Incarceron Captures Imagination but Just Misses Heart

Digital image. Miss Print. Web. .
Incarceron  by Catherine Fisher is the tale of an intricate experiment gone horribly wrong. In attempts to create a better world, the "Scum" of the Earth are imprisoned in Incarceron—a prison that can think and adjust—a place that was supposed to be a paradise; however, something goes wrong and the prison morphs into a living hell. Over the decades, the Wardens of the prison have kept the disintegration a secret.

In Incarceron, a 17 year old boy named Finn struggles to remember his childhood and identity. His first memories were waking up in a cell at the age of 15—anything from before is blank. A wise man, or Sapient, believes Finn is a starseer and has insightful visions. Finn cannot understand if they are indeed visions or memories; nevertheless, they convince him he is from the Outside. Driven by the the tale of Sapphique and the unforeseen aid of the Warden's daughter, the only prisoner to have ever escaped, Finn and his companions embark on a journey to freedom.

Catherine Fisher transports the reader into a fascinating world of the future that is both extremely advanced and imprisoned in the past. She raises many philosophical questions about perspective, self identity, and freedom. Is it possible that they are merely illusions? Neither the prisoners nor the people on the Outside are sure anymore.

The novel opens with a loud slap to the face and sends the reader reeling back from the sudden action. The imagination never hungers for more wonders in a world of nearly unimaginable proportions and horrors. However, Fisher did not develop the characters enough for the reader to empathize and connect with them. The plot itself has its twists and turns, but overall is not complicated. There are many "gasp" moments that I was able to figure out nearly 100 or more pages before—and I doubt I am the only one.

Despite this novel not living up to certain expectations, its conclusion is anything but the end. Fisher has a chance to redeem herself in the sequel Sapphique. It is already out in the UK and should come out in December in the U.S.

James Bond is Postponed Indefinitely

Digital image. Peter Morgan To Help Write ‘Bond 23′. Cinemafique, 12 June 2009. Web. 11 May 2010. .

The popular James Bond franchise’s upcoming film has been delayed due to financial issues at Metro-Goldwyn-Meyer, Inc. (MGM). According to the New York Times article, “In Hollywood, Grappling With Studios’ Lost Clout,” MGM is "now owned by a consortium that includes Sony, Comcast and the investment firms Providence Equity Partners and TPG."  However, since MGM's large amount of debt has not yet been alleviated, its assets were put up for auction back in January of this year. The bids by interested companies, such as Time Warner and Lionsgate Entertainment, have thus far been around $2 billion or less—not nearly enough for MGM, which was bought for approximately $5 billion in 2004.  As of late April, the auction has not yet been completed. 

This setback has adversely affected the production of the latest, unnamed James Bond installment. According to the New York Times article, “James Bond Movie Delayed Due to Studio Auction,” the next Bond movie was originally supposed to be released in 2011 or 2012. The producers of the 007 franchise, Michael Wilson and Barbara Broccoli, stated, “Due to the continuing uncertainty surrounding the future of MGM and the failure to close a sale of the studio, we have suspended development on BOND 23 indefinitely.”  

The last two Bond Movies, “Quantum of Solace” and “Casino Royale,” together made a global box office profit of 1.18 billion. Sam Mendes, the director of "American Beauty" and "Revolutionary Road," is expected to direct the next James Bond movie, according to the New York Times. 

Nat King Cole--Nature Boy

AVATAR...it left an impression alright...

Brokrek. Digital image. The Funny Blog--Funny Moments, Pictures, Jokes, and Videos. 20 Jan. 2010. Web. 16 Mar. 2010. . (CLICK TO ENLARGE)

I finally saw Avatar a few weeks ago...before I say anything else, I would like to channel my AP U.S. teacher...

The Good:
The technological aspects were amazing! The Na'vi were very realistic, the colors were hypnotic, and the special effects were unsurpassed.

Now remember, I said something good first...

The Bad:
The story, though it took place on a distant moon of a distant planet, was essentially Pocahantas on steroids. I was severely disappointed with the predictability and simplicity of the plot.I expected something much better than that.

STOMP Gets Audience in Uproar

Digital image. Stomp Out Loud Las Vegas. Destination 360, 2010. Web. 9 Feb. 2010. .

With just the right combination of slapstick comedy, movement and percussion, “Stomp” enchanted the audience. The show began with a variation on the traditional broom stick number. At first the performers simply sweep the stage, but soon, one by one, they break out into beats and rhythms, every performer building on what the last started. The show continued with many different numbers, using a variety of props ranging from brooms and buckets, to giant lifesavers and rubber hoses, to sinks and plastic bags. Each number flows seamlessly into the next.

