberg, author of the afore
mentioned “White Painting," doesn’t
hold such a glamourous name, but the
story of his art hits closer to home. The
acclaimed artist hails from Black
Mountain, N.C.
Past another gallery full of more of
The Carolina Law School
Welcomes the University community to hear
Senator Paul Wellstone, UNC alumnus,
speak about leadership, public service,
and his experiences as a U.S. Senator,
Friday, March 24, 6 p.m., Law School Rotunda.
Reception to follow.
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night watching television and drinking
Moet in Jay-Z’s bungalow at the Delano.
Day 5 - Thursday. Went on a lunch
date while friends ate out with the mil
lionaires. Had plane tickets bought.
Went to Club 609, sat VIP, drank shots
and danced to great music.
Day 6 - Friday. Went to airport.
While waiting for flight, met Dark
Child, the production group responsible
for Destiny’s Child’s “Say My Name,”
Whitney Houston’s “It’s Not Right, but
It’s Okay” and other Mary ). Blige and
Brandy hits. Hung out with the guys on
the flight. Arrived in Nassau. Were
shown around town and met locals. Ate
dinner at the Atlantis Resort, a half-bil
lion dollar miniature planet with casi
nos, aquariums and luxury suites.
Chilled with Dark Child, watched the
sunrise in a huge hot tub and slept two
hours at the Crystal Palace Hotel.
Day 7 - Saturday. Moved to the
Atlantis after hotel checkout and pam
pered ourselves in a hotel suite there.
Ate ice cream, walked around Nassau,
and flew back to Miami, where we were
treated to a lavish Japanese dinner, then
made the trip home to Atlanta.
If there’s any question to the validity
of this story, there are plenty of restau
rant, club and hotel mementos, pictures
and the accounts of my fellow Tar Heels,
who saw me partying my heart out in
Miami - my paradise during the short
est week of my life.
Miami offers the extravagant life for
the takers, which only the right make
the-most-of-it attitude will grant. The
nightlife, the highlife; it’s all a state of
mind waiting to be grasped by its resi
dents and tourists. It’s up to you.
The Arts & Entertainment Editor can
be reached at artsdesk@unc.edu.
the North Carolina artist’s work, a w ood
floor hallway leads into slightly smaller
rooms. Asa group of view ers looked at
the black-and-white photographs that
adorned the walls Friday, Dr. Virginia
Bria explained that SFMOMA was one
of the first museums to begin collecting
photography in the 19205.
Bria is a docent, part of the museum’s
large educational team, and was giving
a tour of SFMOMA’s large permanent
photography exhibit.
“(In the early part of the century) the
photographers start playing with the
media, start manipulating it and that’s
when we began thinking of photogra
phy as art,” Bria said.
The permanent exhibit displays only
100 of the more than 10,000 photographs
that SFMOMA owns, but one could
spend hours looking at the detailed, mov
ing documentaries of modem life.
Of course, that wouldn’t leave much
time to explore the sculpture galleries or
displays of media art.
SFMOMA would take days to exam
ine in its entirety, but Silva said it takes
a lot of works to display over a century
of art -a time period that includes a
number of mediums and masterworks.
“The diversity reflects the purview of
the Museum,” she said. “In other words,
to collect and exhibit a wide range of art
that can reflect the broad span of mod
ern and contemporary art.”
The Arts & Entertainment Editor can
be reached at artsdesk@unc.edu.
DIVERSIONS Etc.
It's All 'Taulk': A New Yorker's Confession
I was bom and raised in New York.
My parents both hail from
Brooklyn. We “taulk” about taking
a “waulk” down the block to get some
“caufee.” I curse. Specifically, I say “f—
--in’” a lot. Southerners hate me. I’m a
New Yauker.
But I have a dirty secret. I’m not
really a New Yauker. I’m from
“upstate” New York. For those of you
unfamiliar with the area, being from
upstate New York and calling yourself
a New Yauker is pretty much the same
as being from Florida and calling your
self a Southerner.
So I’m ashamed. When people ask
me where I’m from, I say, “New
Yauk.” When they ask, “Where in New
York?” I usually say something like,
“J ust outside the city, up the river a lit
tle ways."
When they again ask, “Where?” I
mumble, inaudibly, “Upstate.” When
they ask, “What was that?” I scream,
“Upstate, you nosy bastard!” then
punch them in the neck and run away
iike a girl.
