Music good for allBy MOLLY SHOULTA
Anyone who has graduated from Murray High School in Murray in the last couple years deserves all sorts of envy. The high school managed to score Jon McLaughlin for the prom entertainment in 2007, and even though this was before his most recent album exhibit his suave style and jaw-dropping piano skills, his presence and musical abilities are hard, if not impossible, to top.
Open Youtube. Type in “Jon McLaughlin, Perfect.” As if the song isn’t adorable enough, his hands are a blur on the piano. Written and performed by Jon McLaughlin. Whoa…!? And it only gets better. On Oct.7, 2008, Jon McLaughlin released his second album that made his first record look like child’s play. “OK Now” shows that Jon McLaughlin is the Jimi Hendrix of the ivory keys. The improvement and diversity McLaughlin poured into the second album reflects months and months of practice.
The first track exhibits McLaughlin’s improved versatility and could be why it was pre-released as a single before the entire album. “Beating My Heart” certainly suggests itself as a “throw back,” as does “Dance Your Life Away,” and even “You Can Never Go Back” could be tossed into the dance-able category. All are perfectly acceptable for a late night dance party in the dorm. “Always on My Mind” is similar to the aforementioned, but may come across a little sing-songy, though it is by no means a bad addition to the album.
Jon McLaughlin’s greatest strength in this particular album as opposed to his “Indiana,” released in May 2007, is the vast differences from song to song. “Four Years” serves as inspiration to high school freshmen while “Why I’m Talking to You,” a jazzy piano get-up, provides an irresistible pick-up line in song form. Even the most similar of the songs on the album, “The Middle” and “Things That You Say” are still different and independent of each other, and still both piano ballads.
The inspirational and thought-provoking “Throw My Love Around” really adds another level to the album. The lyrics speak as well as the harmonization throughout the piece. This is no doubt one of the top picks on the album. “You Are The One I Love” has an interesting beat pattern and rhythm through the entire song, but this might be the one to skip. McLaughlin wraps up the album with the low key “We All Need Saving,” almost completely backed up with harmonized vocals. There are no instruments used until halfway through the track; a great mellow way to fade away, or perhaps a cliff hanger until the next album.
While not all albums are created equal, “OK Now” exhibits a quality few other mainstream artists’ works can boast; there is a song for almost everyone.
University of Louisville Music professors Daniel Weeks (tenor) and Naomi Oliphant (piano) will perform six pieces—including works by Handel, Brahms and Liszt— Sunday afternoon Sept. 27 in Georgetown College’s John L. Hill Chapel as part of the Stephen Tilford Memorial Concert Series.
Since 1999, they have performed together more than 70 times all over the United States and Europe. Concerts in this free series are at 3 p.m. and will showcase the recent prize acquisitions—a Steinway Concert Grand Piano and a Johannus Organ. The remaining dates are: Oct. 11—Four Pianists (friends of Stephen Tilford, the late GC piano professor)—Michael Potapov, Ruth Ann (Reid) Tomkins, Caleb Richie, Elizabeth Wolf; Nov. 8—Mami Hayashida/Daniel Mason, Piano and Violin; Nov. 15—Glenna Armstrong Metcalfe, Organ.
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“Sorority Row” doesn’t make a killingBy FRANCIS NELSON
My first impression of “Sorority Row” after watching the preview was that it appeared to be a Greek life version of “I Know What You Did Last Summer,” so I was curious to see if director Stewart Hendler would make a duplicate movie or find a way to make a new twist on an old plot line.
“Sorority Row” is a tale of a prank gone bad—very bad. In order to take revenge on Megan’s (Audrina Patridge) ex-boyfriend Garrett (Matt O’Leary) for cheating on her, six sorority sisters from Theta Pi trick him into thinking he accidentally killed Megan. The girls draw it out far too long, and he ends up killing her while trying to get rid of the “body.” Suddenly they find themselves trying to ditch a real corpse and get their stories straight for the cops.
Fast forward eight months to post graduation festivities and all five sisters receive the same message sent from Megan’s phone, which had been left by the girls next to an abandoned mine shaft. Considering the situation, it’s easy to understand how, out of six people, every single one of them would conveniently forget that they used Megan’s phone to video tape the prank. If you happen to be a member of a sorority, you might find yourself annoyed with the stereotypical portrayal of sorority girls in the movie. Remember, these are the movie’s stereotypes, not mine.
