Created by Deep silver, the same company that made the super cool “Secret Files: Tunguska” a few months back, “Lost Horizon” continues the brand’s budding legacy of making exceptional games in this almost forgotten genre. Even though the preview only allows a few hours of gameplay, “Lost Horizon” looks to pick up right where Secret Files left off and in the process, delivers the goods.

Simply put, the face of “Lost Horizon,” Fenton Paddock, has the potential to be one of the coolest new characters in the video game world. Part Dr. Who, James Bond and Indiana Jones, Paddock’s antics are essential to enjoying the game and a blast to watch. Feeling like a great movie that you can control, Paddock gets himself into a ton of trouble over the course of the game and it’s up to you to help him through it.

If dealing with Nazi’s and Chinese gangs wasn’t enough, Paddock is a bit of a ladies man as well. A nice spin on the genre, “Lost Horizon” separates itself from Secret Files by making Paddock’s conversations and the outcome of them, pivotal to advancing the game. One instance of this is found early on, as Paddock bets a club owner friend of his that he can get a sexy singer’s room key after just one conversation. Taking a page from the great movies of yesteryear, “Lost Horizons” has a noir feel to it, with Paddock playing the role of the good-looking and intelligent detective, hell-bent on adventure.

Speaking of good-looking, the backgrounds and character models here are full of life and color, making it perhaps the prettiest point and click adventure to date. Improving the cinemas from Secret Files, Deep Silver has proven that they are dedicated to not only keeping this genre alive, but making it a viable one in today’s gaming landscape. Regardless of if you’re a huge fan of the genre or not, after a few hours with this title, it’s almost impossible to put down, as you end up caring for the characters the same way you would an RPG.

Because of that, “Lost Horizon” is an eye-opening experience.

Set for a mid-September release date on PC, this title looks like it can and will surprise.

The fact that their lead vocalist is a girl donates even more flavor to Hey Monday’s approach.

Even though they have only been around for a little over two years, former members, Elliot James and Michael “Jersey” Moritary, were dropped between the years of 2009 and 2010.

Their current official members include Cassadee Pope (vocals), Mike Gentile (lead guitar) and Alex Lipshaw (rhythm guitar). When it comes to touring, Patrick McKenzie offers his drumming, percussion and back-up vocal abilities in order for Hey Monday’s tracks to obtain a complete sound. McKenzie might not be a certified band mate, but he offers plenty of skill that allows the group to continue being successful when performing concerts.

Hey Monday’s first debut album, “Hold On Tight,” was released in 2008 and their newest EP, “Beneath It All,” was established in 2010.

Though their upcoming CD has yet to be announced and won’t be sold in stores until 2011, this striving group of youngsters still manages to be a part of many popular and outstanding tours.

They had the opportunity to perform at Vans Warped Tour 2010 with well-known bands such as, Attack Attack!, Breathe Carolina, Emmure, Four Year Strong, Parkway Drive, Pierce the Veil, Set Your Goals, Suicide Silence, White Chapel and You Me At Six.

Hey Monday’s first and most popular hit single, “I Don’t Wanna Dance,” comes off of “Beneath It All.” It is definitely considered to be the track that allows the entire EP to stand out.

Pope’s voice releases a very cute and catchy sound. She gives the song a vibe of innocence towards love and relationships.

She sings about a boy that once had his chance but decided to throw it all away. The thought of him ever asking her to dance is totally out of the question.

The concept of the lyrics are pretty typical and disappointing. The background music doesn’t flow too well with what the song is about.

First time listeners of this tune might ask themselves why the music isn’t up to standards of what Hey Monday chooses as their genre. “I Don’t Wanna Dance” gives off a bubblegum pop flavor rather than the pop punk taste that audiences expect.

On the other hand, Gentile, Lipshaw and McKenzie concoct a chipper and lively harmony that can be addicting. The entire melody contains a happy-go-lucky aura.

All in all, “I Don’t Wanna Dance” should be given a chance, but it’s the type of single that may be easily forgotten. At least Hey Monday was willing to switch up their sound and try something new, rather than sticking to the genre that they are required to follow.

Sam has lost it. From the start of the season he was always the nice guy, the guy everyone can depend on. However, since the manifestation of his trashy drunken family, and his testosterone filled younger brother, Sam has been sent over the edge. After beating down a drug dealer in front of all his friends and family to near death, and continuing that with a long drinking spree, he has alienated everyone that he thinks mistakes his kindness for weakness. For the first time, he kicked everyone out of his bar before closing, leaving him alone with Tara, of whom he decides to sleep with…again. Hopefully sleeping with Tara will have calmed his nerves enough to bring back the Sam we all know and love.

This past episode also brought on a new species within the True Blood series. Jason’s girlfriend Crystal is apparently a were-panther, meaning she can transform from human to panther, similar to how the werewolves can go from man to wolf. What this means for the drug factory she was brought up in is unknown until the finale, but if the police decide to raid they may need animal control instead of the usual militia.

As for Sookie and the vamps, “Fresh Blood” left the viewers with a cliffhanger. Russell and Eric capture Bill and Sookie while they were driving together discussing their relationship. Before suspending the two of them inside Fangtasia, Eric reveals a plan to Bill to save the both of them. Earlier in the episode, Eric discussed with Russell that Sookie’s blood is the key to walking in daylight, and so both Eric and Russell indulged in her gore. Russell demanded Eric to step into the sunlight first, which he did showing that the sun had no effect on his skin, in which Russell joined him. Soon after Russell was outside in the sunlight, Eric handcuffed himself to Russell leaving them to presumably die, as Sookie’s blood is only temporarily effective.

In two weeks everything will all finally make sense, and the Russell saga of True Blood will, probably, come to an end. It will be a long and difficult two weeks to wait, but it will be worth it because True Blood never fails.

LOS ANGELES, CA — Sundance Institute recently announced the call for entries for its 2011 Theatre Lab to be held at the Banff Centre in Alberta, Canada, from March 27-April 17, 2011. The centerpiece of Sundance Institute’s Theatre Program, the Theatre Lab is a three-week developmental retreat designed to provide a private, creative environment for playwrights, directors, composers and librettists to devise and refine new work with the support of creative advisors, full casts and rehearsal space. Full submission details may be found at www.sundance.org/theatre.

The Sundance Institute Theatre Lab at the Banff Centre temporarily replaces the annual Sundance Theatre Lab, traditionally held each July in Utah, while upgrades and construction continue at the Sundance Resort. Earlier this year the Institute also held successful pilot Labs at MASS MoCA and on New York’s Governors Island.

“We have been incredibly fortunate finding temporary homes for our artists’ labs and aligning with like-minded nonprofit organizations that share Sundance Institute’s mission of nurturing independent artists,” said Philip Himberg, Producing Artistic Director, Sundance Institute Theatre Program. ”The Banff Centre has a worldwide reputation for inspiring creativity and supporting the arts in all its forms. This is an extraordinary opportunity to meet and interact with Canadian colleagues and to immerse ourselves in the glorious physical surroundings that inspire participants. This retreat atmosphere reflects the touchstone of our programming, wherever we bring the Sundance Institute name. The Sundance Institute Theatre Lab at the Banff Centre will offer the full range of traditional support for which we are known,” he added.

Kelly Robinson, The Banff Centre’s Director of Theatre Arts, said, “The artist is at the center of our mandate, and the development of new works is a core mission of the Centre. The Banff Centre’s record of commissioning new works, and its 37-year history of commitment to playwrights through the annual Playwright’s Colony, makes this collaboration with Sundance Institute especially meaningful. We are delighted to partner with Sundance to support the 2011 Sundance Institute Theatre Lab at The Banff Centre.”

ELIGIBILITY
Lab participants will be chosen from an open submission process. The Program is interested in both established and emerging theatre artists, as well as artists making a transition from areas outside of theatre. Artists are encouraged to apply online quickly at www.sundance.org/theatreapp; the deadline for submissions is October 1, 2010.

PROJECT SELECTION
Through open submissions, Sundance Institute Theatre Program considers an estimated 700 projects. Each full-time Fellow (playwright, director, and collaborator) receives a $500 honorarium and company of actors (if applicable), selected by Sundance Institute in collaboration with the Fellows, to support his or her project. It provides professional actors, dramaturges and playwrights rehearsal space and stage management for the collaborative team working on each project. At the end of each Lab, projects will culminate in an informal presentation for the community only, followed by a feedback session with Sundance artistic staff and guest Creative Advisors. Actors are selected for their professionalism, versatility and suitability for the development process. Actors operate on a Special Agreement with Actors’ Equity Association during the Theatre Labs.

Sundance Institute Theatre Program
Through its developmental activities at the Sundance Institute Playwright’s Retreat at Ucross, the Sundance Institute Theatre Lab at White Oak, Sundance Institute East Africa, and recent pilot theatre programs at MASS MoCA and Governors Island, The Sundance Institute Theatre Program identifies and assists emerging theatre artists, contributes to the creative growth of established artists, and encourages and supports the development of new work for the stage. Under the guidance of Producing Artistic Director Philip Himberg, more than 85% of the work coming out of the Program’s labs has found professional production at theatres across the United States, Mexico and Europe. Recent productions of Sundance-developed work include: Passing Strange by Stew and Heidi Rodewald, which won the 2008 Tony Award for Best Book of a Musical, The Lily’s Revenge by Taylor Mac, The Good Negro by Tracey Scott Wilson, and Circle Mirror Transformation by Annie Baker.

Sundance Institute
Founded by Robert Redford in 1981, Sundance Institute is a global, nonprofit cultural organization dedicated to nurturing artistic expression in film and theater, and to supporting intercultural dialogue between artists and audiences. Internationally recognized for its annual Sundance Film Festival and its artistic development programs for directors, screenwriters, producers, film composers, playwrights and theatre artists, Sundance Institute has nurtured such projects as Born into Brothels, Trouble the Water, An Inconvenient Truth and Angels in America. www.sundance.org.

The Banff Centre
The Banff Centre is Canada’s creative leader in arts and culture. In The Banff Centre’s powerful mountain setting in the heart of Banff National Park, exceptional artists and leaders from around the world create and perform new works of art; share skills and knowledge in an interdisciplinary environment; and explore ideas and develop solutions in the arts and leadership. www.banffcentre.ca.

It’s also full of surprises.

Through the first two issues, it appeared that Dagmar the Witch, while being an integral part of the series, would play second fiddle to Dinderly, the head of a huge Pharmaceutical chain with enormous pull economically and politically.

Without giving anything away, lets just say that plan is out the window, but the series couldn’t be in a better situation because of it. Unlike Powell’s other series, “The Goon,” where an already dead Labrazio and the undead priest were the main baddies, with no deaths coming until much later, this series has had a few characters apparently leave the series- for good.

With a seamless transition that focuses on Lula and Chimi, the Powell critics have absolutely no ammunition.

On its own merits, this is a comic that although artistically similar, has nothing in common with any of Powell’s other work. While the friendship between The Goon and Frankie is an integral part of that series, the relationship between Lula and Chimi is completely different. Without a doubt, both Goon and Frankie can handle themselves physically and don’t need each other the same way Lula and Chimi do. Simply put, without each other, these characters would be lost and as a result, seeing them grow and further establish a bond is perhaps the best reason to read the comic.

Aside from that, seeing other characters the likes of Wrinkle and Horacio, the boy-faced fish help Lula is hilarious. Continuing to play with the ’80s sitcom kind of feel the comic has at times, both Wrinkle and Horacio seem to have been stuck in an episode of “Charles in Charge,” with the two looking like Scott Baio and Willie Aames, getting into trouble and trying to fix it by any means they can. Developing these characters makes the series even stronger and gives the reader a sense of family within the circus that wasn’t quite there through the first two issues.

Also apparent in this issue is much more attention being paid to close up art, as Chimi’s face [and the faces of the other characters as well] is put on full display in some of the best looking art in the series thus far. Asking more of himself as an artist, Powell’s style is beginning to develop here, as far as giving this series its own distinct look. Playing with shadows and light more than ever before, you can’t ask for more, especially considering the monochrome nature of the book.

With that being said, continuing the fun,yet deceivingly smart story and bringing the goods artistically, the third issue of “Chimichanga” delivers.

Featured in this year’s FringeNYC festival, it’s an extraordinary way to spend the night. It is also an impressive combination of imaginary adventures, humor and the trial and error of human courtship.

The plot line of the play is fairly simple. In the beginning, Carol thinks her fiancée Sam goes to a weekly poker game, but Sam has a terrible secret. He has been avoiding telling Carol the truth, which is that he is a long-term participant in a fantasy reality game called “Caverns and Creatures,” the play’s version of “Dungeons and Dragons.” Before the two officially wed, Sam resolves to tell Carol about his habitual pastime.

Carol, played by Kerry Flanagan, is not in the dark for that much of the night to Sam’s activities. She discovers that Sam doesn’t play Poker, but assumes that he is having an affair, which prompts him to tell her the truth. Sam, portrayed by Rob Marnell, is able to take on the aspects that we all know to be the classic boy next door. He is slightly charming and has his funny moments. He explains to Carol that he plays a variety of characters in the play, including a female character.

As for Sam’s best friends, they are the ones who try to get him to tell Carol and offer to play a game of “Caverns and Creatures” with her in an effort to introduce their points of view on it. Sam’s friends, Gary (Matt Hammond), Kenny (Dan McCabe) and Mark (Michael “Tuba” McKinsey) really steal the show. It was apparent that the play was more than just a game to them. The three of them live vicariously through their characters to the point when one of them kills off Carol’s player to save his own. With assistance from his fellow gamers and friends, Sam helps Carol through the game and she is actually a quick study. She is a natural at it and is able to salvage her character after her betrayal at the hands of Sam’s friend.

The cast of characters is rounded out with the appearances of Joe Aiello and Klea Blackhurst, who play the roles of Bill and Phyllis, Carol’s parents, who add a nice amount of depth to an already talented cast.

In the end, though the title and the story line left little to the imagination, it is a welcomed surprise to actually see the performance. The characters and the characters within the characters are amazing and well-written by Brenner. Hopefully, the play will be revisited soon for more New Yorkers to enjoy it.

Nintendo’s Fluidity combines an amazing physics engine that realistically models flowing water with innovative puzzle game play. Using the three forms of water – liquid, ice and cloud – players will solve challenging puzzles across multiple chapters of an illustrated magical book called Aquaticus. The game offers detailed tutorials that introduce basic game mechanics, but the complexity quickly ramps up as special powers are acquired and enemies are introduced, testing players’ reflexes and ingenuity.

PAX attendees will also be able to get their hands on Metroid™: Other M to see the seamless new perspective-switching first-person/third-person approach to this classic franchise. Visitors to the booth can also view one-of-a-kind costumes and props from the new Metroid: Other M television commercial in a special display area. Combining exploration, combat and a storyline that delves into the personal history of bounty hunter Samus Aran, Metroid: Other M launches on Aug. 31.

With so many video game fans converging in one place, PAX is the ideal place for players who already own DRAGON QUEST® IX: Sentinels of the Starry Skies™ to gather to trade treasure maps or go questing together. Nintendo will provide DRAGON QUEST IX owners at the show with a special downloadable “Orgodemir” map via the game’s cooperative “Tag Mode” feature. Anyone who hasn’t yet purchased the game for the Nintendo DS family of systems can try it out at the Nintendo booth, and those looking to meet up with other players can do so at a special game-themed lounge in the North Lobby on level four of the PAX venue.

To receive treasure maps, players must have their Nintendo DS system running the DRAGON QUEST IX: Sentinels of the Starry Skies game, set to Tag Mode. Once players reach the town of Stornway, they are able to access Tag Mode by talking to Erinn at the inn called “Quester’s Rest.”

For more information about Nintendo, visit http://www.nintendo.com.

Even without a World Champion, due to a kayfabe injury to champion Rob VanDam [According to several wrestling websites, TNA used up all of his bookings and has yet to negotiate a new contract with him.], the show had plenty of drama, stemming from the company’s super clique, “Fortune.”

Add in an excellent tag team match between Generation Me and the Motor City Machine Guns, a brutal tag match where Beer Money [who looked more like the tag team of Arn Anderson and Tully Blanchard, showing excellent polish and grit] eviscerated the FBI and a match between Jeff Jarrett and Kevin Nash [where Sting and Hulk Hogan ended up showing up, further developing that angle] and this edition of Impact had much better wrestling showcased than what RAW managed to produce.

Right from the start of the show, Fortune’s manager Ric Flair was called out by TNA President Dixie Carter and “The Nature Boy” was on top of his game. Playing the dirty old man to a T, Flair got under Carter’s skin, eventually leading up to an encounter with Hogan, who booked an eight-man tag with Kurt Angle, Mr. Anderson, Jeff Hardy and The Pope against the rest of Fortune. While a bit slow at first, the match ended up ending nicely with a ton of moves being used by all the talent before Fortune ended up fighting with EV2.0, where Sabu ended up partially putting Doug Williams through a table and the four TNA stars tried to put their bygones aside.

Overall, it continues to prove that TNA is dedicated to developing this group of young stars, while incorporating the legends of yesteryear. Will it be enough for the company to hold water with the WWE? History says that just because you have better wrestling doesn’t necessarily mean your ratings will improve. Right now, TNA has to continue to develop its brand and style of story-telling and try to cater to more viewers.

What it can do to have that become a reality is limit its mistakes and keep the action as fast and fierce as possible. For instance, there were some missteps along the way though that held the show back. Firstly, there was entirely too much time paid to the Knockouts, as the angle between the Beautiful People and Madison Rayne needs to be settled in the ring already. The same thing goes for the drama between Abyss and EV2.0, which got extremely boring as Stevie Richards and “The Monster” battled backstage for what appeared to be an eternity.

Eliminating these filler segments or shortening them enough to have another match, even a quick job, could have been enough to make this a great show. In spite of that, this edition of Impact was a solid one.

Delorean and Dominique Young Unique opened for surprise headliners DMC, Doug E. Fresh, and the Cool Kids. Attendees danced between sets, where one song selection ranged from “Blister in the Sun” by the Violent Femmes and a cut from Big Boi’s new record. DMC schooled the crowd on the good old days persuading them to raise their arms and channel their inner early-90s. At one point Andrew W.K. joined DMC to back him on the electric piano.

Most of those in attendance at East River State Park were young, hip adults along with a few families. Hipsters enjoyed sponsor-organized dodge ball and children made their own fun on a nearby playground. Sponsors also provided a hydration tent with free samples of Vitamin Water and some large water-misting fans. Food options included corn on the cob, pizza and tacos. Beer, wine and energy drinks were also readily available, along with free packets of caffeinated gum.

Senator Charles Schumer made his way onstage at one point, thanking the crowd for making his hometown of Brooklyn the “hippest place on Earth.” The fate of the concert had been up in the air due to a dispute between the Open Space Alliance and Jelly NYC. Schumer was directly involved in the negotiation proceedings along with state bureaucrats and concert promoters. Some vendors expressed displeasure with the location of the event. Regulations are much stricter for state parks than for city parks, which raised questions of logistics for vendors. With the fate of the concert series up in the air, however, such problems may no longer matter. But most of those in attendance were saddened by the prospect of no more concerts.

“This is the kind of thing that should happen everyday,” said concertgoer Tal Hirshberg.

The New York Times reported that attendance has been down this summer in comparison to past years. The decision to withhold the names of the headliners may have discouraged some from attending and the high temperature certainly didn’t help.

But even those working found time to enjoy the day.

“I was born and raised off them, man,” said Keith Marcus of Crown Heights, in reference to hip-hop group Run DMC.

Others knew nothing of the event. 35-year-old Susan Phuvasitkul came to the Waterfront for the first time with friends.

Joel Berg, who brought his children, said, “If it’s good enough for Senator Schumer, it’s good enough for me.”

Photo by Felipe Cabrera

“Music marks milestones in all our lives,” notes frontman Jon Bon Jovi. “These songs have stood the test of time and they remind us all where we came from, even as we keep our eyes towards the future.”

Bon Jovi GREATEST HITS will be a 16-song single disc chock full of the band’s biggest chart-toppers including “Livin’ On A Prayer,” “Always,” “It’s My Life,” “Wanted Dead or Alive,” and “Who Says You Can’t Go Home.” Two new songs, including lead single “What Do You Got,” round out the tracklisting. “What Do You Got?” will hit radio airwaves globally at the end of August.

Bon Jovi GREATEST HITS – THE ULTIMATE COLLECTION will be a 28-song two disc edition made up of the GREATEST HITS CD from the standard edition and a second disc featuring beloved fan favorites including “Bed of Roses,” “Blood on Blood,” “These Days,” and “Keep The Faith” plus the third and fourth new tracks created for this project.

The four new songs (“The More Things Change,” “No Apologies,” “This Is Love, This Is Life” and the first single, “What Do You Got?”) were written specifically for inclusion in this compilation.

The complete tracklistings for Bon Jovi GREATEST HITS and Bon Jovi GREATEST HITS – THE ULTIMATE COLLECTION will be unveiled exclusively at www.bonjovi.com.

For more information on all things Bon Jovi, please visit www.bonjovi.com

WiiWare

Tales of Elastic Boy – Mission 1
Publisher: Lexis Numerique
Players: 1-2
ESRB Rating: E (Everyone) – Comic Mischief
Price: 600 Wii Points™
Description: Tales of Elastic Boy offers a totally innovative and unique style of game play that takes full advantage of the Wii Remote™ controller. To fulfill your quest and save your planet, you’ll have to travel through many lands, defeat various enemies, meet unexpected friends and solve tricky puzzles. Play in single-player mode or with your friends and discover funny games. Use your stretching arms to swing and punch, roll as fast as you can or jump onto your enemies. Based on a powerful physics engine, Tales of Elastic Boy offers a truly original and entertaining gaming experience that’s easy to learn but challenging to master.

Nintendo DSiWare

Cosmos X2
Publisher: Saturnine Games
Players: 1
ESRB Rating: E (Everyone) – Mild Fantasy Violence
Price: 500 Nintendo DSi Points™
Description: Pilot the Cosmos X2 to defend your planet against an alien invasion. Battle your way through the solar system to the alien home world to defeat their army. Equip your ship with two weapons of your choice and switch between them at any time during battle. Your active weapon takes damage when your ship gets hit. Defeating enemies regenerates energy in your inactive weapon. The key to your survival lies in finding a balance in your weapon usage. Battle your way through six levels of action and test your skills with three difficulty levels. Three bonus modes provide additional challenges.

myNotebook: Pearl
Publisher: Nnooo
Players: 1
Price: 500 Nintendo DSi Points
Description: myNotebook allows you to take notes wherever you go. Just pop open your Nintendo DSi system and jot down your thoughts. Make a list and cross it off, or play your favorite pen-and-paper games (games not included). You can even personalize your notebook by drawing on the cover and changing the paper type with 24 different unlockable paper styles. Use the pen or pencil to make your notes or doodles and then erase the bits you don’t like. With five ink colors, you’ll always be able to make your notes and doodles look stylish. myNotebook also includes 128 pages to write on and the ability to export your pages to your Nintendo DSi Photo Album.

Music on: Learning Piano
Publisher: Abylight
Players: 1
ESRB Rating: E (Everyone)
Price: 200 Nintendo DSi Points
Description: An entire orchestra follows your performance of 15 great classics. By playing each day, your ability may increase. Earn the bronze, silver and gold medals for each song, completing each different level. A simplified music score is shown on the upper screen and a full piano keyboard appears on the touch screen, guiding beginners note by note on their first steps. Learn works by famous composers including Beethoven, Pachelbel, Bach, Strauss and Verdi.

Nintendo adds new titles to the Nintendo DSi Shop and the Wii Shop Channel at 9 a.m. Pacific time on Mondays. Users with broadband Internet access can redeem Wii Points or Nintendo DSi Points to download the games. Wii Points can be purchased in the Wii Shop Channel. Nintendo DSi Points can be purchased in the Nintendo DSi Shop. A Nintendo Points Card™ can be purchased at retail locations. All points from one Nintendo Points Card must be redeemed in either the Nintendo DSi Shop or the Wii Shop Channel. They are not transferable and cannot be divided between the two systems.

Remember that both Wii and Nintendo DSi feature parental controls that let adults manage the content their children can access. For more information about this and other features, visit http://wii.com or http://www.nintendodsi.com.

LOS ANGELES, CA – The non-profit Sundance Institute announced yesterday it has been selected as a candidate charity in Members Project®, a partnership between American Express and TakePart, a community website focused on socially conscious media and issues. Supporters of Sundance Institute can now go online to vote for the organization to share a total of $1,000,000 in funding from American Express. A total of five organizations will share the monetary award. The funds will help Sundance Institute further its mission of discovering and supporting new independent artists in film and theatre, and connecting them with audiences around the world.

Beginning yesterday, supporters, fans, filmmakers and alumni of Sundance Institute can vote or donate with Members Project® by visiting: http://www.takepart.com/membersproject.

For nearly three decades, the nonprofit Sundance Institute has promoted independent storytelling to inform and inspire audiences across political, social, religious and cultural differences. Through labs, funding, special projects with key partners and the Sundance Film Festival, the Institute serves as the leading advocate for independent artists worldwide.

“On behalf of all of us at Sundance Institute, I want to thank Members Project®, American Express and TakePart for recognizing us as a leading arts and cultural organization,” said Keri Putnam, Executive Director, Sundance Institute. “As a candidate for funding naturally we want to encourage our staff, alumni, friends and followers to cast their votes – repeatedly – not only to show support for our organization but by extension support of all independent artists worldwide.”

Members Project® is a partnership between American Express and TakePart, an independent online community that “connects its members directly to the issues that inspire them to engage, contribute and take action.” It encourages everyone, including non-American Express Cardmembers, to take his or her step and help support worthy causes and charitable organizations.

Individuals who have joined Members Project® can vote for one charity every week from a list of up to 50 charities. Every three months, the votes are counted and five charities in that round of voting will share a total of $1,000,000 in funding from American Express. Members Project provides the platform to help make taking action easier by partnering with organizations such as Sundance Institute.

Sundance Institute

Founded by Robert Redford in 1981, Sundance Institute is a global, nonprofit cultural organization dedicated to nurturing artistic expression in film and theater, and to supporting intercultural dialogue between artists and audiences. Internationally recognized for its annual Sundance Film Festival and its artistic development programs for directors, screenwriters, producers, film composers, playwrights and theatre artists, Sundance Institute has nurtured such projects as Born into Brothels, Trouble the Water, An Inconvenient Truth and Angels in America. www.sundance.org.

Hurry! This offer is only available this week!

IRVINE, CALIFORNIA — August 31, 2010 — Atlus U.S.A., Inc. today shouted from the rooftops that Xbox LIVE® Gold Members can punch, kick, and headbutt their time away, for thirty-three percent off with Zeno Clash Ultimate Edition™ on Xbox LIVE® Arcade for the Xbox 360® video game and entertainment system from Microsoft. This critically acclaimed, first-person melee action adventure brawler, normally priced at 1200 Microsoft Points, is included in the XBLA Deal of the Week for only 800 Microsoft Points!

Zeno Clash Ultimate Edition recently released with praise, honored for its unique visual style. 1UP.com says “Zeno Clash remains the same gorgeous, grotesque, unique experience it was on PC, and a game well worth its…price tag on Live,” giving it an A- on their review. GameZone states “…the strange, brutal, and somehow beautiful world that ACE Team has created here is one that you won’t want to miss out on,” scoring it 9/10 on their review.

The vastly enhanced Zeno Clash Ultimate Edition features new modes including all-new online and split-screen cooperative mode for the Tower and Pit Challenges, along with new combat moves, new weapons, and a whole new Zeno Rush gameplay mode. Zeno Rush mode lets players compete against themselves and each other (via online leaderboards) in trying to complete select scenarios from the single-player campaign in the shortest times possible. All this added content, combined with a series of tweaks and improvements based on fan feedback, deliver the definitive version of the critically acclaimed game.

Zeno Clash Ultimate Edition is available on Xbox LIVE® Arcade for 800 Microsoft Points, for a limited time. Visit the official game website (www.zenoclash.com) for more information.

About Zeno Clash Ultimate Edition
In the land of Zenozoik, the city of Halstedom is ruled by a powerful clan, one which Ghat has betrayed by committing a terrible sin. Now, Ghat’s brothers and sisters are pursuing him and his companion Deadra through strange and twisted lands, beyond the boundaries of the sane to the ends of the world. What was Ghat’s crime and why did he commit it? The bare-knuckled brawl to reach the truth has just begun.

Key Features

* Fascinating world of grotesque beauty–Equal parts breathtakingly beautiful and utterly disturbing, prepare to be swallowed up in a surreal fantasy world powered by the Source engine. Explore lush environments and confront bizarre animal-humanoid foes on your mission of discovery and redemption.
* Visceral first person fighting–Combat is up close, personal, and entirely satisfying. Start with a series of punches, kicks, and grabs, follow up with a knee to the enemy’s face, and hit him with a finishing move to send him flying yards away. Learn new moves to mix it up. Guns and melee weapons offer additional power and tactical options.
* Ultimate edition additions–The already highly praised gameplay has received an overhaul that includes combat rebalancing, interface enhancements, improved animations, new modes, and new gameplay content.
* New cooperative play modes–Enlist a friend to take on enemy waves in Tower Challenge, a special survival mode that offers additional replayability beyond the single-player campaign. Play cooperatively online, or locally via split screen. With leaderboards to rank you against your friends, the challenge never ends!

Zeno Clash Ultimate Edition has been rated “T” for Teen with Blood and Gore, Mild Suggestive Themes, and Violence by the ESRB.

About Atlus U.S.A., Inc.

Located in Irvine, California and founded in 1991, Atlus U.S.A., Inc. is renowned for its proud tradition of publishing exceptional role-playing games with strong niche appeal. The Atlus library of critically acclaimed video games includes Demon’s Souls, Odin Sphere, the Trauma Center series, and the award-winning Shin Megami Tensei series. For more information, visit http://www.atlus.com.

For breaking news, special promotions, insider info, and more, visit http://www.atlus.com/faithful to join the ranks of the Atlus Faithful!

©2007-2009 ACE TEAM SOFTWARE. All rights reserved. ACE Team, the ACE Team logo, Zeno Clash, the Zeno Clash logo are trademarks and/or registered trademarks of ACE Team Software. Licensed to and published by Atlus U.S.A., Inc.

Check out Review Fix EIC Patrick Hickey Jr.’s exclusive Interview with recording artist Michelle Anthony, who discusses her new album, “Tornados,” which is set to hit the streets on Sept. 14.

Click the link below to listen to the interview:

Michelle Anthony Interview

Katniss is written as today’s generation’s modern superhero. She has no alien origin, or mutant power. Yet, she is a heroine nonetheless, a hero that is human, flawed, but powerful. She reminds Greek Mythology buffs of Artemis, the goddess of the hunt with her archery capabilities, and inner strength. Unlike her godly inspiration, Katniss is far from innocent. Having survived the gruesome and violent Hunger Games, not once, but twice, she must learn to trust her hunting instincts to protect those she loves and fight for whats left of her world.

Along with Katniss’ tough image, Collins’ brilliantly reminds us that she’s just a girl of seventeen; one who has seen death at a caliber few have witnessed. She has points within the plot where she breaks down to cry, and even at points come close to a panic attack. These do not weaken her character, yet almost the opposite. With these ‘breakdowns’, readers see that she is no superhero, but just a girl; one who knows whats at stake and what she may lose. Had we not seen this, Katniss would surely lose the elements that make her human, and almost real. Her weaknesses are out in the open not only for the characters to see, but for the readers as well. Her heart is torn by love, her mind psychologically holding on to take in what is real versus what is not, and her gut is continuously yearning her to fight-even if it will cost those she loves.

Symbolism is masterfully used throughout the novel. The Mockingjay, the most obvious of examples is what Katniss’ quest has been about all along. The symbol, which to certain characters, means something different, is what makes it a word that is definitely title-worthy. The novel causes readers to question themselves and what they feel this symbol represents, as well as get a front row seat into how Katniss views this powerful word.

Collins’ plot at this stage in the game, is still as noteworthy as in Hunger Games and Catching Fire. However, it’s almost sad to say that a reader can at times feel next to nothing when she describes the brutal violence in the book. Having read books one and two, almost conditions a reader to the point where it’s not as surprising to come across death with the initial reactions found in the first two novels. Collins’ may have known this, as she strategically places certain characters in shocking scenes in which they meet their demise.

Whether a reader likes it or not, Collins’ use of irony is in full swing in this regard, and her metaphor for life, death, and political cruelty shine through these characters’ horrific deadly examples. *Note to readers, you may not be happy with who stays, and who goes, but Collins’ does not wastefully murder important characters without reason. It is either done to play on a literary element such as irony. Therefore, try not to hate on the author, until you figure out the grand scheme of things.

Overall, Mockingjay, meant to be anticipated for the summer season, was certainly worth waiting for. Katniss’ battle will be remembered by this generation (and those to come) right next to Harry Potter’s journey , and Bella Swan’s love of vampires. Katniss Everdeen, ‘the girl on fire’ has certainly lit the pages and her story is definitely one that should spread like wildfire.

The story focuses on John Marston, who used to be a gang member and is currently playing on the side of the law. Worried about his and his family’s safety, Marston is trying to find people he was allied with to make sure they will never bother him again. On his way through New Austin to Mexico, the protagonist meets a lot of people who promise to help in exchange for favors. Instead of helping, though, they often use Marston for their own benefit. Going on these missions, you learn little by little how to use new kinds of weapons.

It is a game that gets you into it very quickly, as there is so much to do there in addition to completing the missions. Traveling to your destination, you can get into trouble on your way; something always happens. You may come across someone who needs help or wants to rob you. You may see lawmen asking for your assistance or executing people who claim to be innocent, and it’s up to you to decide whether or not to interfere. Gaining experience, you will know when you should stop the injustice and when to pass by, not risking your horse or your life.

Having good horses, by the way, is extremely important. The faster your stallion is, the more chances you have to escape from a chase or to catch a criminal you are going after. If you ride the same horse for a long time, its stamina increases; it runs quicker and is more obedient. Mustangs could be broken at job locations or in the wilderness; that gives you the opportunity to purchase a horse like the one you have just tamed.

A great opportunity is the Dead Eye that slows down the time and allows you to shoot your target that is moving quickly, or several targets at the same time, which helps a lot if you captured a criminal for bounty and members of his gang are now after you. The Dead Eye meter may be refilled by chewing tobacco. It also increases naturally when you shoot your targets without using this option.

The Dead Eye is also useful while hunting. Becoming an experienced killer, you will notice which animals are of a higher value and who you should sell them to. Some species are rare in certain areas, and they are bought for a higher price.

Another way to earn a living is getting a job. There are two kinds of jobs in the game: Horse breaking, which allows you to purchase more horses, and night watch, where you have to go around a town and catch criminals. It is preferred that you get them alive; however, you are expected to stop the trouble by any means.

Tired of shooting? You can entertain yourself by playing poker, blackjack or liar’s dice. You can even cheat in poker if you have an elegant suit, but be careful: If someone catches you, you will be called on a duel, so make sure that you shoot well.

Clearing a gang hideout or going for particular gang members, you may need to disguise yourself and cunningly kill the enemies one by one. Therefore, you will have to complete certain tasks to be able to purchase necessary outfits. Having many suits, you can have fun changing clothes and looking different. The last one you need is the complete outfit; you get it when the game is finished.

Truly enjoying the game, you will be astonished by the huge map. There are over 90 areas you are to discover, all of them keeping their own secrets.

If all of the above is not sufficient enough, you will also look for hidden treasures, gather herbs necessary for your survival, exercise in shooting animals and learn how to hunt different kinds of beasts. There will be mysterious people you meet in different places, helping some of them and burying others. There is a whole lot to do for you, so prepare to play this game for hours and hours.

The only warning is: Do not get lost in the game. It is thrilling and terribly addictive.

Randy Johnson’s photos of Megadeth at the Dodge Theatre (performance and backstage) can be found here: http://www.megadeth.com/RJ-Photos.html.

A video clip of Randy Johnson photographing Megadeth and Testament vocalist Chuck Billy backstage can be found here: http://www.youtube.com/watch?v=LbvXcRB6mww.

Over a 22-year career, Randy Johnson played for six MLB teams including the Montreal Expos, Seattle Mariners, Houston Astros, Arizona Diamondbacks, New York Yankees and San Francisco Giants. Johnson is a World Series Champion and World Series MVP, 10-time All-Star, 5-time Cy Young Award winner, and one of MLB’s 10 best left-handed starting pitchers of all time.

Since rising to international fame in the 1980s, Megadeth has sold more than 20 million albums worldwide, including six consecutive platinum albums, with eight consecutive Grammy nominations for Best Metal Performance.  Lead vocalist/guitarist Dave Mustaine’s recently-released book MUSTAINE: A Heavy Metal Memoir debuted at #15 on the New York Times best seller list in the Hardcover Nonfiction category.  Megadeth will release the Rust In Peace Live Blu-ray, DVD and CD–captured on the final night of Megadeth’s historic Rust In Peace 20th anniversary tour at the legendary Hollywood Palladium–September 7 via Shout! Factory.

www.megadeth.com

August 30, 2010

Dear Fans of the First Amendment:

The Internet, the last free open and diverse democratic medium, is under attack. Net Neutrality, which provides that no content is favored over any other, and that content creators have an equal opportunity to freely disseminate their information, is being imminently threatened by greedy media megaconglomerates and their vassals[1]. It is urgent that we fight those who would sacrifice our freedom for a profit. Net Neutrality will be the savior of independent art and commerce if we preserve it.

Three weeks ago, The New York Times reported on the recent Verizon-Google talks. What initially was clearly a conspiratorial plan to kill Net Neutrality and open the floodgates of a tiered, payment-based Internet is now being identified as a meeting of minds to discuss the possibility of a “parallel network”. Verizon and Google are hiding behind vocabulary, convinced that by renaming an issue, they can fool the American public into acquiescence. Yet, whether it’s directly setting up a payment-based Internet, or conceiving and executing a parallel system, the issue is the same: by commodifying the dissemination of information, the media giants strike at the core values of freedom of speech and expression upon which this country was built. Verizon, Google and their cohorts seek to begin construction of financial roadblocks in specific lanes of the current information superhighway, allowing only those of their choosing (those wealthy enough to pay their fines) to pass, leaving the rest of us on crappy, disconnected dirt roads where the public won’t be able to find us at all. Instead, the megaconglomerates will allow access to only the most banal programming[2]. Thousands of independent suppliers of news, art and entertainment will die. The Internet will be doomed like the mainstream media before it.  It will be condemned to offer only spoon-fed baby-food news, art and entertainment, while indies like us lose our fight for survival. Clearly, Net Neutrality is vital.

Right now, dear reader, your website, Troma’s website and Disney’s website all have equal opportunities on the level playing field of the Internet. If your site or content is interesting, you can attract a larger public than Viacom, Rupert Murdoch or Justin Bieber. And, should the Internet ever prove to be a source of great revenue, then you too will have your fair share of the profit. But the vertically integrated media conglomerates that control the traditional news and entertainment worlds are down in Washington, D.C. 24/7 spending kabillions of dollars lobbying to destroy this free, democratic and diverse worldwide platform. They want their cartel to control the Internet.  They want to control a kind of NBC/CBS/ABC world with no competition. Their many overpaid “suits” do not want to have to wake up in the morning and be required to actually think. Net Neutrality on the Internet means that the media elites are forced to compete with you and me, which scares the shit out of them.

Historically, whenever new technology has become available, megaconglomerates sit back and allow the independents to take the risks and do the work to develop the technology into something with money-making potential. As soon as that technology starts to turn a profit for the independent visionaries, the megaconglomerates step in and begin to throw monkeywrenches into the works until they can co-opt the technology for themselves. For example, once videocassettes and home video became popular, the MPAA [3] suddenly threatened that because they could be shared, videocassettes heralded the end of copyright law, and opened the doors to piracy and unmitigated pornography. They lobbied in Washington D.C., spending millions and millions of dollars to get rules preventing the media monopoly repealed. The MPAA was simply using scare tactics and false logic to intimidate the masses; once the Mom & Pop video stores were destroyed by Viacom Blockbuster, et al, home video became the largest source of profit for the megaconglomerates.

Radio, television, film and newspapers have already fallen prey to obscene media consolidation, having been converted into regurgitated, dumbed-down, controlled information at the hands of the vertically integrated media conglomerates. The Internet is our last space in which to defend our constitutional rights to free thoughts, speech and art. Support the Internet Preservation Act of 2009. Rep. Edward Markey (D-MA) and Anna Eshoo (D-CA) propose to make Net Neutrality a U.S. law. Contact your elected officials and threaten to withhold your vote if they don’t defend your interests. Let the FCC know how important this matter is to you. Post and pass along my relevant PSA and urge your friends and colleagues to do the same. Take part in the campaign to Save the Internet. Now let’s make some independent art!

As far back as 1799, Thomas Jefferson, a co-creator and champion of the First Amendment

(on left, pictured here with Martin Van Buren, in his famous library at Monticello), understood the importance of Net Neutrality.

Very Truly,
Troma Entertainment, Inc. by
Lloyd Kaufman, President

Currently celebrating its 35th year, Troma is the longest running independent film production company. Kaufman is a legendary filmmaker whose filmmaking experience covers 40 years of directing iconic independent movies such as The Toxic Avenger and Poultrygeist, Night of the Chicken Dead. Kaufman is known not only for his own unique brand of cinema but for his contributions to the efforts of fledgling independent filmmakers and other artists. He is the current Chairman of The Independent Film & Television Alliance.

Anne Koester contributed to the writing of this letter.

• Entertainment Weekly: “…alternative pop-rock sound that radio’s been missing”

• RollingStone.com: Neon Trees named ‘Artist Of The Week’ – “Bombastic alt-rock”!

(August 30, 2010 – New York, NY) It’s a landmark week to remember for Mercury Records group Neon Trees as “Animal” lands at #1 on the Alternative chart (first single from their debut album, HABITS), with digital song sales approaching gold!. “Animal” jumps to Top 15 on Hot AC and #28 at Top 40, in the aftermath of Neon Trees’ 7-week summer tour that wrapped up August 6th at the Lollapalooza fest in Chicago.

Feeding “Animal”’s rise was a BIG add at NY radio Z-100. In the new (September 3rd) issue, Entertainment Weekly posts its “best bets for airwave domination come autumn” – and “Animal” leads the pack at the top of the list. Programmer Sharon Dastur of Z-100: “They really fill that alternative pop-rock sound that radio’s been missing. There’s been nothing of this texture since the Killers’ big hits, and I think [Neon Trees will] take over that role.”

Neon Trees – was RollingStone.com’s Artist Of The Week.. Rolling Stone had nothing but raves for their album: “HABITS is filled with Eighties pop meshed with bombastic alt-rock choruses – like the Killers playing backup for Duran Duran. ‘Your Surrender’ is a U2-style singalong, ‘1983’ is a bratty dose of keyboard-driven pop punk and Hot 100 single ‘Animal’ is an irresistibly catchy lovesick dance tune.”

“Animal” was heard this summer in promos for Camp Vegas (the “summer camp for grown-ups,” engaging in exclusive events around Sin City, including outdoor concerts, pool parties and more). Go to: http://www.visitlasvegas.com/vegas/features/summer/camp-vegas.

Boosted by their summer tour and appearances earlier this spring on NBC’s The Tonight Show with Jay Leno and ABC’s Jimmy Kimmel Live, HABITS moves into its 22nd week on the Billboard Heatseekers Albums chart, jumping to #5-bullet. For more information and upcoming tour dates with 30 Seconds to Mars go to www.NeonTrees.com

Photo by Cynthia Spataro

The EP consists of six tracks of smooth ballads, including remakes of two classics: “Puttin’ On the Ritz,” by Irving Berlin and Pat Benatar’s “Love is a Battlefield.” The album is simply genius, and it is a reflection of her musical background, of everything she learned from her father.

“I started out, obviously, singing American songbook, which was a great influence,” said Bennett. “I grew up with that music, so it came pretty natural to me. It’s hard not to get inspired when you’re around music like that, because it’s so beautiful.”

Growing up surrounded by musicians, Bennett has been performing since the age of 4 with the great Count Basie at international casinos and jazz clubs, as well as singing for musical icons Frank Sinatra and Dean Martin.

Not knowing much else but how to entertain an audience, she began considering music as a permanent career move at 17. Bennett attended a musical conservatory, the Berklee College of Music, to sharpen her sophisticated, silk-like vocals, and the Lee Straburg Theatre and Film Institute for dancing and acting.

“I always knew I wanted to do something with the arts,” she said. “I wasn’t quite sure in what way it would manifest, but I was always interested in a lot of different things. Not just music, but dance and art and I was really into movies as well. Then just as I got older, it started to round out and I began to dive into music a lot more.”

Playing instruments privately as a writing tool but preferring to use her voice as an instrument, Bennett hit the studio for vocal lessons in Los Angeles after college with vocal coach Mark Rank. Studying and practicing at home wasn’t enough for the beautiful, fair-skinned redhead, who wanted to fine tune her voice to give her fans the best show she could.

With the idea to produce a pop record set to be available to the public soon, Bennett set up a meeting with award-winning songwriter Holly Knight and Grammy-nominated pianist/arranger Larry Golding, and they first felt it appropriate to create an EP that paid homage to Bennett’s heritage.

“For me, a lot of it was just sitting down with Larry Golding, the piano player, and playing songs and picking ones we thought were great – just kind of hanging out and seeing what comes naturally to us,” Bennett said. “He and I chose most of the tunes together, and then we would sit down, come up with arrangements and find a way to work it out or where it sounded good to both of us.”

With the trend of music being something that comes naturally to her, it was only appropriate that the album be titled “Natural,” marking the expression of the chapter in her life she is currently at, and what’s to come from this humble beginning.

“The meaning for me with the title is that this is what comes the most naturally to me, and it’s very basic,” she said. “Most of it is piano and voice, and that was how I started when I was a small child singing songs.”

A recurrent topic in some of the greatest songs written, Bennett has felt the prick of heartache just like everyone has, filling her album with relationship sorrow claiming, “Before things come together, they have to fall apart. It’s part of the learning process.” Her favorite song from the EP, “The Thrill is Gone,” expresses just that.

“Now I’m doing it [singing] with a lot more awareness,” she said. “When I was a kid, I was very influenced by my dad’s piano player at the time, Ralph Sharon. He gave me a lot of great inspiration, and kind of brought me along as a singer. He’d really work with me and make sure that I was doing everything I needed to do to make it look good and sound good.”

Before hitting the studio again in September/October to record a full-length record with Mesa/Bluemoon recordings, Bennett has been touring the country with her father, opening all of his gigs.

“It’s great to be on the road with such wonderful musicians,” said Bennett. “It’s such a well- oiled ship, and everything runs so smoothly that it gives me the chance to just focus on music and give the best performance I can.”

Over the years, there have been a handful of wrestlers that for some reason or another, never got the attention or push they deserved.

Here’s our list of those guys that should have been in the spotlight a little bit longer or should have gotten the chase to at least step into it.

10: Teddy Hart: With an arsenal of high-flying moves and the legacy and ability of the Hart family instilled within him, the guy is an amazing talent. However, a lack of discipline behind the scenes has kept him out of the WWE and on the bad side of many smaller promotions in the country.

9: Bryan Clark: This guy was a beast who was ruined by horrible gimmicks. With two excellent finishing moves in “The Death Penalty,” a cobra clutch slam and “The Meltdown,” a pumphandle slam, this guy could have been a great upper-tier star. With a lack of mic ability, he lacked the full polish to be a heavyweight champ, but he probably could have been a more than decent United States champion if given an opportunity.

8: Reno: Simply put, with a cool look a great finisher in his spinning neck dragon screw, “The Roll of the Dice,” this guy could have taken WCW by storm. The company’s insistence to use older stars prohibited that from taken place though.

7: Frank Kazarian: Sure, he’s getting his shot now as a member of “Fortune,” but he’s far from an overnight success. Always a great competitor, it took TNA more than a half decade and a few releases and horrible gimmick changes to understand what they have in him.

6: Blitzkreig: Born Jay Ross, this cruiserweight had some of the best matches in WCW in 1999, but after about a month, he disappeared, wrestling occasional matches in the independent promotions. His finisher, a corkscrew 450 splash was simply mesmerizing to watch.

5: Dean Malenko: Sure, guy won his fair share of titles in WCW, was a member of the Horsemen and was even signed by the WWE and eventually won their light heavyweight title, but if given a decent push, the last five or so years of his career could have something special. A great worker, Malenko could make anyone look great in the ring.

4: 2 Cold Scorpio: This guy could have a great match with anyone, thanks to a variety of excellent suplexes and top-notch aerial maneuvers. Bad gimmicks, held him back in the WWF, but he always got respect in ECW.

3: Low-Ki/Senshi: Just the fact that he was forced to wrestle on NXT first instead of the WWE shows how much respect they have for this guys ability. A master of a plethora of submission moves, suplexes and possessing a great aerial finisher in “The Warrior’s Way,” this kid has it all. Hopefully, one day he’ll get the shot he deserves.

2: Chris Kanyon: “The Innovator of Offense,” Kanyon’s lack of charisma and problems getting along with with his co-workers, along with politics in WCW stopped him from realizing his true potential in the squared circle. A man of many finishing moves, all of them used later by other wrestlers, the guy was a pioneer in match pacing and helped redefine the art of the setup move.

1: Alex Shelley: One of the best tag team wrestlers of this generation, this guy has never gotten the chance in singles competition he deserves. Great on the stick and able to drive a storyline, this guy has a ton of star potential and much like his tag team partner Chris Sabin, is more than capable of being successful all by himself.

When a series of murders start to take place again in a small Maine town of Derry, Mike Hanlon (Tim Reid) suspects that an old supernatural foe that he and his childhood friends encountered and battled has come back. He begins to call his friends to remind them of an oath they took if it ever came back. The friends would return to their hometown to face their nemesis and try to destroy it once and for all.

The series has a solid storyline that flows steadily throughout – not to mention a solid cast, including the late John Ritter and a nerdy young Seth Green. There are many flashbacks involved, going back and forth from the characters as adults to their childhood. The clown known as “It” was so scary that as you continue to watch, there will be moments that make you look over your shoulder constantly.

“It” is a miniseries based on a Stephen King novel. King, known as the master of horror is famous for scaring the socks off of people. He has definitely not failed with this story. Although “It” starts of exceptionally well, it does have flaws that will leave you scratching your head with frustration and disgust. For instance, the acting was not even close to being superb. There were several scenes that seemed if there wasn’t any effort involved. The dialogue was of gum that runs out of flavor very fast.

Another frustrating aspect to this miniseries is that there were a few scenes that were an absolute buzz kill in general. There is an old saying that “if it isn’t broke, don’t fix it.” Unfortunately, that was the case with “It,” which was solid from beginning to middle – but when it reached the end, it was like a tire that had gone flat. At that point, the flavor and life was sucked out of a perfectly good viewing.

Even though there were many scary moments throughout this series, it all gets lost to how ridiculously idiotic it all ends. A positive aspect is that it will make you realize even more why you are and will always be freaked out by clowns, but after a while, it gets old. Let’s get real. We all have to face our fears sooner or later. Unfortunately, when all is said and done, the only thing scarier than a clown is a large spider in the room.

After watching “It,” maybe going to the circus isn’t such a bad idea. Besides, you would probably get a few laughs, or better yet, watch a clown who in your eyes is scary make an absolute fool of himself.

Here’s a poodle.

eBay will host a 24-hour charity auction for a pair of VIP tickets to this special intimate Stone Sour show which takes place on a day off from the Rockstar Energy Drink UPROAR Festival. The eBay auction can be found here: http://donations.ebay.com/charity/charity.jsp?NP_ID=175.

The first annual Rockstar Energy Drink UPROAR Festival launched August 17 in Minneapolis, MN and runs through October 4 in Madison, WI. UPROAR’s stellar active rock lineup includes multi-platinum headliner Disturbed, who will release their Asylum CD August 31, following three consecutive #1 album debuts; and multi-platinum co-headliner Avenged Sevenfold, whose newly-released Nightmare recently debuted at #1 on the “Billboard 200” album chart. In addition, the main stage features 3-time Grammy nominees Stone Sour, set to release Audio Secrecy September 7 following their gold-certified Come What(ever) May album which debuted at #4 on the “Billboard 200” album chart; and Halestorm, touring in support of their self-titled debut CD. The potent rock lineup for the touring music and lifestyle jaunt also features performances from Jägermeister Second Stage headliners Hellyeah (whose new CD Stampede debuted at #8 on the “Billboard 200” album chart in July), as well as Airbourne, Hail The Villain, New Medicine and the local Jägermeister-sponsored opener in each city.

For more information and current tour dates, go to www.RockstarUPROAR.com.

Even though it may be a bit too early to tell, the concoction Powell is brewing here may be more magical than anything that Dagmar the Witch could come up with.

With political satire, the adorable bearded-girl Lula, a cast of carnival characters, a witch and a grotesque, but awesome “animal” in Chimichanga, this series has something for everyone.

Doing a rare thing in having you connect with Lula, who’s youth gives her a fresh and unique view on the world, this series takes you back to that magical Saturday morning feeling many older comic book fans haven’t experienced in quite some time. You know, when shows like “Punky Brewster” or “My Pet Monster” were on TV and kids, just by being honest, could have an impact on the world, full of butt-head adults. If that didn’t work, they always had a cool pet or monster by their side too that could take care of business. Creating this mid ’80s pop culture ambiance, Powell makes this series completely different from”The Goon” and takes you on a reading experience that will have you smiling much more than any other comic book out right now.