Upstaters just don’t command
respect the way city kids do. You don’t
look around and decide to lock your
SEATTLE
From Page 5
In the year 2000, grunge has immor
talized itself in the nation’s cultural con
sciousness. Nirvana’s “On a Plain” has
found its way into the loudspeakers
blasting out over the kiddie fairgrounds
next to the Space Needle. There’s a
photo of the group in an exhibit at the
Seattle Museum of Art.
And Seattle’s rep for rock has even
spawned a capitalist venture. Ex-
Microsoft mogul Paul Allen was
inspired enough to found the
Experience Music Project, an interactive
music museum to open mid-year.
Looming over the Seattle Center, the
under-construction museum looks
something like a melted stained glass
window. The project, which “celebrates
and explores creativity and innovation
in American popular music as exempli
fied by rock ’n’ roll,” is dedicated to the
memory ofjimi Hendrix.
So Seattle’s musical past has earned
its place in the American pop culture
canon. But what about its future?
I headed to scenester neighborhood
Capitol Hill to get the scoop on Seattle
2000. “Everybody’s in a band, everyone
plays an instrument,” the employees of
hip used clothing store Buffalo
Exchange told me. No surprises there.
More surprisingly, the legacy of
grunge has far from loosened its hold on
the Northwest. In the week of Feb. 20,
for example, the new Mudhoney album
was No. 3 in Seattle-area record sales.
The debut from ex-Soundgarden front
man Chris Cornell took the eleventh
spot. And the Foo Fighters, with ex-
Nirvana member Dave Grohl, placed at
No. 7.
But the No. 1 spot - perhaps most
indicative of the state that Seattle music
Thinking Local, Acting Global:
Borders and Places in the New Regionalism
Keynote Address
International Conference on Globalism and Regionalism
Sponsored by the University Center for International Studies and the Center
for the Study of the American South (UNC-CH), and the North American
Program at the University of Bonn (Germany). .
Dr. Charles R. Wilson
Department of History and Director of Center for the
Study of Southern Culture. University of Mississippi ■ ■
Thursday • March 23, 2000 • 7pm V-# I
l aic- Turner Kuralt Auditorium, School of Social Work For more information, contact UCIS @ 962 3094
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DAVID POVILL
DUTY CALLS
doors when driving through upstate.
Hell, you don’t even have to lock your
door when you live in upstate. So, I
guess it’s fair to say that I’m something
of a “country mouse.”
So when 1 had to take a trip into the
big bad city over Spring Break, I was
admittedly a little scared. I mean, to
paraphrase one of the great social
philosophers of our time, John Rocker,
“Crackheads and junkies and queers,
oh my!”
But my journalistic duty dragged me
through the gritty streets of New York
to witness a gritty street drama about
some gritty street urchins trying to
make it in the gritty city. In other
words, the paper sent to me to go see
is in these days - went to Seattle indie
rock heavyweights Modest Mouse.
An Urban Outfitters employee veri
fied my suspicions when I asked for her
input. “Indie is big, indie rock,” she said.
Between Seattle and its southern
neighbor, Olympia, the Northwest is
churning out hit indie acts faster than
you can say Superchunk. Home to indie
labels Kill Rock Stars, K Records and
Yo Yo Records and bands like Sleater-
Kinney and Beat Happening, Olympia
serves as ground zero for the
Northwest’s indie scene.
But Seattle has its own contenders.
Relative newcomers Death Cab for
Cutie, Pedro the Lion and Juno are on
their way up the indie ladder. And the
city has Sub Pop Records, which has
been setting the Seattle stage since 1990
as the label home to Nirvana,
Soundgarden and Mudhoney. Now, it’s
home to indie old-timers Sunny Day
Real Estate and Love As Laughter.
Throw Seattle pseudo-metal sensa
tion the Murder City Devils onto Sub
Pop’s artist roster, and you’ve got a pret
ty volatile mix of rock power.
Sub Pop’s wittily named retail outlet,
the Sub Pop Mega Mart, is a ratty hole
in-the-wall in Seattle’s famous Pike Place
Market. I ask the counter guy for his
input on what’s up in the city these days.
“You mean like, next big thing?” he
asks. It’s a loaded question.
Seattle’s chances to spawn another
groundbreaking movement like grunge
are slim. But the city probably doesn’t
need another “big thing;” its place in
musical history is made. And its current
resident bands seem OK with escaping
MTV notoriety, if only for the moment.
Now, if only Seattle’s dubs weren’t
off-limits to the unfortunately underage.
The Arts & Entertainment Editor can
be reached at artsdesk@unc.edu.
the musical “Rent.” (Ah, the perks of
being a pseudo-journalist.)