Nearly all routines had solos that were either extremely impressive or hilariously funny. In one solo, a dancer began clapping and stomping his feet in a quick and difficult rhythm; making himself resemble the Energizer Bunny. Additionally, one performer played the outsider of the group, leading to many entertainingly awkward moments.

One such moment starts when the stage is empty except for one performer who is in the middle of an amazing percussion solo, using nothing but his body as an instrument. He then sits down and commences drumming on a small, household trashcan. As he does so, the odd member of the group came in and tried to drum with him. The first entertainer didn’t let him, however, and threw away any can the outcast attempted to drum on. Frustrated, the exile left the stage, only to return with a large garbage can, to snatch and discard the household trashcan.

The jokes particularly begin in one piece that included rubber pipes. The performers would hit rubber pipes of varying lengths on the floor to create a melody, while the odd man out always had to have the last beat. Annoyed with this, the other performers threatened to hit him in the head with a pipe; but he beat them to it by whacking the nearest dancer upside the head. At the end of the number, the outcast smugly played the last note of the piece.

One of my favorite parts was when the performers got the audience involved—clapping and stomping out rhythms for us to repeat. They then competed for who could get the audience to be more interactive, which led to humorous confrontations.

Overall, “Stomp” has truly won the hearts of many percussion lovers. The performers impressively utilized everyday items in the most ingenious ways to create beats, rhythms, and even melodies. The clever infusion of sarcastic and slap-stick comedy was a graceful touch—icing on the cake, if you will. Although “Stomp” is no longer in town, you can still see the act on their new recording of a live show. Personally, I strongly recommend it.

Some Facebook Groups are becoming SEXIST and Actually Getting Fans!

Digital image. Web. 13 Feb. 2010. http://youngfeminists.files.wordpress.com/2008/11/garment_label.jpg.

It's always very reassuring to know that with so much progress made in society nowadays, many people are still very sexist. NOT!! There is never an excuse to be sexist against either gender, but apparently, there are plenty of people who have low self esteem and need to demean the opposite gender in order to feel better about themselves.

What I am specifically referring to are some of the new Facebook groups like "I was shocked when I realized 'woman' spelled backwards is 'kitchen'" and "Women making sandwiches for men." I suppose that some men believe that by abasing women, they are making themselves feel tougher and therefore compensating for their lack in size.

Honestly, no real man would join groups such as these. Furthermore, a real man would be just as outraged as I am at such activity. And for any girls that may have joined these groups, I don't know what's wrong with you. Either you have some serious self image issues or a really bad sense of humor.

Even if these groups are meant as jokes, they are still as offensive as if they were serious. In fact, by poking fun at such issues, it is all the more insulting. Although the creators and members of these groups believe that it's all in good fun, in reality, many people truly do believe that women are inferior and these groups are not helping the issue at all.

If these groups were to be about how black people should be slaves, how the Chinese should go back to working on the railroads, or anything else seriously offensive and cruel, people would not be laughing. Sexism is just as bad as racism and these offensive groups must be deleted.

Summertime, you cannot arrive soon enough.

The Spring Play Cometh Soon

Digital image. The drama group. Web. 24 Jan. 2010. .

For those who saw “The Diviners” know to expect something extraordinary. With superb casting, the show was a complete success. Expectations for the next show are, therefore, much higher.

The new show will be “City of Angels,” a musical comedy about an author named Stine whose entire life revolves around the adaptation of his detective drama into a screenplay, so much so, that the musical constantly moves back and forth between the real world and the one in the novel. With all the commotion, Stine cheats on his wife, losing her, and soon, his job. At this point, a real life Stone, the detective from Stine’s book, appears and is cast to play himself in the movie. As Stine’s life crumbles, Stone takes the typewriter into his own hands and writes a Hollywood ending for Stine, in which he gains back his integrity and wife.

Everyone is excited for this new production despite the numerous obstacles faced in the making of “The Diviners.” With practices that lasted past midnight and a last minute success, parents and students alike filed many complaints. Nevertheless, the enthusiasm for “City of Angels” is great.

The auditions and call backs have passed and any day now the cast will be revealed. Of course for some, the let downs came early as not everyone was “called back” as the rush to get the new production on the way continues.