However, while Lula is adorable, especially with her kiddie-speak, doing things and saying things that you wouldn’t expect from a lead character in a comic book series, there’s a plethora of political, social and economical satire that caters to the smart reader as well. Seeing Lula’s adversaries fight over her and Chimi is much more than a literal battle- it’s a fight over ethics, morals and the ability to live freely.

You may not see it first, but the potential layers here give Powell a ton of places to grow and make the series something worth keeping an eye on.

And they say ogres and onions have layers; they haven’t read this comic yet.

If all that fails to cut the mustard for you, the art style here is excellent as well, encompassing many of “The Goon” elements and playing with them enough to make them suitable here. For instance, the splash pages here show Chimi changing the size of his mouth to fit whatever he wants in there, while his facial expressions are so sound that it doesn’t matter if the character utters a word or not- you absolutely know what’s on his mind.

Not bad for a comic in black and white.

All in all, with this more than engaging story developing and Powell’s signature art style, “Chimichanga” looks like a series many will eventually see as special.

Always original this EP is a prelude to Fabolous’ next album “Laso’s Way” which will be released later this year. The album begins with “The Eulogy” a tongue in cheek reference to the “fake MCs” who “can no longer be with us.” Essentially Fabolous has killed the competition with his master beats.

The satire-like tone continues with “The Wake” as Fabolous plays with the idea of different ways in which he “kills” the competition. He mainly does this by his lyrical rhymes which somehow give him the power to steal away other rappers’ women away from them.

As this genre of music goes Fabolous chiefly raps about how amazing he is and how he has become a woman magnet. It’s not the most original rhyming that you’ve heard about these themes however his references will make you remember classic films such as New Jack City where he rhymes about the CMB in “I’m Raw.” Still there is only so many ways the N-word can be referenced before it gets in the way of the rocking beat.

“Body Ya” and “Body Count” are more of the same I’m the best rapper around and no one can top him bravado. Although these are two solid tracks on the album they both say the same thing making them repetitious and uninteresting.

As a group effort “Body Bag” featuring Cam’Ron and Vado is the best song on the album as Fabolous is more of a guest star on this track. The lyrical rhymes flow between the rappers and its laid-back beat makes for a smooth listening experience. The track “You be Killin Em” continues a lyrical styling that will make you appreciate the way a man admires his woman.

Overall “There is No Competition 2: The Grieving Music Mixtape” for his fans is a solid precursor for his sixth album yet to come. However, it may not bring about any new admirers.

Phil Broder can fly, and he says you can, too. Kites, that is.

Broder, editor of the quarterly magazine “Kiting,” says  anyone can learn enough in half an hour to fly a kite in competitions such as sport kiting – which he describes as sort of like figure skating in the sky – and kite fighting, where competitors seek to knock each other’s kites from the sky.

He talked about kites and kiting at the FlyNY 2010, the second annual international kite design showcase and flying event held recently on Riverside Park South’s Pier 1 in New York City. Throughout the day, there were free kite making demonstrations and an array of creative kite designs sailing through the blue sky, some competing and others just catching a breeze.

Broder, whose magazine is packed with information on kite festivals, kite design plans, and kite news, was at the event promoting the American Kitefliers Association.

Review Fix: Can you tell me about the American Kitefliers Association?

Phil Broder: The AKA is the largest kite club in the world with close to 4,000 members in America and dozens of other countries. And it’s a hobby club for people who are interested in flying kites and building kites and competing with kites and learning about kites and doing anything they want to with kites.

RF: Are there kite flying competitions or design competitions that take place around the world?

PB: There are lots of different competitions. There’s sport kites, which have more than one line. They’re maneuverable so they compete in events that are a lot like figure skating where they’re flying to music or they’re flying figures. There’s kite-making competitions where we take hand-made kites and judge them on their beauty and their flight and their design. There’s fighter kites, which is a big Asian tradition, where two kites compete against each other and try to cut each other down. There’s a Japanese style, Rokkaku battle where you fly these big Japanese fighting kites and it’s like wrestle-mania and everybody tries to knock each other down. So there’s lots of different kinds of competitions.

RF: Have you ever been involved in any kind of competition?

PB: I’ve been in every kind of competition. I was a national sport kite champion in ‘98 and a national kite-making champion in 2007 and I’m still competing when I can.

RF: What determines a winner?

PB: It depends on the competition. You know in sport kites where you’re flying in figures they give you figures out of the rule book and you have to sort of trace them exactly in the sky with your kite. So if your lines are straight, if your corners are square you have a better chance of winning. In kite- making competitions they’re judged on visual appeal and flight and craftsmanship and structural design. So if you have a really well put together kite that flies really well, but it’s ugly, you’re only going to score well in three of the four categories. So you have to build a kite that’s good all the way around.

RF: What was the biggest kite-flying event you have been to?

PB: The event that I was at in India earlier this year had fliers from 32 countries invited. And we flew for two days and then they have a holiday where traditionally everyone flies kites from the rooftops. So I was part of a festival that had 4.5 million people flying kites from their roofs. Which I guess would probably be the biggest I’ve been to.

For more information about the American Kitefliers Association visit their website at: www.aka.kite.org/

The Festival has also announced a Call for Submissions for narrative and documentary features as well as for short film entries.

Deadlines to submit U.S. and International films for the 2011 Tribeca Film Festival are as follows:

September 13, 2010 – SUBMISSIONS OPEN

November 5, 2010 – EARLY DEADLINE, FEATURES & SHORTS

December 10, 2010 – OFFICIAL DEADLINE, ALL FEATURES AND SHORTS

COMPLETED IN 2010

January 10, 2011 – LATE DEADLINE, 2010 FEATURE LENGTH WORK-IN-PROGRESS AND FILMS COMPLETED AFTER OFFICIAL DEADLINE

Starting September 13, 2010, submission forms and complete information regarding eligibility for the 2011 Tribeca Film Festival will be available at www.tribecafilm.com/festival. Questions regarding submissions may be directed to entries@tribecafilmfestival.org or by calling

212.941.2305.

About Tribeca Film Festival:

Robert De Niro, Jane Rosenthal and Craig Hatkoff founded the Tribeca Film Festival in 2001 following the attacks on the World Trade Center, New York City to spur the economic and

cultural revitalization of the lower Manhattan district through an annual celebration of film, music and culture.

The Festival’s mission is to help filmmakers reach the broadest possible audience, enable the international film community and general public to experience the power of cinema and promote New York City as a major filmmaking center. Tribeca Film Festival is well known for being a diverse international film festival that supports emerging and established directors. The Tribeca Festival has screened over 1100 films from over 80 countries since its first festival in 2002. Since its founding, it has attracted an international audience of more than 3.25 million attendees and has generated an estimated $660 million in economic activity for New York City.

With the show’s 900th episode coming next week, it’s a good thing the company managed to squeeze out this lemon in what hopes to be a quality episode.

Overall, between Wade Barrett getting promised a title shot at the next pay per view and the constant nonsense spewing from Cole’s mouth, Raw just isn’t as entertaining as it could be. Sheamus for example is a powerhouse and rather than have him mowing through the competition, the WWE has him play chicken to a rookie in Barrett [hell, Sheamus technically hasn’t earned his stripes in this business yet either and he’s champion] and fighting jobbers with only 15 minutes left in the show.

Talk about a joke- the main event for this week’s RAW, or the fact that Barrett’s boots don’t have a scuff on them yet and he’s already getting opportunities to fight for titles.

Even worse was the fans cheering Barrett on when he was intimidating Sheamus.

That alone is proof indeed that if you want to see quality WWE programming, you have to pay for it.

But after watching this poor excuse of a show, why would you want to?

Sure, the huge match planned for Night of Champions looks like it will be a barnburner, but there’s not enough heat right now between all of these stars to make the drama worthwhile. Just because you throw Sheamus and Barrett in the ring with guys the likes of Edge, Chris Jericho and John Cena doesn’t mean you’ve got a good match on your hands. The faster the marks stop paying for half-baked wrestling, fueled by big names and the sooner the WWE decides to show the world why they’re around today and WCW and ECW aren’t, the better the business will be for the fans that truly enjoy it.

That’s not to say that TNA is much better either, but at least you can watch quality wrestling for free [or close to it] and not be forced to watch Giant Khali embarrass himself. Seriously, why is he even allowed in the ring anymore and someone like Ted DiBiase can’t get a decent singles push?

Like the amount of licks it would take a blind man with a foot fetish to get to the bottom of Awesome Kong’s boots, the world may never get an answer to these questions.

And since we’re asking questions here, why is Cole still so opinionated? If herbing Bryan Danielson and R Truth wasn’t enough to annoy the smart marks, hearing him essentially rub the tummy of The Miz, every time he’s on camera, is getting old and fast.

All in all, it’s enough to drive a knowledgeable fan of this carnival show crazy. Wake up WWE. The “sport” is already in shambles; don’t help it get their any faster. Put this week behind you and surprise the fans for once.

Give them an amazing show.

In this case, though, it seems to be working well.

The story is about Harvey, a man in his 50s, who is about to become a father for the first time. Harvey is very excited to have children, but his happiness is mixed with sadness, as his own dad, Maury, has just had a stroke and may never see his grandchildren. While the son speaks, the father makes sounds that are unrecognizable; his speech is blurred, which was affected by the stroke. There is so much to be said; however, so little is put into words.

Harvey’s wife, Emma, understands her father-in-law’s defected speech better than her husband does. It is surprising that when Harvey notices that his father’s eyes are light blue (he thought they were brown), Emma says she has always known that. This scene makes us wonder why at times we pay so little attention to the people we are closest to, not truly enjoying their company, losing the precious moments we will later remember with a sigh and a tear.

As far as memories go, there are plenty that take place in the play. Fishing trips Maury and Harvey used to go on; Harvey’s grandfather, who was in the hospital without movement like Maury is now; conversations about Harvey’s girlfriends whom he never considered marrying; the story about how he met Emma. There are so many episodes in the past that are important for us. We always go back to them in order to regret something we did not do, and sometimes just to enjoy them once again.

Colorful and vivid, our memories can cause both joy and pain. Ready to become a mother of twins, Emma reads to her children while they are still in her belly. They communicate with each other and with their mother as well, by kicking her from inside. Out of the two, only Julie is going to make it into the world. The thoughts of the child she might have had tortures Emma all the time. For a mother who was carrying a baby inside her for nine months, losing this little piece of herself is many times more difficult than for a father, as we watch Harvey playing with his son, not worried about his daughter, whom he lost.

Showing these complicated circumstances, the actors play the characters well.

Harvey is shown as an indecisive man, who loves but misinterprets his family, starting with Maury (a usual story, in which parents and children live in different worlds), including Emma, who grieves for her unborn daughter and ending with Julie, whom Harvey scares, not realizing it until Emma points it out to him.

As Harvey’s opposite, his wife is very apprehending and motherly. She shines with confidence and feminine softness. She seems to be a good wife for Harvey, but where he is always worried, she is satisfied with what she has. Emma is more vulnerable to grief, though, and she takes longer to let it go.

Out of all the characters, the greatest connection shown in the play is the one between the twins, Julie and Maggie. They keep talking to each other in their mother’s belly, and even though they are very different, they seem to understand each other better than any other two characters. For them, the parting is even more difficult, as they were together for such a long time. This will be the memory Julie will always cherish.

Overall, with all its sophisticated plot complications, the play is worth watching. There is always something about life and death you have never thought of. Why not discover something new?

More spoken word than straight up love song “Canadian Lover/Falcon’s Escape” by Destroyer has a tinge of sadness while it attempts to empower. At least that’s what the beginning of the track sounds like. It then turns into this hard rocking slap in the face that tells you that you’re better than whatever is trying to pull you down. More than that It’s a likeable song and not bad for a freebie.

“Bittersweet” – Fantasia

With her latest album currently in stores “Bittersweet” by Fantasia is a surprise free download. Well worth a purchase price this track is classic R&B by a singer whose voice evokes dramatic experiences with a man that who did her wrong, yet she still second guesses her decision to dump him. “Bittersweet” is a song about letting go, but you can’t help but look back on the good times.

“Release Me” – The Like

Remember those ‘60s tunes that you love listening to? “Leader of the Pack” and “Jimmie Mack” are classic tunes that make you get up and do your own cheesy choreography and have a good time singing along – “Release Me” by The Like will have you doing the same thing. It has a catchy tune with straight-forward lyrics that are easy to sing along with. It’ll be one of your new favorites.

“Unbroken, Unshaven” – The Budos Band

Sometimes a great horn section is all you need to make a great song. Luckily “Unbroken, Unshaven” by The Budos Band has not only that but strong musicianship on drums and other instruments to make this a rocking track. It’s the type of song that makes you seek out everything The Budos Band has ever done.

“They Can’t Take That Away From Me” – Brian Wilson

There’s a reason why standards are remade and this up-tempo Beach Boys sound given to Brian Wilson’s version of “They Can’t Take That Away From Me” makes for a pleasant listening experience. It’s short and sweet and will be in your head all day in a good way.

“From Africa to Malaga” – Jj

A good dance beat drives Jj’s “From Africa to Malaga.” If you want a comparison think Paul Simon’s album “Rhythm of the Saints.” This interpretation of world music makes for a pleasurable listening experience even though the lyrics don’t always seem to fit.

“Pure Gold” – Kelli Scarr

Musically “Pure Gold” by Kelli Scarr is beautifully written. Melody and lyrics make the perfect companions to this deeply introverted tune. Having said that it is one of the most depressing songs you’ll ever hear. If you’re in a melancholy mood and looking for some sympathy then this track is for you. Otherwise you should be ecstatically happy if you want to give it a shot.

Check out this exclusive trailer from Deep Silver and Southpeak games, showing off their new point and click adventure “Lost Horizon,” which is set to hit your mouse pad in September.

Check out more exclusive photos from the Queensryche concert last Friday at the Nokia Theater in Times Square, New York City.

Photos by Patrick Hickey Jr.

Apparently, Sookie is part fairy, and it is because of her being part fairy that is the reasons she has powers and no blood type. Perhaps, a show filled with vampires, shape-shifters and werewolves was missing a fairy in the mix, but the title is more than confusing. Who know that fairies could read minds or use white energy as protection from foes? But according to True Blood, they most certainly can.

What this means for the show is that the question of what Sookie is has finally been answered, and that is a question that has been asked since the show’s debut. In a way it makes sense, Sookie  does have a glow to her presence, and is very calming to look at. Surely, the writers of the show knew from day one that she was a fairy and so they made her character act accordingly, and so now it seems rather fitting.

Besides the groundbreaking discovery of her identity, “I Smell a Rat” was one of the more entertaining episodes thus far. Jesus and Lafayette indulge in a V induced drug trip in which the spin through visions of ancestry, and it turns out Sam has murdered two people in the past over stolen jewelry.

Sam never came off as the criminal type, and it wasn’t until the previous episode that his anger ever got the best of him, so maybe it’s not in his character to have that dark of a past, but that’s up in the air.

And Lafayette and Jesus’ drug trip was even more visually stimulating than Jason’s V trips from the first season. It was nice to see the show bring back that kind of shiny imagery which they’ve been stingy with. It definitely helped to keep the show edgy while still being very artistic, as it has been since the beginning.

The only issue with “I Smell a Rat” was that Russell’s didn’t have a big part. After the previous episode ending with him ripping out the spine of a news anchor and preaching the genocide of the human race, Russell became one of the better characters the show had to offer. It’s obvious that, with him being the seasons prime antagonist, they are going to keep the fans thirsty.

With two more episodes left and the show brewing a perfect setup for a fantastic season finale, season three has been more than superb. Yet again, True Blood has and will continue to succeed. Now, we are left with a fairy and tyrannical powerful vampire to battle it out for the last two exciting episodes of this season.

For one thing Wonder Woman works best with others. Her world is fraught with monsters straight out of Greek mythology including the gods or stereotypical villains from WWII. Still on their own they aren’t powerful enough to be a true villain. In the comics sent as an ambassador from Themyscira to deal with man’s world made for a classic fish out of water story with mixed results. Several times in Wonder Woman’s decades’ long comic history it has been preempted due to lagging sales.

As for a weekly serial or television movie it worked. Lynda Carter was the perfect Wonder Woman. As Diana Prince she portrayed a naiveté with a wink to the audience. We were all in on the secret, but the other characters were not. Even the Cathy Lee Crosby television movie of the week in the early ‘70s that sparked interest in Wonder Woman again was entertaining. With this track record a movie on the big screen would have to have an amazing story and on-point casting to succeed.

Let’s forget eye-candy for the moment. Bring back the days of actors who know how to act and don’t just look the part. And let’s not go young just to grab a certain demographic. If you have a well written screenplay alongside a solid cast then you have a potential hit.

For Wonder Woman why not Charlize Theron? Her role in Monster shows that she can be an acting chameleon and morph into the part she’s playing. She can also do action. Although Aeon Flux might not have been the best of films, Theron performed well. Then there’s Steve Trevor. Nathan Fillion (Firefly, Castle) played him in the straight to DVD animated release why not have him play the live action version? There’s something in his face that can carry dimwittedness and high intelligence simultaneously. Let’s round off the cast with supporting players that bring several of the comic’s incarnations into play. The ones from Wonder Woman’s time as an ambassador during the modern era would be a good jumping off point. They’re generic enough to cast unknowns who can act and not just famous faces. If Hollywood insists on a name then why not Dakota Fanning or Chloe Moretz (Hit-Girl, Kick-Ass) for the younger set?

As for a storyline why not when Hippolyta (played by Lynda Carter) has decided that Diana has failed in her mission and attempts to bring her back? The gods who have given her powers have abandoned her and now she has to survive on her wits and the friends she’s made along the way. It would make for gripping storytelling as Wonder Woman has always been an introspective character who would kill if necessary.

It could work if the-powers-that-be stopped catering to fickle audiences and allow a good story to be told.

Located in booth #132, SouthPeak and Deep Silver will be showcasing heavy-hitting games such as epic fantasy RPG Two Worlds™ II, the innovative strategy game Battle vs. Chess™, off-road arcade racing sensation nail’d™ and the high-revving motorcycle racer SBK®X.

In addition to SouthPeak and Deep Silver’s featured games available for hands-on play, PAX attendees who are at least 10 years of age are invited to enter a nail’d Time Trial Competition for a chance to win a 70cc Mini-Motocross Pit Bike! Other exciting game memorabilia will also be up for grabs at the booth.

For more information on this year’s games please visit http://www.southpeakgames.com or http://www.deepsilver.com.

About Two Worlds II

Two Worlds II has lofty ambitions: to set a new high-quality benchmark for Western RPGs. The original Two Worlds was a global sales hit, but fell short of satisfying the goals of Poland-based developer Reality Pump and the wishes of fans. This sequel establishes Two Worlds II as an example of ground-breaking role-playing game content and design, offering an unforgettable fantasy experience.

Continuing the story begun in the first game, the outlook for the hero is bleak. The hero is locked deep within the fortress of the evil lord Gandohar. However, he is rescued by a force comprised of new allies who only a few years ago would have been his bitter enemies. From this daring raid, the hero is catapulted back into the center of a maelstrom. His quest begins anew: to save the orc race from eradication and to destroy the evil of Gandohar for good.

About Battle vs. Chess

Battle vs. Chess creates a fusion between professional chess software and upbeat, combat-oriented game mechanics, complete with richly animated game pieces and a diverse set of new game play twists to the classic strategy game. In addition to twisting up the experience of chess itself, the game adds vibrant fantasy touches, including six stunningly rendered game environments and re-imagined, fully animated game pieces such as hulking stone golems and beastly horsemen.

Adding yet another layer to the game are the Battle Modes, which if activated entirely change the nature of the game! Instead of triggering a pre-scripted combat animation, the act of invading an opposing unit’s position will throw the “advancing piece takes the square” rule out the window and engage both pieces in deadly combat. Various weapons, fighting techniques, even combos all play into the action, and to the victor go the spoils.

About nail’d

nail’d is all about eschewing boring realism for over-the-top arcade fun. It’s a racer that challenges everything from player reflexes to the rules of physics. Riding on ATVs and motocross bikes with powerful boost controls, players will race down near-vertical courses of incredible jumps, stunts and obstacles. The brutal challenge of the Yosemite National Park is but one of the many places they’ll learn the meaning of verticality.

nail’d’s single-player campaign features multiple configurable modes and races including Tournament, Time Attack and Quick Event. The multi-player mode allows players to compete head to head in a range of race-types locally or online. Earned points will determine a player’s position on leader boards. Based on the player’s performance and ability to pull off stunning feats of speed and glory during each race, they’ll unlock exciting new components to customize their vehicle.

About SBK X

SBK X, the latest in the Superbike World Championship series, offers an unmatched Superbike racing experience!

In the Simulation mode, players have the ability to customize their game experience to an intricate level. Does the rider’s weight and height affect your steering ability? Are your brakes tuned before every race to work best with the current track conditions? And if you’re a novice to the genre, the realism can be toned down until you really get the hang of it- in Arcade mode, all the questions get thrown out the window! It’s just you, the track, and the other racers! With the addition of a boost function, the fun of racing superbikes becomes unhindered by pesky things like gear ratios and “getting hurt when you fall over.”

Whether you’re a professional superbike racer looking for a mental test of your abilities, or an arcade junkie with a serious thirst for speed, SBK X has everything you need. From the fine-tuning of weight distribution and calculating engine performance, to push-button-go-fast racing thrills, SBK X offers multiple levels of realism that allow you to race how you want to.

About SouthPeak Interactive Corporation

SouthPeak Interactive Corporation develops and publishes interactive entertainment software for all current hardware platforms including: Xbox 360® videogame and entertainment system from Microsoft, PlayStation®3 computer entertainment system, PSP® (PlayStation® Portable) system, PlayStation®2 computer entertainment system, Wii™, Nintendo DS™, iPhone and Windows PC. SouthPeak’s games cover all major genres including action/adventure, role-playing, strategy, racing, puzzle, sports and edutainment. SouthPeak’s products are sold in retail outlets in North America, South and Central America, Europe, Australia and Asia. SouthPeak is headquartered in Midlothian, Virginia, and has offices in Grapevine, Texas and Leicester, England.

For additional information, please visit SouthPeak’s website: www.southpeakgames.com or follow us on Twitter @SouthPeakGames.

About Deep Silver

Since 2003, Deep Silver has developed and distributed interactive games for all leading videogame platforms. In all, the company has published more than 100 games. Deep Silver products are designed to equally appeal to a wide audience, from kids to adults. For more information please visit www.deepsilver.com.

Episode Commentary: “Third Base or The Rash”

At the end of this episode of “Hung,” it appears that the Drecker family is about to reunite.

Talk about irony.

However, with Tanya running away scared from Francine and Mike once she’s spotted on the ball field and Ronnie and Jessica’s relationship on the rocks, things are bound to heat up- and soon. With all of these intangibles, “Hung” continues to challenge its audience and keep them in suspense as the second season begins to come to a close.

The fact that there was little attention paid to Ray and any of his clients this week [aside from one of the most unusual instances of a rotator-cuff tear in the history of man] as well goes to show that “Hung” doesn’t need steamy sex scenes to be entertaining- the drama is that sound, setting the scene for what has to be some sultry situations over the last few episodes.

But enough about the skin, there are bigger questions here.

How exactly is Tanya supposed to explain to Mike, a person she doesn’t know, that he’s been a hooker the entire time he thought he was dating Francine? More importantly, how will it affect his relationship with Ray? Speaking of Ray, are him and Ronnie gearing up for a war over the heart of Jessica? Will this mean his hooking days are over?

What about Damon and Darby as well? They haven’t been getting along with either of their parents as of late, could there be the beginning of something different for these characters if their parents get back together? What does the future have in store for them?

For a half-hour show, there’s so much going on- quite a stark contrast from parts of the first season, which felt flat and disconnected, that it almost feels like a different show entirely. While it’s never been laugh out-loud funny, “Hung” continues to provide quality drama that is deep, driven and full of debauchery and infidelity.

The best part is, it looks like the show has even more in store for its viewers before the season is finished.

If the songs on her latest project are anything like “Repercussions” then longtime fans are in for a musical treat and new admirers of her lyrical style will be sure to jump on the bandwagon. This track fills a void that has been in the music business for a long time. One can only listen to so much Beyonce before they miss the soul-searching roots of R&B.

That’s what Hill’s track has – a familiarity that is reminiscent of those songs your parents listened to back in the day. While listening to it you get touches of ‘70s soul. It’s the underlining percussion that drives the song and companioned with the lyrics makes for a narrative work that wets the appetite for more.

Once officially released as a single definitely get your hands on it. It will be well worth the effort.

But one bad actor out of the eight shouldn’t spoil your mood in what looks like a unique action thriller from Rodriguez.

“Machete” (Danny Trejo) is a renegade and former “Mexican Federale,” who roams the cities, towns, and streets of Texas looking for work after a shakedown from a drug lord called Torrez (Steven Segal). From the way it looks, this film will have nonstop action with a terrific cast playing different roles.

An interesting aspect that this film seems to bring in is its reminiscent feel and look to ‘From Dusk Till Dawn,’ which was another classic film directed by Robert Rodriguez.

Let’s just hope “Machete” can deliver on the excitement seen in the trailer.

Only time will tell.

Sam’s wife Arielle just left him, but that’s the least of his problems…

After sitting through three meetings in his downtown Dolor law office,

strange things begin happening to this lawyer.

One of Sam’s clients nearly bleeds to death

in some sort of ritual right before his eyes,

however the evil doesn’t let up…

Author Rick Florino continues his Dolor mystery/horror novella series with Dolor: Arielle│Book III, out September 27 via New American Deities.  Arielle–the third in a series of ten stories about the creepy town of Dolor–will be available for only 99 cents on September 27, 28 and 29 at www.BookOfDolor.com.  From September 30 through October 31, 2010, Arielle can be purchased for the discounted price of $3.99.  As an introduction to the Dolor story, a free download of Lila and Chrissy, the first two books in the series, is available at www.bookofdolor.com/signup.html and hard copies of the books can be purchased for just $4.99 each.

Florino–author of Dolor: Lila | Book I, Dolor: Chrissy | Book II, Do The Devil’s Work For Him, founder of Ruin Magazine and Editor-In-Chief of ARTISTdirect.com–offers his thoughts on Arielle: “Arielle represents everything that I always wanted this series to be. The mystery behind Dolor begins to unravel further within the landscape of a very dark and twisted story. The narrative itself examines so much in short space—from the breakdown of a marriage to the breakdown of a mind. Then there’s a deeper and more demonic aspect to Arielle as well that’s reminiscent of ’60s and ’70s horror, yet the characters all come to life vibrantly. Fans of the series will get to learn a little bit more about Caleb Taylor, and they’ll also get a closer look at what’s really happening underneath the surface of this town. Arielle also features a musical aspect that will come into play much more as the series progresses. In some ways, Arielle closes out the trilogy that is the first three books. However, it also leaves everything open for the next seven to come. This is a very special book, and newcomers and previous visitors to Dolor will be equally possessed by it…I still am.”

Florino moved to Los Angeles to pursue his dream of working in the entertainment industry after graduating from Boston University Magna Cum Laude at 19 years old. He began his career at New Line Cinema and freelancing for magazines such as Metal Edge, AMP and Lollipop. Constantly writing, he cultivated a unique style that was clever, vivid and highly eloquent. That style would fuel his 2006 creation, the bi-monthly hard rock publication Ruin Magazine. In 2007, Rick became an editor for ARTISTdirect.com, where he conducts interviews with A-list film and music talent for exclusive features. His words have also appeared in publications including Inked Magazine, BPM Magazine, Revolver, Kerrang!, Hit Parader, LAX Magazine, Shockhound.com, Craveonline.com, Bloody-Disgusting.com and many more.

His first book, Do The Devil’s Work For Him, was released in June 2009. In support of the book, Rick was featured on No Good TV with members of Guns N’ Roses/Velvet Revolver, System of a Down and Devildriver discussing the text. He was also featured on FOX News. He released the first book of the Dolor series, Lila, in October of 2009 and followed with Dolor: Chrissy in February 2010.

Here’s a sample of the critical praise for Dolor: Chrissy and Dolor: Lila:

“Rick Florino is a writer that can be compared to Stephen King…He was put on this earth to tell stories and that is exactly what he is doing.”

–Dana Feldman, Examiner.com, March 13, 2010

“A unique blend of macabre writing and graphic horror imagery. An addictive story line leaving you anxious for more to come.”

–Raphael Shlosman, VampireFreaks.com, January 21, 2010

“…when I see an indie book series out, like this Dolor, I stand up and take notice…This second book in the Dolor series is not only a fun read, but its a fantastic and twisted look into an entirely new world!  I highly recommend it.”

–Matt MacNabb, BookLegion.com, February 17, 2010

“No sophomore slump with Dolor: Chrissy | Book II…heavy horror elements are involved–heavier than those that came into play in Lila…the steps he’s taking with this ambitious project are sure-footed.”

–Rod Lott, Bookgasm.com, February 24, 2010

“…a gritty series of illustrated novellas about tragic characters, fantasy, and horror…Rick Florino’s ability to write tight convincing dialogue, plot, and intrigue is exceptional…This is not your typical graphic novel or horror novella, the Dolor series drags a reader in from the first page and tells a full story in limited time.”

–Jessica Bohatch-Easton, MetalExiles.com, March 2010

“…strange, dark and witty…I couldn’t put it down and when I was done; I wanted nothing more than to have the next installment in my hands…”

–Sarah Boger, BandVibe.com, February 20, 2010

“Lila makes for a damn good read. It’s creepy in spots, and madly melancholy in plenty of others. Rick Florino clearly understands the sensitivity behind the content, and manages to siphon frightening reality from the idea…outstanding piece of fiction.”

–Matt Molgaard, Fangoria.com, November 16, 2009

“Horror fiction has put a few cities on the map: Castle Rock, Serenity Falls, Orangefield. Add Dolor to that list…It’s easy to get caught up in Florino’s tale, not only because it adheres to storytelling brevity, but also because it has a rock ‘n’ roll sensibility to it, dishing out details of drugs, sex and violence.”

–Rod Lott, Bookgasm.com, November 2009

“A heartbreaking, horrifying and honest examination of a damaged psyche, true violence, drug addiction and love unreturned…a horror masterpiece…”

–LAX Magazine, Winter 2009

“If the rest of the volumes are even half as good as Lila, we’re in for a huge treat…A great start to what appears to be an even greater series…”

–BC, Bloody-Disgusting.com, December 5, 2009

Dolor: Arielle │Book III…How much farther will you fall?

About Dolor

Dolor is a creepy little town that you won’t be able to leave. It’s the kind of place you can’t forget. It’s the kind of place where anything can happen. It’s the kind of place where evil doesn’t just die. It’s the kind of place that nightmares are born to live forever…

In October 2009, Rick Florino opened up Dolor to the “real” world with his first novella Dolor: Lila | Book I. At the beginning of Lila, FBI Agent Jeffries goes to Dolor to investigate a fire. The town’s been burned to the ground. One lone house stands—charred to Hell on the outside, but fine on the inside. Within those walls, Jeffries finds ten small diaries. Each diary is written by a different denizen of Dolor, delving into some sort of darkness. The first diary is Lila | Book I.

Enter the world of Rick Florino’s Dolor, you’ll never be the same. Then succumb to the tales of Chrissy, Arielle, Decker, Cassie, Olivia, Orestes, Lucia, Sage and Helen. Nightmares are guaranteed.

www.BookOfDolor.com

Simply put, anyone looking for a womanizing, drug addict Stark needs to look elsewhere.

However, what originally starts off as disgust, turns into a fun viewing experience, as long as you can separate yourself from the source material long enough to appreciate the cool stories told and excellent animation.

Considering this, “Iron Man: Armored Adventures” probably isn’t for the hardcore Iron Man fan, who would never want to see Stark [voiced by Adrian Petriw] and his friends with no drug problems, facial hair or sexual innuendos being thrown around. However, despite its different feel at first, the young Stark maintains his brilliance and cocky attitude just enough to maintain the feel and style of the character and make him attractive to new fans. With the movies bringing in the older crowd, this animated bonanza has the tools to make the character something it never was, cool to the younger generation.

However, there are some changes that may be even a bit too much for the casual fan. For one, seeing Rhodes, essentially playing “Oracle” to Stark and Potts being the annoying, but useful researcher/sidekick through the first six episodes, things can and will get a little annoying. The same thing goes for the his battle against Obadiah Stain, without one appearance of the Iron Monger. Instead, haphazard battles with Blizzard, Crimson Dynamo and Whiplash take place, with a few episodes going into a slow development of a drastically changed Mandarin character. The fact that all of this takes place in New York City is a bit weird as well and will limit how long fans of the comic can sit and watch it.

This won’t bother the kiddies though, who will fall in love with the character and the crisp computer-generated animation. Reminiscent of the Spider-Man series that appeared on MTV about a decade ago, “Iron Man: Armored Adventures” looks great and matches the essence of the comic entirely. Able to capture the character’s sense of speed and use of technology, you can’t ask for much more when it comes to the look and feel of the show.

The same thing goes for the voice acting, which is also solid behind Petriw, Daniel Bacon [Rhodes] and Anna Cummer [Potts]. Again, the stories may be a bit more juvenile than many older fans would like, but that doesn’t mean it still isn’t a quality show.

Again, while its not on the same level as some other animated series based on comic books, it has a lot to like and with a great look and plenty of room to grow, “Iron Man: Armored Adventures,” isn’t a let down, but a sidestep for the revered hero.

Check out Review Fix EIC Patrick Hickey Jr. and Copy Editor and Staff Writer Nick Valente’s thoughts on the best male actors on television today.

Click the link below to listen:

Top Male TV Actors

Back with her sophomore EP debut album entitled P.D.L.,a four track digital release set to be available for download on August 24, is an absolute duplicate of her first record containing similar bubble gum beats and themes. The EP goes as far as to include two of the same exact songs from her previous album.

All four tracks on the album have slightly different concepts, but keep a homogeneous pop sound and stale lyrics alive. Nothing much can be said about Vonderhaar’s vocal performance as there isn’t anything that sets her aside from all the other mediocre musicians aspiring to become stars in the industry. It’s safe to say that Vonderhaar should stick to being seen and not heard.

“All Mine”: Your typical upbeat love ballad, complete with “do do do dos” present at every chorus attempting to make the song catchy, falls short and is plain irritating. Reminiscent of a Colbie Caillat inspired innocence, corny cliches of butterflies and honey kisses frame the track with weak lyrics. “All Mine” just so happens to also be on Vonderhaar’s first album.

“Howling at the Moon”: With a southern jazzy tone, this song distinguishes itself from the rest of the tracks, proving to be the best song on the EP. Stronger darker lyrics of seduction give the song an eerie vampire-esque vide or in this particular case, a sense that the singer is metaphorically a werewolf. If you’re a fan of the True Blood theme song “Bad Things,” by country artist Jace Everett than this track could be to your liking.

“Pretty Damn Lucky”: Vonderhaar’s voice cracks with the first word of the track, foreshadowing a painful listen. It’s one of the slower songs, accompanied by a mellow guitar melody, where she‘s more intimate with her audience and opens up about struggles she’s faced. “Pretty Damn Lucky” also happens to be a live version of the record and was a bonus track on her first album.

“What I’m Feeling About You”: A finger snapping catchy tune with corny lyrics, the song is a disaster. It’s not something you would find on a popular radio station or in anyone’s car as they’re cruising down the highway, unless of course if they’re attempting to run over the side of a bridge. This track is meant to be played at a store as background music or when someone puts you on hold on the telephone.

Arceneaux recently served as Director of Development for The Museum of Contemporary Art, Los Angeles (MOCA). A strong advocate and spokesperson for the arts, she has extensive experience in major annual fundraising and capital campaigns, board development and cultivation, strategic planning, program evaluation, and special event production.

“Jennifer has broad experience and demonstrated excellence in development, cultivation and outreach,” said Putnam. ”The Board and I were impressed with her professional track record, managerial skills and commitment to global arts advocacy, and we look forward to having her play a key role in advancing the impact of Sundance Institute’s programs across myriad audiences.”

In her new role, Arceneaux will direct the strategic alignment and short- and long-term planning of the nonprofit Sundance Institute’s contributed revenue sources, including areas of Foundation Giving and Government Support, Corporate Development, and Individual Giving. She will work closely with the organization’s Leadership to craft a long-term strategy to augment permanently endowed funds, and will oversee the production of special events for donors, alumni and other key constituents. Arceneaux will also direct the Institute’s messaging efforts and strategic media partnerships.

For nearly three decades, Sundance Institute has promoted independent storytelling to inform and inspire audiences across political, social, religious and cultural differences. Through labs, funding, special projects with key partners and the Sundance Film Festival, the Institute serves as the leading advocate for independent artists worldwide.

During her seven-year tenure at MOCA, Arceneaux cultivated relationships and fostered the careers of artists and curators in the Los Angeles art community. Arceneaux also launched the successful MOCA NOW communications and development campaign to increase grassroots engagement in fundraising and create transparent communication with MOCA members and patrons. The campaign evolved into the MOCA NEW initiative raising more than $70 million in operating and endowment support. Arceneaux spearheaded the museum’s 30th Anniversary initiatives including Thirty Works for Thirty Years, a 30-week awareness promotion surrounding the museum’s permanent collection, and produced more than 60 annual donor events, most notably 2009 MOCA NEW Gala and Auction that raised $4 million, hosting more than 1,000 international art patrons.

Prior to joining MOCA, Arceneaux served as Director of Development at the Accelerated School in Los Angeles where she executed a $60 million expansion campaign for a new campus and community center. Her professional experience spans over ten years working with non-profits and community-based arts organizations including RAND Corporation, Inner-City Arts, CityLife, A.R.T.S. Inc., The Housing Rights Center and more recently in a board and advisory capacity with the Watts House Project, and LAXART.

She holds a B.A. degree in Political Science from California State University at Fullerton and an M.A. in Public Administration from the University of Southern California School of Policy Planning and Development.

Tom Dey hasn’t had much luck in Hollywood in his tenure as a director, at the helm of such yawn-fests as “Failure to Launch, “Showtime,” and the Wilson starring “Shanghai Noon” and his luck doesn’t seem to be changing any time soon. The script, written by Tim Rasmussen and Vince Di Meglio is weaker than a Chihuahua with bulimia and feels like recycled gibberish from every other sloppy film starring man’s best friend.

Think “Bingo” without the funny football-playing father, or better yet, “Dr. Doolittle” without Eddie Murphy and a plot that makes some kind of sense.

Case in point: One second the Winslow family is comfortable in Kansas [the best parts of the film are early on when Marmaduke [Wilson] is making introductions and Carlos [Lopez] is chiming in]and then the next, the family dog is out surfing, trying to save his master’s job.

You can’t make this stuff up. Wait, Rasmussen and Di Meglio did- and Dey was paid to tell people to act it out.

That should be the made up part.

It’s not that the live actors in this film are horrible, they just have nothing to work with.

This film did actually have promise, albeit on paper only. Lee Pace [“When in Rome,” “Miss Pettigrew Live For A Day”] is a solid young actor and with the likes of Keifer Southerland, Sam Elliot, Fergie, Emma Stone and the Wayans Brothers joining Wilson and Lopez to do voice-overs, all this flick needed was a decent script.

How they managed to snag William H. Macy to do this disaster is another story all its own.

In spite of all of this, the film is still an achievement for its end scene, which features a dog-dancing montage that will absolutely petrify young children. It seems the computer animation people botched the scene and Marmaduke’s head seems a bit small for his body at times. Looking like a shrunken monkey’s head at a store where a mogwai could be purchased, that scene is the icing on the cake.

This film is a disaster.

Nevertheless, in spite of its inability to proportion heads on animals properly, the rest of the film is pretty darn adorable and caters to the innocent sensibilities of children as the Great Dane does everything from going on dates in junkyard to playing video games. Because of this, the more than predictable, yet charming and clumsy adventures of “Marmaduke” could see decent DVD returns as a film that parents use to occupy their four or five-year-old before bed.

However, this element, if anything doesn’t mean it has any redeeming features.

It just further clarifies that the only people who can enjoy this film have yet to understand the qualities most decent films possess.

Like a well-written and logical script.

Deep in thought, empowered by a positive message in extremely negative circumstances, the play would have been very successful if it wasn’t repetitive at times.

The greatest advantage of the play is its humor, which shows that you can always try to make yourself feel better if you look for something funny in every situation. For instance, there was the scene of a date rape, in which Miss Kim (Gina Kim and Cristy Candler) tries to stop the man from having sex with her. Having realized that it wasn’t working, she ironically says, “If you are doing this, can you put a condom, at least?”

There is no need to say that the play would not be so humorous without outstanding actors, who transformed into multiple characters throughout the play. Even though all actors did a good job, Tessa Faye, who played Kim’s mother with a not quite Korean accent, a mean girl from a sexual abuse seminar, a lesbian from a party and many more dissimilar roles, was the most memorable. She seemed to be naturally funny in every movement, even when portraying anger.

Speaking about actors, why was it necessary to have Miss Kim played by two women? This is a puzzle the audience probably should not bother to solve. Even though it is an original and innovative idea, it seems a bit distracting for the viewers, who watch one person acting and another one speaking.

Another moment that was a bit out-of-place was coming back to Kim’s uncle, how he violated her and remained unpunished. Even though it is understandable that once a woman or a girl is sexually abused, she will mentally return to that moment again and again, but here in this play there were a bit too many flashbacks recalling the same episode.

In addition to that, all men in the play were shown as lusty animals, as though the only thing they ever want is sex. Every date Miss Kim went on ended with a guy holding his zipper, ready for action. The only exception was a Russian guy because he failed to be funny and left before the deciding moment.

The question is: should the men that watch the play see how selfish and horny they may be at moments and try to restrain themselves or should the women get the same message many of them get from childhood, which is “all men want is sex; once you give it to them, they don’t need you anymore?” Is it fair to give those messages to both men and women?

What has to be appraised, though, is the fact that being a Korean American, Kim made her play very Korean. As we can understand, the main thing a Korean woman is expected to do is to get married. If a young girl is known to be raped, no one will want her as a wife. Therefore, people tend to minimize the gossips. It influences women negatively because they are not allowed to share their pain; they are completely ignored and perceived as a machine for making babies and taking care of a husband. Growing up as an American, Kim struggles with it in the play, as she yells at the doctor examining her, “I told you, I wasn’t mugged. I was raped.”

With its advantages and shortcomings, “Miss Kim” is a performance that will leave you with mixed feelings. On the one hand, it deals with delicate topics that have to be brought to public attention. On the other hand, it is way too personal and includes some moments that might have been omitted. But to make a long story short, you will probably enjoy the play a lot, as it brings in catharsis and entertains you, making you wish at the same time that the end would match the beginning and do not go to a further discussion of “if they get it or not.”

WiiWare

And Yet It Moves
Publisher: Broken Rules
Players: 1
ESRB Rating: E (Everyone) – Mild Violence
Price: 1,000 Wii Points™
Description: And Yet It Moves is an award-winning, physics-based platform game in which players run and jump through a world made of paper. To aid in completing its twisted, mind-bending levels, you possess the unique ability to rotate the world at will. Walls become floors, slides become platforms – but a harmless pile of rocks becomes a hazardous threat when turned upside-down. Use the Wii Remote™ controller like a magic wand to tilt the world. Explore beautifully crafted environments. Survive 20 challenging levels filled with strange creatures, traps and puzzles. Unlock bonus levels, competitive play modes and surprising modifications that change the entire game. Turn your world upside-down with And Yet It Moves!

Virtual Console™

UFOURIA: THE SAGA
Original platform: NES
Publisher: Sunsoft
Players: 1
ESRB Rating: E (Everyone) – Comic Mischief
Price: 600 Wii Points
Description: Join Bop Louie as he searches for three friends – Shades, Freeon Leon and Gil – to help him complete his mad scramble. It won’t be easy. Brain-boggling mazes, traps and bizarre pitfalls stand in your way on the journey back to Ufouria. You’ll rely on your friends to survive in this strange, changing world, and you’d better have the right powers for the strange worlds you’ll encounter. As you make your trek through mystical forests, deserts and oceans, you’ll need to seek out and destroy monstrous creatures every step of the way. Will you have the right powers at the right time? Don’t let the mind-zapping colors and stupefying sound effects throw you off.

Nintendo DSiWare

Rytmik
Publisher: CINEMAX
Players: 1
ESRB Rating: E (Everyone)
Price: 800 Nintendo DSi Points™
Description: Rytmik is an application for creating rhythmical and melodic themes and composing whole songs. It contains more than 170 carefully selected sound samples of drums, cymbals, percussion, bass and melodic instruments. With Rytmik you can quickly and easily create the basic building block: an audio clip. It consists of musical notations for up to four instruments that you may transpose, select their location in the stereo field and modify their volume, polyphony and echo. You can arbitrarily combine as many as 128 clips in four tracks to create complex pieces of music. You also have a rhythm library with a varied collection of 16 pre-made compositions that can be used to help quickly compose your own pieces. For the best musical experience, we recommend connecting headphones or a quality speaker system (not included).

G.G Series NINJA KARAKURI DEN
Publisher: Genterprise Inc.
Players: 1
ESRB Rating: E (Everyone) – Mild Cartoon Violence
Price: 200 Nintendo DSi Points
Description: Jump and slash as a gravity-defying ninja in this acrobatic action game. Control a jumping ninja as he fights his way through a booby-trapped mansion. When your ninja touches a platform, it will automatically disappear and he will jump, making for pretty unstable footing. But where some see obstacles, a ninja sees opportunity. You will be forced to think on your feet, push your reflexes and bend the very rules of physics to conquer your treacherous surroundings. Master the art of the dash, shuriken and sword. Be a ninja.

My Farm
Publisher: BiP media
Players: 1-2
ESRB Rating: E (Everyone)
Price: 200 Nintendo DSi Points
Description: My Farm is a livestock farming simulation game. At the beginning, all you own is an empty field, a few pennies and a single hen. If you feed the hen and take care of it, she will lay eggs that can be sold. With this money, you can buy new animals at the Farmers’ Market and purchase equipment from the shopkeeper. Little by little, as your farm builds up, you will unlock bonuses including a wind turbine, rooster, guard dog and tractor. You will be able to exchange your animals with your friends who play My Farm or My Exotic Farm. There are six kinds of animals to customize, many farm improvements to buy and bonuses to collect.

Absolute Reversi
Publisher: Tasuke
Players: 1-2
ESRB Rating: E (Everyone)
Price: 200 Nintendo DSi Points
Description: This reversi game is for all players at any level. Absolute Reversi takes the classic strategy game and updates it for the 21st century with three modes of play. Free Play mode lets you select one of eight characters with different abilities to play against. In Challenge mode, you are given missions to complete to advance in the game. With the third mode, you can play against a friend using DS Download Play. Additional features include a strategy guide, different ability levels and the “Assistance” function, which highlights all possible moves per turn.

Nintendo adds new titles to the Nintendo DSi Shop and the Wii Shop Channel at 9 a.m. Pacific time on Mondays. Users with broadband Internet access can redeem Wii Points or Nintendo DSi Points to download the games. Wii Points can be purchased in the Wii Shop Channel. Nintendo DSi Points can be purchased in the Nintendo DSi Shop. A Nintendo Points Card™ can be purchased at retail locations. All points from one Nintendo Points Card must be redeemed in either the Nintendo DSi Shop or the Wii Shop Channel. They are not transferable and cannot be divided between the two systems.

Remember that both Wii and Nintendo DSi feature parental controls that let adults manage the content their children can access. For more information about this and other features, visit http://wii.com or http://www.nintendodsi.com.

– He’s Tweeting as Many as 14 Messages a Day

There was a time when Ashton Kutcher was the undisputed king if tweeting, but compared to some of the stuff West’s put up, he makes Kutcher seem amateurish. He can hardly go two hours without tweeting, and when he does, it’s usually something novel – in terms of the stuff that turns up on Twitter, at least. In fact, a couple of them are so hilarious that, ever since a comedy team called Paul and Storm started captioning cartoons from The New Yorker with them, you can catch them in everything from The Washington Post to The Atlantic. People who actually write for The New Yorker should be so fortunate.

– His Comeback Album Has a New Title

After you come out with an album called “Graduation,” following it up with one called “Good Ass Job” seems like the next logical step. Then again, with the job market for graduates as limited as it is, finding a job seems like a dark, twisted fantasy. That’s actually what he’s calling it now: “Dark Twisted Fantasy.” On top of everything, for reasons no one’s explained yet, Roc-A-Fella Records has decided to release it in November, two months after the September street date he’d had in mind. He likes to make a big deal about being late, but come on.

– MTV’s Letting Him Come Back to the Video Music Awards This Year

Whenever you see his name on the VMA guest list, it’s a safe bet that West will wind up being the center of attention. Just look at what’s happened these past couple of years: When he lost in every category he was up for in 2007, West said it was because MTV refused to “give a black man a chance.” He swore he’d never go on MTV again, which made it all the more surprising to see him come back the following year to perform his new single. He almost ruined his career when he crashed Taylor Swift’s big moment last year, and there’s a good chance he’ll do something just as unbelievable this year. What a guy – when you need a little controversy, accept no substitutes.

Overall, while the sum of its parts are solid, there’s not enough to keep you entertained throughout, making it a comedy that misses more than it hits. At times, it’s absurdly funny, other times weird, in a childish, but charming way and at other times, kind of creepy and completely random.

The interaction between Wahlberg and Ferrell, who will remind you of childhood squabbles between best friends, is the selling point of the film and for the most part, hilarious. Together, they form a silly tandem that make the most out of a weak script. For example, seeing Wahlberg compliment Ferrell’s luscious wife, Eva Mendez, over and over, is cute and watching Ferrell help Marky Mark try to get his old girlfriend back by simply repeating everything he says is classic.

However, it is the dirty talk scene between Ferrell and his mother in law [Viola Harris] that takes the cake and the various one-liners from their boss, Gene, [who is either insane or a huge fan of the musical stylings of T-Boz, Left Eye and Chile] played by Michael Keaton, that make the movie truly funny. Weird at first, they eventually tickle your funny bone and give the film a unique sense of style and delivery.

The rest of the film reeks of a dragging plot and weird moments that try to capitalize on the too few cool moments that push the envelope. Ferrell’s past in the film isn’t in the least bit funny and the way he treats his wife isn’t either. Seeing her stand by her man in spite of this seems a bit silly when it’s all said and done. The same thing goes for Wahlberg’s outbursts, which usually start with him complaining about being a peacock and needing to fly and end with him breaking something.

Peacocks don’t fly dude and if this film wasn’t as repetitive, it might have been able to get off the ground much more than it ultimately does.

The way the story comes together also has its share of problems, as the pieces fall into place the same way a cross-eyed blind-man would play “Tetris.” Having the baddies, steal their shoes the first time was funny, but the second time, you feel scammed and wanting to go watch something else. Had writers Adam McKay and Chris Henchy found a way to spice things up more, this could have been Ferrell’s best film since “Old School.” As it stands now, there’s just not enough polish in the script to make it truly worthwhile.

That’s not to say it’s a bad summer flick, but it’s not exactly the next “Rush Hour” either.

Even though the film is a parody and the development is supposed to be somewhat skewed, it takes too long for things to get going and before you know it, the whole thing is over, making you wish a little more time and effort didn’t go into the script.

While it has its moments, they’re just too far and in between for “The Other Guys” to be a true success.

Is this new trend back to stay and reshape the way society today view the gay community? Or is androgyny the new trend, which will die out and be forgotten?

“I don’t think that it’s a trend,” says Jenny De Bower, director of the Y.E.S program for gay youths. “In fact, I think it is an interestingly new beginning for us.”

Prior to being publicly and socially tolerable, somewhat (in today’s culture at least), androgyny was a hidden pleasurable source of entertainment gracing the gay night scenes in the ‘50s, ‘60s and 70’s. With the 1990 with the mega hit Vogue, Madonna, forcibly opened the publics’ eye about the dance (with its frequent hand gestures and movements that emulated what the supermodels did on the runways, as well as on the pages of Grace Mirabella’s Vogue), that was well performed by not only drag queens and questioned individuals at these “night scenes.”

Androgyny in fashion sense wise is a way for either male or female to apply trendy aspects of the opposite sex and mix it with the fashions of their sex, creating the androgynous type. And Jack Fuller, who stands 5’9, dark skin, with broad shoulders, and a shoulder-length semi-curly dark afro’ with avant garde facial rouge, is indeed the androgynous type.

Fuller is an upcoming, discreet gay neo-soul artist who is fumbling about in photographer Avery McCarthy’s DUMBO studio preparing for his album’s photo shoot. He has it all, a custom designer, a stylist, a make-up artist as well as assistant. As his make-up artist work feverishly on his make-up, applying foundation, and eye-shadow, he looks on his custom made deep blue wash jeans shirt with a shimmery gold brocade collar, and the tights he will wear with the shirt.

“I want to spread messages through my music and how I present myself everyday,” Jack starts in a booming voice, “I would get confused and looked on constantly like I am a drag queen,” he starts shaking his head, “I am not a drag queen. I wear elaborate make-up, and dresses, with pants, or blazer, or whatever is I feel like wearing that day, because I don’t want to be figured out. I want someone to look at me, and wonder if I am a boy, or a girl.”

However, there’s no reason as to why the individuals who do androgyny do it. Besides expression and acceptance, androgyny, to the true androgynous person, is like a fitted glove. It fits perfectly in their lives, so, there’s no need to abandon it.

Androgyny has become a hot and open fashion trend of the rock and roll 80’s era because musical activists such as Elton John, Madonna, Prince and Boy George, helped the outside normal society of the gay community, come to understand and forcibly accept this new change that was quite controversial to the politics of everyday life.

