8
thursday, march 20,2008
RAINBOWS IN THE DARK
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DTH/JAMIE WiltlAMS
maha’s Tilly and the Wall brought its infectious
brand of indie pop to Local 506 on Monday night.
The band, known for its unique use of tap dancing
as percussion, kept the sell-out crowd dancing, throwing
balloons, tossing confetti and smiling throughout the set.
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{ V _ J Chapel Hili • 919.969.8750 \
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Diversions
Still a ways to go for true buff status
Wiat do "The Evil Dead,"
Sixteen Candles,"
Harold and Maude"
and “Bull Durham" have in com
mon?
Well, let me defend myself first.
I’ve seen the entire Coen
Brothers' catalog and lack only
a few of the complete Kubrick,
Spielberg, Scorsese, Fincher,
Unklater, Burton and Spike Lee.
I’m well-acquainted with
Hitchcock. Woody Allen, Wilder,
Polanski. Mel Brooks, George Roy,
Hill, Forman, Soderbergh. David
Lean, Van Sant, Terry Gilliam.
Ridley Scott, both Coppolas and
even the shlock of Michael Bay.
For world cinema, 1 can claim
the primary works of Renoir,
Godard, Fellini, Ray. Bergman,
Winders and immortal classics
“The Cabinet of Dr. Caligari,"
“Bicycle Thieves" and “Battleship
Potemkin." I’ve also seen glimpses
of the Eskimo documentary
“Nanook of the North" and
Salvador Dali’s surrealist mas
terpiece “Un Chien Andalou,"
and I’ve survived a marathon
Bollywood feature.
These films make for an
impressive resume, but it’s not
enough. Despite the highlights,
as far as the film canon goes. I'm
only as good as my weakest link.
For too long I’ve silently smiled
and nodded at references to films
EDWIN ARNAUDIN
A LITTLE WEST Of ASHEVILLE
I've skipped. The front I put up
has worked for years, but it’s time
to come clean, and what better
moment to do so than Holy Week?
So, what common tie binds
those first four films? I haven’t
seen any of them, and there are
numerous crucial titles that can
be added to that list
I have committed sins against
the film community. I’m embar
rassed that I haven’t seen a great
Kaze is in a N.Y. state of mind
BY BENN WINEKA
STAFF WRITER
Geographically speaking, North
Carolina is firmly positioned on the
East Coast.
Ask anybody who’s ever lived in, or
even heard of, the state and they will
undoubtedly also categorize North
Carolina as being in the South.
Both the East Coast and South
have respectfully solidified them
selves in the hip hop community
and marketplace.
But North Carolina has failed
to make a dent in either of the two
sectors of hip hop.
If it were up to Triangle product
Kaze (Kah-Zee), North Carolina
would be mentioned with the likes
of New York City's finest On his sec
ond full-length release Block 2the
Basement, Kaze attacks the mic like
a vandal with lyricism wholly influ
enced by the Big Apple.
You don’t have to know’ that his
first album was entitled Spirit of
94, in reference to the industry
rattling debuts from Nas and Big
Poppa, to realize the signature
East Coast attention to wordplay
in Kaze’s records.
Songs are focused on the lyri-
£ ) Graduate in 8 semesters. Rummer at Carolina.
’• % summer.unc.edu
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IN THEATRES EVERYWHERE MARCH 21
many classic films while still
considering myself a loyal critic.
The pain has reached a breaking
point, and I’m ready to repent.
The films of the above canon
directors have built my critical
foundation, but the works of
theirs I haven't seen are some
of the dearest titles to my fellow
cinephiles. There are countless
blind spots in my film career
that demand to be filled with
titles even casual watchers deem
“essential," and to hang with the
big kids, more is expected of me.
I’ve seen “Citizen Kane" but
not “Touch of Evil"; “East of
Eden’ but neither “Giant" nor
“Rebel Without a Cause"; “The
French Connection" but not “The
Exorcist”; “Ran" but not “The
Seven Samurai"; “Natural Born
cal content and a storytelling
approach.
“Real Life’ is a chorus-less track
dedicated to all those “in the hus
tle" that deals with exactly what
the name suggests. Kaze deserves
credit on the cut for shouting out
teachers who are “underpaid with
no supplies” and hitting on the as
prevalent-as-ever topic of underage
single mothers.
Another lyrical standout, “The
Darkside," centers on the under
belly of the hip-hop community:
“Nowadays I gotta walk with a
swagger/'Cause this game of hip
hop is dangerous just like a house
of flying daggers/Duck for the
bucks or face decapitation/The
next man thriving on your humili
ation/Gay rumors, tabloid soap
opcras/Gotta keep underworld ties
just like Sinatra."
828 also is blessed with cameos
by some of underground hip hop’s
premier players, like Royce Da 5\9
and Supastition, that put numer
ous other tracks at, if not above,
any bar set by popular rap music.
If anvthing holds Kaze back it is
the lack of standout singles. Even if
the current state of radio is laugh-
(Ehr Baiiii (Ear ■Hrrl
Killers" but neither “Platoon" nor
“Wall Street"; and only a hand
ful of Bogarts. Not seeing “The
Treasure of the Sierra Madre" and
“The Maltese Falcon" is the defini
tion of cinema shame.
As punishment, I'm placing
myself on probationary status with
a mandatory sentence of catching
up on the titles I regret omitting.
Additional counseling includes
more Altman and Ford, a steady
helping of silent masters Chaplin,
Buster Keaton and Harold Lloyd,
and a Sam Peckinpah feature.
Let's hope the rehabilitation
works, and I can regain my digni
ty-. Now, back to that ever-growing
film queue.
Contact Edwin Amaudin
at amandin(a email.unc.edu.
MUSIC KfWfVV
KAZE
BLOCK 2THE BASEMENT
HIP-MOP
A A A A
lnrinr£r
able, it's hard to imagine anvthing
on 828 receiving much airplay that
could give Kaze the popularity- he
deserves.
In no way does this mean that
production on the album is lack
ing. Excellent mixing by Jazz B,
Analogic and Erv Ford are all over
the LP. JahFree even gives 828 a
reggae touch on “Genuine." It might
not be an star-studded cast, but it's
better than what you're treated to
on a daily basis.
Kaze has made his rounds and
paid his dues for several years get
ting him to the point where he
signed to Rawkus Records. But
Kaze remains as unknown to the
general public as the viable N.C.
hip hop community he emerged
from.
That needs to change.
Contact the Diversions Editor
at dive(ai unc.edu.