Personally, I am anticipating for this show to “one up” the last show. I’ve seen the incredible talent Pali has to offer and am now unwilling to see anything short of near perfection. I don’t connect “high school production” to our shows anymore since they far surpass the accompanying connotation. The last show was worth the ten dollar ticket, so this one should as well. I will be there opening night, schedule permit, and I will review the performance; so you, my dear readers, can make an educated decision about whether or not to see the musical.

Spoken Word Arrives at Pali

Digital image. John G. Rives, Web. 24 Jan. 2010. .

The week immediately following winter break’s end, brought Palisades Charter High School a pleasant surprise. Two Brown seniors, Phil and Sarah Kay(e), performed and talked about spoken word poetry in Mercer Hall.

Through a mix of comedic and serious works, the audience learned of Phil and Sarah’s strange coincidences, their “Thelma and Louise” type friendship, and, most importantly, the art of spoken word. So what is spoken word? It is anything that cannot be simply read—it must be performed. It could be a speech, stand up comedy, poetry, a rap, a song…nearly anything.

A good rule of thumb to follow is to make sure the writing has concrete details. A reader or audience will be able to connect much better to the work and in effect, the performance would be that much more powerful. As an example, I’ve pasted an excerpt from one of my poems below.

Pupils rot in cages
Knowledge bounces off the walls
The desk feels smooth against my forehead

The concrete details, such as the walls and the desk, bring the poem to life. Nearly anyone forced to sit through hours of classes can empathize with the emotions in the passage.

Some of the best examples of Spoken Word are performed by George Watsky, John G. Rives, and of course, the great Robin Williams. This art is everywhere if one just takes the time to see it.

The Barber of Seville BUTCHERED in LA Production

Digital image. Dreadcentral.com. Web. 2 Feb. 2010. .

Opera goers all seek the same thing—an amazing musical experience coupled with some good acting and stage sets. The Los Angeles produced The Barber of Seville was such a horrible disappointment that words cannot possibly do it justice.

The Barber of Seville, or Il Barbiere di Siviglia, by Gioachino Rossini is a comedy about a lovesick Count, Almaviva, who invests in the help of a vivacious and egotistical barber named Figaro, to win over the object of his affection, Rosina. Unfortunately, Rosina is the ward of a greedy doctor, Bartolo, who is determined to marry her in order to inherit her large dowry. After many funny exchanges and schemes, Count Almaviva finally succeeds in marrying his love and the opera ends on a hopeful note.

The entire 2009 Los Angeles production performed at The Dorothy Chandler Pavilion began in the worst way possible. For whatever reason, the director decided it would be nice to have the set noisily moved into place as the overture began. So instead of being able to enjoy beautiful music, the audience was forced to have its pleasure constantly interrupted by stomping feet and moving scenery. Speaking of scenery: the plot is set in Seville, Spain—a lively, colorful town—with a rich culture. The scenery was a dull grey and white for the first half of the performance. And then, as if to make up for the lack of color earlier, the set looked as if a rainbow, high on psychedelic drugs, vomited all over it.

If that wasn’t enough, a key character was underdone as well. In the original, Figaro, the famous barber of Seville, is the very first main character that is introduced. Well-fed, to say the least, and as jolly as Saint Nick, Figaro struts onto the stage and begins singing about his importance and inflated ego. Figaro is very playful as he switches from falsetto to regular to back again, imitating various customers. His opening aria consists of very many quickly iterated syllables, all of which, like the rest of the piece, must be sung over a full orchestra without the aid of microphones. (This performance is a great example of how Figaro should be performed: YouTube - "Largo al Factotum" from Barber of Seville)The baritone at the 2009 version, failed miserably in encompassing Figaro’s unique persona and in singing the aria. Half the time the singer was drowned out by the orchestra, was not clear in his pronunciation of the words, and was never, not even once, interesting to watch. He walked around like a tired old man. Figaro is supposed to be jovial and light on his feet; but this man played him like a middle-aged couch potato!

The other characters were average and uninteresting…except for one. The soprano that played the part of Rosina was surprisingly talented in both her acting and singing. Her performance was believable as she impersonated a young and in love woman. Additionally, her strong voice was heard over the orchestra every time she sang.

Unfortunately for the show, one talented cast member could not make up for the utter failure of the other opera singers coupled with of the horrible scenery and direction. Over the years I have steadily lost my appreciation of anything produced in LA—it seems to get worse and worse every time I attend a musical production. I now restrain myself only to shows performed by touring foreigners, mainly from Europe. If you, the readers, are by any chance part of the opera scene and either direct these shows or are friends with someone who does, I challenge you to redeem yourselves.