Jenny De Bower, director of the Y.E.S program, for LGBT (and questioning) youths at The Center on 13th St in the heart of Greenwich Village comments, “The issue of androgyny is another milestone that is positive in today’s culture. Every day, there are new people who come here to sign up, and be a part of this change, the positive change. Androgyny is a trend unfortunately to those that do not fully understand the message behind what it really is, but even if it is trend, it’s still a sign that people can be open, can be more accepting as it.”

It is entirely more accepting of gay rights now, than thirty years ago. Hate crime rights, didn’t necessary apply to LGBT members during the eighties until the peaceful walks that occurred towards the end of the decade.

However, even though rights were instated to protect homosexuals, Kenneth Abrams, a freelance designer, and student at NYU’s graduate school for costume design insists that the protective rights still weren’t fully protecting gay people until after the 2000’s. “It took a bunch of Matthew Shepards and Lawrence Kings as well as many others to die unjustly, for people to fully protect gays.”

So now with more media attention on the happenings of the gay community, such as the openly broadcasted information about the notorious NYC pride parades, and LOGO TV being the “gay” channel, could it be that now the final means to protecting the future generations of LGBT youths needed a little spice? For example, a drag reality show (which receives infinite positive reviews), and fashion shows that feature men in drag and look-likes of women’s haute couture?

Since the death of fashion legend Gianni Versace, many old-time designers as well as new fashion creative directors have followed in Versace’s footsteps. Though Gianni’s assassination wasn’t classified a hate crime, it still angered his colleagues (famously Giorgio Armani whose openly bisexual) that homosexuality (at this time) was accepted only in the arts, particularly in the fashion and beauty industries.

“It’s really hard to ignore fashions, especially with guys trying to boost up their fashion sense, especially in the city,” says Abrams. “I make menswear to some extent, but I really think it’s weird that guys are taking just as long to shop, and get dressed, and they’re not gay. And some of the brands and garments they wear really have feminine aspects, it’s unbelievable.”

Before his departure in 2006 from the brand Dior Homme he helped initiate, Parisian designer Hedi Slimane was the starting ground after Versace, to start applying feminine aspects to his mens clothing. Even though the Dior Homme look is considered “rocker,” Slimane’s use of everything being literally slim and fitted for the masculine body.

“Slimane was really the one who introduced the slim suit, that Frida Giannini constantly uses for the mens Gucci line,” says Abrams, “And you see guys constantly wearing both brands. But what they don’t realize is, even though European, famously Italian suits are supposed to be ‘tailored’ which is fitted, with room. Really skinny cuts, and sharp lines are really looks for the haute couture woman fashions which is supposed to flatter and be strictly cut for the woman client.”

Dior Homme prêt-à-porter is constantly out of sale at Saks Fifth Avenue. But even Jean Paul Gaultier who uses the most feminine materials such as cotton sateen, a cotton blend made to look like satin, as well as rare organza silks (which can be sheer), and brocade for his suits.

Brocade was the famous material Coco Chanel used for her woman’s “tweed suit” look. But the line headed by Karl Lagerfeld has introduced menswear into its collections, and Chanel’s men tweed blazers or even some of the brands blazers are actually unisex.

Fashion designers Marc Jacobs, and the late Alexander McQueen, are notorious for walking down their runway shows in avant garde, or even androgynous. Jacobs, can be seen walking around Paris, frequently in a kilt. And it is used for non-traditional purposes. And McQueen before he died, wore kilts as well for non-traditional purposes. And both designers made these kilts or special “men skirts” on special orders only. But models are seen on several occasions wearing kilts with a cotton-silk blend button down, and a very elaborate, feminine beret.

Make-up artist, Michael Dlforcin insists, androgyny isn’t coming back, but designers being “artists” and expressing themselves. Over his small M.A.C cosmetics counter in SoHo’s Bloomingdales, Dlforcin, dressed in black appears overly prissy and stuck up, for his facial expression favors someone who has dung under his nose.

“Androgyny itself isn’t in, but instead, it’s just 80’s fashions staying too long. And I don’t think even if it came back, anything will change, gays still won’t have certain rights. I mean, androgyny is just a bunch of guys trying to be girls; their confused. But make-up is different more elaborate today, so that’s androgynous I guess,” he says nodding his head awkwardly.

In today’s world, referring to drag again, it is often confused with transgender qualities, instead of how the person feels on the inside, or whatever message the person wants to convey. Androgyny is all about message and expression. Confusions lies with questioning individuals.

“Androgynies seek being socially accepted, like everyone does, even if it is a trend or not, it’s an act that needs to be addressed, because it is an instinct. It’s an instinct that cannot be driven away, no matter how hard ones try,” De Bower says sadly.

But, androgyny today is different from its popularity 30 years ago. With the demise of the trend in the nineties and early 2000’s, with the launch of Viacom’s- parent company of MTV- station LOGO TV, as well as wave of artist’s such as Lady Gaga, Adam Lambert, and Katy Perry, androgyny has made a creep back into society.

Having set the new fashion scene in 2008, Lady Gaga, has openly admitted her support of the LGBT community, as well as taking various inspirations from them, noting her elaborate fashion sense, wild hair, leather, men inspired shirts with wide slit dresses, she has come full commando at setting the scene in which many superstars prior to her arrival emulate: Beyonce Knowles, Rihanna, and Christina Aguilera. Are these superstars flattering and supporting the once rejected trends of the gay community? Is this trend something that will die out in the next 10 years, and forgotten of all the positivity that came from the current openness of today? Or is this 80’s trend really here to stay until something positive come out of it?

“I was really annoyed with [Marc] Jacobs, for always constantly presenting this trend,” says Abrams, “He has presented the trend, for his shows for three years, and now people are trying to go ‘vintage’, and ‘retro’. But everything with art, has a meaning. In the 1980’s it was a real turning point for the world today. I wouldn’t be surprised if designers are using this time period, or inspirations of it to convey the beauty of equality.”

In advance of Loso’s Way 2 full-length album, to be released this December

Follow-up to Loso’s Way of 2009 – career first #1 Soundscan debut, including #2 rap/R&B/pop crossover smash “Throw It In The Bag” featuring The-Dream

‘THE FUNERAL ARRANGEMENTS’ 5-PART VIDEO SERIES BURIES THE COMPETITION, CO-DIRECTED BY ARISTOTLE TORRES AND FUNERAL FAB

“Mr. R.I.P.,’ first video in the series, shot at NY’s biggest cemetery, receives over 1.6 million views in the first 24 hours after its premiere

(New York, NY) Grammy nominated multi-platinum Def Jam rapper Fabolous takes it to the streets as he hooks up with DJ Drama and LiveMixtapes.com for the release of THERE IS NO COMPETITION 2: THE GRIEVING MUSIC MIXTAPE, set for August 31st release on Def Jam. The Mixtape sets the stage for the December release of the full-length album Loso’s Way 2, the follow-up to Loso’s Way, the first #1 Soundscan debut of his career, which entered the Billboard 200 albums chart at #1 in August 2009.

TINC2: THE GRIEVING MUSIC MIXTAPE – a collector’s item for Loso’s fans – is the officially released expanded version of TINC2: THE FUNERAL SERVICE, which won critical acclaim as the #1 most-downloaded mixtape of 2010. The Mixtape adds three new bonus tracks, “Body Count,” “You Be Killin Em,” and “Lights Out,” the new single and video by ‘Funeral Fab.’ Writing in the New York Times, Jon Caramanica described the original mixtape as “[an] impressive… concept record” earlier this year.

At the core of THERE IS NO COMPETITION 2 are ‘The Funeral Arrangements,’ a five-part viral video series of original clips co-directed by Aristotle Torres and Fabolous, in which the TINC2 mixtape is brought to life in a bevy of stills and interviews. Loso’s alter ego Funeral Fab takes his fans on a dramatic journey through dark New York landmarks in preparation for the funeral of any and all hip-hop competitors. Funeral Fab buries them all in an intense funeral service that culminates the video series.

Following its premiere in March, the first video, “Mr. R.I.P.” – filmed at the biggest cemetery in New York City – received over 1.6 million views in its first 24 hours of release, and was praised by GQ, who described Funeral Fab as “dressed to kill.” In the second video “Body Ya,” he has been diagnosed with a severe case of body ya, a disease that only the most stylish and fly can obtain. Under strict quarantine by his physician, he is warned to not leave his apartment, but he disregards the advice and heads out into the world. Anyone and everyone who looks at Funeral Fab passes out due to his incomparable style. “I’m Raw,” the third video is street smart and lyrically savvy with one objective – to let the haters know that he is on top of the game and he is raw. The fourth and fifth videos, “Tonight X Love Come Down” take place in a high society nightclub rampant with champagne bottles, models and strippers.

THERE IS NO COMPETITION 2 contains guest appearances from hip-hop notables Nicki Minaj, Red Cafe, Paul Cain, and many others. The tracks include: “The Wake,” “I’m Raw,” “Body Ya,” “Hard” featuring Kobe, Paul Cain, and LA The Darkman, “Oh Let’s Do It,” “Suicide 2” featuring Paul Cain and Freck Billionaire, “It’s Goin’ Down” featuring Freck Billionaire, “Roger That” featuring Freck Billionaire, “Love Come Down,” “Popular Demand” featuring Paul Cain, “Mr. R.I.P.,” “Body Bag” featuring Cam’Ron and Vado, “Lloyd Banks” featuring Juelz Santana and Fabolous, “Beamer, Benz, or Bentley,” “For the Money” featuring Nicki Minaj, “Tonight” featuring Red Café, “All the Way Turnt Up” featuring Trey Songz, “Say Somethin’ Nigga,” “Funeral Service Music” featuring Kobe, Paul Cain, Red Café, and Willie The Kid, “Bring Death to Em’,” and “Exhibit F.”

Loso’s Way, the fifth studio album by Fabolous provided an intimate glimpse into the rise of the Brooklyn-born rapper, exploring the perils that came with managing the transition from Bed-Stuy street life to one of legitimacy. Loso’s Way also encompassed his first long-form video project, a 30-minute DVD counterpart that was packaged as a bonus disc in the first run limited-edition deluxe versions of the album. The first single, “Throw It In The Bag” featuring fellow Def Jam artist The-Dream (and produced by Tricky Stewart) rose in Billboard to #2 Rap, #4 R&B, and #14 on the Hot 100.

Loso’s Way followed-up From Nothing To Something, RIAA gold Def Jam debut album by Fabolous (released June 2007). The album earned him the first #1 debuts of his career on Billboard’s Top R&B/Hip-Hop Albums and Top Rap Albums charts, on the strength of the RIAA platinum #1 rap/R&B/pop crossover smash “Make Me Better” featuring Def Jam artist Ne-Yo (produced by Timbaland). The track made headlines in 2007, when it took over the #1 Urban spot from fellow Def Jam artist Rihanna’s “Umbrella.”

Clark has the ability to sing and play guitar, bass and piano. For someone her age, it honestly can’t get any better than that.

Currently signed to Vanguard Records, she has produced three solid EPs and two full length albums. In addition, Clark was also able to donate her skills of singing through guest vocals. Because of this, she has worked with Jack’s Mannequin, Mikoto, Ivan Ives, The Seams, Delux and At As If.

Allowing her popularity to increase, a few of Clark’s tracks can be heard on television programs such as The Buried Life, One Tree Hill and My Super Sweet Sixteen.

Recently released on August 10, 2010, “Connect The Dots” is Clark’s newest album.

This particular CD of hers gathers up all of the emotions she has towards love and relationships. The style that she shows throughout every song is highly consistent and sharp.

“Whites Lies” is one of Clark’s well-known tracks that comes off of “Connect The Dots.”

Though it might be just under three minutes long, “White Lies” contains quite the cute aura. Clark’s voice is soft, but is still able to send a meaningful message to those who are willing to listen.

She speaks about an experience that a majority of people tend to go through; being lied to, but finding out before it happens. Clark explains how she’ll no longer be a fool for such things.

During the entire tune, funky piano chords provide the song with liveliness. Along with the piano, cheerful guitar and bass riffs are constantly being played.

“Whites Lies” easily demonstrates Clark’s poppy side along with her many instrumental talents.

Phenomenally enough, she is able to create a song about liars, but she manages to do it in the most carefree way possible.

Check out these exclusive pics from the Queensryche Concert at Nokia Theater this past Friday.

Photos by Patrick Hickey Jr.

Maybe the reason why films like “Cairo Time” are so rare is because theater owners aren’t keen on movies that might put them out of business.

Of course, one might envy its heroine, Juliette (Patricia Clarkson), for getting to hang around in such an exotic place. She’s a journalist who’s come to Cairo to work on her next story, and to go sightseeing with her husband, a U.N. official named Mark (Tom McCamus). He’d planned on meeting her in Cairo after taking care of some business in Gaza, but when the airline cancels his flight, his old friend Tareq (Alexander Siddig) steps in to keep her company.

You’d think someone who’s got a piece to write would want a little time to herself.

Juliette gets so used to having Tareq around that she starts to fall in love with him, which is made all the more surprising by the fact that they don’t have much in common. An affair is usually enough to generate some drama, but these characters aren’t bold enough to create any sparks – their romance is limited to passionate glances that bespeak of the flames within their loins, and all that other Harlequin crap you find in bargain bins at supermarkets. (Actually, given this film’s PG rating, this material seems better suited for the young-adult section at the bookstore.)

Even the parts that don’t have anything to do with their relationship come out wrong, all wrong. When Juliette hops on a bus and sits next to a woman named Jameelah (Mona Hala) only to have the Egyptian police pull them over, Juliette’s caught off-guard when Jamelah asks her to track her boyfriend down and hand him a love letter. Instead of turning this into a major plot point, the movie allows Juliette and Tareq to take care of the letter as if it were as easy as … well, mailing a letter. It’s stuff like this that makes you wonder how a film this dull can last 90 minutes.

Sometimes it’s worth waiting through a film’s theatrical run for the DVD, but if you must see “Cairo Time,” wait until it turns up on television. At least there, you’ll get something out of the commercials.

This article originally appeared on AllMediaNY.com

Chef Fabian is extremely talented at creating exquisitely seasoned meals for a great taste. The evening’s fare stated with a few well-prepared appetizers. The Pulled Pork appetizer consisted of tender shredded pork encased in a deep fried flaky pastry shell. The meat was moist, succulent and flavorful with every bite and the golden crust provided a perfect contrast in taste to it with just the right amount of crunch. To complement this meal starter, a sweet and tangy barbecue sauce was provided as a dip.

Next to be served were baked clams, which were topped with well-seasoned bread crumbs. Lemon wedges accompanied the clams as a garnish enhancing their juicy and savory taste.

The Fried Calamari could be cut with a fork and every deep-fried squid ringlet melted like butter in your mouth. The spicy tomato sauce used for dipping provided tantalizing flavor to enhance this seafood dish.

The Manicotti was top notch. This crepe-like dish was made with homemade pasta and a smooth and creamy Ricotta cheese filling. The Marinara sauce was sweet and too tasted like it was made right at home.

Every bite of this dish was thoroughly pleasing to the palate. A house salad that contained lettuce and tomato was complemented by zesty balsamic vinaigrette.

The main course, a 12-ounce boneless rib-eye steak is truly a signature meal at Hoof ‘N Finz. Tender and cooked to perfection, this steak dish provided a delectable taste experience. Perfectly cooked, yet juicy, it did not disappoint. Mashed potatoes and broccoli with garlic were vegetable side dishes that made one’s mouth water with the taste of every morsel. A unique feature of this establishment is that frozen steaks are available for purchase. Another entrée on the menu, Tilapia Oreganata, a filet of fish topped with bread crumbs, had a wonderful seasoned taste that was noticeable, yet not overpowering.

In addition to the high quality food, Hoof ‘N Finz has a comfortable atmosphere. There is a bar area and two levels provided for dining. The main dining area, which is on the upper level, is spacious, bright and airy. Another added feature of the restaurant is an open air patio which allows a patron to enjoy the outdoors and catch up on conversation with friends or family. Owner Vincent Catalano takes great care in making sure his restaurant is run in a courteous and professional manner and he also has an excellent wait staff.

Hoof N Finz offers a wide variety of other food selections including, Maryland Crab Cakes, Lobster Crepe and Shrimp Oreganata. Other Steak dishes offered are Porterhouse (single or for two), T-Bone, Filet Mignon, Chateaubriand for two and the Fabian Fat Burger which contains Cheddar cheese, Wild Mushrooms, Bacon and Onions.

Veal Milanese, Chicken Francaise, Pecan crusted Chicken Breast and Chicken Catalano are some other options for those who don’t choose to eat red meat. Other Seafood choices are Grilled Salmon, Shrimp Scampi, Steamed Mussels and Clams, Grilled Blackened Swordfish, Lobster Tail 8oz, Chilean Sea Bass and a fried Seafood Platter.

Despite its out of the way location, Hoof ‘N Finz is a worthy choice for dining on fine food in a comfortable and relaxing environment. The restaurant also features Karaoke night on Thursdays and live entertainment on Fridays and Saturdays. A party room is also available. Pay the toll if you don’t live on the Island and experience this Staten Island treasure. It’s worth the effort.

Growing up in New York City with musical talent coursing through his veins, being that his mother was also a singer his parents were very supportive of his career choice. With much experience in the music industry, it was no wonder mom was ready with plenty of advice for her 22-year-old son, when the time came that he decided to take his music more seriously.

Getting kicked out of private school for being a rowdy kid and venturing on into public high school was a positive switch for Samuel as he started to become a part of bands. With not much song writing experience, he set out to assume the task after his latest band broke up and Samuel went to college to study english.

As a way to keep the music alive, he would write music as a hobby on garage band, a song recording program on his computer. Samuel realized english wasn’t for him after taking a few music courses studying ethnomusicology at NYU.

“It actually happened by accident; I didn’t ever plan on it. I’ve always thought about it and I’ve always loved music. Music has been a huge part of my family growing up. It was never a conscious decision. It was what I was working on at the time and I figured out I really enjoyed it. I just needed to find a way to do it professionally; a way to make a career out of it as opposed to just a hobby and then commit to that,” said Samuel about pursuing a career as a musician.

With the city as his backyard sparking an abundance of creativity, “I heart NY” was born with it’s old fashion radio style crackling intro and xylophone twinkling beat. After hearing the rhythm, Samuel knew exactly what he wanted to say. Being the first song he wrote with The Knocks, plenty of rewriting was done to get the ode to his home just right.

“It’s suppose to be about New York and the way I see it and I hope the way other people see it. I know some people who have never been to New York say it has a reputation. It’s reminiscent of being young in New York and doing all the things you wanted to do when you were a kid,” he said.

Knowing how to play the piano, you won’t catch him playing live unless you happen to hear Samuel’s demo work. Creating simple beats and lyrics on the piano from the comfort of his home, even though Samuel writes on his own, the songs are much stronger when musical forces are joined.

Working on the album in the company of his best friends Ben and JPatt, made the experience more enjoyable to write with such hungry creative geniuses. Having a strong relationship with your producers and a connection of ideas makes the creative process flow smoother and quicker.

“A lot of the songs on the album were 75 percent written by me and the rest of it was collaborative; here and there throwing in lines. The guys I work with, writing with them was partial of the process, because I’d come in with like a hook, really simple nothing fancy at all and they’d help me figure out what to talk about in the verses,” he said. “It’s always nice when I write alone, because you can concentrate, play your music loud and do what you do to get into it. But there’s a stronger feeling when you write with other people.”

Not only focusing on New York and his visits around the state, but incorporating snippets of places he’s traveled, such as the summer after high school he spent at Barcelona and the summers spent at Martha’s Vineyard during his childhood, Samuel takes you on a trip through his personal diary on his pop album, Trains to Wanderland.

A cleverly well thought out title for the record is a twofer “Trains” being the first song Samuel played for The Knocks and Wanderland being the location within his memories where the songs take place.

A lot of time was split among California and New York to write the album, having a tremendous impact on the songs and making the Cali stay quite difficult for this New Yorker who hasn’t gotten around to learning how to drive.

“It’s a travel log of going away from New York and coming home and experiencing the world in such personal ways. Anybody could identify with leaving home and wanting to go back or finding a new place you love or remembering a place you’ve been to that you love and people you’ve met and experiences you’ve had. It’s descriptive of what I’ve gone through in my life, but also what I think other people go through. There are themes on it that reflect youngness and growing up and having responsibilities,” said Samuel.

With high hopes and aspirations, this guy-next-door’s dreams are not so out of reach.

“I hope to be playing lots of shows. I love performing and touring. That’s a huge joy of being able to make music is sharing it with people who don’t even know you and seeing people’s reactions. I love to write so writing with other people and collaborations and stuff like that I’d love to do. Hopefully just get out there and have people listen to my music,” he said.

Instead, Hitchcock got an introduction from Robert Wise, a filmmaker who took home the same award the year before. When he talked about a couple of the movies that earned Hitchcock his award, they were the ones people usually think of whenever his name comes up: Psycho, Rear Window, Spellbound, Lifeboat, Rebecca, The Lady Vanishes. “When you examine a list of his films, you are jolted by the legion of absolutely top-level entertainments he has made–a record almost unmatched by any director practicing his magic anywhere,” Wise said.

Much like the name of the man responsible for them, a great deal of those titles have become immortal. Not all of Hitchcock’s movies have as many admirers as Strangers on a Train or Vertigo, though–try to remember the last time you heard someone talk about The Farmer’s Wife or The Lodger: A Story of the London Fog, or any of the seven other Hitchcock movies that the British Film Institute hopes it can get people to take more seriously. Part of the reason that they’re so obscure is that, with one exception, they’re all relics from the silent era that aren’t nearly as ambitious as some of the films he worked on later (think of all those avian actors he had to deal with on the set of The Birds).

Considering how long ago Hitchcock made these films, you can imagine the condition they’re in. Restoring them would be a pretty expensive process, but with the BFI’s new “Rescue the Hitchcock 9” campaign underway, lots of generous movie buffs have started the ball rolling.

“We are dependent on receiving funds from the general public, and we have had interest and support from all over the world since the project was announced,” said Brian Robinson, the communications manager at BFI. “There have been no full restorations of Hitchcock’s silent films to the standards of the digital age, and our preservation copies need to be upgraded.”

At least eight of them should be ready by 2012, although chances are nobody’s going to see the ninth one anytime soon. In fact, few people have seen The Mountain Eagle at all–prints of it have been missing for generations. At this late date, trying to locate one may well be a fool’s errand, but Robinson said it’s still worth keeping an eye out for.

“There is no evidence that the film exists, but [that] doesn’t make it any less desirable for an archive,” he said. “Many films have been rediscovered after a long gap, most recently in the case of Metropolis–a complete version of the film turned up in South America.”

The funny thing about all the attention these movies are getting is how critics treated them back when they were new. In fewer than 80 words, Variety panned The Manxman with a review that called it an “antiquated adaptation of [a] best seller of another day,” and said the “story is unfolded in a stupid, elementary way.” Stupid or not, the BFI wants to raise 100,000 pounds to fix it.

David Shawrtz, the chief curator at the Museum of the Moving Image, said it took a while for some critics to warm up to Hitchcock. “Some of the reviews of the time suggest that he was perceived as a somewhat superficial, technique-oriented director–a characterization that followed him throughout his career, until critics in the 1950s and 1960s started to take him very seriously,” he said. “He had a strong, graphic visual style from the beginning, and he knew how to connect with an audience.”

Besides, when you’re dealing with a name as big as Hitchcock, it’s interesting to see what kind of work he did before he got famous. Professor Timothy Corrigan, who teaches cinema studies at the University of Pennsylvania, can see why these titles are so intriguing.

“The early work of any artist/filmmaker will reveal important insights about the later work,” he said. “It’s absolutely worth restoring.”

Anybody who’s seen these movies may have noticed how infrequently the action stops so that a title screen can explain what’s going on. Dialogue was always secondary for Hitchcock, as you can tell by the acceptance speech he gave at the Oscars. He came onstage to the familiar tune of Funeral March of a Marionette, the piece that used to open every episode of Alfred Hitchcock Presents. After Wise handed him the award, Hitchcock leaned into the microphone, said, “Thank you very much indeed” … and left.

If you’d like to contribute to this project, visit www.bfi.org.uk/saveafilm.html.

This article was originally published on AllMediaNy.com

Raw announcer Michael Cole was in a league of his own on Monday night, ripping Bryan Danielson one second, getting annoyed at R-Truth’s entrance antics the next and just maintaining a sour attitude throughout. Usually the good cop, to Jerry Lawler’s “bad, but cool” cop routine, Cole was totally off his game.

Who knows how much of this was part of the script and how much was ad-lib, but regardless, the WWE took the low road, at least when it comes to Danielson, making this week’s RAW a lackluster affair.

To call someone like Danielson a 10-year veteran of the minor leagues simply isn’t fair. The fact that he was even on NXT last season was simply a joke and one that show’s the WWE believes it’s in a league of its own. The fact that his “mentor” was The Miz, who in spite of being a solid in-ring competitor, isn’t in the same league as him, was even more of a tragedy.

Make no mistake about it, in spite of his size, Danielson is one of the best pure wrestlers in the world. On top of that, the guy has proven countless times that he doesn’t need a gimmick to be a success. Anyone who knows anything about wrestling has seen his matches in Ring of Honor and in Japan over the years understands that. For the WWE to act like none of that exists is a travesty that will bite them in the rear at some point.

Aside from that, hearing Cole interject on R-Truth’s elongated entrance and ask for him to speed it up, wasn’t classy. Sure, many viewers were saying the same thing in their heads, but for him to say that wasn’t necessary.

Add in the fact that the wrestling action on RAW gets worse every week [A former ECW champion in John Morrison was beaten with a clothesline from Nexus member Skipp Sheffield, which was strong, but nowhere near where a clothesline finisher should be. The one he gave Darren Young was a bit better] and little to no attention has been paid to the World Title and it’s fair to say that this company needs to get back to its roots and fast.

Episode Commentary: The Middle East is Complicated

With another sexy client in Samara [Mozhan Marno], an interesting situation involving hummus and Tanya finding a way to relax, this episode is the most action-packed of the season.

From the start, Ray is forced to deal with drama, caused mainly by the always sexy and devious Lenore. However, rather than tackle the situation head on, he keeps hush to Tanya, the one person who deserves to know the situation more than anyone else. Luckily, Tanya has her own things she needs to keep quiet about and Ray ends up getting a new lawnmower for his troubles.

This is all bound to blow up sooner than later, but for right now, seeing Lenore looking to cause trouble and Tanya going totally outside her box is without a doubt worth the price of admission. Without giving too much away, you might even be shocked at seeing what Tanya gets herself into.

With all of this going on, it’s nice [well, not literally] to see Jessica dealing with a nasty rash due to stress. What will happen between her and her husband Ronnie? Another situation worth watching is the one between Mike and Francine. Having no idea that he’s a whore, it’s going to be more than intriguing to see what happens when he finds out this isn’t the special relationship he was waiting for.

More developments include Yael and Howard’s marriage hitting the fan, with Ray ironically playing both sides. Sexy, but tough, Yael is pissed and Howard has no one to turn to, forcing him to share a beer with his hated neighbor, Ray. Where this situation ends up could get steamy as well. If that wasn’t already enough, especially for a half-hour show, there’s a small scene between Liz, which not only gives her character more depth, but shows that Ray is starting to learn how to become better at his job.

The question remains however if he can be as good as he needs to be to rebuild his life.

Nevertheless, watching him try to put the pieces back together this week was a treat.

Bennett’s voice has a light, ethereal air to it. In the song “Soon” there is a vulnerability and insecurity that shines through in the lyrics being sung. Still there isn’t anything special about this rendition that stands out. The same goes for “Puttin’ on the Ritz” where her singing is serviceable in that the song sounds pretty and she hits all the right notes, but does the world need another version of “Puttin’ on the Ritz?” A new rendition of a standard should make you forget anyone else who recorded the song. With this interpretation you’ll only want to find the Fred Astaire version and enjoy not only his singing, but his dancing.

“The Thrill Is Gone” is not for lightweights and this lumbering version will not give you incentive to want to continue to listen to this six-song album. But just when you’ve given up hope, there is the up-tempo “I Wish I Were In Love Again” which seems tailor made for Bennett’s singing style. Its light air and the approach of the musicianship of the pianist make a perfect combination. It will be well worth the price of the entire album.

The album only gets better from there. Bennett brings “I Fall To Pieces” her own stamp on a classic song. While it may not make you forget the Patsy Cline version, it will be one of your favorite interpretations of it.

The last song on the album is “Love Is A Battlefield.” Yes, the Pat Benatar hard-core, rocking hit of the ‘80s. Bennett brings out the introspective aspect of the song as she reflects on the words. The jazz/blues rendition of this track forces you to see another side to the lines “We are Strong//searching our hearts for so long/ both of us knowing/Love is a Battlefield.” At first listen it may shock you but the rhythmic arrangement and the slow, melodic overtones in Bennett’s voice will make you want to continuously replay this song.

Overall, “Natural” is a solid introduction to a talented singer with a voice that can tackle the standards. If nothing else Bennett takes chances and sometimes the payoff is worth it.

As the play commences, we learn that the main character, Proteus, is in love with Julia, and Julia has proclaimed her love for Proteus as well. His best friend is Valentine, and he is in love with Silvia, and she loves Valentine too. Silva lives in the city of Milan, and Valentine leaves Verona to be closer to her. As the production goes on, Proteus follows Valentine. Soon, he is in love with Silvia, and betrays his friend’s trust to woo her.

The role of Proteus, portrayed by Sheila Joon, was the ideal example of the back-stabbing best friend. Her acting was on-point, convincing and full of energy from start to finish. Valentine, played by Rachel Hip-Flores, was the audience favorite as the lover who was banished by his friend.

Julia, played by Alvin Chan, stole the show. It was apparent that she was deeply in love with Proteus, and was heartbroken when he left Verona and headed to Milan to start a new life. Silva, played by Hunter Gilmore, was the most effeminate and believable as a female character.

The actors did an amazing job with the switch of the gender roles. The audience seemed to be too surprised and amused by the men playing female characters. It seemed to be that the men in female roles were funnier than the women in the male roles. Effeminate men must rub them the wrong way. Regardless of the heckling, it was fun to watch their examples of gender expression.

The plot was a little uninspired. The happily-ever-after portion after Valentine discovered the truth about Proteus’ lies seemed to be unrealistic, and it was too easy to switch from anger to forgiveness within a few lines. Valentine is to be married to Silva, and Julia forgives Proteus and they are to be married as well. It is not the best play in the world, but that is how Shakespeare wrote it, and that is how the cookie crumbles.T

WiiWare

Space Trek
Publisher: CALARIS
Players: 1
ESRB Rating: E10+ (Everyone 10 and Older) – Fantasy Violence
Price: 700 Wii Points™
Description: As Captain Jay, you take control of a space jet deployed on an alien world. The planet you’re on is inhabited by the Knagar, a race of big, green, self-important bullies. You must fight your way through, outsmart them and save the survivors. Fortunately, Jay can always throw a nice punch line when things get ugly. Fight floating drones, destroy Knagar ships, attack turrets and deal with gigantic worms before they swallow your ship or electrocute you. Access your handy map to avoid getting lost on one of six big levels. Pick up keycards, deactivate force fields, save survivors and collect power-ups. Rearm your ship to use one of six weapons, including the Quark Dispeller, Anti-Matter Thrower and Mega Rockets. Recharge your ship’s battery by flying over heat-bursting volcanoes. Then use the surplus to power your weapons or energy shield. Enjoy humorous dialogue that accompanies players throughout the game.

A Monsteca Corral: Monsters vs. Robots
Publisher: Onteca
Players: 1-4
ESRB Rating: E (Everyone)
Price: 500 Wii Points
Description: The planet Monsteca is no longer the harmonious world it once was. It’s been overrun by a robotic army that’s determined to rule and conquer. Monsteca natives known as the Stompies have no choice but to run. Unable to defend themselves against such heavy machinery, the Stompies must rely on the strength of their herd to work together and defeat the meddling robots. Take control of the Stompies, cute and not-so-bright monsters who need help to avoid being captured by invading robots. It’s your duty to guide them successfully through each level. This fun, full-3D strategy game has a strong sense of flow, offering 20 levels to conquer and many hours of game play.

Nintendo DSiWare

Divergent Shift
Publisher: Konami Digital Entertainment
Players: 1
ESRB Rating: E (Everyone) – Violent References
Price: 800 Nintendo DSi Points™
Description: Divergent Shift is a puzzle platformer. You’ll run, jump and flip over obstacles, but you also may have to put on your thinking cap to figure out how to complete some of the levels. There are two primary mechanics in the game: the Reflection Mechanic and Shadow Mechanic. In both, you control two characters – one on each screen – at the same time. If you jump, both characters will jump; if you run, both characters will run. The only way to beat the game is to use the two screens together.

3D Mahjong
Publisher: cosmigo
Players: 1
ESRB Rating: E (Everyone)
Price: 500 Nintendo DSi Points
Description: Relax your mind with the ancient game of tiles. 3D Mahjong features 50 layouts of the traditional tile-matching game in 3D, each with millions of different shuffles to play. The game’s style and interface has been designed for easy and intuitive operation with the stylus or control pad. The graphics can be customized with six fabulous tile sets and backgrounds. Sit back, relax and enjoy the endless challenge with this Mahjong game collection. Additional brain-sharpening challenges come in the form of extra mini-games: “Memory” and “Matching.”

myNotebook: Carbon
Publisher: Nnooo
Players: 1
Price: 500 Nintendo DSi Points
Description: myNotebook allows you to take notes wherever you are. Just pop open your Nintendo DSi™ system and jot down your thoughts. Make a list and cross it off, or even play your favorite pen-and-paper games (games not included). You can even personalize your notebook by drawing on the cover and changing the paper type with 24 unlockable squared and lined paper styles. Use the pen or pencil to make notes or doodles, and then erase the bits you don’t like. With five ink colors, you’ll always be able to make your notes and doodles look stylish. myNotebook also includes 128 pages to write on and the ability to export your pages to your Nintendo DSi Photo Album.

Just SING! National Anthems
Publisher: Engine Software
Players: 1
ESRB Rating: E (Everyone)
Price: 200 Nintendo DSi Points
Description: It is the greatest sporting event of 2010: the World Cup! All eyes are on South Africa, and all ears are on you in the karaoke game of the year. Enter the hallowed turf and display your talent by singing a selection of national anthems. There are five national anthems to choose from: Argentina, Australia, Brazil, Japan and the United States. It’s karaoke fun at its best. All text is displayed, and the game features optimum voice recognition. Just sing into the built-in microphone of your Nintendo DSi system. Don your jersey and step out onto the pitch – to sing!

Nintendo adds new titles to the Nintendo DSi Shop and the Wii™ Shop Channel at 9 a.m. Pacific time on Mondays. Users with broadband Internet access can redeem Wii Points or Nintendo DSi Points to download the games. Wii Points can be purchased in the Wii Shop Channel. Nintendo DSi Points can be purchased in the Nintendo DSi Shop. A Nintendo Points Card™ can be purchased at retail locations. All points from one Nintendo Points Card must be redeemed in either the Nintendo DSi Shop or the Wii Shop Channel. They are not transferable and cannot be divided between the two systems.

Check out Review Fix Editor-In-Chief Patrick Hickey Jr.’s exclusive interview with singer/songwriter/guitarist Zoe Scott, who discusses her love of Jim Morrison and her new album “Woman on Top.”

You can listen to the interview by clicking the link below:

Zoe Scott Interview

Wii launched in November 2006 and ushered in a new era of video games. The built-in motion controls of the iconic Wii Remote™ controller drew millions of new players to the world of video games. Kids started playing with their parents and grandparents, people got up off the couch and got active, and seniors and baby boomers formed virtual bowling leagues.

“More than any other video game system in history, Wii has expanded the world of video games to new audiences,” said Cammie Dunaway, Nintendo of America’s executive vice president of Sales & Marketing. “This milestone is another reminder that people want fun games they can play with others – all at a value-minded price.”

To continue building on this foundation, Wii has a strong slate of games on the way for the fall. These include Metroid™: Other M on Aug. 31, Samurai Warriors™ 3 on Sept. 27, Kirby’s Epic Yarn™ and Wii Party™ this fall, and Donkey Kong Country™ Returns, FlingSmash™ and PokéPark™ Wii: Pikachu’s Adventure for the holidays. That’s in addition to New Carnival Games from 2K Play in September, NBA JAM from EA Sports in October, GoldenEye 007 from Activision and Just Dance 2 from Ubisoft this fall, and Disney Epic Mickey from Disney Interactive Studios and Sonic Colors from SEGA during the holidays.

The Wii video game system is now available in either black or white at a suggested retail price of $199.99. That price offers a great value to consumers, as it includes two engaging games, Wii Sports™ and Wii Sports Resort™, as well as the Wii Remote™ and Nunchuk™ controllers and a Wii MotionPlus™ accessory, which brings additional precision to specially designed games.

The 30 million milestone is a good time to look back at all the fun Wii games and experiences that are just not possible on any other system. One of the unique features of the Wii platform is that many games follow an evergreen sales trend that keep them selling over long periods of time.

According to the independent NPD Group, the top 10 best-selling Nintendo-published Wii games in the United States (through the end of June) are:

1.

Wii Play™

2.

Mario Kart™ Wii

3.

Wii Fit™ (with Wii Balance Board™ accessory)

4.

New Super Mario Bros.™ Wii

5.

Wii Sports Resort

6.

Super Smash Bros.™ Brawl

7.

Super Mario Galaxy™

8.

Wii Fit™ Plus (with Wii Balance Board™ accessory)

9.

Mario Party™ 8

10.

Link’s Crossbow Training

According to the independent NPD Group, the top 10 best-selling Wii games from third-party publishers in the United States (through the end of June) are:

1.

Guitar Hero III: Legends of Rock from Activision

2.

Mario & Sonic at the Olympic Games from SEGA

3.

LEGO Star Wars: The Complete Saga from LucasArts

4.

Carnival Games from Take-Two Interactive

5.

Game Party from Midway

6.

EA Sports Active from Electronic Arts

7.

Just Dance from Ubisoft

8.

Rayman Raving Rabbids from Ubisoft

9.

Deca Sports from Hudson Entertainment

10.

Mario & Sonic at the Olympic Winter Games from SEGA

There wasn’t a significant amount of gore, but it wasn’t the gore that made the difference. What made the difference was the growth of the storyline, as questions are finally starting to be answered.

Finally, things are beginning to take shape and show the agenda behind the third season. It seems as though the Sookie storyline, and the Russell storyline are really unfolding, and rightfully so.

Sookie, who’s been the main protagonist since the shows debut, is finally beginning to develop as being “more human than human.” We knew from the start of the series that she has the ability to read minds, but other than that she was nothing more than the pretty waitress at Merlotte’s. However, throughout this season, and the end of the second, she has been able to harness some sort of energy, which takes shape as an uncontrollable white light that protects her when she needs it. That, as well as the fact that she has been living without a blood type leads the viewer questioning what she is actually is.

“Everything is Broken,” also brought on major political change within the show. The episode featured the first sightings of the vampire leadership, which granted Eric permission to secretly kill Russell. However, the end of the episode showed Russell ripping the spine out of a news anchor and publicly announcing that vampires will overpower humanity. What’s best about this development in the story is that, where Russell didn’t seem like the best antagonist from the start of the season, he has now turned into a tyrannical power seeking the genocide of the human race. This episode made him the best bad guy since the series began.

There are only three episodes left of season three and, undoubtedly, questions will be answered, and new questions will arise to set-up season four. Hopefully, by the finale, the full extent to Sookie’s powers will be revealed, and Russel will be stopped from killing off the humanity. All that’s for sure is that True Blood never fails.

Unlike the hip spots you might find around Williamsburg or Chelsea however, you do not feel like you are walking into a members only club. Instead, you are greeted by not one, not two, but three separate people (one being the proprietor himself, St. John Frizell who is firmly rooted to his location behind the bar, making one of his many renowned cocktails.)

The menu at Fort Defiance is not big or elaborate. In fact, some things seem downright strange – pimento cheese and ritz crackers is a staple on the menu – that one might not necessarily want to go out and spend money on when they have it sitting back home in the fridge. But Fort makes itself clear that it is not strictly a restaurant. Upon it’s opening, Frizell said his idea when coming up with Fort Defiance was that, unlike many other areas, Red Hook doesn’t have its own “third place.” A third place, as he describes, is that place between home and work, where people can spend time and interact with others; otherwise known as a ‘hangout spot.’

A third place it is indeed. On any given day at any given time, you can see the bartender chatting it up with one of the customers sitting at the bar, enjoying coffee that has been dripped right in front of them, or even a glass of their homemade seltzer, self-proclaimed as the “Best in Brooklyn.”

For lunch, there is a nice selection of sandwiches, the most famous being the larger-than-life muffuletta. A traditional New Orleans sandwich, the muffuletta is piled high with an abundance of cured meats and cheeses topped off with an olive tapenade and placed between two spongy pieces of focaccia-like bread. It’s a big sandwich. Ranked number six on The Village Voice’s countdown of the top ten sandwiches in New York City, it’s also causing a big stir.

Other sandwiches offered include a smoked salmon sandwich that comes on thinly sliced whole wheat bread slathered with cream cheese and topped with cucumbers, red onions and watercress. As far as sandwiches go, this is refreshing. Not too heavy and packed with flavor. The buttermilk fried chicken sandwich, while not as light, still doesn’t make you want to go home and take a mid-afternoon nap. Or perhaps that’s the extremely strong Counter Culture coffee they serve.

While the sandwiches are exemplary, it is the hamburger that is the stand out. Made with chopped short rib meat from the man who supplies Shake Shack himself, Pat La Frieda, this ain’t your average burger. Unbelievably juicy, the only downside to a burger like this is that the bun gets overly soggy in a short period of time. It’s a sacrifice worth making. With a burger like this, proper etiquette goes out the window. The juices don’t just drip down your face, they flow, so be sure to have any and all camera phones ready. Monday nights are “Burger and a Beer” nights, where you get this hefty burger and one of their tap beers for just $12. A tip of advice, get the Sixpoint, it’s brewed down the street and is as fresh as can be.

If beer isn’t your thing, don’t worry, it isn’t really Frizell’s either. A mixologist, his cocktail menu reflects a preference for more old-fashioned and classic drinks. The Warwick Bramble, made with gin and black currant liqueur is refreshing and made not too sweet with the addition of lemon. The king of cocktails however, is the Tom Collins. Made with gin, lemonade and seltzer and served in a tall glass with a straw, it is dangerously easy to drink. So easy in fact, that there is a super-sized version that comes in a whopping 24 ounce glass and is referred to as the Sumo Collins.

To finish up a day, a night or something in between (except from three-five, when their kitchen is closed), there are a few desserts to choose from. While a couple of the desserts rotate seasonally, the chocolate pudding is a mainstay. And with good reason; it is absolutely decadent – though a little less whipped cream, perhaps – and could easily be shared between two people despite it’s seemingly small serving size.

The service at Fort Defiance is as friendly and accommodating as you are likely to find anywhere and you are certainly encouraged to “hang-out” even after your meal or drinks are finished. After all, it is your third spot.

The bottom line is that this film is everything you would expect it to be.

An in your face action/thriller about a group of mercenaries led by Barney Ross [Stallone], hired to do damage by infiltrating a South American country, and overthrow its ruthless dictator. Once the mission begins, the men realize things are not what they seem, finding themselves caught in a dangerous crossfire full of shootings, death and explosions, not to mention deceit and betrayal. With an innocent life in danger, the men struggle with an even tougher challenge, one that threatens to destroy this courageous group. Their only chance of escaping the country in one piece is by fighting to survive.

The highlight of this film is obviously the cast, which includes Sylvester Stallone, Jason Statham, Jet Li, Terry Crews, Dolph Lundgren and many more. The icing on the cake aside from this massive cast are the cameos that make their presence in Bruce Willis, and Arnold Schwarzenegger. The best and funniest scene in the movie involved both Willis and Arnie including Sly, which will have you laughing until your stomach hurts. The dialogue is brilliantly written and shows comedic grit involving a trio of Hollywood action greats. Stallone as a writer and director shows why he is a genius for creating a film with a plot that flows and makes the audience focus on the action alone and forget about the mediocre acting at best.

Speaking of acting, most of the cast do a great job of working together and making such an intriguing connection that the audience can relate to, due of course to good chemistry. The dialogue seemed to flow steadily throughout the film, with the exception of two actors who were less than mediocre- one being Mickey Rourke, who seemed to break in and out of his southern accent. For instance, one moment he would sound like he was from Texas and then the next he would speak in his regular tone. Steve Austin was no better, sounding like a horrible version of himself, reminiscent of his days as an entertainer for the WWE. Acting for a live audience and behind the camera are two different styles of acting. It seems like he’s still used to his wrestling days.

It was nice to see Dolph Lundgren back on the big screen, playing a Mercenary with a drug addiction, who also has a problem with authority. It was like old times watching him and Sly reunite. Lundgren’s character was comedic as well, even though he was not trying to be. There were a few punch lines in which he says that will have you laughing your head off. Statham did a good job as well. His character was tough as nails and being Stallone’s side kick helped.

Overall, “The Expendables” was a fun action movie with an authentic cast and feel to it and is definitely worth watching. Just cover your ears when you see Terry Crews coming through, not because he yells during the movie like in his old spice commercials, but because he blasts away the bad guys with the loudest and baddest machine gun you have ever heard in a movie. Can you say “puh puh puh puh puh power?” That scene alone will have you cheering for an insurmountable amount of time.

“The Expendables” is no Rambo, but with a cast of this magnitude, it doesn’t have to be. Just know that when all is said and done you will leave the theater with a smile on your face being thankful that this movie was not a disappointment. Look out “The Expendables” are ready to set of some hardcore explosions.

Enough to have Michael Bay himself eat his heart out.

No one said this job was going to be pretty.

Over the past 25 years, animated sitcoms have become a staple on television, slowly replacing standard sitcoms as one of the most popular genres in the industry.

During that time, there have been a plethora of crazy characters to hit the small screen. Nevertheless, only a select handful can be called the best characters ever. Here’s Review Fix’s top 10.

10: Coach John McGuirk: If you’ve never watched “Home Movies,” you have no idea what you’re missing. If Larry David could somehow be fused with Patrick the Starfish from Spongebob Squarepants, you’d have Coach McGuirk, who consistently gets himself in precarious situations, fueling and adding depth to an unsung animated sitcom.

9: Master Shake: The master of the one liner, Master Shake, voiced by Dana Snyder, is cruel, vicious and incredibly stupid. Only a 13-minute show, Shake’s antics are an integral part of the show, which range from putting kitten in microwaves and eating possessed sandwiches.

8: Stan Smith: Love him or hate him, Stan Smith is hilarious. Hearing his thoughts on politics, even if you’re a republican, can make you cringe, or surreptitiously smile. Bringing out the best and worst in his audience, Smith is as zany as they come, but that doesn’t mean he isn’t lovable.

7: Stewart Gilligan Griffin: Part Bart Simpson with a little Eric Cartman with some Monty Python added in for good measure, Stewie Griffin is an animated sitcom commodity with more memorable moments under his belt than many real actors. Able to smarten up a random show the likes of “Family Guy” or just role with the punches, Stewie makes the show something special.

6: Hank Hill: The reason why Hank Hill is on this list is a simple one: he’s as real as they come. Everyone knows someone like him and as funny as he is, he’s also honest and virtuous. A show that would work without the animation with real actors, Hill’s character proves that animated sitcoms don’t have to be childish or overtly hilarious to be great.

5: Bender: More human than robot, Bender is most important character on “Futurama” because he’s stuck between two worlds. Easily in tune with his life as a robot, but able to feel jealousy and lust, as well as deal with addiction and hatred, Bender is one of a kind. His dealings with the Robot Devil and the Robot Mafia have made him a legend, but his nonchalant attitude and willingness to be his own robot make a pop culture icon.

4: Peter Griffin: Even if you don’t watch “Family Guy,” you know who Peter Griffin is. Sure he may at times be a poor man’s Homer Simpson, but with his signature laugh and off the wall antics, Griffin absolutely deserves a place on this list.

3: Bart Simpson: In the late ’80s, everyone and their mother was wearing something Simpsons-related, usually with Bart on it. His catchphrase, “Don’t have a cow, man,” was synonymous with the generation and even though the show has lost some of its luster over the years, Bart is still a character that has endured. Finding comedy in nearly every situation, Bart is the only character in animation that could turn out somewhat normal, with a father like Homer.

2: Eric Cartman: In one of the commentaries on the many South Park DVDs, Trey Parker and Matt Stone said that when the show started, they tried to associate themselves with Stan and Kyle, but as the show progressed, they realized they were both actually Cartman. Evil to the bone, selfish to the core and as selfish as they come, there’s something undeniably adorable about him. He’s not fat people, he’s big-boned.

1: Homer Simpson: No its, ands or buts about it, Homer Simpson is the most important character in animated television history. Making the cartoon cool enough to maintain a home on prime time for over two decades, without Homer’s antics, you can make the argument that many of the other characters featured on this list would have never existed.

“Brand New Day (with Tim Myers)” – Lindsey Ray

“Brand New Day (with Tim Myers”’ by Lindsey Ray is that advertising jingle that you can’t get out of your head. For a 30 second spot it may be fine, but do you really want to hear over three minutes of silly lyrics that seem to go together for the sheer purpose of keeping the rhyme scheme together? If you are in a silly mood, or simply wish to be in one, then yes go for it. It’s a happy little ditty and your mp3 deserves to have a silly tune every once in a while.

“Psalm” – Lee Scratch Perry

If your song is entitled “Psalm” then there’s a certain expectation as to what the lyrics will be about. Instead Lee Scratch Perry takes a political stance on how the word is misused and then goes into a brief history as to what “Psalm” means all with the sounding of a bell interspersed throughout; as if to say “For whom the bell tolls…it tolls for thee.”

“Left of Center” – Serj Tankian

Listening to “Left of Center” you’ll wonder just where is Serj Tankian taking you. Don’t fret, it may sound like you’re on a psychedelic trip, but it’s worth it. The heavy metal take with symphonic playing and some classical musicianship thrown in makes for one roller coaster ride that you’ll be glad you’re on.

“Be My Thrill” – The Weepies

Some songs are just okay. But do you seriously have precious space in your mp3 player for something that’s simply okay? Don’t make “Be My Thrill” one of those tracks that you’ll wonder why you bothered to download it in the first place. Not everything that’s free is worth the price.

“Come Undone” – Isobel Campbell and Mark Lanegan

This song has some great promise. With an intro similar to James Brown’s rendition of “It’s A Man’s Man’s Man’s World” you believe that you’re in for a listening treat. Instead you’re met with two voices that sound like a watered down version of Aretha Franklin and the aforementioned Brown. Isobel Campbell and Mark Lanegan have nice voices, but they’re not strong enough for the powerful emotions in this track. This song needs powerful punches that inflict emotional pain on the listener not subtlety.

In Saving Throw Versus Love, Carol thinks her fiancee Sam goes to a weekly poker game. But Sam has a terrible secret-he’s a seventh level Elven thief. Will Carol be able to accept Sam’s hobby? And can Grolock the Barbarian slay the evil Werewolf?

Larry Brenner is the winner of several national playwriting contests including the Samuel French Off-Off Broadway New Play Festival ( The King and the Condemned), the Nantucket Short Play Festival (The Coffin), the Maxim Mazumdar New Play Competition (A Prometheus Rebound.) For more information, contact lbrenner1976@aol.com

Dann Fink recently directed the New York premiere of Paul Lucas’ The Dice House, the world premiere of Infernal by MT Cozzola (La Mama’s New Voices), Natalie Wilson’s All in the Shuffle and A-One and a Two, Off-Off Broadway.

The Players Theatre, 115 Macdougal St

SUN 8/15 @ 4:00-5:40

WED 8/18 @ 2:00-3:40

FRI 8/20 @ 2:15-3:55

SAT 8/21 @ 7:00-8:40

TUE 8/24 @ 9:00-10:40

Tickets are on sale NOW at www.fringenyc.org

Check out their website at http://www.savingthrowvslove.viviti.com for more information.

Also, if you’re interested in donating to our event and getting some neat prizes, you can do so at: http://www.kickstarter.com/projects/1300758788/saving-throw-versus-love-a-comedy-for-gamers
You can follow them on Twitter! Look for Saving Throw Love

Normally that wouldn’t be such a bad thing, but this film never establishes any sort of momentum in any one given direction, feelings like a mish-mash or hybrid of movie cliché that ultimately cannot keep itself above water.

A true shame, because with two stars like Tom Cruise and Cameron Diaz at the helm and a more than solid supporting star in Peter Sarsgaard, it had plenty of potential, but that all occurs before the opening credits roll.

Once the movie actually starts, it becomes a jumbled mess that doesn’t have enough action to be considered a romp, while lacking the sex appeal and intrigue to be a thriller and the hilarity to be a romance comedy, making it a haphazard attempt at a summer blockbuster that is a barely decent date movie but nothing more.

This is mostly due to the fact that the characters lack any real depth and the rate of the plot progression is slower than a tortoise on tranquilizers. Once you find out what is really going on here, you can’t force yourself to care. Cruise’s character, Roy Miller is an interesting one [women will love his bravado and men will appreciate his ability as an undercover ass-kicking machine] and overall, his performance isn’t terrible, as it’s filled with awesome stunts, witty one-liners and plenty of cool fights, but it’s not enough to turn this film around.

The same thing goes for Diaz, who is more than cute and alluring here and by the end. Even though she does win you over, it’s not exactly by a logical progression of events. Being the scared and timid woman throughout, she eventually becomes the tough girlfriend of a secret agent who can do more than handle herself in the line of fire. This all happens so quickly that you’ll find yourself lost. As a result, the flick loses it’s staying power quickly and forces you to think of what could have been if the script was written better and these actors were given decent direction.