So off I went, a petrified country
mouse armed only with his street
smarts, a subway map and a spastic
colon to protect myself and my sweet
country mousette. Down the urine
soaked tunnels of the subways I crept,
until my train arrived, which I then
warily boarded. Not sure of what dan
gers awaited me, I said a silent prayer
(the Shemah, if you must know) and
opened my eyes.
What I saw was quite a shock. All
around me were (Gasp!) ... college
kids. Friendly ones, at that. They were
from a school in Virginia and were
doing some sort of mission in New
York, spreading the word of Jesus or
whatever religion they were. I wasn’t
really paying much attention. They
could have been Satan worshippers,
for all I know. I was just happy they
didn’t try to rape me.
Thankfully, the subway ride was
rape-free, and I got off at Times
Square, where my girlfriend and I part
ed ways with our new friends, who
were off to travel around the city and
impale babies with spikes, or some-
NEW YORK
From Page 5
received a Tony award for best score in
1996.
The critically acclaimed play master
fully weaves the lives of a strikingly true
to-life cast of characters.
Through the narration of the lead
role, Mark, an aspiring filmmaker, the
unique stories of Mark’s ex girlfriend,
ex-roommate, best friend and room
mate all come to life, touching the hearts
of audience members.
Pope’s character, Roger, for example,
is Mark’s present roommate. He’s a
musician struggling to write “one great
song” before falling prey to HIV and
eventually full blown AIDS as he sings
in one of the show’s most stirring songs,
“Glory.”
Roger also struggles with a seeming
ly doomed relationship with Mimi, a
heroin addict and erotic dancer with a
heart of gold.
The story is obviously not sugar-coat
ed. It is a love story, but only among the
many hardships and losses faced in New
York City. Many characters are dealing
with HIV, drug-addiction and home
lessness.
Pope fell ill last week and couldn’t
perform in the show this reporter had
the chance to see over Spring Break. An
understudy played Roger’s part in his
place.
But the performance still noticeably
touched the audience. Many people
reached for a tissue during “Glory,”
which is only the second song of the
play, and the tissues continued to
appear as many more tear-jerking
scenes followed.
What is so striking about the play is
that it is definitively modern but also
classic. The characters, while based on
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thing like that. Again, I wasn’t paying
much attention.
But I was relieved. 1 had braved the
worst and come out alive. I had a neW
admiration and respect for the city. 1
was ready to enjoy a free show!
To make a long story short, “Rent”
was amazing. (By the way, if you go to
see it, be sure to get the Peanut
M&M’s. They’re delicious!)
After seeing the show, I felt as
though I was ready to face any freaks
that might befall me. If they bothered
me, I’d just sing my way to safety.
Unfortunately, the subway ride home
was fairly uneventful, as was the rest of
my trip to the city, so I was unable to
put my recent street education to use.
But now that I’m safely back in
good ol’ North Cack, with a sweet tea
in my hand as I kick back and watch
Carolina spank Stanford like a domina
trix does to a perverted old man in an
oversized diaper, I have to admit, you
can take the boy out of the country,
but you can’t take the country out of
the boy.
David Povill can be reached at
pfunk@email.unc.edu.
those of “I,a Boheme,” are crafted with
such meticulous care that you feel you
truly know all of them within one act.
So deep are the characters and so
moving is the music that often a single
scene will leave the audience choked up
for minutes on end.
But the beauty of the show is the real
ism. It’s not all AIDS and dying, but it’s
also not all smiles and jokes.
“It’s a period piece, really. It was writ
ten in 1994, so it’s really about people
living in 1994,” Pope said of the play.
“There’s been a lot of progress since
then, specifically with AZT and other
AIDS medications.”
Pope said the play was essentially
about love, human relationships and
survival in a very harsh world.
When asked to sum up “Rent” in his
own words Pope said, “It’s about a
group of friends trying to make it in life
and figure out what’s really important.”
“And what they find is that love is
what counts - love for themselves and
each other,” he said.
“Jonathan Larson wrote a really
incredible piece of work. It’s wonderful
to be part of it.”
Larson, who toiled over “Rent” for
two years before it opened off-
Broadway in 1996, was unfortunately
never able to see his masterpiece com
pleted.
In a tragic twist of fate, Larson died a
week before the show opened, at the age
of 35. He was not alive to receive his
three Tonys and numerous other treas
ured theater awards.
“People think that it’s sad that
(Larson) won’t get to see his own great
accomplishment, but I think he sees it,”
Pope said. “His spirit will live on in the
show.”
The Arts & Entertainment Editor can
be reached at artsdesk@unc.edu.