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Sattg (Ear HM BLACK FILMS FROM PAGE 5 During this time, black actors typically were relegated to stock roles such as maids and servants. Other characters tended to be either comedic, meant only to add lightness to the film or musical. Jazz greats Duke Ellington and Louis Armstrong made appear ances in movies, often as them selves. At the same time, there was an underground network of movies, many of which starred Lena Home, being made by black directors and shown in black neighborhoods. “The person responsible for bringing dignity to these roles was Sidney Poitier,” said Ken Wlaschin, director of creative affairs at the American Film Institute. “He made the difference.” Poitier was undeniably the pre eminent black actor of his time, appearing in landmark films such as “Guess Who’s Coming to Dinner,” “In the Heat of the Night” and “Lilies of the Field,” the last of which earned him an Academy Award. His work, in effect, legit imized black actors. Then, in 1971, black director Melvin Van Peebles almost single handedly ushered in anew style of filmmaking. “Sweet Sweetback’s Baad Asssss Song,” generally considered the first “blaxploitation” movie ever made, concerned a womanizing black man on the run after beating two white cops. As an extension of the black power movements of the late 19605, blaxploitation films provid ed many African-Americans with a long-suppressed voice. “To show black male characters standing up for themselves, not looking downcast when they came in the presence of a white author ity figure ... beating ‘The Man,’” Van Deburg said. “All of this was psychologically empowering. It did really take on the spirit of black power.” For several years, these movies proved successful at the box office and at record stores. Isaac Hayes’ and Curtis Mayfield’s soundtracks to the films “Shaft” and “Superfly,” respectively, have long been regarded as classics. But critics of blaxploitation movies didn’t always echo those sentiments, pointing to the street talk, rampant drug use, overt sex uality and vigilante justice promi nently featured in the films. They seemed to endorse values that perpetuated the negative stereotypes that advocates of black culture were trying to deflect. “They had a good run for their money for about 10 years with great soundtracks, but they got cheaper and started to run out of steam,” Wlaschin said. Indeed, by the late ’7os, the blaxploitation era had ended. Black cinema wouldn’t have quite the same impact again on popular culture for more than a decade. Parodies of blaxploitation films sprang up through the ’Bos, includ ing Keenen Ivory Wayans’ “I’m Gonna Git You Sucka!” and Robert Townsend’s “Hollywood Shuffle.” Around the same time, a crop of films that some dubbed “gangsploitation” was released that dealt uncompromisingly with racism and ghetto strife. Two films in particular, Lee’s “Do the Right Thing” and John Singleton’s “Boyz N the Hood,” were incendiary portraits of urban life that challenged mainstream audiences. Since then, no black filmmaker has achieved the stature, influence and freedom that Lee enjoys. “There are probably half a dozen directors that can be recog nized only by sight and name,” Wlaschin said. “Like a Hitchcock or Spielberg he’s one of them.” Lee’s films tore away at decades of cinematic stereotyping and ele vated the careers of many now prominent black actors, including Denzel Washington, Samuel L. Jackson and Wesley Snipes. “He was able to take over a ‘Malcolm X’ project from white control when he saw it being potentially corrupted and make a marvelous documentary,” Van Deßurg said. Thanks to the efforts of film makers such as Lee, the black voice is louder today than it ever has been in cinema. Filmmakers continue to push boundaries, actors are receiving more substantial roles and main stream America has come to embrace them. At the 2002 Academy Awards, Halle Berry became the first black woman to win an Oscar for best actress in a leading role, celebrat ing alongside fellow victor Denzel Washington, the first black man to take the Oscar for best leading actor since Poitier. “There was a lot of criticism that a lot of black actors would get rewarded for only certain kinds of roles,” Van Deburg said. “But (the Oscars) were definitely validation that this isn’t so anymore.” Contact theA&E Editor at artsdesk@unc.edu. Welsh rockers juxtapose fur, vegetables, feedback BY MICHAEL PUCCI ASSISTANT ARTS & ENTERTAINMENT EDITOR There