While Cruise and Diaz are generally okay here, Sarsgaard, who plays the villain here, is wasted completely. A guy that has proven himself in films such as “Shattered Glass” and “Orphan” over the past decade, he could have done an honorable job, but wasn’t given enough time on camera and nearly enough dialogue to make the viewer hate him. Instead, much like the rest of the film, you’re left wondering what his true intentions are. When you ultimately find out what’s going on, it feels like a shoddy episode of “Miami Vice,” and Sarsgaard ultimately ends up the biggest loser of all.

Add in a more than cheesy ending and all the positive attributes of the film, like the cool fighting scenes and Cruise and Diaz getting into all sorts of crazy situations with everyone and their mother shooting at them and things blowing up, are all for naught.

In the end, the ends simply don’t justify the means, as the film gets way too cute for its own good. After seeing spies thrown out of train windows and people being shot in point-blank range, it’s just too much to stomach. Those who were expecting another “Bourne” film will be disappointed, as will those who were looking to for a romance comedy.

The same thing goes for anyone looking to have a decent time in the theater.

It’s 2005 and after its long hiatus returns to television. Doctor Who best known as The Doctor comes back as the last of his kind – the only one to survive the time war between his species the Time Lords and the Daleks. Throughout the reboot we find The Doctor (Christopher Eccleston) more to the likes of Tom Baker’s (fourth doctor) incarnation, a tempered respect for humans to survive while simultaneously insulting them in times of stress.

During this first season The Doctor and his companion Rose (Billie Piper) and later Captain Jack Harkness (John Barrowmen) encounter numerous alien species. Most episodes while not grim have a sense of danger, action and urgency. Rarely does it begin in a light-hearted manner. However, The Doctor is not always brooding.

In the episode called “Boom Town” The Doctor, Jack and Rose arrive in present day Cardiff, London to refuel the Tardis (a time machine with an outside appearance of a 1960s police box, but inside its enormous and sentient). The episode begins with snappy dialogue and laughter; it’s supposed to be a time where these time travelers can decompress. However, it’s not to be as they meet up with a member of the Slitheen an alien from the planet Raxacoricofallapatorius. Still the episode is filled with hilarity as Rose’s boyfriend who The Doctor refers to as “Mickey the Idiot” joins the crew in bringing down Margaret and her diabolical plan to destroy the world all to “get a lift.”

One of the things that make this episode one of the funniest is the composition of the Slitheen. The decompresser worn around the neck shrinks their bodies so that they are able to fit into the human skin of the people they kill. The funny part is the gas-exchange between the skin they wear and their compressed bodies. Farting while not the highest form of humor works well as an ongoing gag throughout the episode.

Then there’s the plan that the gang uncovers where after Captain Jack gives a long-winded, though highly excitable scientific explanation as to Margaret’s plan, we see his bubble burst when Mickey calls it a “surfboard.” Here Jack must correct him by calling it a “pan-dimensional surfboard.”

A love of science, time travel, and hard to pronounce names of planets are keys that are given a light-handed touch in this episode. In latter seasons we see these characters save The Doctor in a myriad of ways. But this is where it all begins, before Captain Jack becomes immortal and Rose ends up in a parallel universe. Here was a sliver in time where The Doctor and his companions indulged in some hi-jinks without any loss of life or detrimental consequences.

A Rock Musical Journey to God Knows Where

Written by Ned Massey and Directed by Scott C. Embler

September 28 – October 6

TBG Theatre, 312 W. 36th St., New York, NY 10018

New York: The New York Musical Theater Festival (NYMF), The Somerled Charitable Foundation and Wendy Macdonald are proud to present the world premiere of BLOODTIES, written by Ned Massey, directed by Scott C. Embler, with musical direction by Michael Morris. Performances will take place from September 28th through October 6th at TBG Theatre (312 West 36th Street). Official Opening is set for September 29th. Cast to be announced.

Although tapped to be the next big rock star, that early promise went largely unfulfilled. With raw honesty and dark wit, a musician explores destiny, faith, forgiveness…and the ties that bind.

Singer/songwriter Ned Massey’s career began right out of college when he was discovered by legendary talent scout John Hammond. Described by Hammond as “the finest talent since Dylan and Springsteen,” Massey was recording his debut album when Hammond suffered a stroke from which he never recovered. Since then, Ned has shared the bill in venues from LA to NYC with acts such as Shawn Colvin, Susanne Vega, Wilco, The Neville Brothers, The Smithereens, and many others. But he never fully achieved the fame or fortune forseen by Hammond. Massey shifted gears recently to acting. He’s been featured in a principal role on the CBS TV series, “Hack”, been seen in New York theater productions, and had a principal role in The JAR, an indie feature. He made his directorial film debut with the short Katie, Bar the Door. Following its world premiere at the Marco Island Film Festival, Katie, Bar the Door (from a script by Massey) showed at the Sedona International and Garden State Film Festivals. Another of Massey’s screenplays, Outstanding in Brooklyn, won at the Jacksonville Film Festival Screenplay Awards.

Scott C. Embler (director) is a Founding Member and the former Producing Director of the OOBR‐award winning Vital Theatre Company. NYC directing credits include: Stain (Off‐Broadway); the world premiere of Margot Alone in the Light (opera adaptation of Ray Bradbury’s short story “All Summer in a Day” with OperaMission); Death in England (Vital); Burning Botticelli (NYCFringe); opera premieres Faith and Caliban (Vital); many shorts including Save Me, Wonder Full, Trish at 10 (all at Vital) and Orpheus and the Dragon for the Drilling Company. Readings include The Seventh Monarch (with Karen Ziemba and Harriet Harris), At Daybreak (Rattlestick Theatre); Breasts of Fortuna (with Lea Michele); the musical Masada (with Maya Days) at the York Theater; and numerous reading series over the years for Young Playwrights, Inc. Out of town credits include: A Tribute to Miriam Makeba with Tsidii le Loka (at Colorado World Theatre Festival and also Theatre Outlet in Allentown, PA); Galileo’s Daughters (Piccolo Spoleto); Faith (World Science Fiction Convention, Chicago); Pieces in Short (Lake George Opera Festival); and Die Fledermaus (Albion College, Michigan). Recently, he created and adapted the Little Tales series, a theatre program for pre-school kids that ran for two seasons at Manhattan Children’s Theatre. He was fortunate enough to be the SDC Observer to Walter Bobbie on the Encores production of No, No, Nanette.

BLOODTIES

Written by Ned Massey and Directed by Scott C. Embler

TBG Theatre is located at 312 W. 36th St., New York, NY 10018

Performance Schedule:

Tues 9/28 8pm

Wed 9/29 1pm

Sat 10/2 5pm

Sat 10/2 9pm

Sun 10/3 1pm

Wed 10/6 8pm

Tickets are $20 and can be purchased online at www.nymf.org

or by calling (212) 352-3101.

For more information about the festival please visit www.NYMF.org.

or visit www.BloodtiesTheMusical.com

Reviewfix: In just a broad perspective on the company’s marketing scheme, how did you know it’ll work?

Chris Goodrich: Redbox’s success has primarily been driven by word-of-mouth. However, the company does market to consumers via outdoor, radio, and online media.

RF: Oh okay, so you only have the method of picking up and dropping off, when customers use your products?

CG: That’s correct. Additionally, consumers can view titles and reserve online at www.redbox.com

RF: Is there a main retailer that holds these boxes? i.e. Walgreen, etc?

CG: Redbox is located at more than 400 banners across the country. I would recommend visiting www.redboxpressroom.com for more of this type of information.

RF: Okay and does the website offer the selection of product Redbox has to offer?

CG: Yes, as does www.redbox.com.

RF: Do you feel the company’s in competition with Netflix? And do you see any future plans of getting out product other than to and from the Redbox?

CG: Redbox’s primary competition is Blockbuster and bricks-and-mortar stores. In fact, there are many Redbox’s customers use Redbox for new releases and Netflix for older, catalog titles. Redbox will be announcing its digital strategy in October of this year, so yes. Thanks.

Surprisingly timely, with several Russian spies recently uncovered in New York City, “Salt” is an exciting action movie with an equally unpredictable storyline. As the movie develops, you make assumptions that later prove to be wrong. There are moments where you think that people do not know each other and they do; there are scenes where it’s the other way around. For that reason, you are always kept intrigued and wondering what’s going to happen next. The movie is even deprived of a classical happy ending; you are not clear what Salt will do next and whether there will be a sequel.

Unpredictable as it is, who Salt turns out to be, at the same time, is your typical action thriller with chasing, evasion, car crashes, skillful knockdown moves and of course, a beautiful woman attracting all the attention. Her jumps from truck to truck are wonderful; her shots are fatal, if she wants to; her eyes express pure innocence, but there’s no doubt that her perfect reputation is ruined forever. Forced to run on the day of her wedding anniversary, Salt loses everything that was so stable and perfect. The question is whether or not she will be able to get it back together.

Hungry for a love story as a romantic background for all the action, you will be disappointed. There are moments of romance in the movie, but think about it: if you are a secret agent, will you ever be able to safely enjoy loving someone? Being in the middle of attention, Salt puts not only her life, but also her husband’s safety in danger. Unlike “Mission Impossible III,” where the protagonist, played by Tom Cruise, successfully saves his wife, Salt shows us that no matter what we expect from them, super agents are not almighty.

Another thing that distinguishes Salt from other action thrillers is its political angle. Even though the Cold War is long over, there is still a lot of tension between the United States and Russia, with the latter believed to focus on destroying the former. With all this shown, Salt is also full of stereotypes about Russians.

Famous as the place of exile for guilty and innocent criminals and the coldest area in the country, Siberia is thought to be the treasury of Russian secret weapons and an “intelligence center” where insidious plans, like training future spies, are made. That’s where the story starts in Salt.

Siberia is not that scary, though, as the Russians themselves. While women are traditionally pretty, men are often perceived as freaky-looking drunkards. Freaky-looking they are, indeed, in Salt, drinking vodka like water (Ketel One, for some reason, not a Russian one) when celebrating their first victory. The scariest of all is Oleg Vasilievich Orlov (Daniel Olbrychski), who appears in the beginning of the story and announces that Salt is a Russian spy. He is one of those people who are not who they say they are, as his role in the storyline is much more complicated than simply delivering the message. There are also other frightening characters, one of them gives up his life for the well-being of the mission and another one is about to blow up two Muslim centers of the world. No wonder there is still a lot of fear of Russians, the most dangerous enemies, ready for everything and totally out of their minds.

Out of all characters, the protagonist, Salt, is the most complicated and curious one. Throughout the whole movie, you are struggling to decide which side she takes and you are not clear until the end, if not longer. Skillful in combat, Salt is one of these women you don’t want to mess with. At the same time, she is very sensitive. Being chased, she asks a little neighbor to babysit her dog having sneaked into the window with the animal in her backpack. She is risky and confident and she knows how to conceal her emotions, as all secret agents are supposed to do, even at the critical moment, when her heart is about to explode from pain.

Needed appraisal for brilliantly transforming into such a complicated character, Jolie has to be praised for her Russian as well. Unlike Nicole Kidman’s in “Birthday Girl,” Jolie’s Russian is quite understandable without subtitles, for those who speak the language, of course.

But even if you do not, there is still a lot of excitement you can get from viewing this motion picture. Puzzled and confused, you may have your own unique opinion about who Salt really is. And what other people are, if not what they say they are.

Check out Review Fix Contributing Writer Zechariah Copeland’s exclusive interview with Seattle-based singer/songwriter Gabriel Mintz, who discusses his new album, his time in the Big Apple and his life in music.

Click the link below to listen to the interview:

Gabriel Mintz Interview

Seeing Ronnie squirming to keep his wife happy and trying to compete with Ray is hilarious, especially considering he’s fighting a losing battle on both fronts. Where this ends up right now is anyone’s guess, but the tension is absolutely building up to the point that something huge is bound to happen by the season finale.

Even more thought-provoking is Tanya’s situation with her pimp friend, who is now buying her things. As well, it’s always nice to see Rhea Perlman on TV and even though her part is small here, she’s excellent at ripping her daughter’s self-confidence to shreds. Again, where this situation is going is unknown, but it’s definitely got plenty of drama, with multiple possibilities.

That’s what a good sitcom is all about and right now, “Hung,” is doing much more than holding it’s own.

However, by the end of the episode, the situation between Ray and his new client, Liz, who is a “human ice-cube,” is the most interesting because again, there are so many possibilities here. Classy and beautiful, yet knowing what she wants, Liz may be the most interesting client he’s had thus far. Considering the fact that she’s not a lunatic, pregnant or elderly, her chances at sticking around the on the show for at least a few episodes are a strong one, making for even more drama.

On August 21 at 2 PM, the Wushu pros are going to show elements of Chinese martial arts at the publisher’s booth in hall 7.1, B041, as part of the Lost Horizon game presentation.

Martial Arts Meets Media (MAMM), founded by David Török, consists of top-class, multiple award-winning Wushu athletes. Török himself, the current four-time German champion, created the intricate martial arts choreography for Lost Horizon. Twins Leyla and Necla, who took on the roles of the protagonists for Lost Horizon’s motion capture, will demonstrate some of their scenes to visitors live.

Perfect body control, spectacular combat techniques, top-notch acrobatics and a multitude of exotic weapons are going to leave the audience breathless. “In combination with the graceful movements and female elegance of Tai chi, Wushu is an athletic highlight that will capture everyone’s attention. We are proud to be able to show this fascinating sport through motion capture in Lost Horizon, and live on the Deep Silver stage at gamescom,” says MAMM manager Rainer Hoffmann.

Steffen Schamberger, Senior Producer at Deep Silver, says: “We are very happy that we were able to work with David and his team for the relevant scenes in Lost Horizon. With his professional support, we achieved an exciting, believable implementation of these sequences.“
Lost Horizon is the third title issued by Animation Arts, the developer of the award-winning Secret Files series. With its classic 1930s setting, fascinating locations such as Hong Kong, Tibet, Berlin, and Morocco, and the eventful search for one of humankind’s greatest secrets, Lost Horizon is bound to have adventure fans glued to their PCs starting on September 24, 2010.

For further information please visit http://lost-horizon.deepsilver.com or the Facebook page http://www.facebook.com/losthorizongame.

For additional information about Martial Arts Meets Media, please visit the website http://www.mamm.eu/ .

About Animation Arts

The German software developer Animation Arts is looking back on years of experience in software development. Since its foundation in 2003, the company has worked on titles such as Port Royale 2, Vermeer 2, Darkstar, and Holiday World. In 2006, they cooperated with Fusionsphere Systems to create the multiple award-winning adventure game Secret Files: Tunguska, and its 2008 sequel Secret Files 2: Puritas Cordis. Animation Arts is currently working on the adventure game Lost Horizon, which is intended to appeal to many old and new fans of the genre through its gripping storyline, lovingly designed presentation, and highly varied gameplay.

About Deep Silver
Since 2003, Deep Silver has developed and distributed interactive games for all leading videogame platforms. In all, the company has published more than 80 games. Deep Silver products are designed to equally appeal to a wide audience, from kids to adults. For more information please visit www.deepsilver.com.

This is how DC comics’ newest DVD feature “Batman: Under the Red Hood” begins and much like the lore it’s based on, is entertaining throughout and worthy of being in the same league as the comics. Excellent animation and quality voice acting by some higher-quality names [albeit not the ones you grew up on] help guide the story and despite an ending that lacks any real closure, it’s ultimately a treat to hardcore fans and new ones alike.

While anyone who’s watched a Batman animated anything over the past 20 years has grown accustomed to having Kevin Conroy and Mark Hamill as the Batman and the Joker, the duo of veteran big-screen actor Bruce Greenwood [Star Trek, Eight Below] and John DiMaggio, perhaps the best voice actor of this generation, do a great job as hero and villain. It may take some time to get used to them, but by the end, as a viewer, you’re more than comfortable with their voices and take them seriously.

Neil Patrick Harris is also in the cast and does a solid job as Nightwing, providing several witty one-liners and breaking up some of the serious moments. Make no mistake about it, Batman here is pretty frazzled, especially after finding out that his former sidekick hasn’t taken the dirt nap he thought he did. Having Nightwing in there as well also expands the universe and spices things up a bit, making things a bit unpredictable, even if you’re pretty familiar with the story already.

Having “Prison Break’s” Wade Williams voice Black Mask is another great addition and seeing this character being ruthless and scurrying around like a chicken with no head simultaneously is also a brilliant side story. The way everything ultimately connects as well is the signature of a Batman story and there’s no disappointment here by the end.

This intriguing plot development is aided by Todd, who like his mentor, is a master detective. However, along the way, he loses sight of the ethics and morals Wayne has tried to instill within him and has become something entirely different. Voiced by Jensen Ackles, the heart-throb from “Super Natural,” Todd is a super cool character, who is equally as deranged and dangerous. You can’t help but feel for him in the situation he’s in and you may even find yourself hating Batman for being such a boy scout. Because of this, the dynamics for an excellent animated feature are here, with plenty of shocks and awes along the way.

However, the thing seems to end a bit quickly, with a cliffhanger ending the makes you want even more. This isn’t necessarily a bad thing, as the story it’s based on also ends in similar fashion, making it a close-enough retelling with more than enough added excitement to warrant the attention of the biggest Batman fans out there.

Overall, it’s safe to say that the recent string of worthy DVD entries from DC has continued.

Over the decades the roster may have changed but the key members (Iron Man (Tony Stark), Captain America (Steve Rogers) and Thor) have remained. With the comic rebirth of The Avengers in what is called the Heroic Age (after The Civil War saga, The Siege and the resurrection of Steve Rogers) the comic is stronger than ever. Crisp writing, an Avengers team with Iron Man at the helm and on-point artwork makes for many storylines that can be translated to the big screen.

That said the film The Avengers is slated for 2012. As fans of the comic book series highly anticipate the screen version of their favorite heroes, it’s a good idea to look at the casting. After all could you imagine anyone other than Hugh Jackman playing Wolverine or Patrick Stewart as Professor Xavier in the X-Men films – much less for Robert Downey Jr. as Tony Stark/Iron Man? Make no mistake casting can make a movie either a successful franchise or an unmitigated disaster never to be spoken of.

Robert Downey is lightning in a bottle as the charismatic Tony Stark. Not only does he physically resemble the comic book character, he brings all of Stark’s issues off the pages and makes them come alive. The same with Samuel L. Jackson as Nick Fury. In the first Iron Man film Jackson’s small amount of screen time made for some of the best scenes in the film. This further primed fans of these comic icons to have more scenes together. But what about the other Avengers and members of Shield?

As the film will be written and directed by Joss Whedon there will be no ignoring the rich history that the comic book has to draw intersecting storylines. His launch of Astonishing X-Men caused the comic’s rating to go from PG to Mature during his tenure. Still the actors he will direct for this film – are they right for the part?

Mark Ruffalo has recently been added to the cast as Bruce Banner. For many fans of the film version of this misunderstood character, Edward Norton was the perfect Banner. His intense, yet self-contained portrayal made you realize that Banner’s intellect could be even more dangerous than his hulked out counterpart. Even if the-powers-that-be felt the need to replace Norton, why Ruffalo?

Then there’s Captain America. You’ll remember Chris Evans as Johnny Storm from The Fantastic Four films. Well now he’s playing another iconic figure from the Marvel universe. Evans doesn’t seem to have the chops or the height to portray a character who has an awesome presence on the page. Several other actors who understand the complexity of a man such as Steve Rogers come to mind such as Chris Pine (Captain James T. Kirk, Star Trek). He has the range to portray Cap’s origin story and blend in nicely with an ensemble cast. Captain America is many things, but happy-go-lucky doesn’t come to mind and it is unclear how we can see him as the ultimate American patriot instead of The Human Torch.

Finally there’s the Black Widow, highly intelligent double agent with a talent for accents and bedfellows. If you’re going to recast Edward Norton then why not Scarlett Johansson? Seeing her stand next to Downey and Jackson makes her acting skills diminutive in nature. Yes she is attractive, but in this film she will be surrounded by acting giants. If Angelina Jolie wasn’t available, then why not Milla Jovovich? Her Resident Evil films prove that she can handle the action, and her Russian background gives her an authenticity that Johansson could not pull off in Iron Man 2.

As fans await The Avengers film one wonders – will the casting ruin the film?

“Basically, it is meant to be a gift that you fill out and give to your friend going away to college. It’s full of your inside jokes and memories together,” said Roddy. “There are sideboards about funny classes different colleges have, a friend’s report card and many other areas for you to make a list of things your friend should bring or not bring to college, or write about stuff you both liked.”

The idea for the book roots in Roddy’s personal experience, as she moved with her parents to Asia where they traveled for work. That was also where she got her first writing job in a magazine in Malaysia.

When leaving to Asia, Roddy did not know that she will make a career out of writing; she was a person who had to part with her friends for quite a long time and therefore, she wanted them to have a piece of her, something they would keep forever, full of memories of the best moments of their friendship. This is exactly what “Take Me with You” is expected to be for, let us say, two girls graduating from high school.

“It is almost like filling up a yearbook, with all the pictures and memories we put into it,” Roddy explained. “I have never seen a book like that before.”

Living in San Francisco, Roddy did not want to create a book specifically for teenagers from her area. “Take Me with You” is an artwork that can be applied to everyone because it is very broad and very personal.

Indeed, wouldn’t you love to buy a book that you can continue writing yourself and then give it to someone special?

Roddy said, “It is a book that you can completely personalize, so it is about what you want to get across to your friend, about injecting your personality. I tried to make it something that guides you, but at the same time, it is what you make of it. There should not be any worry that the book does not apply to someone because the readers are the ones who make it personal for them and their friends.”

Beginning with such a unique idea for a book, Roddy plans to go on writing. There are no definite plans yet, but the young author confessed that she would like to leave a trace in the history of literature.

“I hope that I would write something that people would really enjoy,” Roddy said. Books that had a great impact on me are those that bring out strong emotions. For example, I cried at the end of “The Road” by Cormac McCarthy and at the end of “Before I Fall” by Lauren Oliver. When you can relate to the characters and care about them, this is what makes a book a really good read. And if this is something I, as a reader, appreciate a lot, then this is what I want to put into my creative work for other people.”

Deluxe 2CD and Digital Packages Feature Remastered Original Album Plus 13 Bonus Tracks, Including 10 Previously Unreleased Live Recordings

Hollywood, California – Queensrÿche has partnered with Capitol/EMI for the September 28 release of an expanded 20th Anniversary Edition of the band’s triple platinum-certified breakout album, Empire. The new 2-CD and digital packages both include the remastered album, featuring six hit singles, including the #1 smash “Silent Lucidity,” as well as 13 bonus tracks, among them 10 previously unreleased live performances recorded in 1990 at London’s Hammersmith Odeon. The 2-CD package is presented in a lift-top box with five postcards, a fold-out poster and a booklet featuring rare photos from the band’s personal archive.

After building a devoted fan base with album and EP releases throughout the 1980s, including 1988’s critically acclaimed Operation: Mindcrime, Queensrÿche broke into the mainstream across North America and abroad with the 1990 release of Empire.  In the U.S., the album peaked at #7 on the Billboard Top 200 chart and its hit ballad “Silent Lucidity” quickly became a heavy rotation staple at rock radio and on MTV, topping Billboard’s Modern Rock singles chart and earning Queensrÿche the coveted MTV Viewers Choice Award for the song’s music video. Empire also made the U.K.’s Top 10, and the album’s international success led to Queensrÿche’s 18-month headlining “Building Empires” world tour, the band’s longest trek to date.

Empire also features the Billboard Top 10 Modern Rock hits “Jet City Woman” and “Another Rainy Night,” the Top 20 single, “Anybody Listening?,” and the Top 30 singles “Best I Can” and Empire.”  In addition to the aforementioned live recordings, Empire (20th Anniversary Edition)’s bonus tracks include “Last Time in Paris” from the Ford Forlaine soundtrack, “Dirty Lil’ Secret,” and the band’s cover of Simon & Garfunkel’s “Scarborough Fair.”

Since forming in Bellevue, Washington in 1981, Queensrÿche has sold more than twenty million albums around the world. For more information, visit Queensrÿche’s official web site: www.queensryche.com



Chess is a game that has endured for centuries and for good reason. Combining a simple concept and unrivaled strategy, it’s a game that millions play every day. However, at the same time, it’s not a game that has enjoyed a myriad of success in video gaming. Sure, franchise’s like Interplay’s Battle Chess and Codemaster’s Chessmaster have had some success, but it’s fair to say that a title the likes of Southpeak games’ “Battle vs Chess” has never been produced.

On the surface, the game seems to capitalize on concepts brought to life in the first Harry Potter film, making the pieces come alive, while at the same time maintaining the elements of the game that have made them so worthwhile for so long. This is only a small part of “Battle vs. Chess” however, as it is chock-filled with mini-games that can not only make you a better chess player, but some that stretch the game into something completely different, all the while holding on to enough of the core strategy that has made chess a winner for so long.

Consisting on three primary gameplay modes, classic, slasher and duel, “Battle vs Chess” has something for everyone. In classic mode, you have your typical game of chess, with pieces that act out their moves. Watching the gameplay, it’s pretty interesting to see each piece move and capture one another. Much like it’s older release “Bloodbowl,” which is based on the classic Warhammer tabletop game, Southpeak has captured the essence of the game it’s bringing to life and has made it just as enjoyable. One complaint however is that after a few moves, it becomes a little more difficult to tell what each character is on the board, which could slow down the game a bit. Luckily, the guys and gals at Southpeak allow gamers to revert the pieces to their normal state with just a button press.

Here is where we have the essentials of a great chess game. Built off the engines from the Fritz 11 and Super chess games, “Battle vs Chess,” is anything but a good-looking, but dumb version of chess. Through some of the extra gameplay modes, you can brush up on your skills by playing through some of the greatest matches of all time and through various other scenarios. This element of the game is a blast, considering some of the tasks ask you to avoid checkmate and win the game in two turns. It’s enough to drive any chess nut crazy, yet cool enough to suck a regular gamer in.

This is even the case with the game’s strong difficulty. Simply put, the A.I. is as tough as they come and will challenge you every time you play. With that being said, the game has definite appeal to serious chess players and thanks to a thorough tutorial, those that are dedicated to learning the game and becoming better as well. Add in online features, making it easy to link up and play with players of all skill levels and you can’t ask for more out of a chess sim.

However, this title is much more than just your standard chess sim.

The slasher mode is a bit different as the action is fast-paced and while possessing most of the elements of chess, allows the gamer to engage in hack and slash gameplay to claim spaces on the board. Showing off the graphics of the game, which looks like a cross between Bloodbowl and something out of Dungeons and Dragons, “Battle vs. Chess” is more than aesthetically pleasing.

Crazily, there’s even more here as the duel mode offers another twist in gameplay. There are even a few cool mini-games, such as mana-gathering where gamers have to capture jewels by moving their pieces according. What this does is combine puzzle elements, with the movements of the chess pieces, making for some addictive and interesting gameplay and gives people who could care less about chess a legitimate reason to give the game a try.

All in all, much like the other games the company is gearing up for this fall, “Battle vs. Chess” is loaded with content and polish and looks to be a winner.

Los Angeles — Six composers have been selected as Fellows to the Sundance Institute Film Composers Lab taking place at the Sundance Resort in Utah from August 11-26, 2010. This year’s Composers Lab Fellows are Sherri Chung, John Hancock, Mark Orton, Arturo Rodriguez, Kareen Roustom, and Rani Sharom. During the two-week Lab, Fellows participate in workshops and creative exercises under the guidance of the industry’s leading film composers and film music professionals.

The Composers Lab Fellows also collaborate with filmmakers from the Sundance Institute Feature Film Program to explore the process of writing music for film and to create accompanying scores for scenes shot during the Feature Film Program’s Directors Lab. The program aims not only to give the composers first-hand experience working on film music, but to give the directors insight into the process as well.
“The music in a film is an incredibly important part of the storytelling, and there are very few opportunities, without the pressure of production, for composers and directors to learn how to work together,” said Peter Golub, Director of the Sundance Institute Film Music Program. “The Composers Lab gives emerging composers and filmmakers a creative haven to experiment and collaborate on creating a musical score for a film.”

Composers Lab Fellows will work with a variety of Creative Advisors, a distinguished group of film composers, filmmakers, and film industry professionals. This year’s Creative Advisors include composers Tyler Bates (300, Watchmen); George S. Clinton (Austin Powers: International Man of Mystery); Randy Edelman (27 Dresses); Blake Neely (The Pacific, Brothers & Sisters); Aaron Zigman (Alpha Dog, Sex and the City: The Movie), and director Kasi Lemmons (Talk to Me).
Other Creative Advisors include: agent Randy Gerston (First Artist Management); Tracy McKnight (Vice President of Film Music, Lionsgate); music editor Adam Smalley (The Blind Side, Where the Wild Things Are); and Doreen Ringer Ross (Vice President, Film/TV Relations at BMI).

The composers selected for the 2010 Sundance Institute Composers Lab are:

SHERRI CHUNG
Sherri’s credits as a composer include Let’s Make a Deal, One Day, Turning, How to Protect Yourself from Zombies, and Insomnia. She is an accomplished pianist and winner of a 2009 BMI Scholarship for Scoring Motion Pictures. She won Best Score at the 2006 NYC Movie Making Madness Competition.

JOHN HANCOCK
A Salk Lake City resident, John has written for television and radio and also worked as a producer for the last 15 years. Current projects include work with DJ/artist Kaskade, Kurt Bestor, and David Archuleta. He is a founding member of the electronica group, Late Night Alumni, now putting together their third album.

MARK ORTON
Mark studied at the Peabody Conservatory, served as chief engineer at The Knitting Factory, and has worked with Laurie Anderson, the Kronos Quartet, John Zorn, Bill Frisell, The Lounge Lizards, and others. He was a member of Tin Hat Trio, based in San Francisco. He has served as arranger for Madeline Peyroux and Norah Jones and written dance scores for Pilobolus, Donald Byrd and others. His music is heard in films such as The Good Girl, The Real Dirt on Farmer John, and The Loss of Teardrop Diamond.

ARTURO RODRIGUEZ
Winner of Mexico’s Mozart Medal, Arturo is a composer and conductor for film and the concert hall. He has been commissioned to write music for The Kennedy Center Imagination Celebration, the ProArte Chamber Orchestra, the US Army Field Band, and others. He recently composed the film score for the Mexican production, Cuando las Cosas Suceden.

KAREEM ROUSTOM
Born in Syria, Kareem has written for artists ranging from the Philadelphia Orchestra to Shakira. His score to the documentary, Encounter Point, earned him Best Musical Score Award at the 2006 Bend International Film Festival. He also scored Amreeka and Budrus. His concert works have been performed by The Firebird Ensemble, In Flux, Apple Hill Chamber Players, Slovak Radio Orchestra, Zurich Chamber Orchestra and others. An oud player, he arranged strings for the Shakira and Beyonce duet “Beautiful Liar.”

RANI SHARONE
Rani scored his first feature, Common Bonds, which premiered at the 1997 Sundance Film Festival. He has also written TV commercials (Nike, MGD), is a session bass player, and studied at USC. He recently scored the feature, Caller ID and Eye to Eye, a short that played at the LA Shorts Festival. His band, Stolen Babies, has been actively touring and recording.

Sundance Institute Film Music Program
With the goal of nurturing the development of music in film, the Film Music Program connects composers and directors, giving them first-hand experience of the collaborative process. At the Sundance Film Festival, the program raises the profile of music in film through a series of concerts and panels. Year round, whether through international collaborations or through direct consultations with filmmakers, the Film Music program is committed to enhancing the role of music in film.

Sundance Institute
Founded by Robert Redford in 1981, Sundance Institute is a not-for-profit organization that fosters the development of original storytelling in film and theatre, and presents the annual Sundance Film Festival.
Internationally recognized for its artistic development programs for directors, screenwriters, producers, film composers, playwrights and theatre artists, Sundance Institute has nurtured such projects as Angels in America, Spring Awakening, Boys Don’t Cry and Born into Brothels.

Although their debut album has not yet reached major success, they have the necessary techniques to one day fill stadiums with their up tempo numbers and amazing vocals from band’s lead vocalist, Tyler Glenn. Their debut single, “Animal,” thus far has peaked at #11 on the Billboard Alternative Charts and continues to climb everyday.

This Mercury Records band originated in Utah and has since been on the rise. The debut album is enriched with fast pop/rock jams, which are enough to make you want to get up and have an out of body psychosis. The album will have you begging for more by the time it’s finished and the melody of every song will find a way to get stuck in your head. The album’s production is on point and the songs are written delicately, yet with a hint of anger. For instance, “Animal,” which is an upbeat dance rock track, will blow your speakers up and set your soul on fire, as the guitarist Chris Allen slams on his six-string and rhyths every note perfectly, while lead singer Glenn chants these words “I want some more, oh oh, what are you waiting for? Take a bite of my heart tonight.”

When your speakers are turned all the way up, it feels as if the Neon Trees soulful songs take you from one corner of the galaxy while lyrics impact you hard like an asteroid falling right on top of your head. As you listen to the album, you get some of the same formula over and over, but it works. The synthesized pop/rock sounds are enough to make you feel as if you’re right in the middle of a rock concert, with the beats surging right through your chest, and into your heart, straight into your blood stream.

With the opening track “Sins Of My Youth,” which is about being young and having fun, the listener almost gets an instant sugar rush, as the upbeat track takes you on a musical journey. It will have you and your friends reminiscing about memories and fun times of youth.

Although the band seems similar to others, they use their perfectly crafted music to distance themselves from other bands with their real and actual talent of writing and playing music, which can only be experienced if you hear the anthem of the album “1983.” The song will have you screaming the hook over and over again “Me and you, you and me, lets go back to 1983.”

The album isn’t all up tempo. On the bonus track version of the album, there is a tender mid tempo song called “Helpless”, where Tyler’s vocals soar to his peaks, and he pours his soul into the stereo, where it runs through your body and exits through your sneakers.

“Helpless” screams potential for a Best Male Rock Vocal Performance at the 2011 Grammy Awards. This single is the anthem for people who have felt helpless in a relationship and powerless in several situations.

But for every gem, there is also a rough spot on the album. “Love and Affection” hits that. Even though it’s one of the first tracks, it is the weakest song on the album, as it lacks the emotional hook and guitar melodies other tracks have. It is by no means a bad song, it is just weaker in comparison to the others.

Although this band is just starting out, based on their outstanding debut, they could potentially be one of the most unique bands out there today. Their debut album “Habit” has all the perfect ingredients to make it in the music industry today.

The Neon Trees debut album is in stores now and is available on iTunes for an affordable price of $6.99. With such a catchy album, it’s no wonder why they are finally starting to gain attention.

Photo by Cynthia Spataro.

This season has brought on a newer, more romantic, angle to the show, leaving it without enough violence, gore, and edgy-ness as it had in the past two seasons. However all of that seemed like it was going to change, from the episode before last, called “Hitting the Ground,” in which the bloodshed seemed endless, and the plot-twists were plenty.

With “Hitting the Ground” being the best episode of the season, it was expected, or at least hopeful, that this past weeks episode would continue to quench our thirst for thrill. Unfortunately it did not.

After watching “Night on the Sun,” it’s hard to remember what even happened, and the reason for that is because nothing happened during the episode worth remembering. There are a few things that may stick out, but it’s all so cloudy.

To give a quick recap, Sookie breaks up with Bill, only to get back with him in the end, and Eric kills Russel’s lover Thalbot. Other than that there is nothing worth speaking of.

Hopefully, next weeks episode will be great and this episode was just season filler. The show has been and may still continue to be great, and with four episode left, that’s four hours to turn around the most boring season of the show.

In spite of this, it’s fair to say, after taking a look at a beta build of the title, that Southpeak and Deep Silver games’ “Nail’d” has the goods to be the best new racing franchise in gaming.

Combining classic, frenetic arcade gameplay with excellent graphics, a slammin’ soundtrack, a unique sense of style and an abundance of speed, “Nail’d” will surprise a ton of gamers when it’s released during the fourth quarter of this year.

As soon as you press down on the throttle, you’re immersed in a fast-paced, off-the-wall racing experience that never lets up. Featuring a smooth and steady camera and intuitive control, that gives you a ton of command, even when you’re in the air,“Nail’d” plays like a hardcore arcade racing fan’s dream come true.

Graphically, “Nail’d” is no slouch either. All three locations shown during the preview were full of detail and looked fantastic, with a myriad of things to catch your eyes while playing, which you absolutely find a way a way to drive into during the course of your gameplay experience. Add in sweet graphical asides, that throw everything from water and mad on the screen while you’re racing, and this game that looks and feels like a mash-up of classic arcade racers- on steroids. All in all, this is sure to be a huge selling point for gamers who think there’s nothing special here.

However, the biggest selling point in “Nail’d” is the course design. Each track, all 16 of them, are filled with a myriad of nooks and crannies that make each lap in itself a different type of experience. Featuring huge jumps and plenty of different paths to follow on each course, this title takes the cake as far as fun goes while playing a racing game.

Just when you think reality was the most important facet of a quality racing game, “Nail’d” comes along, throws gravity and convention out the window and makes the genre playable again for all the people who could care less about having real cars and tracks.

Simply put, the game is a blast that deserves a look.

That even goes for those who haven’t been bitten by the racing game bug yet. With a bunch of other racers competing against you [and online play] and the intense and deep level design, “Nail’d” feels like the old board game “Mouse Trap” and the Sega Genesis classic “Road Rash,” a game that stretched the genre in the early ’90s and turned heads.

After a few laps with “Nail’d,” you’ll consider your head turned too.

With customizable bikes and ATVs, unlocked through the single-player campaign as well, this title is more fun than any board game and is as cool as the legacy of the Electronic Arts classic.

Already chock-full of content, the guys and gals from Deep Silver have also teased the notion of new tracks to be added once the game is released as well, giving this title even more possibilities.

With a few months left to polish this title before it’s released, Deep Silver may have the sleeper hit of the year on their hands.

Consider yourself warned: “Nail’d” is tight.

Following deals with a lot of morally murky themes, particularly voyeurism, as the protagonist and Cobb view their burglary as a way to learn about the people they are stealing from. They rifle through strangers’ items, peering into their lives and inferring some truths about them. For Cobb, the money is besides the point, as he takes a perverse pleasure in interfering with the lives of others. This is fitting because Nolan originally came up with the idea for Following after his home had been burgled and wondered what the thieves thought as they went through his stuff.

As the film progresses and more of the plot reveals itself, similarities to Hitchcock emerge from the setup to some of the later twists, as well as the main female character being a blonde, which the master of suspense was quite fond of having in his pictures. A complication that sets this sparse tale apart from that influence is the fact that the story is told out of order, something Nolan would repeat more aggressively in his next picture Memento. Similarly to that movie, there is a sprinkling of narration that gives Following the air of a confessional. In addition, the spare score comes alive during several scenes, ratcheting the tension when needed.

As Following was shot in grainy black-and-white, we, as an audience, are constantly reminded of the cheap production values of the film, although it does reinforce the unsavory feeling that runs as an undercurrent to most of Following. It should be noted, however, that this film was made with a budget of just $6000, requiring a lot of favors from friends and family. In fact, though only just slightly more than an hour in length, filming took over a year due to the fact that cast and crew had full time jobs, so Nolan was only able to film for 15 minutes each Saturday.

Following is more than anything a showcase of how an ambitious filmmaker was able to handle serious limitations in budget and resources in order to turn out a unique story. As the film is concerned, its exploration of voyeurism is timely in the world where social networking allows us to keep an eye on people without them knowing so and asks whether that’s a good thing.

“Round and Round” – Ariel Pink’s Haunted

If you want to keep that good mood that you’ve worked so hard for then don’t bother with this track. It spends far too long figuring out what it wants to be. If you’re going to mix genres at least have the guts to write decent lyrics and a non-schizophrenic melody. Skip it.

“5 Questions” – Alexander O’Neal

Remember Alexander O’Neal’s “Fake?” That was an anthem for every man who had to deal with a trifling woman and lived to tell the tale. Well he’s back with “5 Questions” from his new album of the same title. This “new journey” as subtitled for the album covers the standard R&B fare solid musicianship, a good voice with O’Neal expertly delivering his lines like Samuel L. Jackson. It’s nice to have him back.

“Leaving Trails” – Mt. St. Helen’s Vietnam Band

Grunge is back? Perhaps not, but “Leaving Trails” is a solid track that draws from that genre of music. The grungy-garage sound is tinged with solid instrumentation and a solid lead singing voice. It’s that polished edge that gives Mt. St. Helen’s Vietnam Band a song well worth listening to – even if you never liked grunge music.

“I Can’t Feel” – Mathew Dear

Have you ever wanted to be in on a free-for-all music jam? Well if you’ve never experienced it, then Mathew Dear’s “I Can’t Feel” is the next best thing. You can tell that Dear was having a good time in the studio with this one. Alongside the solid musicianship is the experiment with synthesized sound. This track may not be to your tastes on an entire album of this type of music, but that’s the beauty of the free download – being able to listen to songs you might not have before at no cost.

“Gone To Earth” – Versus

The slow languishing start to Versus’ “Gone To Earth” is not something you want to hear on a warm summer day – it’ll put you to sleep. Still it is a solid, well done track that makes for unobtrusive background noise.

“For The Summer” – Ray LaMontagne & The Pariah Dogs

Dangerously close to the melodic rhythm of James Taylor “Fire & Rain,” “For The Summer” will stir those same emotions. While it is a great song with an amazing name for a band you wonder if LaMontagne was listening to too much Taylor while making this song. Still if you love early Taylor you will also find “For The Summer” to your liking.

“Boyfriend” – Best Coast

This track needs to be completely revamped to be listenable. From the mundane lyrics to the pedestrian harmonies make this song a cacophony of noise. Don’t waste your time.

The debut record from Antonia Bennett, Natural, will be released by Mesa/Bluemoon on Tuesday, August 17. The 6-song EP introduces Bennett as a gifted interpreter of jazz classics with an impeccable and accessible vocal style.

“…[Antonia] conjures echoes of Billie Holliday and Rickie Lee Jones, with a hint of Betty Boop.” The New York Times

Like her legendary father Tony Bennett, Antonia embraces the warm, timeless sound of the standards and also like her dad did she brings a modern, nuanced style which appeals to the new jazz audience. Natural includes “I Wish I Were in Love Again,” “I Fall to Pieces,” “Love is a Battlefield,” “Soon,” “Putting on the Ritz,” and “The Thrill is Gone.” The EP was produced by the award-winning songwriter, Holly Knight (“Love is a Battlefield,” “Ragdoll,” and “Simply the Best”) and features arrangements by Grammy®- nominated pianist/arranger Larry Goldings (James Taylor, Al Jarreau, Norah Jones, John Mayer, David Sanborn).

Using the American Songbook as her foundation, Antonia explains, “I take each of the songs that I do as a story, with a beginning, middle and end – like a monologue – and I try to do my best to tell that story,” says Antonia. “I grew up listening to the American Songbook, and a variety of artists singing those songs. Singing these songs is like a home-cooked meal, like comfort food, something that is a part of me. The way I grew up, if you were going to take a song that was done by many of the great artists, you should bring a piece of yourself into it. Interpretation is an art form.” She goes on to say, “We wanted to find wonderful standards that haven’t been overdone. In fact, none of these have been in my show repertoire. I used to sing “Putting on the Ritz” when I was a little kid on stage with my Dad. I grew up singing it and love it. And if you’ve ever seen Young Frankenstein, you gotta love it!”

A Berklee-trained musician, Antonia also had formal dance and acting training at the Strasburg Institute. With these skills and taking a page from her father’s book, she understands what it takes to be a complete entertainer. She is a well-rounded, hard-working creative talent who brings insightful presence to both the recording and the stage. Her ethereal beauty and elegant demeanor, coupled with her transcending vocal quality, makes her an in-demand talent in her own right.

Live performance has been part of Antonia’s life since the age of four, serenading audiences internationally in opera houses, casinos, jazz clubs and amphitheaters. She’s even performed with the legendary Count Basie, and for luminaries such as Frank Sinatra, Dean Martin, Gene Kelly, Rosemary Clooney, Les Paul and Ella Fitzgerald. Opening for Tony Bennett on his 2010 tour, Antonia graced stages from London’s Royal Albert Hall and iTunes Festival UK to the Umbria Jazz Festival in Italy and Gibson Amphitheater in Los Angeles. The tour continues throughout the year (dates below) as Antonia celebrates the release of Natural.

Natural will be available on all major digital distribution sites including iTunes and Amazon.com.

For more information, please visit antoniabennett.com.

Five of the top 10 best-selling games of July play on Nintendo systems. These include Super Mario Galaxy™ 2 for Wii at No. 4 with more than 192,000 sold, LEGO® Harry Potter™: Years 1-4 for Nintendo DS at No. 5 with nearly 142,000 sold, LEGO® Harry Potter™: Years 1-4 for Wii at No. 7 with more than 133,000 sold, DRAGON QUEST IX®: Sentinels of the Starry Skies™ for Nintendo DS at No. 8 with more than 132,000 sold and New Super Mario Bros.™ Wii at No. 9 with more than 128,000 sold.

Exclusive games for both Wii and Nintendo DS this fall and holiday season from both Nintendo and its third-party publishers demonstrate Nintendo’s commitment to provide unique game experiences that are only available on Nintendo platforms.

Some Wii-exclusive games on the horizon include Metroid™: Other M launching on Aug. 31, Samurai Warriors™ 3 on Sept. 27, Kirby’s Epic Yarn™ and Wii Party™ this fall, and Donkey Kong Country™ Returns, FlingSmash™ and PokéPark™ Wii: Pikachu’s Adventure for the holidays. Upcoming third-party Wii games include New Carnival Games® from 2K Play, NBA JAM from EA Sports, GoldenEye 007™ from Activision, Just Dance® 2 from Ubisoft, Disney Epic Mickey from Disney Interactive Studios and Sonic Colors™ from SEGA.

For the Nintendo DS family of systems, Professor Layton and the Unwound Future™ launches on Sept. 12, Pokémon Ranger™: Guardian Signs this fall and both Golden Sun™: Dark Dawn and Mario vs. Donkey Kong™: Mini-Land Mayhem for the holidays. Some top third-party games coming this fall include Super Scribblenauts™ from Warner Bros. and Rock Band® 3 from Electronic Arts/MTV.

(Beverly Hills, CA) August 12, 2010– Relativity Media CEO Ryan Kavanaugh announced today that its films, The Dark Fields and Kids in America will be added to Relativity’s film slate released by its own distribution team. The Warrior’s Way will additionally be distributed as part of a rent-a-system deal with production companies Emerald City and Sad Flutes. Other upcoming Relativity titles include Fighter, Skyline, Catfish and My Soul To Take, a film by Wes Craven. Relativity’s distribution arm will also be releasing Jack Goes Boating, Let Me In, and Stone via a distribution deal with Overture.

Arriving March 4, 2011 is Kids In America starring Topher Grace (Spiderman 3), Anna Faris (The House Bunny), Dan Fogler (Taking Woodstock), Teresa Palmer (The Sorcerer’s Apprentice), Chris Pratt (Wanted) and Michelle Trachtenberg (17 Again). In the vein of a John Hughes film, a recent MIT graduate decides to finally win the heart of his high school crush, who barely knew he existed, by creating a false identity and becoming the person he thinks she wants. The story follows the intersection of the 5 main characters at an all-night, no holds barred party. Michael Dowse (Fubar) directs the script written by Jackie Filgo and Jeff Filgo (Diary of a Wimpy Kid), with Ryan Kavanaugh producing alongside Imagine Entertainment’s Jim Whitaker and Susan Bowen. Executive Producers are Topher Grace, Tucker Tooley, Dany Wolf, and Gordon Kaywin.

Following on March 18, 2011 is the much-anticipated The Dark Fields, starring Oscar®-winner Robert De Niro (Raging Bull), Bradley Cooper (The Hangover), Abbie Cornish (Stop-Loss), and Anna Friel (Land of the Lost). Neil Burger (The Illusionist) directs Leslie Dixon’s (Pay it Forward) script about a copywriter who discovers a top-secret drug which bestows him with super human abilities. As his usage begins to change his life, he begins to consider the drug’s shadowy origins; meanwhile, a group of killers trails his every move. The film is produced by Dixon, Scott Kroopf, Ryan Kavanaugh and executive produced by Tucker Tooley.

In theaters December 3, 2010 is The Warrior’s Way, a visually-stunning modern martial arts western starring Korean actor Dong-gun Jang who plays an Asian warrior assassin forced to hide in a small town in the American Badlands. Rounding out the ensemble cast are Kate Bosworth (Superman Returns), Oscar®-winner Geoffrey Rush (Shine), Danny Houston (The Kingdom), and Tony Cox (The Hustle).The fantasy action film was written and directed by newcomer Sngmoo Lee, and is being produced by Barrie Osborne (Lord of the Rings), Michael Peyser (Hackers) and Jooick Lee (Seven Swords). Relativity is releasing the picture as a rent-a-system deal for Osborne’s Emerald City and Peyser’s Sad Flutes.

“We’re thrilled to be adding these two homegrown Relativity titles to our distribution slate and happy to be releasing The Warrior’s Way on behalf of Emerald City and Sad Flutes,” said Kavanaugh, adding, “It’s an honor to have such great partnerships in these productions with both the filmmakers and talent.”

Per its arrangement with Relativity, Overture’s Jack Goes Boating will be released on September 17, 2010 and expands in the weeks to follow. Let Me In opens on October 1, 2010 and Stone on October 8, 2010 as a platform release. All of these dates were previously announced and have not changed since the Relativity partnership.

ABOUT RELATIVITY MEDIA, LLC

Relativity Media, LLC is a media and entertainment company that focuses on creating, financing and distributing first class, studio-quality entertainment content and intellectual property across multiple platforms, as well as making strategic partnerships with, and opportunistic investments in, media and entertainment-related companies and assets. Relativity owns and operates Rogue, a company that specializes in the production and distribution of films from new and cutting edge filmmakers. Building upon its foundation of financing and producing films, Relativity has grown to include music, sports and television divisions and the next-generation social network iamrogue.com. Relativity also owns and operates RelativityREAL, Relativity’s television arm, which has become one of the leading suppliers of reality television with more than 20 shows in episodic or pilot. RelativityREAL is run by Tom Forman; his past successes include Extreme Makeover: Home Edition and Kid Nation. This year, Relativity acquired the marketing and distribution operations of Overture Films and reached a first of its kind TV pay deal with Netflix.

To date, Relativity has committed to, produced and/or financed more than 200 studio-quality motion pictures through 2014. Released films have accumulated more than $13.0 billion in worldwide box office revenue. Relativity’s recent films include Despicable Me, Charlie St. Cloud, Salt, Dear John, Brothers, The Wolfman, It’s Complicated, Zombieland, Couples Retreat, The Bounty Hunter and, most recently, Get Him to the Greek, Robin Hood and Grown Ups. Upcoming films for Relativity include The Fighter, Nanny McPhee Returns, The Social Network as well as James Cameron’s Sanctum in 3D and Wes Craven’s My Soul To Take in 3D. Twenty-nine of the company’s films have opened at No. 1 at the box office. Relativity films have earned 43 Oscar® nominations, including nods for Nine, A Serious Man, Frost/Nixon, Atonement, American Gangster and 3:10 to Yuma. Forty-eight of Relativity’s films have each generated more than $100 million in worldwide box-office receipts.

The sequel, “Two Worlds II,” scheduled for release on Oct. 5, feels almost like a different game entirely, with nearly every concept and idea improved upon and polished, resulting in what looks to be a more than acceptable addition to the series and one that will be able to bring more fans to the table than ever.

With so many customization options, as far as weapons and spells go and a bigger map as well, this may become the game that many “Oblivion” fans turn to while they anxiously wait for a new addition to that series. Nevertheless, with so many improvements to the graphical engine and AI, it’s fair to say that TopWare Interactive and Southpeak may have their own words in mind for Bethesda:

Eat your heart out Oblivion.

If you dug the first game, you’ll feel right at home knowing that nearly every element of the game that you loved has been polish or fixed. Learning from the problems that hampered the first game, TopWare Interactive has brought out the big guns and it’s obvious right from the get go. No longer will horses walk away from you and gone forever are the shoddy voice acting scenes that bounced back and forth like a pinball, making it tiresome to watch the story advance. Taking a page out of “Oblivion,” gamers can now watch these conversations and still walk around the screen, making all the dialogue and story much more easy to digest.

This may seem like a small change, but for a game that depends on its story, this small nuance makes this title much easier to play through.

With all the polishing the developers have done on this game, it’s easy to forget about the graphical engine, which has been beefed up as well. With better animations and backgrounds, “Two Worlds II” has more than just a new coat of paint. Walking and running around the towns and environments and watching people look at you and animals interact with you, it’s easy to completely be sucked into this beautiful world. In some of the levels shown, the lighting and water effects were simply astounding and go a long way in showing how much work has gone into this title thus far. Because of this, it’s easy to say that this is one of the better looking games on the Xbox 360.

After so much polish to the graphics and core gameplay alone, the developers could have easily called it a day and got the game ready for distribution, as that would have been more than enough work for a decent sequel. Knowing that, it’s nice to see that the weapon and spell design element of the game has also been rounded out and fleshed out further, giving gamers even more control over the weapons they make and spells they conjure, “Two Worlds II” may end up being the new standard bearer for RPGs on the 360.

No longer does the game have a generic feel to it, making fanboys cry that it’s an Elder Scrolls clone. Make no mistake about it, this game has its own sense of style and even though the look is comparable to “Oblivion,” it plays much differently.