Cirque Du Soleil’s Kooza Defies Imagination

Cirque du Soleil's KOOZA Opens In Atlanta Tonight. Digital image. Flickr. Web. 24 Jan. 2010. .

After some preshow, comedy antics, the show begins with a boy trying to fly a grey kite. To his dismay, there is no wind. Instead, the boy lets his imagination take flight as he pretends a creature with a magical wand jumps from a box. With a flick of its wrist, the creature lets loose an entire world of wonders: Kooza.

The stage bursts with activity—loud music fills every nook and cranny as creatures from this alternate universe swarm out into view. And so, the audience enters the Kingdom of Kooza.

The first amazing feat is tightrope walking—on a whole new level. There are two tightropes, one above the other, so that there are always at least two men walking across in either direction. But it isn’t just a duo…there are four men. They jump over each other and land on the rope as if it were as flat as the ground and keep walking. The most amazing trick, however, involves three funambulists, two specially made bicycles, a bar designed to sit on two of the men’s shoulders, and a chair. Two performers ride the bikes with a bar resting on their shoulders. A third funambulist tightrope walks on the bar as the other two ride their bicycles across the wire. If this were not enough, a chair is added to the equation, with the top most performer either sitting or standing on it…while juggling pins. Yes, the audience’s jaws are well past the floor by this point.

Kooza. Digital image. DC Theater Scene. Web. 24 Jan. 2010. .

Sometime after the three female body contortionists, who resembled slinkies as they bent their bodies in the most cringe-inducing ways, are two men and an act that illustrated the phenomenon of freefall (physics geeks unite!). In this performance, an intriguing contraption is lowered to several feet above the stage. It consists of two large circles connected by an intricate weave of metal. One man enters a circle and begins running in it, causing the entire set to rotate. After it gains significant momentum, the second man reaches out, as if it were nothing, and catches onto the second circle—sending himself flying with it. He performs various acrobatic tricks inside and outside the circle; each trick invokes the wildest cheers from the audience.


Another act included a man who balanced on a tower of chairs. He wore what I can only describe as specialized tidy-whities and had his legs completely covered in tattoos. Few dared to cheer in the suspense of every moment as the man balanced on one hand and slowly bent backwards, lowering his legs over his head.

Between nearly every breath taking performance, the clowns got their “funny” on. Surprisingly, many of the jokes were PG 13 and borderline R. One man pretended to molest various audience members while another, the King of Kooza, kept playing with a remote which controlled the show. The group of clowns filled the air with sarcastic jokes that kept the audience roaring with laughter as the other performers prepared.

At the end of the show, the little boy is crowned as the new King of Kooza and given a new, this time colorful, kite. As the boy reluctantly waves goodbye to the creatures of Kooza, he tries flying his kite one more time. This time, the wind picks up and the kite soars.

Classics Get SEXY

Digital image. Audrey Hepburn & Anthony Perkins, romantic scene, 1958. Flickr. Web. 24 Jan. 2010.

The lights dim and the air thickens with suspense. After all, one never truly knows what to expect when an opera, of all things, is rated R. The conductor takes his place—his bald spot angrily glaring at the light—and finally lifts his arms; the orchestra readies itself. Music cuts the tension as the curtains open to reveal a stage accented with crimson drapes and couches. A few performers drift onto the stage—the audience prepares for the opening ballet number. Instead, the dancers assume positions not native to dance. What ensues next is…a sex scene?!

Believe it or not, this was the opening to an opera at the Dorothy Chandler Pavilion. In its original form, the opening scene is a ballet that depicts the sensual world of Venus’s realm. However in its 21st century version, there are no ballerinas with sexual choreography—instead, there is an orgy filled with all kinds of positions and partner combinations. Of course no live porn scene would be complete without nearly everyone in the audience at the edges of their seats, whipping out their binoculars to get a better look.

The production is of “Tannhäuser,” a German opera about sacred, profane love and redemption. After the overly graphic opening scene, Venus and the main character Tannhäuser appear for their opening duet. Venus, being the goddess of love and desire, is dressed in a provocatively see-through, lingerie gown and sings with her beloved Tannhäuser about his desire to leave her world and reenter ours. She tries to seduce him into staying, but is unsuccessful. The rest of the opera remains PG-13. The advertisements warned about an opening that was rated R for nudity—it failed to specify that the nude people wouldn’t just be dancing.