were any number of signs that the Super Furry Animals’ con cert Friday wouldn’t be a typical night out on the town. The first clue might have come when lead singer Gruff Rhys left the stage midway through the first song and re-emerged singing through a Power Rangers mask with his microphone held up to his forehead. During the course of SFA’s 90- minute set, carrots were eaten and thrown into the well-populated audience and, for the coup de grace, the band stormed the stage in Bigfoot costumes, looking like, well, super-furry animals. Contrasting the almost unbear able sensitivity of opening band Papa M, the Welsh wonders opened up their show with a potent mix of up-tempo material, culminating with the irresistible sing-along “Rings Around the World.” The remainder of the set list emphasized songs from the band’s latest releases, 2003’s Phantom Power and 2001’s Rings Around the World. Performances of tracks such as “Hello Sunshine” and “Bleed Forever” were inspired but slowed the momentum down consider- band: $ (undisclosed amount) \ soy cappuccinos: $250 make-up & wardrobe: S7OOO \ \ I \ \ camera crew: $ 1200 a day M*\ \ ' . you are here: priceless | hOObostonh | | THg REASON I 1 © r Go to mastercard.com to apply for an internship making a music video for the band Hoobastank. AQKJtK&k there are some things money can’t buy. for everything else there’s MasterCard.® Experience™ M Music Internship Contast Official RulM. No Purchase Necessary to Enter or Win. Eligibility: Open to legal residents of the 50 United States and the District of Columbia who are 18 to 25 years of age and are enrolled as full or part time undergraduate students in a U S. Department of Education accredited 2-vear or 4-vear colleae/universitv as of 2/8/04 and at the time of winner selection and notification Employees of Master Card International Incorporated ("Sponsor"). Master Card member financial institutions. Enigma Media. Inc (“Hypnotic”). Octagon Worldwide Limited. Universal Music Group. Project Support Team. Inc. (“PST"), and each of their respective parent compares affrtiates and stnbutorslßS advert.sing/promotion agencies co lectively Released Parties ) and members of the immedute family (mother tether, brothers sisters, sons, daughters and spouse) and household of each such employee are not eligible to participate. This Contest is subject to all applicable federal, state and local laws and regulations. Void where prohibited How to and cUck on toe MasterCard* Priceless Experience™ 04 Icon between 12:00 01PM Central Time (“Ct") on 2/8/04 and 8:59:59AM CT on 4/15/04 (“Promotion Period"); 2) To access the application form, click on the “Apply Now” button; 3) Submit an essay of no more than (250) words answering the following question: It you were TplanmndZ hTee n m EXE would it be and why? The entry must be your original creation, in English and cannot have been previously published or submitted in any prior competition. Modification of an existing work does not qualify as original; 4) Fully complete the online entry; and 5) Click the “Submit" button. Limit one entry per permitend per email address lor toe durationotthe^morionpwrtad jb£tt£n.i entries received tram sect)i person and/or email address thereafter will be void. Your submission of an entry constitutes your consent to participate in this Contest and your consent for Sponsor to obtain, use, and transfer your name, address and other information for the purpose of administering this Contest. Sponsor is not responsible for lost incomolete la'e stoten or entries or submissions; theft, destruction or unauthorized access to. or alteration of. entries; failures or malfunctions of phones, phonelines or telephone systems: interrupted or unavailable network, server or other connections; any error omission, interruption, delect or delay in any transmission or communication; traffic congestionon the Internet or tor anv technkLl but not limited to any injury or damage to entrants or any other person s computer related to or resulting from participation in this Contest; errors in these Official Rules, in any Contest-related advertisements or other materials; the selection or announcement of winners or the awarding of prizes, the cancellation, suspension or modification of onl ne distance-tea nim nrS problems or errors of any kind whether mectwmcal. human, electronic or otherwise. Sponsor reserves the right, in its sole discretion, to void any and all entries of an entrant who Sponsor believes has attempted to tamper