If that wasn’t enough, a hearty, mission-based multi-player campaign is also available, adding even more hours to the gameplay. Using different characters entirely, the multi-player aspects of this game is different from an add-on and serves to bring players together, rather than keep them locked in the single-player campaign all by their lonesome. If that indeed works remains to be seen, but it looks to be a nice touch to the complete package.

Overall, with so many improvements made to a game that many felt was solid before, “Two Worlds II” should be more than a quick distraction before “Fallout New Vegas” comes out later in the month.

Director Jay Roach, the creative mind behind Austin Powers and Meet the Parents series’, has come back to the spotlight with his latest project, Dinner for Schmucks. Revolving around Tim, played by Paul Rudd, who wants to be promoted to a newly open position at his place of employment, this film drags badly at times.

Offered an opportunity to obtain this new position only if he makes it through, as his boss puts it, a “dinner of winners,” which is more like the dinner of idiots. For this event, Tim has to bring with him a unique, but strange individual for the enjoyment of everyone else who is in on the joke. By coincidence, Tim meets and quickly befriends a man named Barry, portrayed by Steve Carell, who becomes Tim’s ideal idiot for the dinner. Barry works for the Internal Revenue Service (IRS), has a failed marriage under his belt and uses dead mice to reenact classical masterpieces to make up for his lack of a social life.

Carell and Rudd’s depictions of their roles were spot on and believable to audiences around the country. The comedy did not fail when it came to being funny either. It was the plot and sequence of events that were the problem in this film. The events had absolutely nothing to do with the true intention of the film. It felt like the movie dragged on in the middle which can result in viewers becoming bored and uninterested with it. A few of those viewers did actually leave the theater.

It may be reasonable give a stranger your cell or home phone, but it is unreasonable to give a complete stranger your address and allow them to contribute to some of the most important decisions of your life. Through Barry, Tim was convinced that his girlfriend was cheating on him, had him propose to his stalker and almost ruined his attempts for the promotion.

That was an example of the movie filler that was used to past the time which also circulates around Tim’s life- a life that consists of the oldest story in the book- boy meets and falls in love with a girl, boy loses girl and, surprisingly, boy wins the girl back. The dinner was a minute part of the movie and focused mostly on the event that leads up to it. These events included visiting Barry’s boss (Zach Galifianakis) who loves to play mind games with him and makes his appearance at the dinner as a master of mind control, the third peg in the love triangle that ended Barry’s marriage.

Regardless of the pitfalls of the flick, there was an amazing cast of celebrities that brings at the rear as dysfunctional participants at the dinner. Stand- up comedian and ventriloquist Jeff Dunham plays a couple on their first wedding anniversary as a man and puppet. Actress Octavia Spencer’s character can channel the spirits of dead animals. Actor/comedian Chris O’Dowd is the fencing champion, who happens to be blind.

The movie wasn’t that good due to the poor plot, but it had its moments of comic relief. Through the misadventures of the two main characters, the ridiculous dinner shenanigans and the fleeting idea of a potential promotion, it was a little fun while it lasted, but is certainly not something that people would want to see again.

Though they were recently created in early 2009, the trio, Ally Dickaty (vocalist and guitarist), Matt Rose (vocalist and bassist) and Danny Dolan (drummer) were able to mold together a solid and effective six-track EP. They decided to call it “Cast The First Stone.”

Given the opportunity to perform at astounding venues such as, the Manchester Club Academy and having the famous Slash from Guns N’ Roses as a supportive fan, it’s clear that The Virginmarys are making some serious progress within the music industry.

Their hit single off of their EP, “Bang Bang Bang,” truly demonstrates an exclusive sound that takes rock music to an entire new level.

Dickaty and Rose donate an electric charge of powerful vocals that contain simple lyrics. The insane guitar and bass riffs that follow automatically provide listeners with an outbreak of energy.

In addition, Dolan accommodates plenty of crashing cymbals and outrageous drum beats that easily set off a booming sense of style.

Though The Virginmarys might come off as “holy,” “Bang Bang Bang” flaunts their wild side, something all rock and roll lovers should take into consideration.

The spirit and technique they put into their music is simply raging with talent, the type of style that should, at least once, be given a chance.

Genesis ends its first first year in Brooklyn this Saturday with a special presentation of the lost edition of Hamlet. Discovered 200 years after Shakespeare’s death,

this version of the play is two hours shorter, and contains actual whole scenes and plot developments not found in the established version!

Still in old English, this version is considered much more easy to understand. Genesis will open its children’s division with a production of Alice In Wonderland in the end of August and will return with a full season of plays and films in October.

IN THIS PRODUCTION:

Artistic Director Mary Elizabeth MiCari reprises her role of the Queen having played it for Genesis in 1999 and in 2001 with David Canary (“All My Children” as the King;

Jay Michaels plays the King in this production having been in Hamlet 8 times before;

John Stillwaggon and Miguel Sierra battle to the death in this production as Hamlet and Leartes – after battling to the death as Mercutio and Tybalt in Romeo & Juliet last May; George Tsalikis (appearing as the Player King) is the lead singer for the international rock group, Zandelle;

Councilman Vincent Gentile staff member Rocco Buonpane appears as Commander Marcellus in this production.

William Shakespeare’s

HAMLET: The Lost Edition

ONE NIGHT ONLY

Saturday, August 14, 2010 at 7:00 p.m.

Genesis @ The Block Institute

376 Bay 44th Street • Brooklyn

Visit www.genesis-repertory.org for travel directions and to order tickets online

Call 1.347.492.0534 for further info. $15 all seats.
–
Genesis Summer 2010

Hamlet – August 14 @ 7:00 p.m.
Alice in Wonderland – August 27 @ 7pm & August 28 @ 5pm
www.genesis-repertory.org

“Knights in the Nightmare is the ultimate gamer’s game,” commented Aram Jabbari, Manager of Public Relations and Sales at Atlus. “It blends fast-paced arcade-style action with deep, rewarding strategy. It offers a dark, emotional story from multiple perspectives, and it’s loaded with replay value and secrets to discover; this video trailer only scratches at the surface of all that. While it may not give someone completely unfamiliar with the game a perfect idea of how the game plays–only playing will accomplish that, it gives folks their best look yet at the enhanced widescreen visuals, the beautiful art and music, and a good feel for the game’s distinct pace and flow. Also, if you don’t watch this trailer, a puppy somewhere will be really, really sad,” he added wistfully.

Enhanced to take full advantage of the power of PSP system, this new version of Knights in the Nightmare features remastered visuals and sounds, optimized controls, and a new opening movie from visionary director Yukio Takatsu (Persona 3, Persona 4, Yggdra Union). Originally, players could choose from two different characters with two unique perspectives on events. This new release adds a third character, Princess Yggdra, offering even more replay value and shedding more light on the game’s haunting narrative. Moreover, this release further expands on what was already one of the deepest, most substantial tutorials in recent memory, giving players introductory missions filled with instructions and tips, making the game’s learning curve easier than ever. Dripping with style and originality, Knights in the Nightmare delivers an unforgettable experience.

Knights in the Nightmare is scheduled for release in stores on via PlayStation®Network on October 19, 2010 with an MSRP of $29.99. For more information, visit the official website (LINK).

Yesterday, South Peak games was cool enough to open up their doors to I, ReviewFix.com Editor-In-Chief Patrick Hickey Jr., who was able to get the skinny on three of the company’s biggest releases this fall, Nail’d, Two Worlds II and Battle vs. Chess.

Watching gameplay and joining in on the fun myself, I was left in sheer awe of the pure gaming goodness that took place.

Make no mistake about it, South Peak has something cool in all three of these titles, which are loaded with content and brimming with potential.

Over the next three days, I will share its thoughts on the three games, all which were still in development, but nearing completion.

Are you ready?

As improbable a phenomenon as this is, what’s even more unlikely is when the same thing happens to a bad movie. Sure, there are lots of films out there that are pretty bad, but some are so unique that they might actually be worth the price of admission. Without all of the dumb dialogue and underwhelming special effects in “Plan 9 from Outer Space,” Ed Wood wouldn’t have earned his reputation as the worst director of all time. The absent-minded dubbing and clunky editing in “Manos: The Hands of Fate” were so careless that it wound up on “Mystery Science Theater 3000,” a TV show that was a kind of B-movie graveyard. Depending on how much time you spend on the Internet, there’s a chance you’ve seen clips of the notoriously bad acting from “Troll 2,” which is just the tip of the iceberg in terms of what makes it such a disaster. Even the people in it said later that movies don’t get much worse than that.

Or so it was. Back in 2003, an independent filmmaker named Tommy Wiseau finished work on his directorial debut, a melodrama involving a doomed love triangle called “The Room,” which he raised $6 million to complete. He felt he had good reason to put so much heart into it – after all, it was a faithful production (which he helped produce) of a solid script (which he wrote) with a breakthrough performance (which he delivered).

You can get an idea of how it did commercially and critically by reading Scott Foundas’ review in Variety, the only major media outlet that bothered to send someone to give it a look. “Pic may be something of a first,” he wrote. “A movie that prompts most of its viewers to ask for their money back – before even 30 minutes have passed.” (At least the “something of a first” part would’ve made a great quote for the poster.)

After a premiere as pathetic as that, you’d think no self-respecting theater owner would’ve gotten anywhere near it. A great deal has changed during the past couple of years, though. Oh, there are still plenty of people who think “The Room” is a gigantic mess, but these same people have transformed it into a hit, one that’s a crowd pleaser in spite of itself. In fact, midnight screenings of it have been so successful that they sell out as quickly as they turn up. Anyone who wants to see it tomorrow night at Village East Cinema in New York should reserve a ticket before it’s too late.

Although it doesn’t come to New York often, hundreds of people line up to see it every month at Laemmle’s Sunset 5 in Los Angeles, the theater that’s become the epicenter of the whole thing. Isaac Wade, the general manager at Sunset 5, stated that it’s done good business there these past seven years.

“In the beginning, it was only around a hundred people or so that would come to the midnight screenings,” he wrote in an e-mail. “Attendance grew steadily over the years, requiring us to show the film on more than one screen.”

For as loyal a following as it had, Wade said it really took off in December 2008, when Kristen Bell brought it up on national television. “Bell was interviewed on ‘Jimmy Kimmel’ and talked about ‘The Room,’ which she had seen the weekend before with some friends of hers,” he wrote. “The next month, we experienced a spike in sales, requiring us to use all five screens.”

To see a film this bad get this big is strange enough, but what’s even more bizarre is what its director has to say about all this. Whenever someone questions Wiseau about “The Room,” not only does he seem satisfied with everything, but he insists that he wanted it to be received as a comedy all along, and that he’d directed it in the spirit of camp.

John Wilson, who founded the Golden Raspberry Awards (those are the awards that go to the worst films of the year), said that while he never got around to watching “The Room,” he’s seen at least one auteur try to save grace like this before. Norman Mailer might’ve been one of America’s most celebrated writers, but when he turned his own “Tough Guys Don’t Dance” into a film in 1987, the result was a thriller so laughable that, yes, he tried to pass it off as a comedy.

“He did a good enough job – Norman Mailer – convincing people that this had been intended as a comedy all along that it actually got a handful of rave reviews as a dark comedy,” he said on the telephone. “You kind of have to come up with something, or you just look really stupid.”

Of course, even if movies like “The Room” don’t work the way they should, Wilson said they should still be thought of as rare things of beauty. “Something like this has to rise generically – it can’t be manufactured,” he said. “If it’s enough of a mess, it takes on a life of its own, and can actually be funnier than something that was intended to be a comedy.”

There might be more going on here than Wilson realizes, though. Lewis Lovhaug, a critic who’s got his own comedy series on a site called That Guy with the Glasses, recently turned up in a review of “The Room” with Doug Walker, who calls himself the Nostalgia Critic. Although the film’s camp value isn’t lost on him, Lovhaug stated that one of the things that made it a smash was that audiences couldn’t believe how awful it was.

“A lot of it is just fascination with a movie this horrible,” he wrote in an e-mail. “And make no mistake – from an acting, editing, writing and directing point of view, the film is absolutely dreadful.”

You can say the same thing about lots of movies, of course. In that light, how did “The Room” become this popular with so many other dreadful films floating around?

“I’m not sure how any particular film gains infamy over others – just word of mouth, I guess,” Lovhaug wrote. “The YouTube generation helps, spreading the word about such things and then building up a following from shared interest, like with any fandom.”

Lovhaug’s theory seems about as good as any. There’s no such thing as bad publicity, after all, and though “The Room” has left audiences howling with laughter, the heartiest laughs are probably coming from Wiseau when he brings another check with him to the bank.

This article originally appeared on AllMediaNY.com.

Check out Review Fix Contributing Writer Zechariah Copeland’s interview with PeopleOfWalmart.com Co-Founder Adam Kipple, who explains the genius behind one of the internet’s funniest sites, detailing how it all started and the book that came out of all of it.

You can listen to the interview by clicking the link below:

People of Walmart Interview

Episode Commentary: ‘A Man, A Plan’ or ‘Thank You, Jimmy Carter’

Bizarre. The word that comes to mind after Damon’s [Charlie Saxton] poetry reading during this episode of “Hung,” which leads into an even stranger situation when he gets wasted on a scone spiked with hi-grade pot and declares his love for former President Jimmy Carter.

If you’re still reading, that’s just the tip of the iceberg here.

When it’s all said and done, this episode is a worthwhile trip that continues to develop some more of the other characters in the show, giving “Hung” even more to build off of and makes the looming season finale perhaps the biggest romp on the show yet.

Much of that has to do with the work of Damon and Mr. Hunt.

If you’re not a fan of Saxton’s work on this show, it’s understandable why. Some of his early work on the show was a bit uneven, as he comes across as annoying. Now, he’s just misunderstood and totally one of kind, which of course, makes him redeemable and funny. Weird poetry readings aside, the kid has come a long way in just a season and a half on this show and is making the most of his time there.

Add in an extremely weird sex scene between Ann Heche and Eddie Jemison [who, from the way it is shot, looks like he has bigger breasts than Heche]and this episode is one of a kind.

Much like the first episode of this season’s “Entourage,” “Hung” bounced around a lot, but that doesn’t necessarily mean it was a bad episode. As a matter of fact, it might be the best episode this season,

It doesn’t necessarily start that way though.

The first scene features Gregg Henry, playing Mike Hunt and at first, you’re not won over by some of his lines, especially his pathetic self-loathing, but by the end of the episode, his antics make you a fan. Like a male Tanya, he’s quirky, lonely and weak, but has the marbles to do what makes himself happy.

Looks like he’s going to get his shot, even though it’s not by the most conventional of ways.

All this does is create even more possibilities of what crazy developments can occur on this show.

Currently available on the X-Box Live Arcade, “Limbo” may not be not as long as you like, but it’s certainly unique, providing plenty of memorable moments along the way.

Feeling similar to another amazing 2D side-scroller on the Live Arcade, “Braid,” minus the fast forward and rewind function, “Limbo” is simple in its approach, as it’s all about avoiding obstacles and getting through rigorous environments. Using your surroundings to navigate through the terrain, “Limbo” forces you to use your brain at times, but most of the time the answers lie right on the screen, making the gameplay fun, yet intuitive, as the puzzles flow into one another incredibly well. You’d never think that climbing trees, flipping switches, pulling bear traps and jumping would be all that fun, but there’s an inescapable charm here; something magical is at work. Capturing the essence of classic 2D adventures, yet cool enough to keep your attention throughout, “Limbo” is a must-own on the 360, even if it can be beaten in less than six hours.

However, aside from perfect controls and great pick up and play gameplay, “Limbo” is probably memorable most for its non use of color. Yep, you guessed it, the game is completely in black and white. Feeling like a dream from Tim Burton, “Limbo” does a great job of providing terrific ambiance with the barest of essentials. Using beautiful graphical asides such as shadows, smoke, moving water and solid animations, combined with the perfect amount of sound effects, “Limbo” is video game art personified.

It doesn’t matter if the story is non-existent or your character’s most distinguishing features are his small white eyes either. Simply put, “Limbo” gives you a world that’s worth getting stuck in and is equally as satisfying to get out of. Even if it’s only a mere distraction in the bigger gist of video gaming, it’s an experience that you’ll remember for being as beautiful as it is different from everything else available on the system.

Reviewfix: How did you initially get involved with the graffiti scene?

Sandra Fabara: It was my first boyfriend’s idea to write graffiti. He was arrested for writing graffiti and then went to go live in Puerto Rico. So I started writing his graffiti name for him around the school. I fell in love with the adventure and thrill.

RF: Why did you choose ‘Lady Pink’ as your tag?

Fabara: At first I was writing my boyfriend’s name, which was a boy’s name. My friends from high school suggested I should have a female name. My friend chose the word pink, that’s a very feminine name; guys would not write that. I titled myself lady for my love of historical romances. Emulating the European lability, the aristocracy with Dukes and Ladies.

RF:Being a woman, how much harder was it for you to get respect or to throw up tags?

Fabara: It was absolutely impossible. The woman’s movement was just starting to pick up steam. There was a lot of male chauvinism, that was just the time. No women had much success breaking into the boys’ club. That’s just the nature of what the boys’ club are. Women are excluded, we couldn’t get into sports, positions of power, we were still struggling with all of that. It was a sign of the times that it was impossible. Women were not taken seriously at all.

RF: Could you describe your writing style?

Fabara: I was taught by a variety of different people, we teach master to apprentice. My styles of lettering were basically similar to whatever teacher I had at the time. New Yorkers are very rigid in this type of style of lettering that is done here. It has to have a New York flavor. I did throw in a little bit of a feminine flair to my letters, but not that much.

RF: When did you really start to get noticed for your graffiti?

Fabara: As soon as I started. I hadn’t even hit a train yet and I was already famous all over the city, because of lack of females. I was the only girl doing it. There’s been a lot of women through the 1970s, but the shelf life of a graffiti writer is only about two to five years. After a couple of years people move on to do something else. Ladies that had been writing throughout the 1970s, Barbara, Eva, 62, they had all quit. They had all moved on to do grown up things and they quit their teenage, childish ways. There weren’t any by the time I rolled around in 1979. Out of approximately 10, 000 guys I was the only female. I was pretty much noticed as a novelty back then.

RF: What does graffiti mean to you?

Fabara: I am an artist through and through. My friends are graffiti writers. I’m married to a graffiti writer. We are a particular breed of people, personalities and such that we are sort of attracted to each other in that way. It’s our culture, perhaps it’s our way of work, our way of thinking, but we also meld very well with other sorts of misfits from society like skateboarders and punk rockers and break dancers. It’s just out there. Sometimes it’s annoying, sometimes it’s helpful. I think the people who do graffiti are not exactly the folks I particularly like or want as friends, but like family you’re kind of thrown together and you don’t exactly like each other, but you have to deal with it.

RF: How has graffiti changed since when you were a kid?

Fabara: It’s like how has rock ‘n roll changed from the 1950s. Where do you begin? It has grown it has morphed as expected, but as long as people are still vandalizing then it’s a crime. Then it’s graffiti.

RF: What was it like to have your work featured in museums and galleries?

Fabara: I’ve been exhibiting for about 30-years and the novelty has worn off. Since the age of 16 I was exhibiting, the same time I started writing on the subways. It wasn’t a big transition from underground to above ground. I wasn’t like a ghetto urchin suddenly exposed to light. I didn’t come from the ghetto. It wasn’t a culture shock. It was a natural transition painting the same thing underground and painting it above ground, because folks were willing to give me money for it, which was amusing. I decided to hang on to that as long as the ride would go. I wasn’t exactly choosing art as a career, but it just sort of happened that way.

RF: Who are some graffiti artists you look up to?

Fabara: always admired and been a big fan of Georgia O’Keefe, since they told me my work looked liked hers at the age of 16. I made it my point to get familiar with Georgia O’Keefe and I exhibited with her too. Jenny Holzer is one of my biggest heroes. I also have collaborative paintings with Jenny Holzer.

RF: Out of the many pieces you’ve done, what’s your favorite?

Fabara: recently sold my favorite, it was a painting titled, ‘Queen Matilda.’ It’s a very detailed brick women with a city at her feet. Basically a graffiti mecca at her feet; a little subway train running by. The city is based on the free community in Copenhagen called, Christiania. It’s a community that is police free and run by anarchist. It’s such a peaceful, beautiful little closed in community.

RF: What would you say to people who associate graffiti with a negative connotation?

Fabara: It is a crime, its vandalism according to the authorities so I can’t argue that point. Of course, it’s a crime; it’s vandalism. The authorities say so. In this country, in this age its illegal. In other countries, in other times it has not been. It’s a perfectly accepted piece of art form. It is just in this country at this time that they call graffiti illegal.

It’s necessary we shake things up. The freedom of expression, the fact that art has been so removed from the common people and it is now full of its own intellectual superiority that is just for the wealthy, the cultured. You have to be very schooled in order to do it. That’s just bullshit. It has to be indoors, inside a gallery with four clean white doors. Why can’t it be everywhere, done by anyone? You don’t have to go to school for a billion years and know that knowledge of art and know how to do it. It comes way out of the reach of ordinary folk and that is why we are bombarded by advertising, because we don’t know any better. Lets say the outer boroughs of New York or just the common working people we don’t get a chance to go see. I know my neighbors my family just work all the time, they don’t get a chance to go to galleries or museums or get to see any actual real life artwork. Art has just gone too far. It is abstract, obscure, it is not reaching young people whatsoever, it is excluding anyone that isn’t intellectual. The museums and those institutions have snapped the fun out of it. They have made it incredibly boring and folks are not interested. They are living in their own little world there.

RF: You own a mural company with your husband, graffiti artist ‘Smith’, how is that going?

Fabara: It’s going well. We don’t do anything special, just stupid boring shit. Interiors, standard, traditional artwork. Nothing fancy, but it’s pretty expensive.

RF: What are some of your current projects?

Fabara: I’m working on paintings for gallery shows and museums. I am making some paintings for Atlantis Diner, deep in Long Island and a mural project in my neighborhood that has a patriotic flavor to it. I get more of a demand for my work then I’d like. I get way too many charities and people begging for free stuff with some bleeding heart story for this disease or that dying person. How do you say no to that without feeling like an ass. I don’t have much time. I spend about 80 percent of my time working for charities, benefits; for free stuff and it’s really hard to say no. So I just ignore my emails instead of sending rejection letters. It breaks my heart.

“The 400 Blows” tells the story of Antoine Doinel, a rather trouble-prone 12-year old, who grows tired of his life at home and school. He doesn’t resort to violence, but he lies, cheats and steals, as if it’s second nature to him. His parents don’t understand him and his teacher is inclined to get him for anything and everything, even if he’s not to blame. Unsurprisingly, he runs away hoping for a life on his own terms. But again, he comes up against the walls of proper society that try to constrain him.

Antoine represents the restless id within all of us. One of the things that stand out in this film is how smoothly and elegantly the camera moves, sometimes telling so much without words. It never gets in the way of the story. There are a few sequences where it’s just the camera and the music, and that’s all there needs to be.

One standout has the camera on a rooftop looking down at a teacher leading a line of students through Paris and every few seconds a group of students would peel off the main group. The camera just sits there stable, like an eye in the sky.

Speaking of Paris, the French capital itself becomes a character in the film. As Antoine goes about his various adventures and misadventures, the city becomes a place full of possibilities. There are movies to see and rides to go on; the ultimate children’s playground. The fact that our protagonist is a child probably has something to do with this; to him the freedom of the city is a stark contrast to the stifling conditions at home and at school.

What allows this movie to succeed with a rather unsubstantial plot is the work of Jean-Pierre Léaud as Antoine. He would actually go on to reprise the character four more times over the course of 20 years, playing him as he grows up. In this film his characterization is what pulls us through. And being in almost every frame, he doesn’t disappoint. While he faces slights time and again, he’s never angry, there’s always a smile on his face, representing endless optimism found in children not yet soured by the cynicism of adulthood. There’s definitely an element of childlike innocence that pervades the entire picture, which is fitting, as this is Truffaut’s first feature film inspired by his own childhood growing up in Paris. This is a film about a child who is only now coming up against the limits imposed by the adult world.

Throughout the movie, you feel as if you’re like Antoine, looking up at everyone saying no or shaking their heads with negativity and like him you wonder what’s so wrong about wanting to be free.

With TV Guide asserting that Sarah VonderHaar is “on the verge of pop-rock stardom,” major companies and sponsors have also taken note of Sarah’s captivating voice, beautiful looks and upbeat personality. VonderHaar has attracted endorsements from the likes of Fender Guitars and Sennheiser, while her songs have been chosen as musical backdrops for both Jockey and Chevrolet commercials.  Sarah was also included in a Go-Gurt Yogurt campaign, and in a national advertising campaign with Mead Notebooks, which rolled out to Target stores in June.

While P.D.L. represents yet another step towards musical superstardom, it’s just one facet of a non-stop whirlwind of activity over the past few years for the gregarious 23-year old.  Still recognized from her participation on season eight of America’s Next Top Model, Sarah continues to model part time for Elite Chicago (where she started when she was 16).  Sarah also devotes time to speak to groups at local schools to encourage girls to follow their dreams. As this experience is especially rewarding for her, she will soon bolster her burgeoning status as a role model by launching a Livestream channel to self-broadcast her goodwill message to continue to engage and encourage young lives around the world.

Striking the right balance between her multi-talented ambitions is a delicate process that always leads her back to her first love – writing music and performing her songs live. To that end, Sarah will celebrate the release of P.D.L. with a special all ages show (presented by Girl360) at Schuba’s in Chicago on Thursday September 2. Leading up to the gig will be an exclusive ‘Going Viral’ web feature on the local KISSFM radio station web site at http://www.kiss1035.com.

GIRL360 welcomes Sarah VonderHaar (P.D.L. Record Release)
Sept 2 – Schuba’s, Chicago, IL – 7:00 PM (All Ages /  $10.00)
Tickets – http://www.schubas.com/Shows/09-02-2010+Sarah+VonderHaar

About Girl360:
Here’s what we know for sure: Behind every great woman is a great girl, one who often discovered her own “superpowers” after encountering a powerful female role model. Our mission at Girl360 is to make encounters like this possible by bringing the stories of histories and today’s most amazing women to the attention of the next generation of tween girls (9 – 12). We’re taking a fresh look at what some of the world’s fiercest women and girls have done or are doing, discovering the back-stories behind our favorite boundary-pushers. We want to know who they are, how they did it and – newsflash! — what they were like when they, too, were tweens. http://www.girl360.net

“Sarah VonderHaar, on the verge of pop-rock stardom” TV Guide

“…a sophisticated blend of melodic pop rock, with hard-edged guitars and infectious melodies” The Daily Herald

SARAH VONDERHAAR
P.D.L.
1) Howling at the Moon
2) What I’m Feeling About You
3) Pretty Damn Lucky
4) All Mine

All Songs written by Sarah VonderHaar
except All Mine written by Sarah VonderHaar and Lela Upshaw

Howling at the Moon and Pretty Damn Lucky recorded by Dave Uhrich, Chicago IL.
What I’m Feeling About You recorded by Johnny Rutledge and Mark Ohlsen at LRS Studio Chicago IL.
All Mine recorded at Galt Line Studio, Los Angeles CA by Marshall Altman and Eric Robinson.
Mastered by Jim Godsey at JBG Studio, Chicago IL.

Check out Review Fix EIC Patrick Hickey Jr.’s exclusive interview with actress, model [She appeared on the eighth season of "America's Next Top Model"] and singer/songwriter Sarah Vonderhaar, who discusses her new EP, “P.D.L,” which is due to hit I-Tunes on August 24.

Click the link below to listen to the interview:

Sarah VonderHaar Interview

The reality of “Harry Potter” film series is truthfully represented by variety of characters, made of plastic Lego bricks. Not too concerned with their appearances, you will still ponder: Why do they communicate to each other using unclear sounds, as though they were numb? It looks like the first couple years of a child’s life, when facial expressions reveal one’s emotions and mean more than words.

Besides, if you are not a toddler, why would you waste so much time trying to complete one level? You are not given any map, you just have to find the way yourself and sometimes you are at a loss not knowing where to go. The most annoying level is the Forbidden Forest, where you can see the next scene but cannot get there because it is too hard for you to jump to, since it is separated from you by tree branches, and there is no way you can cross them. If you have plenty of time, like toddlers do, you can keep struggling to find a path to the next level; however, if you spared an hour or two for your gaming passion, you will be disappointed and even annoyed.

The good thing about the game is, however, its musical accompaniment is taken from the film, though it doesn’t help a lot when you are already irritated.

What confuses you the most is the variety of characters, whom you are supposed to switch to very quickly, as each of them possesses unique skills. Every time you need to do something, you have to decide which character is capable of completing the task successfully. It gets hard when you transform into a dog and there is a bee attacking you while you are attempting to find you way, so that you need to become Hagrid, who can shoot the bee before it kills you. When the bee is out, you become a dog again and, here you go, there is another bee trying to get you. And so it goes, until you destroy the bees’ nest. Even a toddler will end up crying, “Mommy, they keep destroying me.”

If you are a toddler, you are not the one who pays for your toys and games. And if you are not, then it is probably not a good idea to get this game.

Review Fix:

Michelle Kuchuk: For me and for Trip (who played Jamie), it wasn’t that he went from one extreme to the next. It was that he went from being aware that things in his life were changing without a clear knowledge of WHY, to being more and more aware as the play reached its end.

RF: The father figure in the play was actually awesome – he did a great job understanding and having an open mind relating to the topics at hand. Would it be possible to let him stick around at the end instead of kicking him to the curb?

MK: The supposed breakup and blocking that occurred at then end between Tony and Sandra was actually written into the script. Jonathan Harvey wrote the exit and the words exactly as we see it in the production. That being said, I didn’t view it so much as a harsh kick to the curb as something that probably needed to happen for both characters. For Sandra, she needs to stop relying on boyfriends and grow up a little (independently) herself, and [as] for Tony, he needs to find his place in the world with someone who could be his equal, and not his sometimes lover, sometimes mother-like figure. Because I think Sandra ultimately needs to grow up and start spending more time with people her own age (and not with teens and younger boyfriends), and because I think Tony could give a lot of love to someone who is completely ready to receive it. The breakup, though sad, was the best thing for both of them.

RF: What was it like creating a small independent play?

MK: Creating a small independent play has its benefits and also its challenges. On the one hand, I felt very supported by my artistic director (Stephanie Barton-Farcas, also the dialect and fight coach of the production) and the theater company itself; if I needed something, I knew exactly who to talk to. On the other hand, it can sometimes be stressful, as a small company with more limited resources and the fact that the entire cast and crew (including myself) have day jobs and, in the case of some, families. At the end of the day, however, I think it is an incredible experience to put on a small, independent play. As a director, I was involved in everything I wanted to be involved in, and I felt such a sense of attachment and accomplishment from having a part in every aspect of the production. The eight of us cast and crew members who were there everyday all pulled their weight in contributing to the production, and as a small group, it gave us all a lot of ownership and responsibility.

RF: How much creativity did you give to the actors, and how do you feel they transformed their characters to make them their own?

MK: A lot of what inspired me to direct was the freedom that you can give to the actors in the creation of their characters. The director must know every single thing about the play and then some before rehearsals begin, and then must have a clear idea of his or her vision for the production. Without that preparedness, a production is shapeless. I spent about two months with the script before rehearsals even began; I had to learn and discover these characters separately and as a unit. When the actors came in with their own take and talent, I could work with them to get to the point of my own understanding without taking their own personality out of it completely. We all worked together to create these characters, and I personally love that even though these characters are different than the actors portraying them, they have made them their own and found that they have many similarities after all.

RF: Are you from New York City? If not, where are you from?

MK: I’ve actually moved around a bunch — I was born in Connecticut, moved to Dubai and then moved to Cape Cod where I had spent summers growing up. After going to college in NYC, I didn’t move away!

RF: How old are you?

MK: Only my actors know!

RF: When putting together past productions, did you use the same props? Tell me some things about the stage props and how the actors work with them. (I noticed that they put everything in place before each scene.)

MK: Nicu’s Spoon (like all theatre companies) makes use of the same props through the years. I’m not involved with every production at Nicu’s, but there are definitely props we pulled and props we had to buy, and then there are those props we brought from home! As for the set pieces that the actors put into place before every scene, that is a typical practice for many theaters — if the actors can be their own running crew, the play is much smoother and the transitions are much faster. Of course, on Broadway and in bigger theaters where you have gigantic sets, there is always a crew for set changes. For a set as simple as ours, however, it made sense for the actors to make the changes.

RF: What are your personal life goals?

MK: One of my personal life goals is to be passionate about as much as possible in my life. It’s hard to say what will fill up my life in the future, but I know that directing fulfills me on so many levels, and is something I want to continue to do and to learn about.

RF: A lot of the actors have worked in other things. What is it like watching the actors go from role to role, and going into an intimate setting?

MK: I’ve seen three of the five actors in other roles, all of which were either at Spoon or a smaller setting. I love watching actors develop and grow in different roles, yet still have the underlying current of themselves making that particular portrayal different than how anybody else would do it.

RF: The Spoon – do they only put out plays that have a message?

MK: Nicu’s Spoon is dedicated to putting out socially reflective theater that challenges stereotypes and challenges its audience to embrace an idea that they might not know about, care about or have an opinion about. What I like about the company, however, is that we don’t try to always find plays that scream any particular message down our audiences’ throats – many of the productions I’ve seen and been involved in have asked the audience to come up with their own opinion based on what they’ve seen. I think that is a good message in itself – to challenge us to think for ourselves.

RF: Do you think you’re ready for Broadway?

MK: My next immediate goal is to assistant direct under a more experienced director so I can continue to learn and to grow.

RF: Are you working on anything else?

MK: I’m not working on any other productions at the moment.

RF: What is or are some of your favorite parts of “Beautiful Thing,” and do you think Jamie should be the lead role instead of Ste?

MK: I have so many favorite parts! Certain scenes have made me tear up, and many moments have made me laugh. I love all of the littler and subtle moments that have developed through the rehearsal process – Jonathan Harvey has written a play with an ensemble cast, which is great to work with because no character is superfluous and every relationship is so significant to the plot.

RF: After all is said and done with working and plays, how you unwind and relax on your free time?

MK: I actually try to see theater in my free time! I love to cook and have dinner with friends – if I’m really relaxing and unwinding, that’s definitely one of my favorite activities.

RF: Where did you go to school, and what degree did you graduate with?

MK: I went to New York University with a major in psychology and a minor in theater.

RF: How did you find Nicu’s Spoon? Or did they find you?

MK: I found Nicu’s Spoon on a Web site that advertised theater internships when I was studying in Italy during college. I wanted an internship for the following summer, but ended up assistant directing the fall play, and then became a company member the following year. “Beautiful Thing” is my fourth play with Nicu’s.

RF: Describe your relationship with the actors? Friends or strictly business?

MK: I knew a couple of the actors in “Beautiful Thing” from past shows at Spoon, but I like to conduct my rehearsals (especially the initial ones) as efficiently and as logistically clear as possible. That being said, I love laughing, and so I like to think I’m clever and crack everyone up from to time… but in all seriousness, I think it’s important to have a mix of humor and efficiency at the beginning, but then as the cast and crew becomes more comfortable and becomes closer with each other, it’s good to replace the initial business-like attitude with understanding, and create an atmosphere that the actors can feel nurtured in. Once the play opened, my actors were joking that I had completely lost my calm-and-collected attitude because only then could I finally relax!

RF: What would you tell me if I were going to watch your play twice? Would it be better or worse the second time around? Would anything change? Where are you while the play is going on? Backstage? Home? Behind the scenes? Do you ever take a bow with the actors?

MK: I think that any time you watch a production for the second time, you are able to catch smaller moments and end with a greater understanding of the play than the first time around. I would say to anyone going a second time to go with an open mind so as to pick up on issues and instances they may not have discovered initially. Theater is always changing, and the actors will always become more nuanced as the performances continue. When the play is going on, I’m either watching or running lights, but most of the time I’m away from the theater. The director has to turn the production over to its stage manager when the run begins.

FATHER’S DAY should prove an excellent complement to Charles Kaufman’s classic film MOTHER’S DAY, distributed by Troma. MOTHER’S DAY was recently remade by Darren Lynn Bousman, Brett Ratner and Richard Saperstein and it is most likely that this will also happen to FATHER’S DAY.

Shyla Marlin Interview 8-03

The memoir opens with Fox trembling due to a message in his hand, or as he puts it, “The trembling was the message.” Hooking the reader first paragraph, Fox continues to chronicle how he put off seeing doctors, his denial regarding Parkinson’s, and his alcoholism-an attempt to block the reality. Of course, readers also get to peek into the good stuff: the behind the scenes stories of how memorable scripts fell into his hands, his romance with his future wife, and all of the fancy Hollywood stuff a young guy in the 1980’s is entitled to.

However, in hindsight, Fox realizes that he is indeed a ‘lucky man’, not just because he was on a little show called “Family Ties”, or famous flicks such as Teen Wolf, and the Back To The Future Trilogy. Fox comes to terms with the notion that he has a wonderfully loving family- a wonderful wife, beautiful kids, and the ability to become a voice for those who suffering as he is. The acting stuff, well, that’s just secondary to all of his other treasures. The message is clear to Fox, that it was never the fame that made lucky.

As a man in his late 40’s, Fox realizes that his roles are just jobs, and should not define his life. Fox remembers how he too quickly lost focus in his prime due to fame getting in the way of real life. There is a point in the memoir where Fox recounts speeding out in L.A. The officer pulls him over, and tells him that he is a huge fan. This was one of Fox’s early clues that his fame can get dangerous, and that there should be more to life that speeding in fancy cars and getting away with it.

Fox in a lot of ways is no different from most people; to get where he is, he needed to overcome quite a bit of grief. However, unlike the ‘average’ celebrity, Fox tells us how he has learned to float back down to reality and face his demons, as well as look at life trough a whole new lens due to his disease, and positive outlook on life.

Fox simply put, is an outstanding writer. Claiming to be ghost-writer free, this memoir proves Fox has creativity on a whole other level. Genuinely speaking from the heart, Fox gives us a glimpse into his world-a Canadian childhood, the rise to fame, the heartbreak, and even Parkinson’s disease. Readers be mindful: Fox is not asking for sympathy; he is out to prove (and justifiably does so) that his disease was in a strange way, a blessing in disguise.

‘The Wire’ is one of those shows that is written to near perfection. The characters on this show are incredibly talented. As a matter of fact, you can’t ask for a more perfect cast. The audience will fall in love and will definitely relate to each character emotionally while sitting back. The realistic story lines that take place during this series are impressive. Ed Burns and David Simon do a tremendous job writing real life story lines that intertwine with each of the five seasons while at the same time giving them different themes.

Season one focuses on the drug culture of inner-city Baltimore, showing the points of view of both the criminals taking over the streets and the police determined to bring them down. In season one we are introduced to detective Jimmy McNulty, a smart, but stubborn detective, who seems to break the rules and pay the price. McNulty is played by Dominic West [‘Rock Star’] and his supervisor, Cedric Daniels, a hard-nosed, no-nonsense type of guy, who is good at heart and will have your back no matter what, is played by Lance Reddick [‘Jonah Hex’], as they begin to gather evidence against drug kingpin Avon Barksdale, played by Wood Harris [‘Remember the Titans’]. Meanwhile, his partners Stringer Bell, played by Idris Elba [‘Obsessed’] and Wee-Bey, played by Hassan Johnson [‘Brooklyn’s Finest’], are concerned with a rival enemy, who goes by the name of Omar, played by Michael K. Williams [‘The Road’], that has been cutting into their profits by robbing their drugs. Omar is not only one of the most popular characters on the show, but he is also the most likeable one, too; a kind of bad guy you root for, but at the same time, you can tell that there is something good in him. The reason why he is admired is because his role is very unique. You don’t see a man walking around with a shot-gun robbing drug dealers everyday, especially while he whistles a catchy tune in the ghetto. Hearing the whistle, everyone in sight starts to run and make way because, in their words, “Omar’s Coming.”

Season two takes place on the docks of West Baltimore where a port authority cop by the name of Beadie Russell, played by Amy Ryan [‘Dan in Real Life’], finds a shipping container full of dead European prostitutes. Meanwhile, Jimmy McNulty has been demoted his least favorite job position in the department. He has been asked to go back to his old roots and work with old friends while setting up events for a wire-tap case in illegal smuggling. A prime suspect is Long Shore man boss Frank Sabotka, played by Chris Bauer [‘True Blood’], who appears to be in cahoots with a gang Greek thieves led by the Greek, played by Bill Raymond, who is helping them sneak goods into the country by cheating the port’s computer system before using his payment to help save his workers union from collapsing. However, Sabotka has made a personal enemy of Major Valcheck, who’s grown suspicious of Sabotka’s finances.

With the drug war being lost and the bodies piling up, a desperate mayor wants major improvements of the crime dropping in West Baltimore before the election. The problem is that the police department hasn’t got any answers. With the demolition of the Franklin Terrace, Stringer Bell and the Barksdale crew have been forced to makeup for their loss. No matter how hard McNulty and the detail crew try to bust the Barksdale gang, they always seem to be one step ahead of the game. With the stats on crime needing major improvements, there is an unlikely gamble that takes place involving the drug dealers and their corners.

Season three delivers an exciting and fascinating thrill ride unlike any other. Each episode will leave you begging for more and keep you interested through the season.

Season four introduces the theme of education, which focuses on four new characters Michael Lee, Namond Brice, Randy Wagstaff, and “Dukie” Weekms, as they go through their adolescence in the drug-filled streets of West Baltimore. This season also focuses on the rise of Drug king pin Marlo Stanfield [Jamie Hector] and the detail that continues to follow money up the political ladder in the middle of a mayoral election that shares Mayor Royce against a smart ambitious white councilman, Tommy Carcetti. This season is exceptionally brilliant the way it’s put together and shows the theme of urban education, depicted in a rowdy West Baltimore school. There is no doubt that season four is brilliantly put together and shows the struggles that the children in West Baltimore go through because of the rough neighborhood they grew up in.

The fifth and final season of The Wire focuses on the media. The game remains the same, but everything else has changed, such as places and characters taking on different roles within their respective jobs. Times are tough for the detail due to Mayor Carcetti slashing the department’s budget to the bone with no overtime and less pay; some without cars and radios. An angry and frustrated McNulty is headed down a dangerous road of trouble and lies that will either make him or break him after he decides to make a few rules of his own during an investigation. The drug trade is still ruling the corners and as this exceptional series comes to an end, the way the book slams shut and an illustrious chapter comes to a close, it is clearly done just right leaving the audience with a pleasant sigh as if to say thanks for the ride.

Overall, you can’t ask for a better police drama than ‘The Wire.’ It is arguably one of the smartest and most exciting shows ever to hit television. Even though it has come to a halt, there is no reason why you shouldn’t witness television greatness. Just be sure you can handle the mean streets of West Baltimore.

“Collyn’s unique talent will do more than justice to Troma’s 35-year, no-compromises legacy of shit-disturbing movies of the future!” said Kaufman. “His script will undoubtedly be 100% Grade-A Troma!” McCoy’s recent script THE HIGH LIFE (with co-writer Jacob J. Mauldin) is currently being produced by Route One Films, a new film company recently formed by Troma alum Jay Stern and Chip Diggins.

THE TOXIC AVENGER is a seminal film in American film history, and has clearly influenced and inspired many of today’s mainstream directors, such as Trey Parker, Eli Roth, James Gunn and Quentin Tarantino. It is perhaps the most beloved title of Troma Entertainment, one of the longest running independent film studios in history (36 years). Since his introduction into the film world, “TOXIE” has become the definitive youth-oriented “cult” monster hero, and is recognized world-wide. Among its many iterations, THE TOXIC AVENGER has spawned a hit off-Broadway musical, Marvel comic book series, four film sequels, a popular Saturday-morning cartoon show, action figures, video games, and is currently being remade into a big-budget, mainstream film by Oscar-winner Akiva Goldsman and his team.

For more information on upcoming developments, please refer to THE TOXIC AVENGER website, Troma’s website, Lloyd Kaufman’s twitter or Collyn McCoy’s twitter.

The end result however is a haphazard one, courtesy of several small problems, which hamper the overall solid wrestling action.

For one, many of the stars of the company, including Lizmark Jr., Jindrak [now Marco Corleone ] and Hugger [now the masked Relik] are athletes that many hardcore wrestling fans will remember as guys that could never cut it in the States for very long. Lizmark Jr. was a jobber cruiserweight during the late years of WCW, while Jindrak and Hugger were youngsters that were pushed too fast in WCW and were never able to make good on their promise in the WWE, Japan or TNA. Nevertheless, all of these guys are capable in the ring, and perhaps a chance in the spotlight is what they need to finally hit it big in the United States.

The only talent that company has who many Americans will remember super-positively is Perkins, whose tours of TNA as the masked Puma were all highly successful and showcased him as an elite X-Division performer. Seeing this kid go is a huge treat to say the very least.

Troubled former WWE Superstar Carlito Colon is supposed to be on the show as well, but has yet to appear. With his release from the WWE, Colon could use a fresh start with a new company, but his inclusion here seems more like a stop before he heads to TNA or somewhere else than can truly showcase him.

Aside from Perkins AKA Sydistiko, the rest of the in-ring product is solid, but is nothing to call home about. The Mexican rules have already come into play over the course of the first two episodes, as one match was decided after a referee believed a rudo [heel] pulled the mask off of a technico [face]. This could give the show a cool blend, but again, so far, it hasn’t done much to make the product feel different. Aside from this, overall, in spite of some fast-paced action, the wrestling here isn’t as solid as what is seen on the WWE and a far cry from anything on TNA. If that wasn’t enough, many of the camera angles and a shoddy set make you feel like you’re watching an inferior product as well. If these things don’t change and soon, this show won’t be on for very long.

Competition is always good for business and the WWE needs as much as it could get, but with Jindrak as their main star and so-so production values, how long can this show last?

As well, with such a small amount of recognizable stars and miniscule roster, consisting of 12 wrestlers and a few “minis,” it’s going to be difficult to get this promotion off the ground. Another problem is the fact that the show is only an hour, which ruins a solid 9 pm time slot on Friday nights.

Currently, there are tournaments being held for the tag team title and the Heavyweight championship, but with only a few faces in each division, annoying announcers that try too hard and little to no real storyline, how long can this promotion really last?

Add in one female valet/manager on the show in Trenesha Biggers AKA Tigresa Caliente, [who many TNA fans will remember as Rakka Khan, Scott Steiner's former valet] and it’s fair to say that this show is lacking on so many levels that it can’t be taken seriously yet.

The question remains as if it ever will be.

Elvira Sacco-Ponsot, no more than 5’6, waits at the door with a mint herb in her hand, which is wrapped in brown paper. Her curly hair is white, with faded hints of yellow, which is from working with paints on her past projects. Her garments consisted of a long, light fabricated, multi-coloured shirt with matching pants; Sacco’s signature style, for it is very “Himalayan, spiritual, and I can feel free,” Sacco claims.

As she waits at the door, her feet are bare, and she appears exhausted, with heavy dark circles under her eyes, yet, she still seems alert enough that if someone gave her a paintbrush, she would accept earnestly and begin painting.

Sacco has been home for two hours, after her day in Downtown Brooklyn at the detention facility for “corrupted teachers,” she jokes, blowing smoke and rolling her eyes. She leads the way into her small house, which is teeming with books everywhere; out-dated, rotten and new books. She walked passed an oversized iMac monitor into her even smaller kitchen, which had a dim orange light from the sunset. She pressed her cigarette into an ashtray, pulled out another one out of a green box (which reads “hint” in large letters) and says, “Well,” with a large smile, “what do you want to know?”

Sacco was a teacher at the new school Secondary School for Journalism, in the old John Jay High school campus in Park Slope. She, outside the school, was a known artist for her paintings and infamous family history. Sacco, is in fact in fact the 21st generation of artists in her family, which dates back to the blue prints of the Notre Dame cathedral in Paris.

However, in December 2008 when the fall semester was wrapping up, Sacco received negative credits for allegedly calling one of her students the “N” word.

Upon hearing the “N” word, Sacco, didn’t flinch. Instead she remained blank and knowingly, and in fact she rolled her eyes as if the word had no sufficient meaning or impact, on her life whatsoever. But it was rather a word that needed to be explained; quite thoroughly.

Sacco was actually the first visual art teacher the new school received since its start in 2000, when John Jay began to close. She started teaching at the school in fall 2005, after a heated debate when all three John Jay schools tried recruiting her as their school’s art teacher.

“Larry Woodbridge, asked me to join Law. Abbie Reif asked me to join Journalism, and Jill Bloomberg from Research asked me to join,” Sacco explains. “At the end of the day, it was whoever was going to give me my demands, a new computer, which by the way needed to be a Mac, and my own room. Abbie came through, but it wasn’t easy.”

Prior to her arrival at the School of Journalism, the only art course at the school was music with Mr. Castro. According to New York City criteria towards high school students and getting a state’s diploma, students needed to take both a semester of music and another visual arts class to graduate. However, majority of schools in the city, are lucky to have one of the programs in the school, so the students graduate taking a year of music or another visual arts class, instead of a semester, in which Sacco still insists is farcical.

Art classes are arguably the first department that gets either pulled from a curriculum or cut in budgets, in which pressured Sacco into teaching in the first place.

“Art was always apart of me, but I had a passion for teaching, to create change for a long-lasting positive effect. I wanted to work, and create for a better future, have enough influence to create, create a domino effect. That is positive. When I see art not being explored, especially in this great, talented city, it makes me feel bad. I was teaching for over 30 years, and it pained me to see students recognized artwork and inspiration, but not who created it. Because they were so misinformed, that drove me to work in the system,” explains Sacco.

Sacco’s initiative as teacher was to take her children, who are really her students, on “trips.” With these trips they would visit foreign lands unknown to them, for example: if the subject called for mandala, Sanskrit for “circle,” her children and she would visit the Himalayan Mountains. If they wanted to make masks, they would visit the Caribbean, African and Aborigines regions, and get ideas. However, all this would be done, without the students actually leaving the city. By bringing in her own creations for whatever assignment they were doing, and also by bringing into the class artifacts from that said region.

Sacco’s methods were to inform her children on the rich heritage of the world, outside the five boroughs. She indulged her classes’ grades six to twelve- as the Journalism school catered to middle and high school students- in the importance of past art eras.

In order for her children to create anything, they needed to know the history, and precision. The children were given affluent and adequate information on the Renaissance- which as Sacco claims is re-birth of new thinking, Baroque, Mannerist, graffiti, printmaking and Expression styles. All these styles of artwork have a common ground, a sense of expression; what Sacco wanted all her children to be able to do accurately and tastefully. The ability to think, create and express their minds, bodies and souls through the arts.

“Sacco was most definitely an impact at the school,” says Secondary School for Journalism Principal Abbie Reif. “The students loved her, and I loved all the visuals artworks that were presented in the school. You can tell time as well as effort went into the preparations.”

While talking, Sacco appears like a little girl in a candy shop. Her hand moves earnestly and rapidly, like her mouth. Sacco claims she was different from the other teachers because she never used the book.

“When one teaches,” Sacco starts, acting as if she really was teaching, “they’re bound to be mistakes, but being so trapped,” she actually fidgets herself to favour a rectangular shape, “doing what the book says, isn’t helping. A book is empty words that were written to inform. But how well can little information be if you don’t actually get a visual perspective of what you are being informed of? That’s why I teach, and teach by the language my students know.”

This particular language acceptance Sacco embraced happened to be what put Sacco in the predicament she is in, not teaching, and at a teacher’s detention facility.

December 2008, On John Jay’s third floor in room 318, the largest room to the Journalism school, was a room that favoured an art studio. The back section was a long table, which had artwork that was drying. After that table followed, six neat table-groups; three on opposite sides, then a bookcase, blocking Sacco’s infamous “cave,” this was actually her desk.

The day in which Sacco “called her student the ‘N’ word,” her group of seventh graders spent a period being loud and active. However, according to Sacco, the student who she called the “N” word to was acting up, excessively that day. The child, Sacco claims went as far as to throw “a frackin’ scissors under my eye”. Sacco claims that her students were that crazy, but that particular incident wasn’t a direct assault on her, more so, it just happened to land there. And that is the type of nuisance she claims she dealt with on a daily basis.

“I quieted the class down after that happened. Because I had enough, I really did, had enough at that point. And I firmly said ‘stop it; you are acting like a low-life.’ The child looks at me, and says ‘well what is a low-life.’ I looked at him like really, are you asking me that? I then stated to him, that a low-life is basically someone who was classless. Then the whole class wanted to know what was classless; I then stated, that while I was growing up, classless was something we spoke of against people who didn’t know how to act, basically a ‘n-.’ I then explained it had nothing against race, because according to the dictionary that word was someone being defined as classless. It ain’t say nothing about race,” She recalls.

The students reported to their parents about her calling her children the N word. Sacco does admit that it was nothing like reading it in the papers, and seeing it in black and white that she was being called a racist. Sacco then grew grey at this point, and got another cigarette, her sixth one at this time…

“To be called racist, she beyond words,” her daughter Marie Ponsot started; Sacco was shaking in disbelief, as if the event occurred yesterday. “How could she be racist, when we are made up of everything? We are African, European, and a little of this, and a little of that, and she felt betrayed. Everyone who knows her knows that whole incident was complete crap. Especially everything the media was saying.”

Sacco was placed in immediate suspension from her job, and she was restricted from going to Journalism, and any school near the John Jay campus. Immediately after her removal, there wasn’t a replacement art teacher.

But there was loyal Journalism students who were angered by her removal in the first place; particularly; students who graduated in 2008, and the current senior class at the time, as well as the juniors who favoured and appreciated Sacco’s teaching skills. The removal created a group on Facebook by her students to petition that city return Sacco to her job.