Leading the inner circle of Theta Pi is Jessica (Leah Pipes) who is power-hungry, domineering and sarcastically rude. She is very selfish and only upholds the tenants of sisterhood when it suits her. She demands loyalty and respect from everyone else while only being loyal to herself. Following her is Cassidy (Briana Evigan) who is the most straight-laced of the bunch, and that’s not saying much. She harps on and on about doing the right thing, but is very easily talked into doing what is easy and/or popular.
Then you have the plain-Jane nerdy girl: Elli (Rumer Willis), who only got into the sorority because of her intelligence and willingness to do Jessica’s homework for her. She is obviously meant to be the ugly duckling of the group and guys pay her no attention. It doesn’t help her case that she’s scared of almost everything and freaks out about anything. Chugs (Margo Harshman) is the partier of the clique. I’m assuming she got her nickname due to the fact she likes having a bottle pressed to her lips. Quite the opposite of Ellie, Chugs is very popular with the boys. In fact, she’s so well-liked (and she likes them just as much) that she sees a shrink.
Rounding out the group is Claire (Jamie Chung) who is there to be not white. Despite the large number of characters in this movie, only she is there to represent minorities. All of them. Everyone else is as white as an Alaskan Christmas. You might think I’m making this up, but the movie comes right out and says it point blank within the first ten minutes. Every now and then, Hendler feels the need to hit you in the head with the obvious hammer (maybe he thinks you’re dumb) to make sure you are a) awake and b) on the same page as everyone else. “Sorority Row” is a blend of good and bad.
While Hendler did manage to put a new twist on the plot, some of it didn’t make sense or was just plain dumb. For example, in order to get everyone to go to the post-graduation party, Jessica claims that if even one of them is a no-show, everyone will know they killed Megan. How those two things are related is beyond me. In an effort to keep you guessing who the killer is, characters who aren’t the killer sometimes say or do things that they would only do if they were actually the killer. Since they’re not, it just seems forced and like Hendler is trying to trick you just to make you feel dumb.
There are three things I did like about the movie, however. One, the movie wasn’t nearly as gory as expected. Two, and this may sound like a contradiction to my first point, but some of the death scenes were creative instead of being cookie cutter. That said, they were not Saw material, thankfully. Three, the killer’s hit list. Throughout much of the movie you find yourself wondering why certain people are getting put down, but by the time the end rolls around it makes sense and you find yourself fooled.
I give “Sorority Row” two and a half stars because of its even mix of good scenes and bad scenes. I’m also giving it an extra half a star (for a total of three stars,) because the housemother, Mrs. Crenshaw (Carrie Fisher,) was great and I enjoyed her shotgun wielding ways.
Art Dept. hosts T.V. premiereBy EVAN HARRELL
On Tuesday, Sept. 29, at 6 p.m., Georgetown College will be hosting the Season 5 premiere of “Art:21— Art in the Twenty-First Century” in the Anne Wright Wilson Fine Arts Building. The episode is titled “Compassion,” and admission is free. This comes a week before its national air date on KET on Wednesday, Oct. 7, at 10 p.m.
The series focuses on contemporary art and the artists who create it. Rather than just spotlighting a work of art, the show also debuts the artists creating their pieces and gives more insight to what actually takes place from beginning to end. This opportunity comes to Georgetown College because of Daniel Graham, Professor of Sculpting and Printmaking, who is heading up the event. “I wrote a proposal to PBS to prescreen the first episode of the series at Georgetown College and they accepted the proposal,” said Graham. “It is a fantastic opportunity for students and the community because no other college in the state gets to premiere this show.”
Following the premiere, there will be a performance by the students of the Performance and Installation Special Topics class. The Art Department will also be unveiling their art vending machine. “The ‘Hotel Gill’ will be full of works centering on the theme of compassion,” said Graham. “The ‘Hotel Gill’ is a vintage cigarette machine transformed into a mini art dispensing machine—each work will only cost a dollar in change.”
The audience will also be encouraged to view the three art galleries on campus that will be open for the event. For more information on these events, call Daniel Graham at 502-863-8129, e-mail him at firstname.lastname@example.org, or visit him in the Wilson Art Building, Room 202.