with or impair the administration, security, fairness, or proper play of this Contest. The use of automated entry devices is prohibited All of Sponsor and will not be returned. Neither Sponsor nor anyone acting on its behalf, will enter Into any communications with any entrant regarding any aspect of this Contest other than to notify potential winners Judging: Winner selection for this Contest will occur in two phases. Semifinalist Selection A total of (48) Semitmalists will be selected in accordance Periods, each Entry Period begirmingat 12.00:01PM CT and ending at 859:59AM CT respectively: (16) Entry Period #1 Semilinalists: 2/8/04-3/1/04; (16) Entry Period #2 Semif.nallsts: 3/2/04-3/23/04 and (16) Entry Period #3 Semifinalists 3/24/04-4/15/04 Entries received during one Entry will not carry forward to PericS Enf i S an panel of judges (judges ) supervised by PST (an independent ludging organization whose decisions will be final and binding in all matters relating to this Contest) based on the following criteria: 11 Originality 0-40 points; 2) Creativity/Written Expression: 0-30 points; and 3) Relevance to Theme: 0-30 points. In the event ofa tie toe entrant-withthehiohest semein declared the potenttal Semihnallst. If a tie still exists, from among the remaining pool of tied entrants, the entrant with the highest score in Creativity/Written Expression will be declared the potential Minalist, and so forth Tiebreakers will continue backwards in this manner until the tie among the remaining tied entrants is broken Smrfinalists on or about 5/I(W4. If any Semifinalist notification letter is returned as undeliverable a runner-up may be selected Each Semifinalist will be required to submit the following materials to a specified address within (4) days of issuance of notification. 1) Executed Affidavit of Eligibility, Liability Release and (where legal) Publicity Release 2) Current ma he/she is in good academic stendmg as defined byhts/her respective colege/umversity at time of notification); 3) A video of no more than (2) minutes in length featuring Semifinalist (no third parties, footage and/or music from any other source) addressing the following question: Ten us about your favorite music video, what you like best abou//f3 X* 1/2 inch VHS-formatted videotape; b) Queued to starting point, c) Neatly labeled with the entrant s complete name, and and) In English and cannot have been previously screened or publicly viewed. Entrant is responsible for properly protecting videotape for mailing. Noncompfiance with any of the foregoing may result in disqualification and awarding of prize to toe runner-uo fSt A total of (16) Finalists will be selected from the (48) Semifinalist video entries submitted Video entries will be |udoed based on the following criteria: 1) Presence On-Screen: 0-40 points; 2) Creative Execution. (>-30 points; and 3) Originality CKJO points. In the event of a tie, the entrant with toe highest score in Presence On-Screen will be decked ha from among toe remaining pool of tied entrants, the entrant with the highest score in Creative Execution will be declared the potential Finalist, and so forth. Tiebreakers win continue backwards in this manner until the tie among the remaining tied entrants is broken. Finalists will be selected by |udges on or about 5/24/04 and will be notified by telephone and/or mart itW Finals! letter is returned as undelNerabte the runner-up may be selected. The likelihood of winning a prize will depend on the quality of each entrant s submission as compared to the quality of all other entrants' submissions as judged in accordance with the aforementioned criteria Prim: (48) Semifmaltst Prizes: SIOO Master Card Gift Card (Aoorp ximate Retail VahS ' arv -Sirmwim Pima, Opportunity to attend tto MasterCard* Priceless Experience™ 04 Music Internship (“Internship") between 6/15/04 and 7/15/04 consisting of (but not limited to) participation in a tour week internship in Los Angeles, California with access to select Music & Entertainment industry expertsdesignated by Sponsor, specialized! curricula andtheefari?to!LXSintoed odSSffi music video_devetoped tor an artist/group nwwoed by Universal Music Group) to be designated solely by Sponsor internship will include round-trip coach air transportation from major airport nearest to winner's residence in the US. select ground transportation, double-occupancy accommodabons at a location to be determined by Sponsor' and a total ofsiow sneratinomoSXrild in toe form