Sacco herself never saw the child again nor the parent that started this. In fact, Sacco claims they were media hungry, in an issue that was a lost cause: for the “tormented” child and its mother didn’t receive any money or condolences from the city whatsoever.

Sacco straighten up herself and smiled brightly, “Well, all this most definitely gave me a chance to finish up my new book. So out of this negative situation,” she in fact smiled even brighter, “I made a much better situation out of it.”

Her book is currently in the runs of being presented to publishers, and Sacco’s new motive is to go back to school and earn her PH. D in art theory.

With her new doctrine in Art Theory, Sacco wants to be an activist defending the protection of arts in New York City’s schools.

“Almost no one’s listening to anyone anymore. I could be saying the same thing without a PH.D and nothing gets done, but with my PH.D, I suddenly become revolutionary and noteworthy saying the same thing…” Sacco says, rolling her eyes in dismay.

She wants to challenges the city in what could be done if potential creativity is stripped from the minds of talented individuals of this city. For there is talent in everyone she claims, but sometimes the talent seems to go unnoticed or simply amiss.

She was taken out of the system, she wanted to change for the better, so no, with her new credentials, she could somewhat go back in, and challenge it even harder to secure a better positive future, and an even better domino effect than before.

“Now,” Sacco finishes earnestly, batting her eyes, playfully and blowing her twelfth cigarette in the conversation, “do you feel you know me, and my story?”

*photo courtesy from the Marie Sacco Ponsot collection

There’s nothing like a reggae beat to get you either in the mood to dance or lay back on a hammock somewhere. “Amerimacka” from the DJ duo Thievery Corporation has created a mixed beat track that you can’t help but love. The richness of their background and their work with other artists have afforded them a wealth of languages and musical genres to draw from and it’s heard to the delight of whoever chooses to download it.

“Beautiful People” – The Books

Folktronica? Who knew there was such a thing and that it could be done well. Apparently this type of music has elements of medieval melody mixed with a rocking guitar sound. In the case of The Books’ “Beautiful People” it’s an intriguing experiment in sound that you’ll like listening to.

“Queen of the Sun” – Windsor for the Derby

From their album Against Love, “Queen of the Sun” Windsor for the Derby has a lyrical lullaby of a track that will make you feel like an exposed raw nerve. Although you wouldn’t normally connect the two ideas that what makes this track so deliciously addictive to listen to. You’re simultaneously being lulled and feeling at you most vulnerable as the guitar plays urgently in the background.

“Truck Driver’s Blues featuring Willie Nelson” – Asleep at the Wheel

Anything with Willie Nelson is worth a listen. He may be best known for “To All The Girls I’ve Loved Before” with Julio Iglesias, but he’s been in this game longer than a minute and collaborates best within his own genre of country music. You’ll love this track and look for anything with both Asleep at the Wheel and Willie Nelson’s name on it.

“It’s Only Another Parsec…” – Rx Bandits

Do you love your rock with a touch of reggae? Well then you need to download “It’s Only Another Parsec…” by Rx Bandits. If you need a reference think No Doubt’s “Spiderweb.” Not only is it a solid track, it’s short and to the point. You couldn’t ask for a better freebie download.

“The Orient” – Foals

You won’t know why you like this song and you won’t care. Some tracks sound silly and it doesn’t matter if there’s a point or not. The heavy rocking drums and guitar also help the good melodic vibe; which seems to go against the narrative lyrics of confusion with a tinge of anger and some self-depreciation thrown in for good measure. Overall it’s worth the price of admission.

“Don’t Take What’s Mine” – Stacy Clark

The melody is infectious, Stacy Clark’s voice is a delight and there’s even a horn section. What’s not to like about “Don’t Take What’s Mine?” Get it – now.

New details about the game were also revealed; once players finish Lost Horizon, they will unlock additional content, including a “Surprise Puzzle,” and the ability to play portions of the original prototype game.

“Deep Silver’s flexible distribution models and varied games portfolio allows us to deliver great content to American gamers that they might not otherwise see,” said Geoff Mulligan, Chief Operating Officer at Deep Silver, while slowly moving his index finger over objects in his office, apparently looking for clues. “Quality point and click adventure games are hard to come by, but there’s a massive fan base out there, eager to experience a game featuring an enthralling plot and stunning hand-painted artwork. For those gamers and for gamers looking to find out what adventure games are really about, Lost Horizon is a must-have.”

Lost Horizon is set in the 1930’s and tells the story of Fenton, a former soldier turned rogue smuggler. When a band of explorers goes missing in the highest reaches of Tibet, he is tasked with finding them and bringing them home. Along the way, he crosses the path of a Nazi expeditionary force tracking down powerful occult weapons for use in their conquest of the world. It’s up to Fenton to find the lost expedition and stop the Nazis from finding the greatest treasure of all, the mysterious city of Shambala!

Lost Horizon will be available for digital download through several top online PC game retailers for $19.99 on September 24, 2010. For more information, visit lost-horizon.deepsilver.com

About Deep Silver

Since 2003, Deep Silver has developed and distributed interactive games for all leading videogame platforms. In all, the company has published more than 100 games. Deep Silver products are designed to equally appeal to a wide audience, from kids to adults. For more information please visit www.deepsilver.com.

About Koch Media
Koch Media is a leading producer and distributor of digital entertainment products (software, games and movies on DVD). The company’s own publishing activities, marketing and distribution extend throughout Europe and the USA. It has also formed strategic alliances and distribution relationships with numerous software and games manufacturers: Avid Technology, Blade Interactive, Braingame, Capcom, Cyberlink, Dofus, DTP Entertainment, Focus Home Interactive, G-Data, Kaspersky Labs, Magix, Mindscape, Nero, Paradox Entertainment, Playlogic, RTL Interactive, Square Enix, System 3 etc. Headquartered in Planegg near Munich/Germany, Koch Media owns branches in Germany, England, France, Austria, Switzerland, Italy, Spain, the Nordics, Benelux and the USA.

All other trademarks and trade names are the properties of their respective owners.
All product titles, publisher names, trademarks, artwork and associated imagery are trademarks, registered trademarks and/or copyright material of the respective owners. All rights reserved.

Check out Review Fix Editor-In-Chief Patrick Hickey Jr.’s exclusive interview with Emmy Award nominated director and producer Sarah Townsend, who discusses the trials and tribulations that went into producing her documentary, “Believe,” which is based on stand-up comedian and actor Eddie Izzard.

You can listen to the interview by clicking the link below:

Sarah Townsend Interview

Although the show hasn’t fully “jumped the shark” yet, it’s looking like it’s coming to an end. With Vin’s career going smoothly, Turtle making a name as an entrepreneur, E getting married and having his managing career totally stable, and Ari running the most successful agency in the world, what else is there to do besides give Drama his long awaited acting job?

So with the show’s status quo uneventful since last season, the show has been missing a dramatic spark to keep it interesting.

Episode 6, entitled “Hair” (for no apparent reason), was even stranger than the Psychedelic trip episode several seasons back. To sum it all up, E struggled with performing anal sex on his fiancé, Ari’s anger prevents him from making love to the beautiful “Mrs. Ari,” Drama still has no show, and threatens Bob Saget with a bat. These aren’t particularly strange scenarios, but what made this episode the strangest to date was the motley crew of random cameos.

The show usually has one or two A list celebs making guest appearances. But “Hair” brought together an unfathomable group of people. This episode included “Iron” Mike Tyson, comic book God Stan Lee, singer Jessica Simpson, and, of course, Sasha Grey, an infamous hardcore porn star.

This episode was awesome. Totally strange, but edgy the way the show used to be. Besides the plethora of random stars that made appearances, the show ended with the most awkward sex scene in the show’s history, in which E attempted to perform anal sex with Sloan.

The episode came from left field, and never before has this show left the viewer as uncomfortable as it did in this episode. Finally, it leaves the viewer asking more questions, such as: Is Ari going to get his sex life back? Will E ever be able to perform anal sex with his fiancé? Will Turtle get the tequila deal? And what exactly is Vince’s future with Sasha Grey, let alone, why is she even on the show?

Musical progression is the first thing noticeable when listening to Teflon Don, the 3rd album from Miami bred rapper Rick Ross (not to be confused with incarcerated drug Kingpin Freeway Ricky Ross, who is actually suing Ross for unauthorized use of his namesake.) Teflon Don features Ross as an improved lyricist and story-teller.

No longer satisfied with putting words together just because they rhyme, Ross has developed a legitimate style full of clever word play and imagery. Ross’ lyrical advancement is evident in Free Mason feat. Jay-Z, which takes shots at the claims that the two are associated with the Freemasons secret society. While he still lyrically leaps and bounds behind the God MC, Ross turns in one of his better verses on the album, spitting lines like, “Built pyramids period we masters, no caterpillars; it was just a lot of n*ggas.”

While Ross has always been a detailed storyteller, his subject matter was limited to tales of drug trafficking and criminal activity. Teflon Don shows a more introspective Ross, who is now able to talk about this past life and struggles before his success. This new Ross is showcased in tracks like All the Money in the World where Ross reflects upon the death of his father. “Pass in ‘99, Cancer all in his liver. Sh*t different since we last spoke his son’s a little richer, I’d never rap again if I could tell that I miss him.”Arguably, the most impressive aspect of the album is its production. Ross calls upon up in coming producers and proven hit makers like Kanye West and Clark Kent come together to create an album with genuine synergy.

Each song successfully sets the mood for the subject matter Ross is about to discuss. Amongst such spectacular production is a relatively unknown group called the J.U.S.T.I.C.E. League puts in the most noteworthy production on the album. They forego the standard 808’s and drum machines for a full orchestra sound on Maybach Music pt 3, Ross’ ode to his luxury car of choice and the symbol of his extravagant lifestyle. Arguably, the best track on the entire album, Maybach music’s beat, coupled with a guest appearance from R&B crooner Erika Badu, creates a mellow and soulful sound, perfect lighting a cigar on a cruise in the 250k vehicle.

While Teflon Don is an advancement from Ross’ previous albums, it is far from being perfect. There are a couple of terrible singles, the worst being Aston Martin music feat Chrisette Michelle and Drake, which plays like a bootleg Maybach music. Ross’ verse is irrelevant and the two singers provide a rather unimpressive chorus. It’s scary to think what tracks didn’t make the 11 track album if Aston Martin music did. There are times where it seems as if Ross is trying too hard to be different from his previous efforts, which results in stupid moments where Ross decides to sing along with a singer or add a few la la las to the track, none of which are welcome. While Ross has improved significantly as a lyricist, he makes a critical rap faux pas multiple times on Teflon Don.

On tracks like Free Mason and Maybach Music, Ross is out-rapped by his guest artist on each song. The Hip Hop rule of them is that one never lets a guest star outshine them on their own track. The only other criticism is that B.M.F.(Blowing Money Fast) and MC Hammer, both produced by Lex Luger, sound exactly the same. When listened to one after another, the end of one song and the start of another is barely distinguishable. Far from perfect, Teflon Don is, however, a welcome surprise from an MC that Hip Hop elitists had dismissed as just another drug rapper from the south. Ross has now established himself as a viable artist.

Hopefully, he will continue his progression and propel himself to a level of MC he believes he already is at and everyone believes he can reach. While a bit of a hard album to listen to for a Hip Hop newbie, long time fans will welcome the spectacular production and crisp lyrics.

Look for Etrian Odyssey III to sail into port on September 21, 2010, exclusively for Nintendo DS. Check out the official website for more info!

Chatting with Glick over the phone, Review Fix enjoyed the opportunity to ask questions that the show did not clearly answer.

Review Fix: How did you come up with the idea for “Asian Belle”?

Michelle Glick: It all started when I took a writing workshop. I don’t think the play would be possible had I not been encouraged to do it. In the last year or two, I decided that I needed to be scared when I work, instead of concentrating on things that I am comfortable with, and I chose a solo show because it scared me more than anything. I remember a quote: “When you are a creative person and you feel a lot of fear, that tells you what you need to do,” and I don’t know who said it. When I started writing, stories about my mother and my childhood just started coming up, even though it was not what I intended it to be.

RF: What was the original idea?

MG: The original idea was me doing a bunch of characters. It was still meant to be personal, but not as personal as this. I did put a 20-minute show in October, which was about my wedding. When one is getting married, it brings out the insanity in the family and you see people behaving weirdly, like you’d never expect them to be before. I wrote about it, and it came out funny. Looking back, I would say that doing that show gave me the courage to write about something deeper. At first, I thought I would just elaborate more on the piece I had already written. I would show up on my writing workshop and start talking about something completely different. I felt that I needed to tell stories about my mother, how she came here, and my growing up Asian in the South, for some reason.

RF: Besides the fear you felt, what else was difficult in writing about yourself?

MG: I guess, allowing myself to write about it. Many people who write solo shows make it very personal, and it is usually about the stuff they were trying to hide. That’s why I couldn’t have done this without being in a workshop. I needed the guidance and critique I was given. Our group was very supportive. Sometimes I would think, “Oh, this is way too personal; people don’t want to hear about that.” And they would say, “No, you are actually right on target.” My mother’s monologues were extremely difficult as well. I didn’t want to embarrass her or disrespect her in any way, and at the same time I wanted it to be real.

RF: What does your mother think about “Asian Belle”?

MG: Oh, gosh! She doesn’t know. She knows that I’m doing a show that I wrote, and she knows it’s personal. She’s seen the artwork, which is me in a traditional Vietnamese wedding gown. However, my mother doesn’t know how much she is involved in it. Eventually, she will see my show. I thought I had to go through my first run without telling my family. Once you get the feedback, you feel more comfortable with telling that story. Even when rehearsing and performing, I was aware that if I knew my mother would see it, it would have affected me.

RF: Who is the “Asian Belle”: You or your mother?

MG: I always knew that it was me. But now I think we both are Asian belles, women who ended up in the South. She is Asian, I am half-Asian. We are similar, yet I also have different dilemmas from what my mother has.

RF: Do you think it was extremely hard for your mother to be different from you because you grew up in what was, for her, a foreign country?

MG: Absolutely. We have a good relationship, and I’ve always loved her, but when I was a kid, we often fought. I am the oldest child, and maybe this had something to do with it, too. Sometimes she didn’t understand me. I was her first child born here, an Americanized kid. And I didn’t understand her. I have started understanding her recently, getting older, allowing myself to be closer to her. My show helped me a lot, too. I became curious about the things I never cared about when I was a kid. I was always trying to fit in and be very American. I traveled to Vietnam several times as well, and it helped my curiosity.

RF: When you were a child, who did you want to become?

MG: The first thing I ever wanted to be was Miss America. That was when I was probably six years old. As I got older, in high school, I wanted to become a lawyer or a psychologist. With the lawyer, I liked to be in a position of power. I liked being smart. And with psychology, I understood people pretty well. And I also wanted to be an MTV VJ. I grew up in an MTV era when people were watching all those videos. I grew up looking at people like Karen Duffy or Martha Queens. That was a big part of the culture when I was a teenager.

RF: In your opinion, how would your personality be different if you grew up in more multinational community, like New York City, for example?

MG: I think I would have been more worldly earlier on. I would have been more aware of other cultures. Where I grew up, we were just about the only Asians; there were also one or two Jewish families. Growing up, I didn’t really know what a Jewish person was. That’s why I’m really thankful that my mother is from another culture. Had she not been, I don’t think I would ever become curious. People growing up in places that are not so mixed just don’t have the opportunity to be so curious. It is actually very innocent, as it is what people are used to; it is all they know.

RF: What is the boldest thing you have done in your life?

MG: For me, the most recent thing was getting married. My parents were from two different cultures, and there was a lot of miscommunication. As I said in the show, they are divorced now. Because of that, I always viewed marriage as something I would never want to do. Once I met someone, it was a big deal for me to decide whether or not to get married. It took a lot of courage.

RF: What about moving to New York? Was it just as difficult?

MG: It definitely was. But I was at the point of my life when I needed to see what else there was in the world. I bought a one-way ticket, I packed my suitcase that didn’t have wheels, and I just showed up in New York City. I didn’t have a job or anywhere to stay, but I always wanted to live somewhere where people look different and where you can hear many different languages walking down the street. I love that about New York.

RF: How does living in New York City help people to become more open-minded?

MG: You learn about different cultures and dissimilar people and through their stories you find out what they have been through. For example, in the part of my play when I talk about my uncle, I say that he owned a nail salon and that a woman named him Henry. My whole point was that this woman just renamed him as though he was her pet, talking to a man who was a war hero, lived in a concentration camp and then came here on a tiny boat. She renamed him without knowing what he experienced. Even though it was not intended to be that way, it was a bit belittling.

RF: Is this what you would like people to walk away from your performance with?

MG: Well, a big part of it is learning about something the audience never thought of before. I hope people realize that it’s not always easy to be here for someone from another country, and that maybe, next time someone sees a little Asian lady who can’t speak English walking down the street, they will have more compassion for her. It’s not that she doesn’t want to learn the language; it’s just that it’s a little bit harder for her.

Judging by the number of restaurants, throughout the city that actually play New York’s only classical music station 105.9 FM –which doesn’t include the cliché upper-crust Manhattan eateries- there is, once again, a public appreciation of classical music, the music in which set the roots for other future music genres.

“When I go to any restaurant in the city, preferably a café, I want them to play the symphony station,” says Barni van Pol, 22, a recent Hunter graduate currently scouting for orchestra positions. Van Pol plays the clarinet.

Van Pol, from Liège, Belgium is a small man, 5’9 with broken vintage Givenchy spectacles and ash-blond hair. He actually favors the present day, fashion flamboyance lacked, Wolfgang Mozart.

Mozart is one of the many inspirations Van Pol emulates when he writes his own musical pieces. But why does he chooses to write classical music, above all other well-paid musical alternatives?

According to Van Pol, “classical is so vast, and so mysterious,” as he speaks his eyes grow larger, as if the “classical” space was too vast to be described. “It’s literally so big and large, that it’s rather impassible to comprehend why it’s not a favourable music source these days. I always thought people loved mystery, and adventure, and that’s all classical offers.”

Classical music dates back to the height of 17th century Imperial Europe, takes it roots from early Christian and Medieval music. It was a favorite amongst the elite members of this time, particularly the Hapsburgs of the Austrian Holy Roman Empire.

Mozart often was courted by the Hapsburgs during the reign of Joseph II, brother to Marie Antoinette. And his music, though often adapted and changed, has been a substantial influence of classical artistes today.

“These days, many people don’t know that Vienna was once the musical capital of the world,” states van Pol. “And to a classical artist, Vienna is where one has to go to get the real roots, the flavor and the true drive that classical has to offer.”

Classical musician Jeremy Weinglass stated something similar to van Pol that people these days are looking for music outside of the lyrics and the beat. “But listening to classical music can make you smarter, but aside that, with all these new and different people coming out now, classical, is a breath of fresh air, because it is so refreshing to listen too.

With a renewed public interest in masters such as Mozart and Beethoven, many piano stores see a rise in piano sales, as well as lessons. Especially, Faust Harrisons Pianos, located on West 58th St in the Theatre District.

At Faust Harrisons, a sales associate played the organ as van Pol and another unnamed man busied themselves at their own piano stations. Instead of trying to sell, he instead looked on at the other man who was playing the piano quiet awkwardly and off-key and gave little pointers.

“People come in here and play all the time, and we allow it,” he said, and he wished not to be identified. “I would say, it’s the same people who continue to show, not so much of a rise of new faces coming, but there is definitely a rise in sales I can say.”

Places such as Faust Harrisons, have seen a rise in sales of about more than 10% since the recession of 2008.

“The recession does play a part as people do seem to care more about art and traditional values whenever a problem occurs,” finishes the sales associate.

Classical, which is the most non-verbal musical genre, has seen a decline in appreciation since the rise of 20th century musical alternatives. But, according to van Pol who was still pluckin’ at the keys, everyone is obsessed now with all things “vintage,” and “retro.”

“There is nothing retro about classical,” says van Pol. “Because without classical jazz wouldn’t exist, and without jazz there would not have been any rock or R&B. I don’t see a lot of people going to Lincoln Center and hearing [Joshua] Bell perform, or know much about the Boston or Philly orchestras. Everyone’s into the fast money and fame, but there’s no emotion. And I think some of the new generation sees that, there’s no love in anything anymore. Just quick hit and go.”

People always look at the past achievements and enlightenment for a better future. According to WQXR’s company website the station has received more listeners since the start of the year with an average of 63,000 listeners every quarter of an hour, yet but constantly seeks donations and sponsors. But the station survives on its listening base.

“I hear more of today’s music becoming calm and meaningful compared to a few years back,” begins van Pol, “I see and feel that the orchestras will dominate the musical scene again, because of the humble and peaceful nature that classical offers.”

However, is it fair to say classical music did in fact “died” out? Classical is used frequently in the media, as television shows, and movies often use the orchestras to enhance the drama of certain situations. Hence, classical has always been recognized and it is definitely available through Dailymotion, Youtube and iTunes. Popular shows such as anime supernatural dramas, as well as many movies are known to include orchestra for the climax.

Ballet and dance houses such as Alvin Ailey and Broadway’s Billy Elliot –which incorporate orchestras into their routines and shows-has seen a fair rise in audiences. Many of the show’s audiences are able to be connected to the shows because of the music and how well it blends to the storylines.

Alvin Ailey for example consists of modern dances using ballads from Billie Holliday, however, classical gets incorporated into the show with the intensity of the body movement that is modern. Orchestra music ties in with modern world scenarios, as with the case in the hit movie Sweeney Todd starring Johnny Depp.

Sweeney Todd takes place in Victorian England, a century after Classical music heights, however, the songs as well as music were from the orchestra but with contemporary addition.

“I feel because with all the world’s ciaos, people want to feel,” says Van Pol, “and all classical music does that unwillingly. You are forced to feel without knowing it, and I think people love that challenge.”

In professional wrestling, one’s finishing move is obviously important in ending a match, but often times, it’s the move that comes beforehand that ends up turning the tide the most. Able Here’s ReviewFix.com’s list of the Top 10 set up moves in the industry.

10: The Great Muta: Dragon Screw Leg Whip- Usually followed up with a moonsault or a figure four leglock, Muta was a smooth operator, as these moves flowed beautifully into one another.

Video: From a video game, but it shows Muta applying the hold and transitioning it into a figure-four.

9: Lex Luger: Forearm Smash- Perpetuated by the fact that Luger had a steel plate in his elbow, the move was the precursor to the Torture Rack, a submission move no one ever escaped.

8: Goldberg: Spear- As a testament to its proficiency, Rhino uses this move as his finisher, but for Goldberg, this tackling maneuver was the perfect set up to the Jackhammer.

7: Chris Benoit: Multiple German Suplexes- A man of many moves, this one usually meant that a flying headbutt or a crippler crossface was on its way.

6: Eddy Guerrero: Brainbuster- Dropping someone on their neck is bad enough, but sliding them down on it in the vertical suplex is another. Done in the middle of the ring, this move was a great way to set up the frog splash.

5: Scott Steiner: Belly to Belly Suplex- After his persona change, Steiner used the Steiner recliner, but before that would always come a silky smooth swinging belly to belly suplex that everyone would kick out off. Nevertheless, it was pretty to watch.

4: Christopher Daniels: Last Rights- One of the niftiest versions of the Ace crusher to every be created, Daniels has a great moveset, but this was always a nice segway to the Angel’s Wings.

3: Taz: Tazplex- Much like Samoa Joe, this suplex transition into a choke-out finisher always worked in the ring.

2: Undertaker: Chokeslam- It didn’t matter what finisher ‘Taker was using in the ring, the chokeslam always brought the crowd down.

1: A.J. Styles: Pele Kick- You never see it coming. A backflip leg lariat, this move would work as a finisher, but as a set up move, it’s easily the most captivating in the industry today.

A special thanks to the Youtube community for providing the videos for this piece.

Two Worlds 2 – Return to Antaloor Trailer

Scheduled for a September 17 release, “Devil” is M. Night Shyamalan’s newest thriller.

So, as the case with every one of his films, what’s the twist here?

After a near three-minute trailer, one’s guess is as good as anyone’s. Five people get in an elevator, super-natural junk of some magnitude occurs, people die and that seems to be it. The tag line “Bad Things Happen For A Reason,” makes you think that the plot of this movie will be tightly constructed, a film that you’ll have to watch more than once to get the complete gist of. That’s got to be a good sign, especially since Shyamalan’s recent stretch of films haven’t had the same staying power as the first few he put under his belt in the mid-90s.

Unlike his big successes however, the cast of this flick are relative unknowns, consisting of Chris Messina [“Julia and Julia,” “Monogomy”], Geoffrey Arend [“(500) Days of Summer”], Caroline Dhavernas [“The Cry of the Owl”], Jacob Vargas [“Jarhead”] and Joshua Peace [“Survival of the Dead”]. How they perform in this one could dictate not only their future success, but obviously the overall quality of the movie itself.

After a few stinkers the past few years, Shyamalan definitely needs a slam dunk here.

From the look of the trailer, all the suspense and thriller elements are there, but who knows what else is going on here. With a name like “Devil,” you’re expecting something pretty damn scary. In all honesty, five unknown actors trapped in an elevator of a skyscraper doesn’t seem all that scary, it seems a tad boorish.

Shyamalan has proven us wrong before though.

Overall, this film may find a niche in theaters this fall, as long as the trees don’t come alive again.

One unnoticed key piece to the puzzle that isn’t around to see the cheers is the Director Michelle Kuchuk, who put in just as much work in addition to her vision to bring this play to life.

“Theater is always changing and the actors will always become more nuanced as the performances continue.  When the play is going on, I’m either watching or running lights, but most of the time I’m away from the theater.  The director has to turn the production over to its stage manager when the run begins,” says Kuckuk.

The similarity of this visual creation to reality is striking. The topic is one that touches home for many people. It shows the struggles of young boys and more importantly friendship, love and understanding. The change from straight to gay is not a sudden occurrence and is displayed through the eyes of Kuchuk as a gradual self discovery process.

In “Beautiful Thing,” Jamie, the lead character, played by Trip Langley goes through phases between being straight and unsure of who he is to being sure he is gay and being unable to outright admit it to his friends and family.

Kuchuk says, “Coming out to parents, and coming out to society is definitely not a non issue and there’s a fear that goes along with that. I think after watching this it will be the audience that comes out, with a lot of hope.”

Being a theatre director isn’t solely a job but a relationship with the actors that is built through rehearsals, dry runs and practice. Some actors have love hate relationships with their blocking boss. Kuchuk however, has never had a problem with any under her. She gives them the utmost respect while allowing free range of creativity to her actors. She allows them to grow into their roles much the same way Jamie does.

“I love laughing and so I like to think I’m clever and crack everyone up from time to time, but in all seriousness, I think it’s important to have a mix of humor and efficiency at the beginning, but then as the cast and crew becomes more comfortable and becomes closer with each other, it’s good to replace the initial business-like attitude with understanding and create an atmosphere that the actors can feel nurtured in,” says Kuchuk. “Once the play opened, my actors were joking that I had completely lost my calm and collected attitude because only then could I finally relax.”

Nicu’s Spoon or just “The Spoon” to company members and returning spectators is definitely not your typical theatre. The story behind the name “Nicu’s Spoon” is related to a young diseased boy, who got the bottom half of life. With no family to care for the AIDS infected little boy he had but only one friend and his favorite spoon. The courage from that young man still lives at 38 W38th st. in Manhattan on the top floor.

The interesting set up and the friendly personalities of the company members and it’s help are easy going and friendly. The smiles are abundant and though it may not be the most luxurious top floor in the city, it feels exotic nonetheless.

“Nicu’s Spoon is dedicated to putting out socially reflective theater that challenges stereotypes and challenges its audience to embrace an idea that they might not know about, care about, or have an opinion about. What I like about the company, however, is that we don’t try to always find plays that scream any particular message down our audiences’ throats– many of the productions I’ve seen and been involved in have asked the audience to come up with their own opinion based on what they’ve seen.  I think that is a good message in itself, to challenge us to think for ourselves,” says Kuchuk about the Spoon and the message that they convey.

Kuchuk’s relationship with the Spoon and its counterparts and actors begins to grow as this is her second feature since becoming a fully fledged member in June 2009. Her relationships haven’t been the only thing growing. She has branched out and learned to be easy going and fit perfectly into her environment, while simultaneously putting forth extreme effort to create the two plays that she was involved in.

The work that goes into a play isn’t just remembering lines and places, but also dedication to the message of the story. The director is the person who puts everything in perspective and formulates a plan for delivering the performance in an enhanced and effective way. It’s a bold position and is far from an easy assignment.

Kuchuk says that, “a lot of what inspired me to direct was the freedom that you can give to the actors in the creation of their characters.  The director must know every single thing about the play and then some before rehearsals begin, and then must have a clear idea of his or her vision for the production.  Without that preparedness, a production is shapeless.  I spent about two months with the script before rehearsals even began; I had to learn and discover these characters separately and as a unit.  When the actors came in with their own take and talent, I could work with them to get to the point of my own understanding without taking their own personality out of it completely. We all worked together to create these characters, and I personally love that even though these characters are different than the actors portraying them, they have made them their own and found that they have many similarities after all.”

As similarities go, the actors under Kuchuk support their director and haven’t had issues in any part of the making of “Beautiful Thing.” This is because it was worked on as a team, and not simply based on the perspective of the Director. The actors love her, and the audience loves the show.

Rebecca Lee Lerman who plays Leah the troubled and pesky girl next door on Kuchuk says, “Michelle Kuchuk is the best kind of director. She lets the actors play and come to their own realizations about the story and their character. She is also a very down to earth and approachable person, which makes her very easy to work with.”

Though this is true, it is also the name of a band from Wheathampstead, Hertfordshire that is slowly building popularity in the United Kingdom. Their genre consists of some indie-rock, not much acoustic folk, but a spice of orchestral tendencies.

In 2007, Larsen B’s first EP, “The Treasured Memories of Cecil Element” was the beginning of the progress they were making, due to a mix of different styles. In 2008, they then signed themselves to Try Harder Records, where the quality of their music was gradually increasing.

In July of 2010, Larsen B’s debut album “Musketeer” was released. It is concocted of melodies that are highly similar to that of Coldplay and Snow Patrol. This record is able to integrate both an abundance of carefree nature along with a great amount of effectiveness. Throughout the tracks, the trio, Will Baguley, Simon Palmer and Paddy Smith, consistently describe the summer surroundings that they experience, almost as if winter never existed.

Their hit single off of this CD, called “Marilyn,” is the type to easily get hooked onto.

Baguley, Palmer and Smith combine a sweet voice, soothing keyboard tunes, energetic guitar riffs and simplistic drum beats that are able to produce such a lively track. When heard, such a song can make the listener lay back and forget about everything else around them.

“Marilyn” definitely carries a blend of charm and richness to it.

The entire song is filled with an aura of warmness and innocence. Not to mention, the vibe of relaxation and feeling safe is something that anybody is capable of enjoying.

With the intention of gradually weaving glorious and well crafted pop songs for the world to hear, Larsen B did just that through the wonderful sounds of “Marilyn.”

WiiWare

Fantasy Slots: Adventure Slots and Games
Publisher: Big John Games
Players: 1
ESRB Rating: T (Teen) – Simulated Gambling
Price: 700 Wii Points™
Description: Players can bring the exciting “Slots” experience home. Choose from six adventure-themed, five-reel bonus slots, or try your luck with classic Cherries or Diamonds slots. Win big jackpots and earn access to VIP suites. Players can use their winnings to purchase vibrant merchandise to customize their suites. As players progress, they can win multiple awards and achievements. Five-reel bonus slots include Gold Rush, Power of Zeus, Pirate Cove, Wild Safari, King Arthur’s Excalibur and the Rising Sun. Classic three-reel slots are Diamonds and Cherries. Additional features include: High Roller Suites, where you can live like a VIP while customizing your own high roller suite with items such as artwork, pool tables, trophies and furniture; Bonus Games, offering six great games that can be played separately to challenge your nerves and increase your winnings; and Unlockables with achievement trophies that are tracked and awarded for exceptional play.

Deer Captor
Publisher: Aksys Games
Players: 1-4
ESRB Rating: T (Teen) – Violence
Price: 500 Wii Points
Description: Deer Captor is a shooting game that offers an immersive hunting experience. Choosing from a rifle or crossbow, players can put their marksman skills to the test as they try to capture a variety of wildlife such as deer, hares and kites in the comfort of their living rooms. Aim for a high score in Instant Mode, where the objective is to capture as many animals as possible within a set time, or test your mettle in Mission Mode, where you must complete a series of objectives to advance to the pinnacle of the hunting world. Play against your friends and family in friendly competition, or post your single-player score to online leaderboards for nationwide bragging rights. (A broadband Internet connection is required for online play.)

Nintendo DSiWare

Match Up!
Publisher: Digital Leisure
Players: 1
ESRB Rating: E (Everyone)
Price: 200 Nintendo DSi Points™
Description: Flip, match and…kaboom! How fast can you find the right set in Match Up!? No matter how old you may be, Match Up! will have you captivated for hours. Reveal shapes, colors and hidden bonuses with a new take on a childhood favorite. You’ll need quick hands and a sharp mind to beat the clock and disarm the explosive cards riddled throughout the game. Not quite ready for the explosive action? Start with the engaging classic concentration play and see if you can level up.

BlayzBloo: Super Melee Action Battle Royale
Publisher: Aksys Games
Players: 1
ESRB Rating: E10+ (Everyone 10 and Older) – Cartoon Violence
Price: 500 Nintendo DSi Points
Description: Blayzbloo: Super Melee Action Battle Royale pits Ragna, Rachel, Jin, Noel, Taokak and others against one another in five stages of rumble-and-tumble brawling action to see who’s the best. There’s also a Free Battle mode you can play to your heart’s content. Use items in battle to pummel your opponent into oblivion. Drive attacks and special moves may also come in handy to finish off your opponents. Do you have what it takes to become the best Blayzbloo brawler?

Hints Hunter
Publisher: CIRCLE Entertainment
Players: 1
ESRB Rating: E (Everyone) – Comic Mischief
Price: 500 Nintendo DSi Points
Description: Hints Hunter is an easy, casual game that you can play anytime and anywhere. The objective is simply to find hidden keys by working out the meanings of the hints in each level. You can play using only the stylus. Most of the hints are helpful and may require you to think about the time of day, game functions like clicking or dragging, or the principle of opening or closing. Be sure to observe the smallest details very carefully, including the name of a level or even a tiny flower.

Petz Dogz Family
Publisher: Ubisoft
Players: 1
ESRB Rating: E (Everyone) – Comic Mischief
Price: 800 Nintendo DSi Points
Description: There’s a whole family of dogs you can adopt and love! Take care of them, discover their unique personalities and teach them fun tricks. Choose from favorite breeds such as golden retrievers and Labradors. Give your dogs the best care. Feed them, groom them and discover their individual personalities – some will be funny, others will be shy. Engage in fun activities with your pups – including playing with a flying disc and running obstacle courses – to turn them into talented dogs.

Nintendo adds new titles to the Nintendo DSi Shop and the Wii Shop Channel at 9 a.m. Pacific time on Mondays. Users with broadband Internet access can redeem Wii Points or Nintendo DSi Points to download the games. Wii Points can be purchased in the Wii Shop Channel. Nintendo DSi Points can be purchased in the Nintendo DSi Shop. A Nintendo Points Card™ can be purchased at retail locations. All points from one Nintendo Points Card must be redeemed in either the Nintendo DSi Shop or the Wii Shop Channel. They are not transferable and cannot be divided between the two systems.

Remember that both Wii and Nintendo DSi feature parental controls that let adults manage the content their children can access. For more information about this and other features, visit http://wii.com or http://www.nintendodsi.com.

What this means is that “Hitting the Ground” was the best episode this season, and if it continues down the same path next week’s will be even better.

“Hitting the Ground” finally brought on the death of Bill’s maker Lorena, who’s foiled many plans for the Bon Temp heroes in the past seasons.

But what made this episode great was that questions were starting to be answered regarding the show’s main character, Sookie, who seems to have been ignored all season. She slipped into a coma due to Bill’s uncontrollable blood fetish, bringing her into one of those dramatic TV show hospitals where the ER seems to be a mile long hallway where nurses and doctors are pushing IVs, and pumping meds. While in a coma, Sookie dreamt of walking through a garden paradise, filled with naked people running around and emerging from a small pond. The dream was a total trip, but it was great because it brought the show to back to the feel it had in the first season, when Jason Stackhouse got high on V.

Besides the long-awaited progression of the Sookie storyline, this episode raised more questions than answers, as it normally does. The whole werewolf, Vampire King, and under-the-table V distribution is still cloudy, and hopefully it’ll all make sense by the end of the season. But as of right now, even the weekly True Blood viewer will be lost as to what’s going on.

What can be said is that this episode was a good one, and the show continues to never fail. Although it might miss some of the excitement the second season had right from the start, the important thing is that the show is progressing and keeping itself interesting. Expect the answers to keep coming, and new questions to continue being raised until the final episode of the season that, like the past two season finales, will most likely blow you away.

Produced by Vitality Productions (The Shape of Things, Boys’ Life), the play will be headlined by well-known thespian Eileen T’Kaye (The Fantastiks). Others in the cast include Nichelle Hines (Grey’s Anatomy), Monique McIntyre (Dumbya’s Rapture), Rondrell McCormick (February One for PBS), Vanessa Peruda (Out of Service), and Jesse Weinberg (Californication).

ABOUT VITALITY PRODUCTIONS

Vitality Productions was founded in 2006. They have produced an ecclectic offering of theater, film, web series, concerts and charity events. Plays include The Credeaux Canvas directed by Carrie Preston, Boys’ Life directed by Bill Heck, and The Shape of Things, plus the world premieres of Evil Cheerleaders and Himbos by Farah Bunch, and American Guilt by Nick Mills. Films include The Receptionist and Straight out of Brentwood. Artistic collaborations have contributed to various charitable organizations, including Free Arts for Abused Children, Horse Feathers Equestrian Connection, Habitat for Haiti, Hands on New Orleans, and Big Brothers / Big Sisters of Greater LA.

ABOUT SHYLA MARLIN / Playwright

Shyla developed her passion for theatre at a young age. After producing and starring in the Annex Theatre’s Birdbath by Leonard Melfi at sixteen, she continued on to work at the Berkshire Theatre Festival in Stockbridge, Mass. originating the role of “Mileva” in the initial production of The Elephant and the Mayfly. Shyla studied Theatre and French at the University of Southern California, La Sorbonne and Cité Universitaire in Paris, France and graduated in 1998. She began her film career with roles in projects such as Woo (New Line Cinema), Whatever it Takes (Columbia/Phoenix Pictures) and Lies and Alibis (Warner Brothers).  Shyla continues her commitment to independent theatre with productions like Theatre 68’s On the Brink where she received fiery acclaim from LA Weekly and Back Stage West, and the recent production of I Stand Before You Naked, which received ‘Best Bet’ from the LA Times.

ABOUT NICK MILLS / Director

Nick Mills is the Artistic Director of Vitality Productions and received his MFA from the NYU Graduate Acting Program. Last year, his original two man show, Egg Farm, which he co-wrote and performed, premiered at the New York International Fringe Festival. In 2008, the short film, The Receptionist, which he wrote and directed, premiered at The Regent Showcase in Hollywood. As an actor, he has produced and acted with Vitality Productions in The Shape of Things, Boys’ Life, and Himbos. Television and film roles include True Blood, Nothing is Cool, The Appointment, The Receptionist, and Deported.

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Theatre Asylum is located at 6322 Santa Monica Blvd., Los Angeles, CA, 90038. Phone number is 323-962-1632. Tickets are available for purchase at www.plays411.com/stillstanding or by calling 323-960-7863, and cost $15 each. For more information, visit http://vitality.publishpath.com/.

“The Sorcerer’s Apprentice” is based on an old film produced by the Walt Disney studios called “Fantasia.” The film features eight animated segments set to classical music selections with no dialogue or sound effects. The only dialogue in the film is featured in live-action introductions to each piece by host Deems Taylor, an American composer and music critic. The heralded audience favorite was the segment called “The Sorcerers’ Apprentice.” In it, Mickey Mouse plays a wizard’s assistant, who attempts to work some of the magical feats of his master before he knows how to properly control them. Mickey picks up the wizard’s hat after he falls asleep and after reading a few pages of his spell book, he directs the broom to clean and do his chores. He goes to sleep dreaming that he’s a master wizard; however, when he awakes, he finds out that the basin is overflowing with water and the broom is still filling it up. Mickey tries to stop the broom by chopping it up but when he realizes that his efforts were futile, the wizard comes to Mickey’s aid because he is overwhelmed by hundreds of brooms.

In 2010 ,Nicholas Cage and Walt Disney studios decided to dust off the magic wand and release a remake of that classic segment into a fast-paced action CGI masterpiece, similar to the latest Harry Potter film. It’s supposed to feel like the Spider-man feature film trilogy. It is designed to attract the same type of audience. But it is not the same feeling like watching Peter Parker discovering his powers for the first time. The company (which company?) that brought us Nicholas Cage’s latest blockbuster, “The National Treasure,” tries to recreate Cage’s always wacky performances into another graphically orgasmic cinema pieces like “The Pirates of The Caribbean,” so that Robert A. Iger can be smiled and laughed at while he counts his billions of dollars in his actual Disney palace (not the one in the Magical Kingdom). Cage plays Balthazar Blake, a master sorcerer in modern-day Manhattan trying to defend the city from his arch-nemesis, Maxim Horvath, played by Alfred Molina.

The story begins with a prologue showing the past relations of Balthazar, Maxim, and Veronica, who is played by Monica Bellucci. There is also Morgana Le Fay (Alice Krige), an evil sorceress bent on enslaving humanity. But before she is able to do that, Balthazar manages to trap her in a grimhold or nesting egg similar to a prison. After all the action has died down, Balthazar embarks on a quest to find the heir of Merlin’s powers. This brings us to Cage’s co-star Dave, played by Jay Baruchel. Baruchel’s performance was extremely over done. His voice was whiny and annoying and should have been re-casted with someone with a bit more personality. His love interest, Becky (Teresa Palmer), is the typical “have no idea that the nerd is in love with me” girl. Becky and Dave, who share a physics class in NYU begin to start a sometimes awkward on-screen chemistry midway through the film, which seems mechanical, and at times too bland.

As the plot forwards and Dave begins to learn magic from Balthazar, the movie picks up steam action-wise. The CGI gets played up in the fight sequences between Balthazar, Dave, and, Maxim, throwing pretty little balls of light out of their hands, rings and wands. Balthazar rides a metal eagle throughout most of the movie, which looks pretty decent on the big screen. The best part is when the movie pays homage to the classic Disney segment it takes its title from. Dave, who has ambitions of being a master sorcerer, finds himself in the same situation Mickey was in. The scene was perfectly done and featured the exact score from the cartoon. It manifested a serious nostalgic moment at the theaters, as dozens of people laughed and reminisced about watching the same scene years ago. Unfortunately, this was the only highlight of the movie.

This movie can be undoubtedly called a piece of “summer box office filler.” It is only there to minimally entertain you for the time being, not to be remembered a classic Disney movie. Cage’s performance was less than stellar and that’s sad considering that his name is probably what drove people to watch this movie in the first place. In other words, if you’re looking for a great summer film, watch something else, unless you have 12 dollars and two hours to waste.

Already on its heels and trying to increase struggling viewership, Benoit’s death put a scar on the industry that it has yet to recover from, one that shows that many of these athletes are left to their own devices, regardless of how many problems they have, as long as they continue to draw money. While it’s nearly impossible to find out what was truly going on in Benoit’s mind the day he committed those savage acts, “Benoit,” a book comprised of five essays by four wrestling writers, Steven Johnson, Heath McCoy, Irvin Mushnick and Greg Oliver, attempt to dissect the situation as the four not only share their thoughts on the former superstar, but the current state of the business.

The end result is a book that sheds a bit of light on Benoit as a person, as all of these writers have great sources and even connections to the man. It also focuses on how the media ate up the death and tried to use it to their advantage while the WWE was forced to erase him from their record books and continue on without him like nothing ever happened. When it’s all said and done, in spite of some scene-setting that the dedicated fan could go without, there’s more than enough new information here for someone who loves the “sport” to get something out of it.

While Oliver’s first two essays in the book do more scene-setting than anything else, they prove to be a good seg-way into the pieces written by McCoy, Johnson and Muchnick. Showing us how a runt from Edmonton become a star and let it all go to waste, the same way his wife ended up going from a spectator to a pivotal character in several memorable wrestling storylines, it’s obvious Oliver knows his stuff. He also knows Benoit, as he shares an e-mail between the two that shows Benoit was in deep despair after his best friend Eddy Guerrero’s death.

Heath McCoy’s essay focuses more on Benoit’s start in the industry, showing essentially how he was the pride and joy of the Hart Family Wrestling Dynasty, as he was easily the best wrestler they ever produced. Hearing how timid he was throughout his early years makes you wonder how he could of just snapped, but McCoy shows us that even then their were warning signs that show Benoit had pent up aggression and a love for steroids that would signal later problems down the road.

When we get down the road, Steven Johnson does an excellent job showing us how the mainstream media tried to take advantage of the tragedy, and in the process proved how little it actually knew about the business. While a bit dry at times, Johnson’s research and insight is incredibly valuable in the fact that he proves that the wrestling world is different from all other forms of entertainment and if the average journalist wishes to enter that world, it’s going to have to work hard and learn the ropes. Shrouded in mystery, stemming from its carnival beginnings, wrestling may be on the biggest scale it’s ever been, but that doesn’t mean it’s easy to understand.

What is easy to understand however is Muchnick’s commentary on Benoit as a person and sources that show he was far from the upstanding citizen he claimed to be. Nevetheless, Muchnick doesn’t fault Benoit, he faults the business, for exploiting these athletes for decades and eventually asks the question: Is this fun anymore? The best essay in the book, Muchnick asks the questions the industry needs to answer and soon.

You wouldn’t think that a book of short essays on a moment in professional wrestling would be compelling, but “Benoit” satisfies by having a near perfect blend of commentary, journalism and nostalgia. In the end, it’s a quick read that any serious wrestling fan should take a look at.

From their album The Five Ghosts, the band Stars have reinvented their indie-rock sound. “Dead Hearts” begins with a sing-song melody that leads up to the disturbing chorus of “dead hearts are everywhere.” It’s like a zombie-movie love song and it works.

“Jealous Again” – The Black Crowes

Usually free music downloads are from artists who are trying to find some free publicity for a new project. In the case of “Jealous Again” the powers that be have decided to give listeners a freebie that revitalizes this 20-year old track. Its laid-back jazz/blues influence will have you seeking out their other songs.

“Why Does the Wind?” – Tracey Thorn

From half the group Everything But the Girl Tracey Thorn‘s “Why Does the Wind?” from her third solo album is a solid song that unfortunately isn’t memorable once it’s over. The lyrics are predictable and the melody is pedestrian. Skip it.

“Five Little Rooms” – Menomena

“Five Little Rooms” has one of the most intriguing beginnings to a song that you’ll hear. Its syncopated rhythm and classical-music like sound combined with words that weave a macabre narrative makes this song a keeper. You won’t be able to stop listening to it.

“Holocaust of Giants” – Rasputina

“Holocaust of Giants” is definitely an acquired taste. Its discordant sound draws you in, but the lyrics and harmonies don’t make this a pleasurable experience. Whatever Rasputina is trying to say with this track is lost in its strangeness.

“A Town Called Obsolete” – Andreya Triana

This live rendition with a guitar as the focal point of “A Town Called Obsolete” reflects Andreya Triana ability to emote with as little musicianship as possible. In fact she doesn’t need the guitar as this song could work acapella.

“Do you know how hard it is to fit 101 different sports games on a single cartridge?” asked an out-of-breath Aram Jabbari, Manager of Public Relations and Sales. “We had a hundred of them lined up and ready for the crammage process until someone said, ‘Where’s the 101th sport?’ and we suddenly realized it had run away. It made sense, seeing as how it was one of the track and field games. We can’t cram until we have them all, so it’ll take a little more time, but cram we will, I can promise you that.”

Players of all ages will have hours of fun earning points by successfully completing challenges and spending their points to reveal dozens of exciting new sports games, striving to unlock more and more each time. Simple to play and addicting to master, these games will keep players engrossed in scoring goals, earning medals, winning races, and beating high scores. On top of all this, some of the games allow players to challenge a friend to multiplayer competition through local wireless play, making 101-in-1 Sports Megamix for Nintendo DS a never-ending supply of fun and excitement!

101-in-1 Sports Megamix is now scheduled for release on September 7, 2010 with an MSRP of only $19.99. With one hundred and one titles, the price averages out to less than twenty cents per game! See the official trailer for a look at some of the exciting sports action players can look forward to.

For more information on 101-in-1 Sports Megamix for Nintendo DS, and to check out the other games in the 101-in-1 series, visit the website: www.atlus.com/101sports.

Oh and by the way, he sees the ghosts of every victim that’s died in his arms and his former best friend as well.

It makes sense that someone like Denis Leary would play the main character of this show, as his antics as a stand-up comedian and character actor over the years have garnered him a cult following. However, you’d have to originally be crazy to think upon watching that Leary would be able to pull off a serious role the way he does here. After the first episode though, he proves in spades just how talented he is and from then on there, you are hooked.

Following around a group of sex-crazed, obnoxious, yet loyal to each other and hard-working firefighters is a blast and when you get out of the firehouse, things get even better. Take Gavin’s family life for instance. Grieving the death of his best friend and former firefighter cousin Jimmy [played by James McCaffrey, who gamers will recognize as the voice of Max Payne in the iconic video game series], Gavin not only is separated from his wife, but is battling depression and alcoholism, which leads him to sleeping with Jimmy’s wife, Sheila [Callie Thorne “The Wire”], who he later gets pregnant. Considering the fact that the show is flooded with so many great characters, all with realistic, yet detailed and intriguing back stories, you’ll find yourself smiling with delight as each character finds a way to make themselves worth watching.

Make no mistake, this show is one of the best cast shows on Cable television and the first season is living proof. Had Leary been the sole star here, the show would still be excellent, but throw in the old school fire chief Jerry Reilly [Jack McGee], plus size model Uncle Teddy [Lenny Clarke] and the boys at the firehouse like Kenny Shea [John Scurti], Mike Lombardi [Mike Silletti], Sean Garrity [Steven Pasquale] and Franco Rivera [Daniel Sunjata] and plenty of fighting, sex and disturbing situations, this show is the epitome of what a fantastic drama should be.

Now available on the Netflix Instant Queue, there’s no reason not to check it out. Unlike other great shows in the same vein, such as “The Wire,” which start off a bit slow before picking up speed, “Rescue Me” starts off with a bang and doesn’t let up. It’s smart, savvy and equally as sullen and sharp. Gavin hates himself for being a screw up, but can’t stop his ways because he simply loves being the bad ass. After watching, you’ll desperately want him to put the pieces back together and reclaim his victimized family, but only after he causes a bit more trouble.

Watching the film, one notices that there is a tremendous amount of violence. Everything that could possibly happen to Morgan does. His brutalization is according to the film what turned him into a mad dog. This heavy-handed message is well acted by Hopper. Although he does slip in and out of his accent, his portrayal of this Australian icon shows a complex man forged by circumstances beyond his control.

However, for a film that’s barely over 90 minutes, it drones on. Still, judging from the uncut version of the movie it adds scenes that make sense of the actions of several characters including Morgan’s partner, the Aborigine Billy (David Gulparil Gulpilil) who brought an authenticity to the film that no one else could. The snake he kills in the movie and the care that he administers to Morgan are all true to the Aboriginal culture.

You can tell that Mora took particular care to get this film right. The photography of Mike Molloy (camera operator for “A Clockwork Orange,”) makes Australia another character as it reveals the horror and shows the beauty of the country and its societal underpinnings simultaneously.

There’s also a second disc filled with interviews, deleted scenes and a trailer of the film. The second disc gives some insight into Australian culture, the making of the film and Hopper’s instability, which Mora believed was a form of method acting. For any new-found fans of this little known genre, it gives the viewer a context to the prison system of the colonies during Morgan’s time and the illusions of movie-making.

For a film with a performance such as Hopper’s, resurrected some thirty-odd years after its release, it will be a treat for fans of his work. It is easily the best reason to purchase this dvd.

(New York, NY) Mega-talented singer, songwriter, producer, and multi-instrumentalist Chicago sensation Jeremih – who blew out of the Windy City in 2009 to explode into history with his RIAA platinum #1 Def Jam debut single “Birthday Sex,” and his self-titled #1 debut album – returns to the game one year later with “I Like,” the lead track from his eagerly anticipated sophomore release, ALL ABOUT YOU, arriving September 28th.

Coinciding with his new album release this fall, Jeremih will be featured on BET’s upcoming new 30-minute cable tv series, Rising Icons, which will offer a glimpse into the life of an emerging artist by chronicling their journeys at home and on tour. Other guests on the series, sponsored by Grey Goose Vodka, include Def Jam’s The-Dream and Chrisette Michele, along with Keri Hilson, Kid Cudi, Hal Linton, Melanie Fiona, Ryan Leslie, and Wale.

“I Like” featuring fellow Def Jam artist Ludacris has already won radio airplay on close to 75 stations across the country. The song was co-written by Jeremih and songwriter Keith James (Who is currently working on Jeremih’s sophomore album), and produced by Mick Schultz. (Most recently, Jeremih and Mick Schultz co-wrote & produced “Tumblin’ Down,” the debut single from Toronto beauty Jenna Andrews on Island Records.)