One self proclaimed opera critic, going by the alias of Astrafiammante, blogged about her experience at the LA opera. Astrafiammante at first complained about Wagner’s ability to write good librettos and when commenting on the opening scene she said, “Still, I think I’d prefer to see that original singing contest than a 15 minute orgy.” In reflection on the opera’s content, Astrafiammante said, “In ‘Tannhäuser’, the gates of hell are clearly shaped like a ‘V.’” Upon hindsight, and taking into account the sexist times of Richard Wagner, she was correct. Everything Tannhäuser was condemned for in the entire opera included desiring and getting sex.

In contrast, the San Francisco Opera audiences had a different experience with “Tannhäuser.” In a review in the New York Times, Anthony Tommasini said, “During the first scene, an extended ballet of frenzied cavorting among the denizens of Venusberg (in the 1861 Paris version of the opera, used here), wiry, bare-chested men dance wildly with lithe young women in lacy white dresses. There are even moments of same-sex coupling, which would have rattled Wagner’s audiences but seemed to resonate in San Francisco.” Why San Francisco managed to keep the same level of eroticism without excessive nudity or actual sex positions that were included in the Los Angeles production will remain a mystery.

The human obsession with procreation has always existed, but lately, it has become less and less subtle. With implied sexual themes now brought out into the open, even some classical music is no longer appropriate for people under the ages of 13 and sometimes even 17 years old. On one hand, it is better that modern society accepts something as natural as making love instead of condemning it as sin. On the other hand, however, being too open with sex one can taint the subject matter and actually lessen its value. Just like the chase is what can attract one human being to another, so too can the pursuit of the underlying meaning of music and lyrics entrap the audience in a tale.


In the transition from a time period of oppression to one of freedom, more and more classics are being modified to sexier versions that aren’t necessarily any better than the originals. An example of all this is “Phantom of the Opera” by Andrew Lloyd Webber.

This musical is the heart lurching story of a disfigured musical genius, hidden away in a Parisian opera house, who falls in love with a woman he can never have—Christine. In attempts to seduce her, the Phantom sings her a provocative song about the dark music he writes. The Phantom persuades her, “Touch me, trust me, savor each sensation…” At one point, the Phantom wraps his arms around her waist from behind as she bravely strokes his mask. Just when it seems that the Phantom has her under his spell, Christine makes the horrible mistake of removing his mask—and revealing his horridly deformed face. As the musical moves on, Christine is courted by another man, Raul. In the last scene of Act I, Christine and Raul share an innocent kiss after professing their love for each other.

On Movie Fix, Mark Beirne commented, “Christine's heart is torn in two directions and her journey of sexual awakening begins.” Christine cannot choose between the Phantom to whom, despite or maybe because of his dark side, she is unmistakably attracted to, and Raul, for whom she seems to hold an innocent crush. When the Phantom holds Christine and Raul captive in the last scene, it is Christines compassion that persuades the Phantom to let them go. The scene ends with the Phantom’s proclamation that only Christine can make his “…song take flight. It’s over now, the music of the night.” With that, he disappears.

In the modernized adaptation, the fact that the entire plot is set in 19th century France is completely ignored. Now the seductive scene between the Phantom and Christine involves the Phantom’s hands bravely roaming Christine’s body as he nuzzles her neck and she molests his mask. In a review of the movie version of the musical, Charity Bishop wrote, “…while …[The Phantom] encourages his visitor [Christine] to give way to her senses and embrace the quiet, tranquil darkness that is his realm, he runs his hands over her in a briefly lingering caress.” This move is quite a step higher than that in the original theater production. The innocent kiss with Raul evolves into a wanton make-out session. All this in a time when holding hands was shameful. To clear things up, yes, the sex and erotica are written in between the lyrics of “Music of the Night.” The title itself is a metaphor for sex. In the end, when the Phantom sings that only Christine can make his “…song take flight. It’s over now, the music of the night,” what he’s really saying is that only Christine can arouse him for he can love no other. Now that Christine has left him, the Phantom’s composing days are over and so are his chances of ever making love. Nevertheless, this theme is meant to stay hidden, not flaunted shamelessly.

It seems that as the years pass, every classical production gets sexier than before. All the eroticism that has previously been cleverly hidden in between the lines is now violently burst out into the open. No more subtle hints, ambiguity, and mystery. Although sex is now accepted in society as something natural and not some sinful “act of darkness,” it can taint an otherwise brilliant plot if used in excess. There is something magical about a story when certain intimate details are left to the imagination—when the audience gets to interpret just what the composer meant and what is hidden behind the words and music.