of a Master Card Gift Card (ARV=S6 000). Limit one prize per person, family, or household. Total ARV of all prlzes*sioo,Boo. Prize details not specifically set forth herein are at Sponsor s sole discretion Exact dates of internship subject to change at Sponsor s sole discretion internship attendance is mandatory and Finalists must comely wito all MasKd n relating to their participation in toe internship. Sponsor may. in its sole discretion, impose disciplinary sanctions on Finalists ranging from a warning to expulsion to referral for state or federal prosecution, for violation of federal, state or local laws, and internship codas of conduct. Content of internship to be determined solely by Sponsor and internship k not tor’crßdrtrmS may apply and travel must take place on dates specified by Sponsor or prize will be forfeited and may be awarded to a runner-up. Artist(s)/group(s) and/or other organization(s) or personality(s) featured In MasterCard* Priceless Experience™ 04 Contest promotional advertising are subject to availability. If any named artist(s)/group(s) and/or otoet ormSonro unavailable to participate In toe capactty specified for any reason an entity/individual of similar stature as determined by Sponsor will participate in lieu of the applicable named entity and/or individual Miscellaneous: No transfer, assignment, cash redemption, or substitution of prizes (or portion thereof) except by Sponsor duetoprtze unavaibSv aStoento a mia (Suwtafcto portion thereof) of equal or greater value. Federal, state and local taxes and all other costs and expenses not specified herein are winners sole responsibility By participating, entrants agree to be bound by these Official Rules and 1) Attest that their essay and/or video (“entry") is an original creation that has not beenpreviously published or submittedi™another VnmtiteinraMiM Agree that Released Parties and their designees and assigns a) shall own the entry (and all material embodied therein) and shall have the perpetual, worldwide right to edit, publish, exploit and use the entry (or any portion thereof) in any way and in any media for advertising and/or trade purposes and/or for any other purpose in anv media or format now or rflS-l compensation, permission or notification from/to entrant or any third party; b) shall have the right and permission (unless prohibited by law) to use entrants name, voice, city/state of residence, photograph and/or other likeness for advertising and/or trade purposes and/or for the purpose of displaying their name as a winner and/or for anv other ouroose m hereafter known without further compensation, permission or notification, c) use of entry shall not violate the right of any third parties and shall not violate any applicable federal, state or local laws or ordinances, and) shall have the right, in their sole discretion, to disqualify any entries that they deem to be obscene or otherwise not in good taste e) shall have no hahiUN and oefend, Indemnify and hold harmless Sponsor and the Released Parties from and against any liability, loss, injury or damage of any kind (including attorney's fees) to any person or entity including, without limitation, personal injury, death or damage to personal or real property, due in whole or in part directly or indirectly bv reason of the acceDtance Dossesrtnn■ wn, mki. or participation in this Contest and any travel related thereto including, but not limited to, any claim that entrant's submission infringes or violates the rights of any person or entity Sponsor reserves the right, in its sole discretion, to modify, terminate or suspend this Contest should virus, bugs, non-authonzed human intervention or other causes bevondiit*reasonableron mint including but not limited to war, strikes, and/or acts of God, corrupt or impair the administration, security, fairness or proper play of this Contest and, ifthe Contest is terminated or suspended, at its discretion award prizes in a ludging from among all non-suspect entries received prior to event requiring such modification termination or susoension Winners lw- For the winmoumw (available after 6/15/04), sand a sethaddressed. stamped envelope to be received by 6/1/04 to MasterCard* Priceless Experience™ 04 Winners, PO Box 13106, Bridgeport, CT 06673-3106. ©2004 Master Card International Incorporated All Rights Reserved. Sponsor: Master Card International Incorporated, 2000 Purchase sEpurcKseNY 1b577 PrometorProtectSupportTeam Diversions CONCERT^IEiriEW SUPER FURRY ANIMALS