Jeremih’s “Birthday Sex” was one of the surprises of the summer of 2009 – it had the distinction of ousting Jamie Foxx’s “Blame It” from the #1 spot on Billboard’s Hot R&B/Hip-Hop Songs chart and Mainstream R&B/Hip-Hop chart. “Birthday Sex” rose to #1 on the Mediabase Rhythmic chart, #1 on MySpace (for 3 weeks), and #6 on the Hot 100, while the video was added to MTV, MTV HITS, MTV U and MTV JAMS. Jeremih performed the song at the annual BET Awards pre-show event on June 28th, two days before the release of his debut album. To date, cumulative single sales for “Birthday Sex” and its follow-up “Imma Star (Everywhere We Are)” have topped 2.2 million copies in the U.S. alone.

Jeremih [Felton] was a musical prodigy since early childhood on Chicago’s infamous Southside. He was given his first set of drums at age three, and by the time he got to Morgan Park High School, was adept at the traps, and piano. Jeremih’s intelligence enabled him to skip junior year, graduate high school at age 16, and enter the University of Illinois as an engineering science major.

But when he started getting involved with on-campus talent shows, music took over. He transferred to Columbia College, one of Chicago’s premier art schools, and began collaborating on demos with music student Mick Schultz. Their mutual love for music led to the creation of “My Ride,” Jeremih’s first song to hit local radio airwaves on Power-92 (also streaming at the MySpace site). “Birthday Sex” followed in October 2008, and Jeremih was soon the talk of Chicago, a local hometown hero. He was signed to Def Jam in March 2009, and “Birthday Sex” was officially released in April.

“I have no boundaries,” Jeremih says. “It excites me to see what there is to come. I’m a writer, I’m a singer, I’m a producer, and I can play instruments. I feel like that’s what sets me apart from all the other artists out there.”

www.jeremih.com

www.facebook.com/officialjeremih

www.youtube.com/jeremihmusictv

www.twitter.com/jeremih

Matilda, first created in 2007, was named after and dedicated to the owners’ daughter, who represents the fusion of their two cultures. Inspired by their “Tusk-Mex” daughter, they decided to create a restaurant where they serve a fusion of Tuscan and Mexican cuisines.

As it’s a family owned restaurant, the owners are always present which gives the atmosphere a more personal feel, never mind that the entire establishment is based on their daughter, from the food right down to the architecture. Matilda (the restaurant, not the girl) is, simply put, amazing, evoking the blending of two cultures.

As this is New York City and New Yorkers are a tough crowd of people to please, it speaks volumes that this restaurant is the first and only of its kind. To be able to bring something new and innovative to one of the most diverse and cultured cities in the world is remarkable and can’t be done by just anyone. That being said, the owners of this humble East Village favorite had their share of practice in the kitchen before gathering the courage to take a leap into the business world on their own.

Both Innocenti and Molina were chefs at another Tuscan restaurant, I Coppi, also located in the East Village, which just so happened to be owned by Innocenti’s sister. They had years of experience in the kitchen together, which is where they realized the many similarities between their native cuisines. They had a crazy idea to share this discovery and after their daughter was born, their idea became a reality. Now they have a restaurant where they dish up a funky but delicious combination of Tuscan and Mexican fare, inspired by food they cooked for their daughter as well as the delicious food they remember from their own youth.

Matilda offers and eclectic menu, filled with all the finest aspects of the two cuisines. They complement each other in an exciting new blend. It’s like eating the food you’ve always loved and being pleasantly surprised by new, delicious flavors that were never there before. The possibilities are endless with two cuisines as vast as Mexican and Italian.

However, as delicious as the food is, you’ll be pleasantly surprised when you get the bill and it says nothing about trading your limbs and/or unborn children just for a bit of good grub. Matilda has found a way to accommodate everyone in this challenging economy that we live in. it’s refreshing to know that even in this city, there are still places you can go for some quality food without worrying about breaking the bank.

Whether you’re looking for deliciously affordable eats, a comfy atmosphere or just someone friendly with which to have a chat, Matilda has something for you. After all, in a place like New York, it’s nice to go to a place where someone remembers you.

The Bronx born Ranno, whose formative years were spent in New Jersey, was in the band Stories (“Brother Louie”) and formed Starz with Peter Sweval and Jeff Grob, who had been in the band Looking Glass (“Brandy”-1972). Starz’s mixture of heavy rock and power pop on their debut, “Starz,” (1976) “Violation,” (1977) “Attention Shoppers” (1977) and “Coliseum Rock” and their live effort, “Live in Action” (both 1978), underscore the fact that they are under-appreciated though hailed as a template for bands that followed. Kerrang magazine put the first two Starz albums on its list of the most important Heavy Metal albums of all time.

Ranno currently plays with Richie Ranno’s All-Stars and is recording new original material. He will be attending the National Rock Convention, the weekend of July 30, 31 and August 1st. ReviewFix recently spoke with Ranno who talks about his early days on the road, auditioning for Starz, Les Paul guitars, Jimmy Page, Kiss,Peter Gabriel, Rolling Stone Magazine and the Rock and Roll Hall of Fame. It is an honest, revealing and rocking interview.

You can listen to the interview by clicking the link below:

Richie Ranno Interview

Not only did Angelina Love and Sarita have an entertaining match, but Ric Flair announced Beer Money, James Storm and Robert Roode, as the final two members of his new group “Fortune.” As well, AJ Styles announced that the Global Title will now be called the Television Title and he’ll defend it starting next week on every TNA telecast.

It’s about damn time.

It makes sense that TNA has a TV title, especially considering it’s linkage to the old NWA and WCW. Styles makes a great first champ as well, as he’s the company’s best in-ring performer. Nothing against the Global Title or Rob Terry, but TNA needs to establish itself on American soil before it goes abroad.

While that action was great, seeing Beer Money take on Chris Sabin and Alex Shelley was a blast. Easily the best match on cable TV in years, these four tore the house down in a match that the WWE should look at when trying to revive their tag team division.

With all that happening in the first hour, in spite of a boring match with Orlando Jordan and Eric Young vs. Ink Inc, it would have taken something huge to top it all, and unfortunately TNA dropped the ball big time on the final half of the show.

After witnessing someone like Frank Kazarian job for a brute Terry, watching a wasted match with Mr. Anderson and Jeff Hardy against two TNA security guards, [yes, two security guards] and a horrible main event between Abyss and Tommy Dreamer,[where Dreamer was slower than a turtle on downers] with Raven making an unsurprising heel turn for the finish, the overall taste was a middling one.

Things got extra salty at the end as well, with Raven licking, Dreamer’s face and berating him, obviously setting up what could be a match at Hardcore Justice in a few weeks.

Too little too late.

It’s understandable why TNA wants to give the former ECW stars one more night in the limelight, but seeing them in action leading into the Pay Per View has been a mixed bag. The promos are getting repetitive and flaccid and if Dreamer’s performance on Impact was an indication of what fans could expect for Hardcore Justice, fans are better off watching these guys on DVD.

As far as the rest of the company is concerned, between seeing a great rivalry between two amazing tag teams, a cool new clique and a brand new title, defended by their brightest star, TNA may not even need help from last decade’s hardcore stars.

In this 90-minute intermission-less performance directed by “Spring Awakening’s” Michael Mayer, its characters and plot are simply not there. The story is this: Jimmy plans to leave suburbia for the big city with his friends Will and Tunny, but Will’s girl Heather gets pregnant, so now he can’t go, and it’s down to two. They go, and at some point, Tunny ends up in Iraq, loses a leg, and falls in love while Jimmy falls for a girl, gets hooked on dope, hits bottom, and in the end, they all return home. Was the trip worth it? Who knows, and more importantly, who cares? No one does because the characters are so minimally developed that we never have a strong feeling about them either way. We really don’t care about anything that happens, anything they do or even how they might end up. Eventually, what happens to them is mostly depressing and very predictable.

With its sparse dialogue, (if you added up all the dialogue in the show, you’ll have about 5 minutes) notably with characters exclaiming lame rebellious phrases such as “this life sucks” and “fuck you,” you start to feel like an idiot for spending your money on a ticket to the show. And after a while, you begin to cringe each time a line is delivered however enthusiastically.

“American Idiot” relies primarily on the songs of Green Day to do the storytelling. The songs included in the show are everything from Green Day’s “American Idiot” album plus two B-sides, four tracks from “21st Century Breakdown,” and one ballad Armstrong wrote for his wife when he was 19. They are all great songs and are interestingly enough sung by multiple players, but they have no real connection with the characters and their stories. And this is where the show loses us.

Undeniably, the best part of the show is the cast which is full of raw talent and energy, especially John Gallagher, Jr. as the lead character, Johnny. He is the most active of the three protagonists on stage, he can play guitar well, and even sounds a bit like Armstrong. Michael Esper who plays Will puts on a good performance although he is basically confined to the couch for most of the show in what we assume is a metaphor of how his character feels about life. Like Esper’s character, Tunny, played by Stark Sands, is mainly on the sidelines and moreover very forgettable as a naive and idealistic soldier who heads out to war. Most of his time onstage is spent laying on a gurney where a female cast member dangles and twirls high above him from midair. Most mentionable is Tony Vincent who plays St. Jimmy. Although not a protagonist, Vincent has a mesmerizing presence onstage along with phenomenal vocals which make him stand out from the rest of the cast.

If you do decide to see the show, do yourself a favor and read the full synopsis beforehand so you’ll actually understand what you’re seeing, because just knowing the songs isn’t going to help. And if you really like Green Day and want to spare yourself the disappointment, then crank up your CD or MP3, or buy a ticket to their concert, because if you go out and buy a ticket to see this Broadway show, then you truly are an American idiot.

LOS ANGELES, CA – Sundance Institute and Cinereach announced on July 26 the 2010 projects awarded grants for development, production, or post-production as part of a $1.5 million, three-year initiative, The Cinereach Project at Sundance Institute. The initiative is designed to support documentary and narrative feature film projects with themes that evoke global cultural exchange and social impact, and projects representing emerging and innovative voices selected for their distinctive and personal storytelling. The Cinereach Project at Sundance Institute is directly supporting eleven projects, each at a critical moment in their development.

In addition to grant awards, The Cinereach Project at Sundance Institute includes core artist support activity at the Sundance Screenwriters Lab, Directors Lab, Documentary Edit & Story Lab, Composers & Documentary Lab, the Creative Producing Feature and Documentary Labs, and the Sundance Film Festival.

“The unique partnership between Sundance Institute and Cinereach enables a deeper support of innovative independent film,” said Keri Putnam, Executive Director, Sundance Institute. “The initiative is an extension of the ongoing support provided by the Sundance Institute through our Labs and funding opportunities, dedicated to nurturing artists’ individual voices. We’re thrilled to be working with Cinereach to support these eleven documentary and narrative feature film projects at critical stages in their development.”

“I’m heartened by the breadth of support that has touched a dynamic group of projects in such a short time. Today’s filmmakers are charting their own destinies and it’s critical their custodians adapt alongside them,” said Philipp Engelhorn, Cinereach Founder and Executive Director. “We’re thrilled with our partnership with the Sundance Institute, and I believe the results are indicative of the power of collaboration in uncharted times.”

Projects recently selected as Sundance Institute Cinereach Grantees through the Sundance Institute Feature Film Program include:

POST PRODUCTION GRANTING

Yelling to the Sky

Writer-director: Victoria Mahoney (Sundance Institute Directors and Screenwriters Lab Fellow)

Producer: Diane Houslin (Sundance Institute Creative Producing Fellow)

In a distressed New York neighborhood, the younger of two mixed-race sisters navigates an identity between the known: a violent life of crime, and the unknown: a life of purpose and meaning.

Here

Director: Braden King (Sundance Institute Directors and Screenwriters Lab Fellow)

Writers: Braden King and Dani Valent

Producers: Jay Van Hoy and Lars Knudsen

Cartographer Will Shepard hits the road for his latest job: to create a new, more accurate satellite survey of Armenia. During his assignment, he forms a bond with an Armenian expatriate and art photographer.

PRODUCTION GRANTING

On the Ice

Writer-director: Andrew Okpeaha MacLean (Sundance Institute Directors and
Screenwriters Lab Fellow)

Producers: Cara Marcous (Sundance Institute Creative Producing Fellow) and Lynette Howell

On the snow-covered arctic tundra, at the top of the world in Barrow, Alaska, two Iñuit teenagers try to get away with murder.

DEVELOPMENT GRANTING

Postcards from the Zoo

Co-writer-director: Edwin (Sundance Institute Screenwriters Lab Fellow)

Co-writer: Daud Sumolang (Sundance Institute Screenwriters Lab Fellow)

Producers: Meiske Taurisia, Lorna Tee

After being abandoned at a young age at the zoo, a young woman leaves her magical childhood behind to discover the world outside.

The Ruined Cast

Writer-director: Dash Shaw (Sundance Institute Directors and Screenwriters Fellow)

Producers: Howard Gertler, John Cameron Mitchell

Told with hand-drawn animation, a disconnected family is thrown into chaos when the scientist father loses the test subject of his experiment with appearance-altering technology.

Projects recently selected as Sundance Institute Cinereach Grantees through the Sundance Institute Documentary Film Program include:

DEVELOPMENT GRANTING

The Arizona Project (Working Title)

Directors: Carlos Sandoval and Catherine Tambini

Reporting from the frontlines of the new battle for America’s soul, filmmakers Carlos Sandoval and Catherine Tambini follow the volatile, unfolding story of Arizona’s racially charged immigration law, Senate Bill 1070.

Untitled Margaret Brown Oil Spill Documentary

Director: Margaret Brown

Margaret Brown’s new documentary is an investigation into the personal stories behind the tragic 2010 BP Oil Spill. The film uncovers how government and corporate interests respond in the wake of an environmental crisis, and the way this affects a region and culture so rooted in nature.

Untitled Documentary by Lauren Greenfield

Director: Lauren Greenfield

This untitled cinema verite film by Lauren Greenfield is a portrait of an American family against the backdrop of the financial crisis.

Projects previously selected and announced as Sundance Institute Cinereach Grantees through the Sundance Institute Documentary Film Program in December 2009 included 25 to Life (Director: Mike Brown); The Fire This Time (Director: Blair Doroshwalther); and Gasland (Director: Josh Fox).

The Cinereach Project at Sundance Institute supports a unique and flexible resource pool for documentary and feature filmmakers and their projects. The Project consists of a discretionary fund that can be used towards projects by filmmakers that are participating in Sundance Institute’s existing Feature Film Program and Documentary Film Program, and are in need of urgent support. As a result of this unique partnership, Sundance Institute is more equipped to bridge funding and creative support gaps at critical stages of its Fellows’ projects.

About Sundance Institute

Founded by Robert Redford in 1981, Sundance Institute is a not-for-profit organization that fosters the

development of original storytelling in film and theatre, and presents the annual Sundance Film Festival.

Internationally recognized for its artistic development programs for directors, screenwriters, producers,

film composers, playwrights and theatre artists, Sundance Institute has nurtured such projects as Angels in America, Spring Awakening, Boys Don’t Cry and Trouble the Water. www.sundance.org.

About Cinereach

Cinereach is a not-for-profit film foundation and production company that champions vital stories, artfully told. Lead by young philanthropists, entrepreneurs, and filmmakers, Cinereach empowers fiction and nonfiction filmmakers from all over the world through three key initiatives: Grants & Awards (granting to fiction and nonfiction feature films), The Reach Film Fellowship (providing funds and creative support to short film projects) and Productions (developing and producing independent features). Cinereach has awarded grants to over 50 films at the intersection of engaging storytelling, visual artistry, and vital subject matter. www.cinereach.org.

Check out Review Fix Editor-In-Chief Patrick Hickey Jr.’s exclusive interview with former American Idol contestant Josiah Leming. With a nationwide tour underway and his new album “Come On Kid” scheduled for release on Warner Bros. Records on September 14th, the 21-year-old discusses his time on Idol, his influences and his love of music.

You can listen to the interview by clicking the link below:

Josiah Leming Interview

Also stay tuned to ReviewFix for our exclusive album commentary on “Come On Kid.”

All-Star Supergroup Blasts Out Grinding Riffs and Scorching Vocals for the World’s Fastest Off-Road Racing Game

LARKSPUR, CA – nail’d is the off-road racing game where speed, risk and adrenaline combine with insane track design to deliver the ultimate thrill ride. Only one thing is missing from this picture. Throw your horns brothers and sisters, because that thing is METAL.

Illustrious names from the contemporary Metal scene have come together to compose a soundtrack designed to melt faces and fuel the madness needed to succeed in a game where fearlessness and aggression are virtues.

nail’d’s original soundtrack features songs written and performed by Raymond Herrera and Christian Olde Wolbers (Fear Factory, Arkaea), Pat Lachman (Damageplan), Wayne Static (Static X), Jamey Jasta (Hatebreed), Stephen Carpenter (Deftones), Jed Simon (Strapping Young Lad), and John Boecklin (DevilDriver).

“nail’d’s very existence is defined by the act of giving a giant middle finger to the laws of physics and boring realism,” said Deep Silver’s Jon Schutts, while practicing power chords on a guitar made of human souls. “When you’ve got a game like nail’d where you take every edge of your seat moment you’ve ever experienced and cranked it up to eleven, you need a killer soundtrack. We got the best musicians out there to help define the sound of nail’d and they literally blew us away.”

In addition to the original songs, nail’d also features licensed music from Slipknot, Queens of the Stone Age, Backyard Babies, Rise Against, American Sixgun, Aggressive Chill and Slaves on Dope.

Developed by Techland, nail’d will be released for the PlayStation®3 computer entertainment system, Xbox 360® video game and entertainment system from Microsoft® and Windows PC in the fourth quarter of 2010.

Get more information about the game on the official website or join the nail’d community:

Website: http://naild.deepsilver.com

Twitter: http://twitter.com/naildgame

Facebook: http://www.facebook.com/naildgame

About Deep Silver

Since 2003, Deep Silver has developed and distributed interactive games for all leading videogame platforms. In all, the company has published more than 80 games. Deep Silver products are designed to equally appeal to a wide audience, from kids to adults. For more information please visit www.deepsilver.com.

About Techland

Techland is a leading Polish developer, publisher and distributor of PC and console games since 1997. Its proprietary Chrome Engine 4 technology is among the world’s most advanced game engines, with Xbox 360, PC and PS3 compatibility and full DX10.1 support. With a staff of over 150 specialists in two development offices in Wroclaw and Warsaw, Techland is committed to delivering top-quality titles for worldwide markets. Currently the company is working on several high-profile titles for PC and consoles.

Xbox, Xbox 360, and Xbox LIVE are trademarks of the Microsoft group of companies. “PlayStation” is a registered trademark of Sony Computer Entertainment Inc.

All product titles, publisher names, trademarks, artwork and associated imagery are trademarks, registered trademarks and/or copyright material of the respective owners. All rights reserved.

Episode Commentary: “I Got a Right to Sing the Blues”

Not one moment in last week’s episode of HBO’s hit series “True Blood” was a dull one. This series was dramatic, tasteful and full of action – all rolled into one. Written by Alan Ball and directed by Michael Lehmann, this episode was truly the season’s greatest moment. The very second the show started, it led up to the events of last week’s edge of the seat cliff hanger.

Anna Paquin’s performance of the telepathic waitress from Bon Temps, Louisiana, in tonight’s episode was not only powerful, but also sincere. As she found who she was looking for all season long, she is faced with emotional difficulties throughout the whole episode. If there were ever any doubts that Paquin was able to handle the part of Sookie Stackhouse, then this proves those doubts wrong. Her performance was strong and heartfelt, as she truly got into the character of a love-struck young woman, who will do anything to save the man she loves.

If her emotional tonight’s performance was not sufficient, keep in mind that she also runs for a Golden Globe again next year. She truly stepped up her game and showed why she won that Oscar for Best Supporting Actress many years ago.

Any true fan of the show would agree that there was not a dull moment in this episode. Certain characters show their true colors, and you can only begin to hate them more and more as the episode goes on. Although these characters really step out of their box, all the questions presented could not be answered in one single episode. It will be interesting to see how the dots connect as the season progresses.

Tara Thornton, who is portrayed by Rutina Wesley, only continues to improve. Her acting seems to have engaged from the tough girl of Bon Temps, to the damsel in distress, and she seems to play this role even better. Although she is the same Tara we know and love, she still has those tender moments where she is pretending to be sweet.

New love is found within the episode and Sam even discovers some of the truth about his family. Jason Stackhouse continues to let his ego go to ahead and is still the same jerk. Bill Compton also continues to get haunted by a ghost of his past.

The episode ends with a bigger cliff hanger than last week. You will literally be dying for tomorrow to come.

After catching your breath upon reaching the fifth and final floor, an open door suggests that there’s a beautiful thing inside. The refreshments are less than refreshing, the couches are old and worn, and the bathroom in the lobby has a sink that simply produces noise and not water. This is underground theatre past the pavement.

With all the problems of the facility, “Beautiful Thing” as a play will leave you just as breathless as the staircase. This is off Broadway to the third power. Being that this is as underground as theatre can get, the hunger in the eyes of the actors was obvious. The acting and blocking were as tacky as the furniture, which fit so perfectly with the script. For instance Jamie a failed athlete and altogether outsider, played by Trip Langley was a joy to watch. His character is the catalyst and basis for the entire story.

From the beginning Jamie just seemed like a friendless nerd, but as the production evolved, so did he. He started as just a doofy high schooler with a chip on his shoulder, but once he began to open up and be himself his expressions transitioned to flamboyant. It’s difficult as an actor to slowly ease into a comfort zone when there are so many transitions associated with the role. From a problem child, to closet dwelling homosexual, to fully embracing an inner self that was rioting to escape.

Trip Langley was the highlight of the show as his change from straight to homosexual wasn’t sudden and obvious but well spread. Each time he learned something about himself he loosened up and became less ashamed of his thoughts and actions and in being that person it also led the way for the other actors on stage beside him to create their roles, into characters all their own.

Another star studded part of the show was Rebecca Lee Lerman, who sang the daylights out a song that nobody but her knows the words to. Even though the point of the scene was for her to sing bad and hurt eardrums, it came as surprise that her loud rambunctious voice shined through, even though the dramatization required the exact opposite. She played Leah, a friend of Jamie’s and bit of a trouble maker.

She played an important figure as the pretty, young, troubled, girl next door. If it had not been for her we might never have known that the main characters Jamie and Ste were gay. Lerman may have overacted in some scenarios, but with some of the scenes being a bit noir, she had the eyes of a sad cat, and definitely didn’t have a problem making the audience feel the exact emotion that her character was feeling at the time.

The beautiful thing about “Beautiful Thing” is the advanced acting and staging techniques used by such an under-staffed and over-talented theatre company. The English accents were a bit of a stretch, but considering none actually hail from England, each actor on stage nailed their performance and took advantage of their time to shine.

The downside to this British comedy/drama was that Tony, a step-dad father figure for Jamie was booted off at the end of the show when Jamie’s mom broke it off with him for no reason at all. It didn’t make much sense since he really didn’t cause any difficulty for Jamie, his mom, or any of his neighbors. In fact, it turns out he was more understanding and supportive to Jamie’s dilemma then even the mother was.

The original script, written by Jonathan Harvey did not remove Tony at all. The changing of the script made the ending feel a bit weird since Tony, played by Tim Romero, was one of the most sympathetic and likeable characters to touch the stage. He was a straight man who had an open mind about his step son being attracted to the same sex. So making him disappear really was an awkward piece to the puzzle.

Nothing bad however, can be said about any of the actors. They all played their parts with precision. Ultimately despite the change in script, this theatrical event was successful and thoroughly entertaining. In the case of a certain “Beautiful Thing” the end result was worth the journey up five flights of sauna hot stairs.

Episode Commentary: “Sing It Again, Ray or Home Plate”

Last week’s episode of “Hung” was a good one for one simple reason: variety.

Not only did it give us a wacky sex scene, that proves Thomas Jane has no shot at ever appearing on “American Idol,” it continued to develop every other storyline on the show and give the viewer enough drama and action to get a feel of what direction the show is headed in the rest of the season.

By all indications, it’s going to be a bumpy, but steamy ride.

For one, the problems in Ray’s family seem to only be getting worse as Damon’s escapades at two am, which include walking all over the neighborhood and for some reason, peeing on home-plate on the school’s ball field, combined with Darby’s problems with her weight, only seem to be getting worse. After attending a poetry reading with his father and Tanya, it’s easy to see that this kid is a lost soul, swimming in a fish bowl. Does he need to spend more time with his father? Or does he need to just man up and try to find his place in the world? Either way, it’s going to be interesting to see what happens with his character.

The same thing goes for Tanya and Jessica, who are both facing huge obstacles in their lives. Tanya doesn’t have a dime to her name and is being blackmailed for free sex [her boss, horny Patty, loves Ray], while Jessica now has to deal with Ronnie, who suddenly wants her to have his child. Add in Mike Hunt’s growing suspicion over Ray’s money situation as of late and you have more than enough drama and intrigue to fill a half-hour cable sitcom.

When this show originally started last year, this was the kind of entertainment many were expecting. While the premise and the name alone make you think you should be ready for a sexy, sultry affair, this show doesn’t have to be laden with sex scenes to be entertaining, especially with the talent on-screen.

This episode proved that.

As well, for one of the first times in the show’s history, Ray isn’t the only character that you can truly connect with, as the problems facing many of the characters are ones that everyone has had to deal with before, making it fun, sad, relate-able and quirky, all at the same time. With this foundation set, it might be fair to say that “Hung” is primed for a solid second half run.

But this is all about to be altered. How? Issue 600 is sure to give more than a clue as it looks back to the Wonder Woman we know and are introduced to the pants-wearing Amazon for the 21st century. Essentially this is the issue where everything changes.

Lynda Carter and Wonder Woman have been synonymous for many years. The successful series of the ‘70s gives Carter an inside expertise on speaking about this character and more importantly that notorious red, white and blue bathing suit. For Carter the suit is meaningless in comparison to what the woman inside it represents. Her introduction to this comic is a challenge to faithful readers and new fans as to the journey that Michael Straczynski will be guiding them on.

From Gail Simone to Louise Simonson have a hand in saying farewell to the Wonder Woman we once knew. Her ability to lead, the camaraderie of fellow heroes and her inspiration to make anyone in her life become better are all emphasized by the writers in this issue. In turn many of the artists who had a hand in giving Wonder Woman her iconic images such as Phil Jimenez also contributed on this look back. The one thread that joins these stories together is that the only constant is change. Except when it comes to the creator of Wonder Woman’s world. Yes, William Moulton Marston’s stamp is all over this issue. A man with his own interesting story is given credit with each narrative as if to say without Marston there would be no woman warrior, no feminine icon, no Wonder Woman.

The last story leading up to Straczynski and artist Don Kramer’s new incarnation of Wonder Woman is written best by Geoff Johns through the young Amazon princess: “Don’t you ever wonder what’s beyond the next horizon?” As the young girl takes a leap of faith we are led into a transformed Wonder Woman with a new back story. It’s a darker, more realistic look into a world in which heroines are no longer beyond reproach. How will this new Wonder Woman interact with the DC universe? Only time will tell.

Throughout this movie, Evan Treborn (Ashton Kutcher) experiences severe traumas as a young boy (Logan Lerman) and a teenager (John Patrick Amedori). Due to high amounts of stress, these traumas would cause him to constantly black out, allowing certain memories to be forgotten. While searching for a solution to his damaged emotions, he realizes that when he reads old journal entries, he is able to go back in time and re-do certain parts of his past that have drastically affected him. Every new decision that he makes from his past, in order to fix his present lifestyle all include different consequences. Treborn’s interchanging futures vary from frat boy to prisoner to amputee. As time goes on, he recognizes that even though his intentions are positive, the activities he takes part in don’t always develop into positive consequences.

Both directors, Eric Bress and J. Mackye Gruber, were able to create a perfect script and scenery that made time-travel seem realistic.

There is a scene in which Treborn goes back in time to prevent a childhood bully, Tommy, from murdering his dog. Though he is able to save his pet, with the help of a friend, something more tragic goes wrong. His friend, Lenny, was suppose to cut open the sack that the dog was thrown into, with a sharp pipe. Instead, Lenny jabs Tommy, resulting in his death. The consequences might have been negative, but the acting done within this scene was outstanding. The child actors’ performance was nothing too dramatic, nor too corny.

Between all of the plot twists and mind-blowing situations, The Butterfly Effect is one of those flicks that will keep you at the edge of your seat from beginning to end.

Kutcher did a wonderful job in performing a serious role, something he usually doesn’t involve himself in. He is popularly known for funny television programs on MTV and romantic/comedy movies. He brings lightness to the guy who causes things to happen around him, but doesn’t want to accept all that he has been given.

On the other hand, this time-travel flick does contain its flaws.

Since Treborn is constantly going back in time to adjust what has occurred in his past, the storyline can get pretty confusing. Throughout the movie, he refers back to the same few, but important events that he feels the need to fix in order for his future to be successful.

Whenever Treborn would awake from time-travel, hoping to resolve things, his surroundings would drastically change, but his new life wasn’t always what he planned. One time his once innocent girlfriend Kayleigh (Amy Smart) evolved into a drugged out, track-marked prostitute; another time Treborne discovers she has been long deceased. Another present time, he finds himself suffering in prison, being sexually preyed upon by fellow inmates.

Sometimes those changes didn’t necessarily help, but only make matters worse. This particular film would need to be watched more than once in order to fully understand its twists and turns.

Certain parts of The Butterfly Effect may be scary or disturbing to some, but it allows the entire film to piece together well.

The final ending to this flick is somewhat shocking and unexpected, but if it were altered, it would totally ruin the movie’s originality.

In general, The Butterfly Effect is filled with suspenseful, supernatural and observant qualities that no other movie contains. Even though audiences may have to listen carefully and follow specific details within the story, this drama/mystery/thriller is worth the watch.

On July 31, select GameStop stores will host “The Ultimate DRAGON QUEST IX: Sentinels of the Starry Skies Experience,” inviting visitors to enjoy guided demos and connect with other DRAGON QUEST fans. Also at most GameStop stores, visitors will be able to access a special downloadable treasure map called “Zoma,” available for the first time in North America, via the game’s Tag Mode feature. Sampling events will also be held on Aug. 7 at select Best Buy retail locations, where attendees will have access to the “Estark” treasure map, available for the first time in North America.

From Aug. 7 to Sept. 19, weekend sampling events will be held at select shopping malls around the country, highlighting the game’s rich customization options and multiplayer fun. Visitors to these mall events will have access to the downloadable “Malroth” treasure map.

To access treasure maps, players must have their Nintendo DS system running the DRAGON QUEST IX: Sentinels of the Starry Skies game, set to Tag Mode. Once players reach the town of Stornway, they are able to access Tag Mode by talking to Erinn at the Quester’s Rest Inn.

The latest installment in the popular DRAGON QUEST franchise, DRAGON QUEST IX: Sentinels of the Starry Skies lets players embark on an epic hand-held adventure. Players can choose their own appearance, occupations, companions and special items to aid in their quest, and even connect wirelessly with friends for cooperative multiplayer quests. The game has already become a social phenomenon in Japan, selling more than 4.2 million units to date.

A complete schedule of events can be found at http://dqnine.com/#/do-you-dq/events/.

With that being said, a remake or reboot of this film was never needed. Thanks to lazy minds in Hollywood though, it came to fruition, with thousands online pissed and opting not to head to the theaters to see it. However and ironically, here, “The Karate Kid” is a film that many reboots should look to before filming, due to its willingness to be inspired by the source material, yet produce something that ultimately connects with today’s audience.

Powered by a super adorable and charismatic Jaden Smith and an endearing Jackie Chan, “The Karate Kid” isn’t as solid as it’s bigger brother, but it’s still effective on the big screen and is proof that some reboots can just work.

While the scenery is completely different in this film, as it takes places in China, all the concepts are the same. An outsider looking for acceptance, who finds himself in trouble and need of a friend, to only find a great one and a cutie on top of it to call his own, are all still here. As a matter of fact, there are so many influences from the first film here that the characters play with, such as the fly-catching scene and the whole- wax on-wax-off stuff, which has been replaced with something just as charming, that you’ll eventually find yourself a fan, even if you went into the theater a bit skeptical.

While the sum of the film’s parts are solid overall, the deal-breaker here is Smith, who plays the part of Dre with such a fun-loving and child-like, yet purposeful passion that it is impossible not to like him. Reminding the viewer of his father’s early days on television, Smith is a star in the making that shows just how much talent he has.

As well, even though it’s hard to see anyone but Pat Morita in this role, Jackie Chan does an admirable job here as Mr. Han, Dre’s mentor. From his walk, to his words of wisdom and staunch work-ethic, Chan embodies the role Morita performed over 25 years ago and puts his own stamp on it, much like Smith does, making the movie maintain the same feelings the original has.

However, by the end, you get the feeling that Han and Dre’s relationship is much more than student and teacher- it’s composed of pure trust and love, as they’ve both depended on each other throughout and have become like a father and son, or best friends.

Because of that, this reboot has something many films of this nature never do.

Heart.

There are some bumps along the way though, such as a lack of subtitles during the Chinese-speaking scenes, which make it hard to emotional attach yourself to the villains here. Speaking of bad guys and Chinese, the prepubescent Chang, played by Zhenwei Wang is also solid here, but is hurt by a lack of English. That’s luckily made up for by his excellent abilities in the martial arts and great presence on-screen.

The same thing goes for Dre’s love interest, Meiying [Wenwen Han]. While their relationship pales in comparison to that of Macchio and Elizabeth Shue in the original, most likely due to their younger age, she helps provide the story with some Eastern flavor, capturing the outsider in a strange land motif that is needed to help get the message across.

More than just a reboot, this film is more about finding yourself and developing life-long friendships and bonds than the fights that happen along the way. If you can separate yourself from every other crappy prequel, sequel and re-imagining out there and just want to enjoy a good movie, one that is seriously influenced by other films in the genre, you can do a lot worse than “The Karate Kid.”

There may not be any crane kicks here, but the snake moves work just fine in the end.

This acoustic version of this mid-‘90s tune sounds just as amazing as it did then, if not more so. It encapsulates raw, desperate energy where you’ll feel as if you’re on the verge of going completely overboard emotionally. The solid musicianship alone is worth the price of admission.

“Paris (Ooh La La)” – Grace Potter & The Nocturnals

Guitars, drums and a voice that kicks butt make “Paris (Ooh La La)” one amazing track. You just can’t sit still when you hear that rhythmic beat and wailing guitar. It also ends way too soon. Don’t think twice about downloading it.

“Die” – Carissa’s Weird

The beginning of “Die” is your basic, mediocre angry-chick song, but wait there are some good things on this track. Although the beginning may turn you off the harmonies and intrinsic piano playing will make it worth the free download.

“Electrocution” – Nada Surf

With a sound reminiscent of The Mamas and The Papas, Nada Surf has created a song with an up-tempo beat that you will find yourself humming incessantly after first listen. And that’s not a bad thing.

“Blue Sunshine” – Blue Giant

Bluegrass rock with a folksong edge is what “Blue Sunshine” will remind you of. These genres play beautifully off each other with simple lyrics and solid guitar playing. There’s also a healthy dose of handclapping and harmonica playing that is infectious.

“Outrage” Sister Sin

Have you ever felt anger for anger’s sake? If you have then this track is for you. It’s riddled with lyrics that are filled with fury – at what you don’t exactly know, but it’s done well. There’s also a nicely played guitar solo. That alone is worth downloading this track for.

“Dragon’s Song” – Blitzen Trapper

With a title like “Dragon’s Song” you would expect a heavy metal sound, not a folksy love ballad, but that’s just what you’ll get. With a sound similar to Bob Dylan’s early work, Blitzen Trapper has created a track that has a timeless quality – a wondrous feat considering “Dragon’s Song” is from their latest album that was released this year.

The show is centered on four teenage girls, Aria (Lucy Hale), Emily (Shay Mitchell), Spencer (Troian Avery Bellisario), Hanna (Ashley Benson) and their friend Alison (Sasha Pieterse), who mysteriously disappears from their small, but rich suburban town one night. One year after her disappearance, her body is found under the gazebo of her house, and as the town happens to be in the middle of a murder investigation, the girls find themselves being stalked by a mysterious, ubiquitous “A”, a person who somehow knows things that only Alison knew.

Based on the book series by Sara Shepard, “Pretty Little Liars” is a guilty pleasure that will keep you on the edge of your seat. Each girl has a secret, but it’s nothing compared to the secret that they share, which proves that Alison wasn’t as innocent as her cherubic face and baby doll curls suggested. However, this secret also may or may not be the key to solving the mystery of Alison’s murder.

Before Alison died, she set a barn on fire and caused a neighborhood girl, Jenna (Tammin Sursok) to go blind. Only five people knew the truth about what happened: Aria, Emily, Spencer, Hanna and Jenna’s stepbrother, Toby (Keegan Allen), whom Alison blackmailed into taking the blame. Now, because of her actions and her untimely death, her friends are left behind to deal with the trouble she’s unleashed on their small suburban town.

Everyone is a suspect in the murder mystery and each episode is more suspenseful than the last, proving that everyone loves a good happy ending, but nothing helps ratings like a good nail-biting cliffhanger. It seems that the mysterious “A” is everywhere, watching their every move and taunting them through text messages, with the knowledge that he or she can expose them at any time and turn their whole worlds upside down.

The knowledge that someone, who could in fact be anyone they interact with on a daily basis, has the power to unhinge them with the slightest push of a button is rather unnerving. However, it opens their eyes to something they had never realized in all the years that they were friends: Alison knew all of their secrets, but they never knew any of hers.

Alison was the queen bee of their high school and the town’s it-girl. And even in death, it seems like she’s still someone to be feared and revered, especially with the omnipresent “A” running amok, threatening to ruin lives.

Overall, “Pretty Little Liars” seems like the perfect summer show for tweens who love a good mystery and can’t get enough of juicy gossip. In the words of Benjamin Franklin, “three may keep a secret, if two of them are dead.” (Is the quotation at the end appropriate?)

“They say I was a drug dealer,” King says about his prison stint. “They never caught me with anything, but they gave me 15 years; is that justice?”

Not only did they say King was a drug dealer, they said King was THE drug dealer in his South Jamaica Queens neighborhood. His reputation rivaled those of legendary Queens Drug lords Lorenzo “Fat Cat” Nichols and Kenneth “Supreme” McGriff.

“King was the man around here. You always hear about Supreme; King was Supreme around here,” said Willie, a barbershop patron and life-long friend of King.

Rather than succumb to his incarceration, King kept his focus on what he would do with his life when he was eventually set free.

“They never really had me locked,” King explained. “They had my body, but my mind was free.”

King’s free mind sparked an idea one day while observing suspects being loaded into a truck, commonly known as a patty wagon. While a seemingly random occurrence, this idea would be the foundation of King’s post incarceration endeavors.

“One day I said to myself ‘Damn, there’s like 40 people in this truck; there must be a lot of room,” King recalls. There turned out to be quite a bit of room in that patty wagon and when King was released, he and his partner Kareem, a self-taught barber and contractor, purchased a used one and fashioned it into a barber shop on the inside.

“We built the whole thing by ourselves,” King said.

While the idea seemed stupid to most people, King was convinced it would work. By eliminating the binding lease of that comes with a brick and mortar shop as well as the rent and utilities, King saw an increased profit. His idea also provided the ability to travel when needed to serve the clientele.

The truck’s electricity is provided by a generator and water came from an in-house filtration system, built by King and Kareem, just like everything else in the truck.

“Why pay rent when I don’t have to?” King said.

That was two and a half years ago, and since then Enterprise on Wheels has seemingly hit warp speed. King has upgraded it from a patty wagon to a full-sized trailer, which will soon house a full staff of barbers, hair braiders, tattoo artists, a cab dispatch, a car wash outside and a seafood restaurant  further up the block. King wants his patrons to spend their day with him, as well as their money.

King’s enterprise shows no signs of stopping. He recently sold one of his trailers to a promotional company and they use it as a party truck. His next endeavor is in the whole sale foods industry. King and Kareem are designing a trailer which will store dry foods for sale. King is confident that just as in the past, his work ethic will put him ahead of his competitors.

“I’ll out hustle Costco, BJ’s and whoever the hell else,” King says as he finishes his set of shoulder shrugs on the bench in the corner of the shop. It appears that King works out regularly. His tattooed arms and shoulders have grown massive from the hours he spends on the bench. However, to say so would be an assumption, and King has made a living proving assumptions about him wrong.

“I’ve been in this neighborhood for 40 years,” added Willie, fresh from the barber’s chair. “I’ve known King since he was a baby. To see how he was on top of the world, fell down, but is on his way back to the top makes me proud.”

Is there going to be some sort of Hardcore Event in the Impact Zone?

After hearing Tommy Dreamer’s prophetic words, “Impact Zone, we’re going extreme,” and seeing the new skinning of the company’s website, changing “Hard Justice” to “Hardcore Justice,” you’d have to think the scene is set for one of the coolest, yet a bit bittersweet pay per views in quite some time.

Hearing Dreamer talk about all the guys that lost their jobs at ECW after the WWE canned the franchise was a bit rough for both him and the fans, who clapped repeatedly as the hardcore legend held back tears throughout his shoot interview.

Considerly all that many of these guys have been through, it’s pretty cool that Dixie Carter and TNA are giving these guys one more night in the spotlight.

However, the question remains if many of these athletes still have the gusto to kick some serious tail in the ring. While Stevie Richards and Rhino look great and will be more than able to hold their own, as will Team 3D and Rob Van Dam, Tommy Dreamer is injured and Mick Foley and Raven look like they’re on their last legs physically. Simon Diamond and Al Snow, two former ECW stars who are now TNA road agents, have been out of action for quite some time as well. Nevertheless, with more superstars to be added and a ton of surprises hopefully, this PPV looks to be one that will be remembered one way or another.

Seriously, the thought alone of who could come out of the woodwork for this pay per view is a pretty exciting one.

As a matter of fact, fans in the impact zone started chanting Sabu, as soon as the news broke.

If TNA can go out of their way to make this event a worthwhile one for both the fans and talent involved, who knows what the possibilities for the future could be.

With that news, four or five entertaining matches, a title change and more drama with Kevin Nash and Jeff Jarrett, this week’s Impact was a solid one. While it’s not anywhere near what it could be, this company is working towards something and is desperately trying to make its fan base happy.

What more can you really ask for?

SET FOR SEPTEMBER 25 & 26 AT

AUTO CLUB SPEEDWAY IN FONTANA, CA

With a line-up led by headliners Eminem, Blink-182, KISS and Rise Against, EPICENTER Twenty Ten has announced the addition of former Hollywood Undead frontman Deuce. His performance on Saturday, September 25 will mark Deuce’s live debut as a solo performer.

The updated line-up for this year’s EPICENTER Twenty Ten–Saturday, September 25 and Sunday, September 26 at the Auto Club Speedway in Fontana, CA–also includes performances from Thirty Seconds To Mars, Bush, Bad Religion, Papa Roach, Big Boi, A Day To Remember, Suicidal Tendencies, The Black Pacific and many more. The multi-stage event will feature no schedule overlaps, allowing concert-goers to see every set throughout the weekend.

Tickets start as low as $79.50 for a single day ticket and more information about weekend VIP passes, two-day value passes and single day tickets, plus all camping information can be found at www.epicenterfestival.com.

EPICENTER Twenty Ten is presented by Right Arm Entertainment (creators of Ohio’s successful Rock on the Range annual festival).

Trevor Reznik, an industrial worker plagued with insomnia for over a year, begins to fall deep into an abyss of delusion, as nonsensical situations play out in his daily life. On the crossroads of looking for answers to his insanity while trying to avoid the possible outcome of being beaten by his year-long alcohol and cigarette binge, tied with no sleep, the sickly looking Reznik is a powerful, yet pitiful character. Bale captures the role perfectly, leaving the viewer lost in the inner-conflicts and highly imaginative scenarios Reznik faces.

Besides Bale’s incredible portrayal of Reznik, “The Machinist” is well written, well shot, and well-directed. The scenario perfectly gives the viewer butterflies in the stomach with its dark vibes, eerie silences, and bad weather, all of which hit at the perfect times in the industrial town where the action takes place. With a setting and plot, more or less, uncomfortable, the characters in the film leave you questioning their importance, their meaning, and whether or not they exist or are just a part of Reznik’s repressed delusions.

Nevertheless, the greatest part about this film is its portrayal of insanity, which is something that several other films try to depict and fail miserably. It lacks pretentiousness, and makes no subtle attempts at being “artsy.” Instead, this film doesn’t “try,” which is a mistake many other psychological thrillers have done in the past, “The Machinist” “does.” And what it does is slowly, steadily, and very appropriately letting the realities and sanity slip away. The film doesn’t jump at you with an epic twist of an ending that “the whole thing was in his head the whole time,” as many other films have done. Instead, it leaves you with Reznik, a sickly yet relatable working class man, as his reality becomes more like a funhouse, making the insanity in itself questionable. It should be said that watching Reznik fall to the delusions is as painful as watching a small animal die in agony. You witness that insanity is not something that only happens to the typical, high-end, impressive character, much like Bale’s role as Patrick Bateman in “American Psycho,” but to just about anyone.

The most grievous part about the falling of the character is how undeniably eerie the whole situation is. The plot is filled with twists and turns through tunnels that can leave even the most intelligent movie fan dumbfounded as to the truth of the situation. In this movie, everything is questionable, nothing is set in stone, and to get the full effect, it should most definitely be watched more than once.

All in all, “The Machinist” was underrated and underappreciated for its time. Although Bale was only on the verge of Hollywood stardom, as it did come out previous to his groundbreaking Batman role in Christopher Nolan’s franchise, he was incredible in this film. As a result, “The Machinist” is a definite must see.

Based outside of Durban, Bobbie Bear is made almost entirely of women who take it upon themselves to reach out, protect, and counsel children who have suffered or continue to suffer abuse. But this is no ordinary organization. The first case shown in the documentary involves a man who raped a little girl, was released on bail and continued to verbally torment her as he lived next door.

After a fiery debate with local authorities, Bobbi Bear gets together a small group of armed men and women who meet up with police to apprehend the child molester. After knocking down a couple doors and threatening to arrest the perp’s mother, they get their man. Through this event we get a chance to see the group’s persistence to bring justice for their charges.

A constant theme of the documentary is female empowerment, the feeling that it is up to them to take care of children who might otherwise be forgotten. With the personalities of Bobbi Bear’s staff that are on display here, it is hard to disagree with that notion. Among the people the documentary focuses on are: Mildred, a woman with a history of abuse and a recent failed marriage; Eureka, the often fiery coordinator, who works a lot with local police; and Jackie, the steely, respected boss of Bobbi Bear. These women time and again put up a defiant face against the constant misery they face on any given day. It is only when the camera focuses on them individually that we see the effect that all this trauma has on them. Yet they push forward.

Among the events that they have to deal with, other than the previously mentioned apprehension of a child rapist, include: the bloody aftermath of a home invasion, the accidental drowning of a Bobbi Bear employee’s son, and the removal of custody of a girl who was regularly beaten. During these circumstances, often while barely able to contain their own emotions, these women have to comfort those who have suffered the worst.

Directed by Kim Longinotto, a woman who has made a career documenting the plight of women in impoverished conditions the world over, Rough Aunties illuminates a story that is not often seen. It is a tale of women of different backgrounds coming together to better the lives of other women and children. It’s a story of how empowered women can make the world a better place, of how emotion can save us all.

In fact, at one point Jackie tells the assembled Bobbi Bear staff that if they don’t cry everyday then there is something wrong with them, that their hearts are not made for this line of work.

Fortunately for these children, there is no shortage of tears.

For starters, if you haven’t watched the first two movies in the series, right now is a bad time to start. There’s just so much back-story and so many characters to follow that you’ll be so lost that you won’t appreciate the soap opera-type drama for what it is, addictive. Yes, the drama presented in “Eclipse” is just like the stuff that Rick James spoke about in his stint on the “Dave Chappelle Show,” cocaine. Regardless of if you can’t stand the concept or the characters, you’ll sit through the entire movie, yelling at the screen, wanting Bella to make the right choice [in your mind] or for the vamps and weres to defeat the newborn army.

For a film that can’t stand firm on its own feet, aside from some excellent cinematography, [which show off some beautiful landscapes throughout] and cool fight scenes [easily the best in the series] to still be able to captivate you the way it does at times is pretty cool thing.

The only problem is never during this rapture or hypnosis, [unless you're a teenage girl] can you honestly say this is a quality film. It bounces around so much and never develops the plethora of emotion it has and makes you feel that there is any real support or purpose.

Throughout the film, Bella’s father, Charlie [Billy Burke] and Jacob [Lautner] continually ask her to separate herself from Edward [Pattinson] and figure things out for herself. Ironically, if this film would have spent some more time developing its characters and separated itself from this soap opera atmosphere, it could have appealed to a more mainstream audience, instead of the popcorn and bubblegum crowd that feel right at home with “just because” answers that lack any depth and permanency.

However, for that to happen, this film would have to be a TV sitcom, so perhaps making millions by throwing together a mish-mash story with great-looking characters works.

Hopefully the smart movie-goer knows better.

Even if you have seen the last two movies, if you’re not a hardcore fan, you know, with a life to live, you may have to go back to the older films and catch up before heading to the theater and may get annoyed with the lack of depth. After three films, to see the same themes going on, with Bella still unable to make a choice and Jacob and Edward at each others throats, and mere measly events occurring in between, it’s easy to get fed up.

Make a choice Bella and put a steak in this series once and for all.

Stressed by saxophone accompaniment, the melody leads the listener, who is a bit distracted by background talking, to the first line that strikes you with the strength and power of Jones’ voice. Her pitch switches from low to high smoothly and naturally, which shows how well the singer can maneuver her voice. Instead of the indistinct murmur there are now piano keys sounding brightly in the background, giving Jones’ voice even more energy.

While the voice is outstanding, the words are quite simple. What to do if a love affair does not work out? As Jones repeats over and over, “I got better things to do than remember you,” which is all one should get out of the song. These repetitions may remind of one of the techniques Rhonda Byrne recommends in The Secret: if you want to believe in something, repeat it to yourself as many times as you can. This is what Jones seems to be doing in “Better Things.”

Even though the lyrics are unpretentious, they send clear messages to both men and women. The former should realize that losing them is not the end of the world for strong women with beautiful voices like Jones’.

The latter should remember that though parting always hurts, there are always better things to do, like listening to a good song, which this, of course, is.

Check out these new videos promoting one of Southpeak Games’ upcoming titles, “Two Worlds II”:

Episode I:

Episode II:

That should give you an idea as to what kind of faith it has in its cause.

Still, it’s pretty obvious that there are plenty of things to be alarmed about. At a time when terrorism is such a big deal, the thought of al-Qaida using nuclear weapons is a legitimate concern, especially considering what it’d take to put one together. Although it’s not easy to get the parts through customs, given all the narcotics that get across every day, things like plutonium or uranium could be obtained just as easily. Even those knuckleheads in the war room from “Dr. Strangelove” could pull it off.

Of course, so many countries have these weapons already that producing new ones feels like overkill. With more than 23,000 of them currently in the hands of various nations, you’d think we’d have some idea of where they all are, but not every last one has been accounted for. The only thing everybody here seems to be able to agree on is that the world would be a better place without them, which is where the “Countdown to Zero” angle comes in.

While major steps have been taken in that direction, the focus this film gives them is relatively vague. Maybe the concept of a nuclear-free world doesn’t warrant much fanfare.

There are plenty of other films about this subject. Try to find a copy of “The Atomic Cafe,” which, on top of having a glut of material to work with, is also one of the most entertaining documentaries ever made. It doesn’t find the same hope that “Countdown to Zero” does for a future free from the threat of nuclear weapons, but at least it understands that we already know what they’re capable of without having to be told what goes into making them.

Besides, if it’s this easy to get a hold of them, shouldn’t we be worried about all the people who come out for a movie that spends most of its running time showing you how nuclear weapons work?

This article was originally published at AllMediaNy.com

Those who have never heard of or spent time in Coney Island have no idea what they are missing out on. Between the delicious presence of Nathan’s hotdogs, a roller coaster that has become an official landmark, unlimited arcade games and a soothing boardwalk next to the beach, what more can a crowd ask for?

Believe it or not, for the past 27 years, Coney Island has also incorporated a circus sideshow, popularly known as a “freak show,” to their list of events to take part in. Originally founded by Dick D. Zigun, he created a way for hundreds of different performers to present their strange talents and/or uncommon abilities to curious audiences.

This freakish business includes magic, fire eating, snake charming, human blockheads, sword swallowers, bearded ladies and plenty of other unimaginable situations.

This summer, Coney Island’s “Circus Sideshow” presents the most experienced and updated freaks of our time.

With the variety of live acts and attractions that are displayed, Coney Island figured that creating a “Coney Island Girlie Freakshow” would add some spice to what they already have.

The “Coney Island Girlie Freakshow” is hosted by three young ladies, all who have given themselves stage names to be called by. Their stage names are Angelica, Serpentina and Remy Vicious.

With $7.50 for an adult ticket, and $5.00 for children, anybody who is willing to pay will highly enjoy the wonders and human curiosities that these professionals are able to shock all ages with.

Once the audiences’ tickets are purchased and checked, they should except to walk into a dungeon-like room that is miraculously decorated with colorful cartoon posters that represent old and new sideshow cast members. Bleachers are appropriately used as seats, in order to keep the old-fashion look alive.

As the show begins, the lights go dim and music begins to play as Angelica walks onto the prop-covered stage. She is covered from head-to-toe in tattoos and wears a belly-dancing outfit. By introducing herself and explaining what the people are about to witness, she sets the scene and captures the audience’s attention extremely well.

Serpentina’s act is first. While wearing a tight and long leather dress, she starts off by walking barefoot across a pile of glass. As this is being done, she nonchalantly speaks into a microphone, cracking a few jokes here and there. It was amazing to observe the result, as she lifts her undamaged feet into the air.