CAT'S CRADLE FRIDAY, FEB. 13 ably. Adding to their shows’ unortho dox nature, Super Furry Animals performed while a continuous stream of images are projected on a screen behind them. For “Calimero,” a buried album track on their all-Welsh release Mwng, a bouncy round creature pranced around on the screen while the band pumped out the song’s pop-punk riff. The show didn’t begin reaching its peak until halfway through “The Piccolo Snare,” which opened up from its haunting start to an oddly jubilant refrain. But that was just the beginning. Not letting up, SFA engaged the entire audience with the irre sistible lounge disco of “Juxtapozed With U,” featuring the charming chorus, “Let’s get juxtaposed, jux taposed, just suppose I juxtapose with you.” But they weren’t fin ished. “Receptacle for the Respectable” climaxed with Rhys, bassist Guto Pryce and guitarist Huw Bunford bringing all three guitars together at the necks to bring the song to an absurdly transcendent close. But it wasn’t until the show’s final song that the concert reached its dizzying zenith when the band launched into their epic “The Man Don’t Give a Fuck.” On the screen, a litany of politi cal figures streamed repeatedly while the band —and everyone in attendance repeated “You know they don’t give a fuck about anyone else” like a mantra. Just when you thought the song was over, the band left, excepting a guy with a laptop who pro grammed a series of pulsating dance beats that had the entire Cradle moving. Finally, almost 10 minutes after their departure, the band made its triumphant return with the afore mentioned shaggy costumes and picked the song back up, leaving the crowd salivating for more. With a catalog as exhilerating ly varied and eccentric as SFA’s, no doubt certain fan favorites were unfortunately omitted (namely, the masterful “Presidential Suite”), but complaining about that would be nitpicking. This was theatrical rock at its most ridiculous and excessive best. Contact theA&E Editor at artsdesk@unc.edu. THURSDAY, FEBRUARY 19, 2004 Geeky Goats frontman shows storytelling skills BY ROBBIE MACKEY STAFF WRITER Live, there’s a certain innocence to John Darnielle’s world-weary romanticism that just doesn’t make it through recording. Under the lights his eyes blaze, filling with boyish wonder as he excitedly strums his acoustic gui tar, the fourth-grade bowl cut atop his head swinging back and forth. Dignified but at ease, he wells with joy, delivering lighthearted anecdotes from his past, recount ing time spent with old friends and lovers. And the roar of the crowd, which you’d think he would have grown used to by now, still catch es him by surprise every time. It’s almost tangible, the unique level of appreciation and comfort, for both performer and audience, at your average Mountain Goats show. Monday night, Damielle stopped in at Go! Room 4 in Carrboro, where the atmosphere was no different. After a capo-crazed opening set of hackneyed alt-country from Cub Country —a side project of Jets To Brazil bassist Jeremy Chatelain and a block of bouncy Bungles infused pop from the Rosebuds, Damielle took the stage with bassist Peter Hughes, a wooden stool and his trusty steel-string. Not moving from that spot until the set came to a close, he assured ly delivered gems from his entire CONCERT IEVIEW THE MOUNTAIN GOATS GO! ROOM 4 MONDAY, FEB. 16 catalog. The delightful “No, I Can’t,” which saw release on Transmissions To Horace, stretched all the way back to Damielle’s no-fi cassette-only days. Elsewhere, he offered up “International Small Arms Traffic Blues” from 2002’s Tallahassee, a quaint number in which he likens his love to the “border between Greece and Albania.” Throughout the night, Damielle’s lyrical potency sat at the fore. His strength as a storyteller, in the truest neo-Dylan-via- Daniel-Johnston sense of the word, was showcased at its strongest in his chilling rendition of “No Children,” a messy story of marriage gone entirely wrong. Like an old friend hosting a slightly drunken dinner party, Damielle skipped from conversa tion to lyrical conversation, keep ing everyone abreast with his life, his loves and his new favorite country songs. And like the consummate host he always has been, Damielle did n’t say good night until everyone was satisfied. Contact theA&E Editor at artsdesk@unc.edu. 9
Daily Tar Heel (Chapel Hill, N.C.)
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Feb. 19, 2004, edition 1
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