Allowing the demonstration to be consistently interesting, Angelica, Serpentina and Remy Vicious are constantly switching back and forth between acts, rather than performing their own talents one at a time.

Angelica reappears in front of the spotlight, rearranging props in order to set herself up for what the audience is about to view next. Behind her stands a ladder that is constructed of swords. She proves the sharpness of the swords by gliding fruit across the blades. Just like Serpentina, she walks up and down the ladder with her bare feet, without a single look of discomfort or pain.

So far, their entire presentation remains intriguing.

After the trip up and down an uncommon ladder, Angelica whips out a fairly long metal screw. With ease, she is able to stick this object far into her nose without puncturing its insides. She calls this “The Human Blockhead.” Even though it doesn’t seem too difficult to do, she is still able to send chills down spines.

Regardless of the act and how much the viewers are enjoying it, Serpentina and Angelica have phenomenal stage presence. They naturally speak and glide across the stage, allowing viewers to realize the passion that have toward their job.

Remy Vicious is up next.

She strolls up on stage with her fragile thin figure, wearing a plain, low-cut, red dress. Compared to Angelica and Serpentina, she presents herself quite differently. She barely speaks when performing and constantly has a chipper expression on her face.

Angelica and Remy Vicious cooperatively work as a team to complete the following attraction.

Remy Vicious calmly climbs and lays in a large closed box that stands about four feet off of the stage’s floor. Afterwards, Angelica sticks 15 blades into the box’s randomly placed slots. Usually, this would slice a person into pieces, but not in this case.

An interesting factor about this act is that Angelica gives the audience the opportunity to walk up on stage and view Remy Vicious from above, in order to understand how she is positioned in the box. The girls charge a dollar fee for whoever is curious.

Stupidly enough, a majority of the crowd pays the dollar, just to see Remy Vicious’s paper-thin body in feeble position.

This was somewhat disappointing, but it didn’t change the fact that they created an illusion for those that didn’t bother checking the explanation.

The most captivating representation was saved for the finale.

Angelica stands alone on stage as she prepares torches and gasoline props around her. Positioned in the center of the floor, she erotically dances to the heavy background music. Depending on her moves, she eats and spits fire. One of the most astonishing parts was that the heat could be felt by the entire audience, regardless if they were sitting in the first or last row.

Overall, the “Coney Island Girlie Freakshow” or any of Coney Island’s sideshows at that, are definitely something to experience at least once. Certain acts may cause suspense, while others are predictable, but still interesting to watch.

For almost three decades, Coney Island has been able to entertain curious crowds with these freakish acts and hopefully, there will be plenty more where that came from.

Sure, they have a hard-rock swagger to them, but they fail miserably at comparing to bands such as Slipknot, who they make an attempt to emulate. Slipknot’s words are understood and clear no matter how raging the lead singer is. For Vampires Everywhere, not many words are comprehensible. Rock ‘n’ roll fans and artists should burn this CD – and not in their home computers.

The suggestion is to not only stay away from purchasing the album, but to refrain from listening to this garbage altogether, because it represents everything wrong with the music industry and how they view listeners. This whole idea of vampire rockers is a ruse to keep making pretty pennies from the vampire and Auto-Tune pandemic sweeping the world.

The two songs on this debut – “Immortal Love” and “The Embrace” – both sound pretty much the same, starting with the yelling and screaming of words that look good when reading the lyrics but cannot be understood when being heard. From there, the chorus takes over and commits Auto-Tune suicide. The actual music is as painful to human eardrums as the sun and garlic is to them. The guitars and drums are on point at the beginning, but fade and become repetitive and mechanical as the song progresses.

It has a unique sound similar to dry heaving over a melody. Century Media has reached an all-time low by signing this group of cornballs who resemble a boy band on Halloween. Anybody who becomes a fan of this is batty, and should sink their teeth into a bloody batch of cyanide.

The one good thing about this band is that their CD case was nicely designed. Other than that, it is wishful thinking to hope that this record lives up to its name and either gets “Lost in the Shadows” or found in a dumpster.

The rock portions of the songs are miserable, the computerized singing is even worse and the creativity level misses the mark as punk rock and come off more like Punky Brewster. The band name is derived from children’s literature and the 1987 film “The Lost Boys,” and that is exactly what they are. Vampires Everywhere originally began as a comic book, but with help from this band, it has transitioned into comic relief.

Episode Commentary:

The problem with the name of this episode is that it makes you think right off the bat that there will be some sort of action this week on “True Blood. ”

A more fitting title would have been “Looking for Trouble. ”

Continuing to develop the back stories of several of the newer characters on the show and get closer to the bottom of the drama between Bill and Sookie, this week’s episode, again, does more setting up than anything else. As a result, the string of weaker episodes this season continues, making one wonder if this show is ever going to reclaim its sexy and bloody roots.

The new storylines involving the werewolves and other vampires are interesting, but seeing the weres shapeshift in broad daylight is too much of stretch, even for this show. Likewise, learning more about their connection with Eric and the vampires from Mississippi has been fun, but after waiting for a month and having only sparse clues to work with, it’s easy to find yourself frustrated with the lack of action on the show as of late.

The same thing goes for the relationship with Tera and her new vampire friend, which is beginning to get incredibly boring. Both are talented actors that can produce, it just feels like the dialogue is too lackluster and holding them back.

Jason’s new fling looks to be an interesting one as well, but that flame looks like its going to need some time before it truly begins to burn. Not that that’s a bad thing, it’s just more drama oriented this time around than it has been previously.

Ironically, this new plot line speaks for the entire show in a way. It’s not that the drama has been bad in Bon Temps this season, it’s just a far cry from the sleezy, sultry, slaughter-fest it was just a year ago.

Once getting started, IWRESTLEDABEARONCE went through the process of joining Tragic Hero Records and immediately releasing an EP. This shocked audiences all over the world, simply because of their strangely packed genre and fast paced abilities to produce tracks quickly.

During the time of becoming a new, upcoming band and constantly conducting original material, they were experiencing problems with the member line-up. “It’s hard a lot of the times when you’re in a band and we’re all fairly older. When you have somebody with their head in a different direction, you have no other choice but to go that way,” said lead vocalist, Krysta Cameron. As decisions were being made, the line-up became solid and final, never getting in the way of the success that was being thrown at them.

Current members now include Cameron (lead vocalist), Steven Bradley (lead guitar, keyboards, samples, programming), Mike Martin (rhythm guitar, keyboards, samples, programming), Mikey Montgomery (drums, backing vocals) and John Ganey (bassist).

First time listeners, or even fans of this crazy-coated style group still wonder where such a title for a band came from.

It’s quite simple actually.

Thank Gary Busey for stating such a witty line on Comedy Central.

“He had a TV show a while back called ‘I’m With Busey’ and you can find episodes of it on YouTube,” said Cameron. “And what ended up happening was Steven and I, the guitarist of IWABO, were watching one of the episodes and he said ‘I wrestled a bear once,’ so we thought it was hilarious and we rolled with the punches.”

Believe it or not, no matter what the internet tells people, those who are a part of the band are not all strictly from Shreveport, Louisiana. As a whole, they are based in one place, especially since that’s where they all currently reside now. Whether some of the members were born and raised in Shreveport, Louisiana, or not, this has never prevented the band from receiving positive feedback and performing outstanding shows.

“I think any band will say that they always like to play in their hometown. We’re all not from Louisiana, so it’s weird, but it’s cool too because whenever we play somewhere that’s our home state, that we all came from or somewhere close to it, it’s real neat to see friends and family come out. That’s really fun, but we’re based out of the Shreveport of Louisiana,” said Cameron. “There’s not that many venues really going on now, but apparently there’s one that still stands strong and having shows. We will probably be playing there hopefully next year, which will be great. Every time we play Shreveport, kids come out and they’re really supportive.”

Not only is the one place close to home an excitement for the band, but locations that others would dream to perform at are just as appealing for them when touring. “Two of my favorite places to play, ever, would be The Palladium in Worcester, Massachusetts and Portugal because both times, the crowds were crazy and it’s really responsive,” said Cameron.

There seems to be beneficial energy donated to them no matter what part of the world they are traveling.

Released in June 2009, ‘It’s All Happening’ was the first debut album that IWRESTLEDABEARONCE was able to record through Century Media. This particular CD contains a mass of genres that include death metal, industrial, noise, funk, hardcore, hip hop, progressive rock and even bluegrass.

With mind-boggling beats and programming, one of a kind vocals and an abundance of creativity, it’s strange to see why the band with an outrageous name would choose such a simplistic title for an album.

In reality, it all makes sense.

“I know me and some of the guys, we all grew up watching ‘Almost Famous,’ the Cameron Crowe film. In that movie, they say ‘It’s All Happening’ and the way they said it was so sly and careless and they said it around constantly. We’ve all been in bands for a very long time. This is not our first roadie, we’ve all done this since we were like 15. And touring at least since we were 18 or 19,” said Cameron. “A lot of bands that are up and coming today are way younger than us. We’re all in our mid, late twenties and we’re now getting our foot in the door. I guess we all thought it made a lot of sense to call it ‘It’s All Happening’ because it technically was, finally, for all of us, and we’ve been waiting for the longest time.”

On the other hand, the tracks that are a part of ‘It’s All Happening’ have the most bizarre names compared to any other songs currently available in stores or on the internet. “All of the lyrics mean something. They’re either personal or weird. The titles of the songs are all inside jokes that we all have together. It doesn’t have anything to do with the song itself, but they’re all inside jokes because we don’t like to take life seriously, but we do take life seriously,” said Cameron. Though the lyrics are finely written and give off a meaningful essence, the confusion of where such titles came from is perfectly normal.

The band’s most popular song off of “It’s All Happening” goes by the name of “Tastes Like Kevin Bacon.” With a silly label and an amazing representation of what the band’s style of music is like, the entire band decided to create a promo video that allowed viewers to go more crazy.

Demonstrating the clever and humorous side of themselves, this video includes the members being dressed up in wacky outfits and dancing along with certain beats that are in the song. Aside from being funny, the music video also shows them playing live and giving all that they’ve got when performing.

“That (‘Tastes Like Kevin Bacon’) was one of the first videos we ever did. We were scared about doing it because that song was fairly new. Steven recorded the song himself, with John, in our living room in Shreveport, Louisiana. We were scared about it because we didn’t know if we wanted to save this song, but at the same time, we said ‘Screw it’ and go with the flow. Before we did that video, this guy named David Anthony, he directs videos and his wife is a photographer, so they work together. He came down and directed one of our first videos for ‘Ulrich Firelord: Breaker of Mountains,’ which is off of our EP and then he said ‘Hell, lets do another one, that was really fun,’” said Cameron. “I remember we were on tour and we went through Atlanta, where he’s from and he set up a green-screen in his basement, where we did all the funny antics and he rented out a little music hall and played the song live. We spent time on that thing. I think it cost
nothing to rent out. David basically did it for free. For the love of filmmaking, for the fact that he’s cool and a friend of ours. It’s cool because there’s such a live feeling to that song.”

Besides releasing a CD that holds their 10-track set, IWRESTLEDABEARONCE decided to get even more imaginative by producing a second disc that came with the package.

This CD holds techno-sounding remixes that were done to nine out of the 10 songs. What allows this surprise disc to be fascinating is that the remixes were not recorded by them, but their friends instead.

“We’re all into different styles of music and I think what filled us on doing that was when we had our EP, we had these guys named Dada Yakuza, they’re from Brooklyn and they ended up remixing one of our older songs, ‘Ulrich Firelord.’ It went really well and we thought it was awesome and it sounded really cool. We wanted to do it again, this time get a bunch of people or our friends to do it,” said Cameron. “It was really cool, especially having our friend from Horse the Band, David Isen, doing a remix and then Weinman from Dillinger Escape Plan. Being able to tour with them, know them personally and then do a remix for our songs is really cool. I think it’s really cool, I guess, I mean, hell, it’s something to dance to, right? Get drunk, get a party started, put on the remix album.”

While being in a band as long as they have, one would assume that slight problems would occur when at home or on the road. Even though they are constantly spending time with one another, this family of musicians does not experience those typical obstacles.

“What makes us so special to each other is the fact that we all agree on most of life in general. Everybody has their own opinion on things, but we never try to push religious-political beliefs on anybody. In this band, we all believe in what we want to believe in and nobody judges each other for it. Other than that, we all get along,” said Cameron. “It’s pretty insane for the fact that we live together, eat together and sleep together. If I wasn’t around them, I’d feel weird because I like coming out of my bedroom and seeing Mikey say ‘Oh, I made coffee,’ and his hair is up in the air and the rest are playing video games or watching TV or something. It’s comforting.”

Currently touring several parts of the world and continuing to please audiences, this makes it difficult for them to create newer material faster than they’d like to.

Consistently striving to remain getting their name out there, there isn’t a moment in time where this group of five slack on improving their abilities and ambition to make it further than they have already gone.

“As musicians, we all want to out-do ourselves. I think definitely on the newer record, the vocals are going to be a lot more crazier and a lot less screamy. There will be a song where there’s all clean-toned vocals and then there will be a song where, maybe, I’ll use screaming as a form of a writing melody of some sort instead of using it as voice, but using it as an instrument. You just never know what will come from us. I like screaming, it’s fun, but I think singing is more fun,” said Cameron. “We’re on tour 24/7, so it’s really hard to sit down as a band and start writing new material. I know for a fact that there is some new material being worked on right now because I’m always seeing Steven or John play guitar or working on strings, violins and piano. We probably won’t have anything new until we record again, which will be this winter. With the internet, nowadays, everything leaks. I’m kind of scared about it. We want to try, maybe this fall, to
have a new song to perform live, for sure, though.”

What must have begun as a persistent inkling in the gregariously brilliant mind of writer-director Christopher Nolan became a cerebral monster of philosophically grand proportions in this summer’s blockbuster, “Inception.”

It begins with a highly disheveled Cobb being brought into the room of an elderly stranger (Ken Watanabe) seemingly running an empire. He presents a device that the latter had not seen in years.
Cut to the real world.

Cobb, Arthur (Joseph Gordon-Levitt) and Nash (Lukas Haas) are seen penetrating the dream of the aforementioned (much younger-looking) businessman, Saito. They fail due to interference from a mysterious stranger – the dangerously beautiful Mal (Marion Cotillard), and now they have to bail – their employer simply does not accept failure.

But it seems that Nash, their architect, had betrayed them, and they are suddenly in need of a new one – in the form of Ariadne (Ellen Page), a prodigy graduate school student of Cobb’s father-in-law (Michael Caine).

And so, (at the risk of sounding horribly clichéd) dream-team fully-formed, they can commence with the routine goal of their not-entirely-routine profession: to invade a subject’s subconscious and introduce a designed REM cycle, at which point they begin to extract vital information from the subject’s dream-self – usually something quite valuable, and “not strictly-speaking legal,” according to Cobb.

Stealing information is easy, though. But planting an idea? Instead of extraction, they are tasked to create inception – a risky and ultimately dangerous job.

But one that may finally give Cobb a free ticket home to his family.

And so the gorgeous, blissfully complex and gloriously philosophical world of Nolan’s opens. Five minutes in the waking world is equivalent to an hour in a dream; but dreams have many dimensions. If one ventures into a dream within a dream, then that time is multiplied and an unwary adventurer can easily spend decades in the dreamscape that would only encompass hours in the waking world.

Now, this world is not quite what viewers would expect from the mind behind “Memento,” whose focus dealt heavily with twists and a non-linear storyline. Any turns in plot in “Inception” are seen a mile away and flow seamlessly through the script – but perhaps that’s the point. With a storyline as complex as this one, foreshadowing is a much more useful tool in helping explain the idiosyncratic rules by which this game is played.

You will know (or at least suspect) almost immediately what it is that’s haunting Cobb, but the beauty of this tale is its execution.

And speaking of beauty, the special effects are absolutely mesmerizing. The gravity-devoid elevator scene is truly hypnotic and consistently begs an explanation behind of its engineering. Not only does it look fantastic, but must have been incredibly difficult to pull off, evidently successful through constant training.

The same could likely be said for the script. The plot unravels so perfectly (at least at first viewing) that one cannot help but question the sheer amount of re-writes and edits the screenplay must have undergone. Nolan’s toils have more than paid off in this ambitious endeavor in its grasp toward excellence.

This is only further augmented by the dramatically dark soundtrack by Hans Zimmer, with whom Nolan had previously collaborated for “Batman Begins” and “The Dark Knight.” Easily recognizable for his generous use of brass instruments.

Not everything was perfect, of course. Many of the characters felt flat, though cerebral tales are seldom character-driven, so a flaw like that is easily forgivable. The actors did their jobs sufficiently.

DiCaprio was often sympathetic in his yearning to return to his family and Caine – when is he not a definitive nexus of charm? Dileep Rao and Tom Hardy were an endearing joy to watch as Yusuf and Eames, respectively – the Chemist and Forger of the team. Everyone was more than adequate, but the roles were not tremendously difficult.

This is absolutely fine. Character development is hardly the point of a cerebral thriller, unless its purpose is to address the intricacies of that character’s mind, which “Inception” arguably does, but instead it develops an ornate schema of dream theory.

And that is simply perfect. You leave the theatre mystified and while the initial, euphoric reaction may not be overwhelmingly thought-provoking, the subsequent days of wonder will surely send the unwitting viewer back to Nolan’s intellectually-capable web.

And it will be absolutely worth every moment.

Like the central idea of Nolan’s “Inception,” your adventure will begin with the simple viewing of a film; but that pesky, persistent inkling of curiosity and awe will undoubtedly grow, until the very fibers of your psyche surrender their futile resistance.

And allow that proverbial train to take you away.

Check out Review Fix Editor-In-Chief Patrick Hickey Jr.’s exclusive interview with actor Josh Rivedal, currently starring in his own one-man show, “The Gospel According to Josh” at the Dorothy Strelsin theatre in New York City.

You can listen to the interview by clicking the link below:

Josh Rivedal Interview

You can also check out our review of “The Gospel According to Josh” below:

http://reviewfix.com/2010/07/one-man-show-has-a-volcanic-and-panther-like-intensity-and-heart-to-spare/

The Bioshock franchise was the breath of fresh air for publisher 2K Games. After years of lackluster RPGs, Bioshock’s first person shooter was exactly what the doctor ordered. Competing with Activision’s Call Of Duty 4: Modern Warfare, Bioshock ads some pizzazz by not only adding a well stock arsenal, but the icing on top of ADAM fuel powers ranging from electricity to the ability to summon a swarm of killer bees. In Bioshock 2, the bees are still present, but instead of the originals protagonist Jack, you are now Subject Delta, one of Rapture’s first Big Daddies. After a run in with Sofia Lamb, the city’s new head honcho, you are left for dead. Your goal is ultimately defeat the evil of Rapture, while trying to save the helpful, Eleanor.

The great thing about Bioshock 2 is that it lets you embody that of a Big Daddy. You move from level to level, wielding the large drill you once feared. That plus slew of other weapons that would make most armies cry. As a Big Daddy, you have the option of adopting little sister as your own (once you defeat their original overseer of course). After the adoption, she sits perched on your shoulder until she finds a ‘little angel” that is worth draining. This, however, alarms the still living splicers and well, it’s not going to be as easy as it sounds. Controlling the Big Daddy is not much more difficult than Jack (from Bioshock), but the fishbowl helmet you wear can cause some visual obstruction. Also, there is no such thing as lock-on shooting in this universe, so try to keep a steady hand.

The new addition to the Bioshock family is the Big Sister. She’s you on ‘roids. The Big Sister comes out of nowhere once you’ve basically used the Little Sisters to their last stick of ADAM. She can leap up walls, and then climb that very same wall, while simultaneously causing a tidal wave.

All over a little ADAM. Geez.

With that said the graphics are amazing. Running under water while fish scurry past, you duck and dodge to make it to the next terminal where you are greeted (again) by facial disfigured splicers that are out for ADAM (and lots of it). The design satisfies the idea that ADAM has destroyed Rapture and those that inhabits, both physically and emotionally.

Even though the Big Sister is a royal pain in the ass, it is the only perk to the games general storyline. It is really the only thing that sets Bioshock 2 apart from the original. The levels are just about the same and so are the missions, the names of the train stops are just different. Also, Bioshock kept you on your toes. The ever twisting plot let you know that you couldn’t trust anyone and you would play it for hours, upon hours ignoring basic hygiene. Bioshock 2 you can stop playing and ignore for about three months.

Yes, this is a day of online multiplayer and last kill standing shootouts, but every so often, gamers want to play a story out. Bioshock 2’s game play while it is average lacks fluidity in its game play. A good story at that. Stories like MGS, Kingdom Hearts and Zelda that gave you a goal, and said “GO!” You feel more involved within the game that way, leaving you with an experience and a feeling that leaves you wanting more. After you learn the basic controls and understand exactly what is being asked of you in Bioshock 2, all you really want to do is take it out of the tray and replace it with its precede.

“Despicable Me” is cute, if not entirely memorable. But as cute as it is, it’s also predictable. The bad guy wants to wreak havoc, three little girls unexpectedly change his life, everybody loves everybody and somehow, good manages to conquer evil with not so much as a paper cut suffered. The world is a happy place once again.

However, there are a few things you won’t find in your average good guy/bad guy film here. For instance, there is no good guy, but two bad guys. Gru is, after all, an evil villain even if he turns out to be a good guy in the end. Still, no story is complete without an enemy and that’s where Vector (Jason Segel) comes in. Since there’s no battle of good and evil in this movie, Vector provides a little competition and an opponent when it’s needed, reminiscent of Pixar’s Monster’s Inc. with two scary monsters but one who is the lesser of two evils.

The supporting characters, Dr. Nefario (Russell Brand) and Gru’s mother (Julie Andrews) don’t contribute much to the story, but they serve their purpose anyway. Dr. Nefario is Gru’s right hand man who keeps him focused and Gru’s mother is the ever present, never supportive pain in the butt who’s never ending doubt drives him to follow through with his evil plan to steal the moon and accomplish his dream.

And then there’s the final piece of this story, the catalyst for Gru’s transformation from evil genius into lovable dad and the glue that holds everything together. Three orphan girls, Margo (Miranda Cosgrove), Edith (Dana Gaier) and Agnes (Elsie Fisher). It’s never made known whether or not these girls are sisters but if not, they’re as good as. They’re inseparable and Margo, as the oldest, looks out for Edith and Agnes.

Gru adopts the girls to be used as part of his evil plan. But as he gets to know them, they grow on him and steal his heart as small children have a way of doing to even the most tough-as-nails characters. Still, as unsurprising as it is, it’s heartwarming to see the journey of people who so clearly dislike each other, growing to love each other and become a family.

This film tries hard to be more Pixar-esque than anything else, from its 3-D animation to its storyline. It’s a witty and adorable family film, but the lack of a resonating story will leave you with a few laughs, but not much to remember.

All in all, “Despicable Me” is perfect for an audience with a short attention span. Namely, children; which is fitting as it’s a family film, but parents shouldn’t expect much. They’ll probably leave with a smile, but there isn’t a great deal in the story for adults, so they shouldn’t look forward to much more than some witty humor and good animation.

Episode Commentary:

After two episodes of dealing with Lenore and her antics, Tanya finally has had enough. But in typical Tanya fashion, the roar she should have let out ends up being a whimper and of course, Ray is stuck in the middle. Add in another conference between Tanya and her pimp friend and a surprise ending and you have a pretty nifty episode of Hung this week.

Building off the drama from the first two weeks, something big is bound to happen between Lenore and Tanya. It just hasn’t happened yet. Nevertheless, the anticipation is building every week and until the explosion finally happens, things should be pretty interesting.

The side story between Ray’s wife Jessica and new husband Ronnie is building up as well, making for some witty drama. Anne Heche [Jessica] has been solid from episode one in this series, but has been hitting her stride this season as the sexy ex-wife who is just looking to be loved by a real man. With Ronnie’s [Eddie Jemison] business struggling and his new insistence on building a family, Jessica is forced with a major decision, one that she’s not ready to make and shouldn’t be for at least a few weeks.

Until then, she’ll just continue spending time with her ex-husband, doing everything, but be intimate and discuss the past with him. The tease that this presents may frustrate some viewers, but with the “Happiness Consultants” business not hitting its stride yet, this show needs as much depth as possible.

The slow development of the relenting of Ray’s kids as well is another side plot that looks to get interesting in the long haul. It’s obvious that both of them are supposed to be annoying and even with that being said, they are both nailing the aggressive and lonely teenage angle to a T. While they don’t exactly shine on the screen, both Sianoa_Smit-McPhee and Charlie Saxton are serving their purpose on the show and have added an extra element to a show that needs as much depth as it can get.

Again, like in previous weeks, this week’s episode is not as sexy as it could have been, but considering how bad their sex for hire business has been doing this season, you’d expect the drama to take precedent. Far from orgasm-inducing, the drama thus far has been solid nonetheless and with some more development and a few nice twists and turns, the second season of “Hung” may not be its last.

IRVINE, CALIFORNIA –

“We are proud to maintain our commitment to the Demon’s Souls online community by extending our support for the game’s servers, allowing current and new players to continue to enjoy the game’s vast online feature set,” stated Aram Jabbari, Manager of PR and Sales for Atlus. “One of the highest-rated, most talked about games of all time, Demon’s Souls is defined by its groundbreaking online functionality. No other game better marries suspenseful, claustrophobic solitude with unprecedented cooperative and competitive multiplayer connectivity. Each game world, each individual’s adventure, can be bridged with those of others’, making for one of the most startlingly grand yet deeply intimate RPG experiences ever created.”

To celebrate the announcement, the game server’s World Tendency, a variable that can make the game more or less difficult and unlock secrets depending on its setting, will be shifted to Pure White for a couple weeks, making the notoriously challenging game slightly easier for newcomers while also allowing long-time veterans to reach otherwise inaccessible areas and items.

Demon’s Souls is out now for PlayStation 3 system. For more information, visit the game’s official website.

Despite the book’s title, it not only journeys through the movement in New York City, but also how it inspired people in other parts of the world to join in by way of imitation and the power of the media. The documentary Style Wars (1983) directed by Tony Silver and the book Subway Art (1984) by Martha Cooper and Henry Chalfant are mentioned as immense contributing factors in the book. Another section features the trend of indoor graffiti in galleries and museums.

Not forgetting that graffiti is also considered vandalism, Felisbret focuses a portion of the book to well-known law enforcement officers that gained attention by the number of vandals they arrested.

“It starts with simple signatures and tags. In the early days, the styling of the names wasn’t sophisticated. The book follows it’s evolution into more complex forms of graffiti like pieces. Those lead to more complex graffiti of letter form, lots of colors involved and eventually subway cars and then the large scale murals across the city as well as the other type of graffiti that the public views as complete vandalism,” he said.

Felisbret’s curiosity for the spray-painted wall signatures stems from his elementary school days when graffiti was a rising problem in the five boroughs. The MTA’s version of the Drug Abuse Resistance Education (D.A.R.E) program was set in place to discourage youngsters from picking up the bad habit as they grew up on the streets by showing a vibrant slideshow of graffiti.

“It sort of backfired for me. Instead of making me not want to do it, it got me really enthusiastic, because I found the slideshow very interesting. After that I started to pay a lot more attention to it and eventually I picked up a marker and got involved myself,” said Felisbret.

A temporary art form by nature due to buffs, Felisbret began photographing throw ups he found interesting in ’77 as a way to capture it’s beauty. By the mid ‘90s he had a collection of photos, built friendships with significant graffiti artists and absorbed as much graffing knowledge as he could, calling himself a “graffiti geek.”

One thing Felisbret came to learn quickly that he found strange was that there are people of all ages involved. Despite the public’s misconception of graffiti artists being 13 to 17-year-olds they only make up a small portion of the movement while the more complex murals are done by people in their 30s and 40s.

“When the opportunity came up Jim Prigoff the author of Spray Can Art [1987] connected me with the publisher, Abrams and I decided I wanted to do something with all this knowledge and large collection of photographs I’ve pulled together,” he said.

Unintentionally, launching his career through his love of graffiti, Felisbret’s next step to produce his book was the use of the internet by going public with his site @149St in 1998. Because the internet could be updated, he and his brother, Luke could continually add new and overlooked artists posing to be a better immediate fit.

“What was good about the choice of using the internet for the documentary project was the fact that a lot of old school graffiti artists that had disappeared off the face of the earth -as far as anyone was concerned- came out of the woodwork and approached us saying, ‘I would like to do an interview for the site.’ That gave us the opportunity to speak to people we never would have been able to find, because we had no sense of where they had moved,” he said.

Being unbiased and showing every aspect of the spectrum, the book features all sorts of artists from people who transitioned from graffiti to fine art to those who felt their work was better left on the streets.

The group TATs Cru, initially tagging in subways and famous for their attention to detail, made their way to having accounts with Nike and Sony while other highly respected artists such as Dondi White, Lee Quinones and Chris Daze Ellis preferred to stay true to their roots.

Unfortunately, the movement wasn’t always open to everyone. Tagging was the game and men were the supreme players leaving no room for the ladies. Felisbret’s book takes you through the struggle and determination of one woman ready to face off with any man.

“Lady Pink was one of the few women involved in the late ‘70s, early ‘80s. She was kind of alone in a sense. Not only was she one of the few women doing it, she didn’t have the support of the other graffiti writers around her,” he said. “It was a very male dominated field and a lot of people felt threatened. They weren’t welcoming to her so it was difficult for her to participate. She was very aggressive and made a good name for herself. In fact, some of her work is in art galleries.”

As the times have changed so has painting styles, gender superiority and tolerance.

“Its much different then when I was doing it. In the 70s, it was completely unacceptable now it’s in galleries. All sorts of media have found that there’s ways to monetize it. But at the same token there is still a lot of opposition to it, because there are aspects of it that are seen as vandalism,” he said.

The fact that this is captured in his new three-disc set from WWE Home Entertainment, “The Life Story of the Dragon” proves that it is a success, but several missteps along the way make it a DVD that isn’t as special as his storied career was.

The main reason why the documentary section of this collection falls flat at times is because Steamboat himself is such a decent person. Make no mistake about it, Steamboat does not have the dangerous past of Jake Roberts or the inspiring story of Brian Pillman. Instead, he’s just an extremely hard worker that carved his own path to success. Hearing his story, you’ll understand he wasn’t like anyone else in the business. However, it’s not the most entertaining story told and as a result, you’ll prefer to watch some of the excellent matches featured on discs two and three rather than hearing the Steamer discuss his life.

Nevertheless, while the dozen or so matches are chock full of drama, featuring everyone from “Cowboy” Bob Orton, Roberts, Ric Flair and Rick Rude, there’s no reason why some of his earlier matches with Flair, before he went to the WWE, shouldn’t have been included.

As well, many of the matches are long and of the epic variety. The fact that Steamboat doesn’t and never did exactly have a finishing move doesn’t help the pacing of some of these matches, which while being a testament to his prowess in the ring, don’t exactly have as much action as you’d like.

It’s almost impossible to knock any match the guy participated in, but after seeing what feels like three dozen knife-edge chops in a match, it doesn’t take Mike Tenay to tell you these matches haven’t aged as well as they could have.

Nevertheless, after watching, you’ll see what an impact Steamboat had on a business he never exactly fit into.

Because of that, the set is worthy addition to any WWE fans’ DVD library, even if it isn’t as enjoyable as it could have been.

“Star Spangled Banner” – Ted Nugent

The only guitar centered rendition of the “Star Spangled Banner” that’s worth owning is the Jimi Hendrix version. Get that one instead.

“Shape Up!” – Club 8

Musically “Shape Up!” doesn’t know what song it wants to be. The Caribbean, country, bluesy influences just don’t gel creating a musical mish-mash of rhythms that are difficult to follow.

“Saturday Sun” – Crowded House

“Saturday Sun” is a song that you would think would be on their greatest hits album, but no. Written by Neil Finn for Crowded House’s album “Intriguer” released this year, this track is sure to become a solid staple in your mp3 player. It has a rock beat that no matter what you’re doing will feel familiar. That’s what good songs do – make you feel as if they’ve always been a part of your life.

“Stand Up and Shout” – Dio

From the “Holy Diver” live album, heavy metal group Dio has a rock out track that will make you “Stand Up and Shout.” The spoken word in the beginning is the perfect set up to rock out to as it seamlessly is followed by an amazing guitar lick.

“The Mermaid Parade” – Phosphorescent

Storytelling to music is not something that can be done well by just anyone. When you think of tracks like that the only names that seem to come to mind are James Taylor, Stevie Nicks and Carole King. “The Mermaid Parade” by Phosphorescent belongs in this category as a depressing track that you would turn off if it were written by anyone else becomes a powerful anthem for letting go. In their capable hands they have created a song that makes you press replay to get every bit of its essence into your consciousness as you can.

“Do What You Gotta Do” – Jimmy Webb

You have to love a song that does exactly what it says. Jimmy Webb has written some of the most iconic songs in music history. Whether you’re crooning “By the Time I Get to Phoenix” or humming along to“MacArthur Park” Webb has been there. His lyrics in “Do What You Gotta Do” could be sung by Reba McIntire or Donna Summer, but there’s something about the honesty in Webb’s voice that makes it classic. It’s another track about letting someone go to find their own passion while the protagonist stays behind and waits. But it’s not a depressing song and Webb’s straight-forward singing voice makes this matter-of-fact track something worth owning. You’ll feel as if you’re stealing this one.

Playing over a dozen characters in 75 minutes is no easy task, but Rivedal is charming and talented to pull it off. First discussing his upbringing in a super religious family in New Jersey, with his rough around the edges (and physically abusive and mentally unstable) father, to his zany exploits in the entertainment business, Rivedal runs the full gamut of emotions and has enough zest to keep you entertained throughout.

Simply put, the story here is one that has been told before, but never with the openness that Rivedal possesses. Not many people could describe an intense beating one second, to only make fun of a music teacher with a paralyzed face the next, but Rivedal does it with vigor and purpose. As a result, there isn’t one moment during the show where you’re lost, bored, or even close to contemplating being anywhere else but your seat.

A pretty bold statement considering all the diverse places and people Rivedal comes across during the course of the performance.

One reason why the guy is so easily relatable to is his delivery. Reminding one of Jeff Anderson (you know, the dude that played Randall in the “Clerks” films) you feel right at home and can’t wait to find out what happens next.

Inspired by true events, it’s a tale that is poignant and as smart and funny as it is sad, a testament to the human spirit that proves that Rivedal won’t quit fighting, regardless of what obstacles stand in his way.

After hanging out with him for 75 minutes, you’ll want to fight alongside him.

As far as the plot goes, there’s not much here to report: After fleeing the helicopter that went down in “Batman R.I.P.,” the Caped Crusader makes his way back to the Batcave, not to rest but to figure out what his next move should be. Though his butler Alfred is pretty much up to speed on what’s happening already (he’s still recovering from an assault by the guys behind all this, in fact), Batman lets him know what kind of trouble he’s found himself in since he’s been gone – like his close call with the Joker, whose laughing gas almost drove him out of his mind.

That’s not the only thing Batman’s shaken up about, though. His memories of his encounter with Dr. Hurt – the vile psychiatrist at the helm of that ill-fated helicopter – keep playing out over and over again in his head. Even though Batman’s hardly a novice when it comes to untimely death (to be sure, he’s dealt with a few other villains who’ve found life after “death”), what’s troubling him is some of the stuff Hurt told him before the helicopter crashed – him claiming to be Batman’s long-lost father is right at the top of the list.

Although playing catch up with the storyline requires a bunch of research, going through all that isn’t a prerequisite here. Besides, the reason issue 701 works at all is because it has enough faith in its hero to carry the whole thing with inner monologue, the kind that gives us an idea of what sort of guy he is underneath that mask.

Writer Grant Morrison, the guy who also put “Batman R.I.P.” together, might’ve been tempted to give an old plot a few new twists, but instead of making the whole thing a frantic farce, all he wants to do here is give it a little more depth by creating some intimacy with the characters who populate it.

After more than 70 years of comics, films, TV shows and videogames, the Batman myth still hasn’t lost its potential for growth.

This article was originally published on AllMediaNy.com

From the beginning of Tijoux’s music lifestyle, not only has she worked with Venegas, but she has also co-produced pieces with artists such as Los Tetas, Bitman & Roban, Control Machete, Funk Como Le Gusta and Bajofondo Tango Club. Her genre tends to vary from hip-hop, pop, trip-hop, urban and R&B.

The experiences of collaborating with others allowed Tijoux to boost her fame, giving her the opportunity to release a bunch of discography.

The hit single that Tijoux is currently spreading throughout the United States, comes off of her debut album, “1977.” Though the album and the track share the same title, the importance of the number allows it to be okay.

1977 was the year in which she was born.

This specific track is something difficult to get used to, especially when a person doesn’t speak a word of Spanish.

All in Spanish, Tijoux raps about detailed descriptions of the way she was brought up and the hardships of being under Pinochet’s dictatorship. She mentions how her childhood was practically invaded by political schemes.

Though she might not exactly be singing her lyrics, her voice is still flawless. Her way of rapping is extremely fast, smooth, strong and clear.

Even if somebody is incapable of understanding what Tijoux speaks about, the background music that follows is highly appealing. Incorporating jazzy beats, Latin tunes, and old school hip-hop, allows this song to go no wrong. The additional horns and rattling in “1977″ are nothing but impressive to the ears.

Overall, “1977″ is booming with uniqueness. Those who are listening to this track for the first time should be able to appreciate the story that Tijoux tells (if understood) and acknowledge the mix of music that she decides to carry with her words.

We’ve also got new arrivals in the “Big Name Games” section of the WarioWare™: D.I.Y. series, which features downloadable microgames from some of the industry’s most talented figures. This week we have some new additions from the Treehouse, Nintendo’s game localization team. New “Big Name Games” are being added every Monday through July 26, all available to download for zero Nintendo DSi Points™ to anyone with broadband Internet access and a copy of either WarioWare: D.I.Y. for the Nintendo DS™ family of systems or WarioWare: D.I.Y. Showcase software for the WiiWare service. Visit the Nintendo Channel on your Wii system today to learn more about these games.

WiiWare

AquaSpace

Publisher: Nintendo

Players: 1

ESRB Rating: E (Everyone)

Price: 600 Wii Points™

Description: Turn your television into a virtual aquarium with AquaSpace. You can simply relax and watch the fish or take the opportunity to read detailed information about them, such as scientific names and habitats, using the illustrated encyclopedia. If you want to get up close and personal with the fish, you can send your Mii™ character on a dive to swim with them, feed them or hunt for trivia icons to discover fish-related facts. Choose from eight aquarium themes and spruce them up with dozens of different fish and a variety of decorations, wallpaper and plant life. You can also change the background music by taking your pick from a selection of songs or using the sound of water. Then, once everything is set up, you can view your aquarium from a variety of camera angles (including a fish-eye view). Visit every day and watch your aquarium change – your fish will grow, and new fish may be born. Life continues in your aquarium even while the Wii console is turned off.

Furry Legends

Publisher: Gamelion

Players: 1

ESRB Rating: E (Everyone) – Comic Mischief, Mild Language

Price: 1,000 Wii Points

Description: The legend starts here. Furry Legends is a dynamic platform adventure with the most fur ever seen in games. Solve fun, physics-based puzzles in a fantastic 3D world called Furland. It’s a humorous and weird place populated by funny creatures you’ve never seen before, including five-eyed crabs, round cows, crazy rabbits and the lovely Furballs. Players control fluffy characters, each with a different set of special skills, such as the ability to manipulate time. Save the Furballs from their doom and keep Furland safe from Lord Squarie. Are you ready for a crazy adventure? Can you save Furland and its lovely Furballs? Try the furriest game of the century!

HoopWorld™

Publisher: Virtual Toys

Players: 1-2

ESRB Rating: E10+ (Everyone 10 and Older) – Mild Fantasy Violence, Mild Suggestive Themes

Price: 1,000 Wii Points

Description: Long ago, a lost civilization called the Elders, who worshipped the magical power of Nature, built a network of sacred temples around the world. Millennia have since passed, and the temples now lie in ruins. But their energy still resonates from the land, attracting adventurers from distant lands. Drawn by the unknown force, friends have begun to rebuild the ruins into ball courts, knowing only that they must relive the time-honored test of the spirit of the Elders: the game now known as basketball. HoopWorld is a three-on-three basketball game with an arcade twist. Unique characters and beautiful natural locations set the stage, while fighting and random power-ups keep the game fast and rough. Choose your favorite team and basketbrawl across the globe to become the undisputed world champions. Play on your own or with a friend and see if you can beat the leaders of the HoopWorld global ranking.

Nintendo DSiWare

Petz Kittens

Publisher: Ubisoft

Players: 1

ESRB Rating: E (Everyone) – Comic Mischief

Price: 800 Nintendo DSi Points

Description: The cutest newborn kittens are here, and they need someone to care for them and love them. Adopt your very own kittens, bond with them and help them grow into strong and healthy cats. Choose from a variety of popular cat breeds including Siamese and Persian. Give your adorable baby kittens lots of loving care: Feed them warm milk, keep them clean and warm, and help them grow. Your kittens make cute faces and react in surprising ways when you play fun games with them, such as peek-a-boo or balloon games.

Scrabble Tools

Publisher: Electronic Arts

Players: 1-4

ESRB Rating: E (Everyone)

Price: 500 Nintendo DSi Points

Description: Scrabble, long one of the world’s most popular board games, is enjoying a tremendous surge in popularity, both online and in the real world. Scrabble Tools for the Nintendo DSi system helps players hone their skills by strengthening their vocabulary, pattern recognition and point strategies through fun interactive training exercises.

Hospital Havoc

Publisher: Hands-On Mobile

Players: 1

ESRB Rating: E10+ (Everyone 10 and Older) – Mild Cartoon Violence

Price: 500 Nintendo DSi Points

Description: Do you have what it takes to run your very own heart-pumping hospital? Help your doctor navigate through the havoc by admitting, diagnosing and treating some of the wackiest patients ever encountered. A comically fun time-management and strategy game, Hospital Havoc presents a challenging campaign with three levels of difficulty to choose from, plus 20 career levels, 19 possible illnesses, three-to-six bed conditions, 11 challenging scenarios (including zombies!), continuous play and rousing replay ability. Personalize your doctor and nurse, and utilize various power-ups and medical machines to help send those patients home.

Happy Birthday Mart

Publisher: Pixel Federation

Players: 1

ESRB Rating: E (Everyone)

Price: 500 Nintendo DSi Points

Description: Have you ever dreamed of having your own shop where you sell the goods to your friends? You can make that dream come true in Happy Birthday Mart, and it’s no ordinary store. Animals come here to buy gifts for their friends. Manage and serve your customers, clean up and fix broken shelves. Happy Birthday Mart offers tons of fun in six different stores with 12 animals and 24 minigames. You can play the minigames through a separate menu screen.

Crazy Sudoku

Publisher: dtp entertainment

Players: 1-2

ESRB Rating: E (Everyone)

Price: 200 Nintendo DSi Points

Description: Play sudoku on the go using your Nintendo DSi system. The game features five levels of difficulty, offering a fun challenge for beginners and pros alike. Choose from two different grid sizes: 9×9 or 6×6. Use the handy Note feature to add comments to each and every cell and solve even the hardest puzzles. Try challenging a friend with the brilliant two-player mode.

Nintendo adds new titles to the Nintendo DSi Shop and the Wii Shop Channel at 9 a.m. Pacific time on Mondays. Users with broadband Internet access can redeem Wii Points or Nintendo DSi Points to download the games. Wii Points can be purchased in the Wii Shop Channel. Nintendo DSi Points can be purchased in the Nintendo DSi Shop. A Nintendo Points Card™ can be purchased at retail locations. All points from one Nintendo Points Card must be redeemed in either the Nintendo DSi Shop or the Wii Shop Channel. They are not transferable and cannot be divided between the two systems.

Remember that both Wii and Nintendo DSi feature parental controls that let adults manage the content their children can access. For more information about this and other features, visit http://wii.com or http://www.nintendodsi.com.

Thus, art is born.

No need for drawing lessons, a fancy easel, or an array of different brushes or paint. Just a can, a few close friends and the cover of darkness.

Both teenage and adult writers risk getting arrested and their lives by jumping between train carts, climbing onto roofs and trespassing in order to find the best spot to throw up a piece and get noticed by the masses.

Is it all worth it?

“It’s something that’s inspirational. It represents people who look at things differently and approach things differently. People that go against the grain. It can be with their lifestyle. It could be the way they approach artwork. It means not conforming,” said Eric Felisbret, author of Graffiti New York.

Since the plantation of its New York roots four decades ago, graffiti has made its way from the dingy subways into extravagant galleries. Inspired by their creative experiences on the street,  these contemporary artists blend spray paint with fine art techniques taking their work to the next level.

From the creative workings of their alter egos, styles along with tolerance have improved and unexpectedly morphed into a business across the world.

“What it was then was graffiti artists taking exactly what they were doing out on the street and bringing it to the gallery setting. What we’re seeing now is an increment of graffiti artists that have taken that medium, that inspiration, that immediate style and what they’ve learned from it, applied even more to a fine art setting,” said Cris Cook, owner of the Flatcolor Gallery in Seattle, Washington featuring work from designers, street artists and even tattoo artists.

Even though graffiti is recognized by prominent artistic intellects, graf writers are still considered outsiders by a great majority of society. Having been conditioned to associate graffiti with a negative connotation, artists are often referred to as criminals by the public. America as well as other countries by law consider this art form illegal despite what prestigious museums may think.

Having arrested the same teenagers about twenty-times this year alone, Officer James Sinnott of the 62nd Precinct in Brooklyn, New York believes it depends on a person’s up-bringing. If a teen has family and friends that encourages and supports their craft, then they can be led along the right path to the fine arts.

If not then they just don’t learn their lesson.

“It’s a healthier way to channel their artistic ability. I don’t feel it influences kids to do graffiti. It gives them a proper channel to direct their skills. I’ve seen a lot of talent out there, but it’s not art anymore when it’s on someone’s garage. It’s talent, but destructive at the same time,” said Officer Sinnott.

While some choose to walk a straight restrained line, thwarting their spontaneous expression  obeying the rules, others prefer to “shake things up” by taking full advantage of the first amendment.

“It’s a necessary evil. It’s important we have rebellion in our society; people to question the status quo. If there is no rebellion, if everybody were conforming like good little sheep then it would be scary. Our nation was based on free thinkers who rebelled. What if our founding fathers hadn’t rebelled?” said Sandra Fabara, also known as Lady Pink, Graffiti’s first female artist according to the Queens Tribune.

The same as there are clashing opinions about whether graffiti is art or a crime, there are disagreements regarding a graffiti artists’ decision to allow his or her work to make it into showrooms. It’s a choice one must make either to further their career into the fine arts and risk being a sellout or remain a novelty solely on the streets without bruising your street credibility.

“If some people want to be purists about it and not exploit the movement that’s fine. You can take a job and do something else, but there are folks who will do it. Everything underground eventually makes a transition above ground,” said Fabara. It’s a given that it’s going to be stolen by Madison Avenue and accepted by contemporary art mainstream galleries and museums. But is it the same thing? Absolutely not. You can’t cage a wild animal and expect it to be exactly the same.”

The key objective of graffiti art, as it is with all types of art is being able to interact with your audience. Every piece of work contains a message intentional or not that is passed on from the mind of the artist, onto the canvas and into the hearts of spectators.

However, the environment in which the artist wishes to convey his or her art can influence the effect it has on the viewer causing a lot of pressure on the artist.

“A lot of artists who want to communicate with other audiences do want to have careers in fine arts and they don’t want to compromise and leave their graffiti behind. They want to use graffiti as their method of communication,” said Felisbret. “The art form was born on the streets and that’s where I like it best. The context of the paints is important. A painting on a canvas doesn’t have the same impact as on the side of a bridge or a subway train or on a brick wall some place.”

Driven by a vibrant art scene of street meets classic, a broader audience is being reached with urban art exhibits showcased everywhere from well-known museums to overlooked galleries.

Even though the majority of people visiting the exhibits are teenagers, its unlikely the art will gear them to start tagging their neighborhood. There’s more of a chance the visitor already participates in such activity and is hoping to pick up a thing or two to get them through the doors of a gallery as well.

“Most of what we show doesn’t look like graffiti. They might be graffiti artists, but it has more of an art, illustration, painting slant. If anything it might make a kid that’s doing graffiti realize there is other stuff that they can do,” said Cook.

Part of the immediate response of this form of art, whether positive or negative, is the freshness it brings to an old craft. It’s unnecessary to spend a ton of money and countless years to study how to correctly place a brush to paper when art is an expression of one’s individual emotions.

“These aren’t kids that went to art school, if they did maybe they went to design school. They didn’t go to a four-year art school and have a BFA in painting. A lot of them are self-taught and have a different point of view,” said Cook.

The art world has suffered a disconnect from the average Joe, focusing art towards stuck up socialites making it unappealing and dull.

Graffiti as art, on the other hand, brings forth an unbound expression of creative workings of alter egos that can be stimulating whether it’s seen indoors or a spattered on building walls. Because let’s face it people spend most of their time at work unable to sneak away for a day at the museum taking in the all the beauty.

So why be limited?

“It’s good to have it everywhere. Our purpose is world domination. We want to conquer it all. Why would I exclude any particular group or audience. The biggest art movement that has ever hit our society is the graffiti art movement,” said Fabara. “It has more people, more regional space, it’s all over the world and it has touched young people. Kids are up and armed to go along. If you don’t flaunt the word graffiti too much, call it urban art, it has hit the mainstream and everyone is swallowing it up.”

With decent controls, graphics and presentation, the title is easily one of the best wrasslin’ games on the handheld.

That however isn’t saying much.

Nevertheless, it’s hampered from a series of problems that prevent it from garnering the three count it could have gotten otherwise.

For one, featuring only 18 wrestlers, two being Consequences Creed and Curry Man, both of whom aren’t being used in any current story lines, there’s just not enough depth to the roster to keep you entertained very long. With all the new additions to the company over the past seven months, there’s no excuses why talents like Jeff Hardy, Mr. Anderson, Rob Van Dam and Ric Flair weren’t included.

Simply put, the addition of just Hulk Hogan can’t satisfy all by itself.

This sentiment especially rings true when many of the movesets aren’t in the least bit realistic either, hampering the game even further.

Hogan and Mick Foley doing the tornado DDT? What about Foley doing the Blackhole Slam as a finisher?

Yeah right.

Aside from that, some of the animations for the finishing moves are just abysmal. Hogan’s leg drop for instance looks like a high knee followed by a crooked leg drop across someone’s chest. As well, several clipping and collision problems limit the overall fun and make playing the game more a chore than the smashfest it feels like at times.

Nevertheless, in spite of these zits, this game has its moments.

Featuring video intros a-la “WCW Thunder” for the original Sony Playstation the presentation is pretty cool. The same thing goes for the control scheme, which effectively uses the DS touch screen for pins and submissions, going a long way in making the game enjoyable.

Graphically, the game resembles another PSone title, “WCW vs the World,” as the blocky and mishapen character models aren’t the least bit attractive, but they get the job done and give the game a unique and old school look. With some more polish though, this game could have looked like something like “WCW Revenge.”

While the overall look of the title is slightly above mediocre, it’s solid enough to not be an eyesore and help round out a more than entertaining entry in the DS library.

As a result, if you can forgive its problems and don’t care about having the newest wrestlers or realstic movesets, this is the game for you. Hardcore fans however may have to wait until next year before their hunger for a super high quality wrasslin’ game is quenched.

“I started rapping when I was 12, but I really didn’t know what I was doing,” Garcia explained.

It was when he moved to New York, at the age of 13, that new inspirations manifested. Living in a city with a rich history of Hip-Hop artists such as Jay-Z, Public Enemy, and A Tribe Called Quest, sparked his passion for rapping to a new level.

However, it was at the age of 15 that everything changed for him.

“I really considered myself being formed (at 15). That’s when the songs started to make sense,” Garcia said. “Because that’s when my sister passed away. When I needed an escape, and I was going through the grieving, rapping was all I had and it never stopped.”

Like a phoenix rises from a flame, Garcia found himself with a new escape, and passion through his art that he never felt before.

Besides taking influence from the passing of his sister, Garcia finds influence in all forms of music, situations, and walks of life. With producer FrankeL, who sees the same talent in Garcia as many of his fans, his music started taking new shape and maturing to become something that has more than a surplus of potential.

“I like good music. It doesn’t necessarily have to be Hip-Hop, it could be hardcore rock, reggae, house music, all that stuff.” Garcia said. “My producer makes a lot of good beats.”

Garcia’s music can be accurately described as a perfect blend between raw lyrical hip-hop mixed with a down-to-earth soft side with a 21st century electronic vibe.

“I like to consider myself an experimental rapper,” Garcia said. “But I rap about whatever I’m feeling at the time. I could be on the subway listening to my iPod and look outside and see the city as I’m going over the bridge and be inspired by that. I’m not really a big club artist; I like my stuff to be about life, or stories from my life. I speak from the heart.”

With a clear mind and confidence in his sound and music, Garcia is also currently facing a tough life choice. In June ’10, he graduated from Kingsborough Community College in Brooklyn, New York, and is contemplating a move down to Orlando, Florida to live near his producer and pursue his rap career there or to stay in the Big Apple with his family and try to make it in the most artistically saturated city in America.

“I have no idea,” Garcia said. “I can’t go down there broke, and struggling, it’ll be too crazy.”

At 20 years old, it’s safe to say that the decisions Garcia makes today are going to affect his dreams of rap stardom.

“I want to make it, man. I want to be known, I want my face to be out there, I want to be flooding the Internet,” Garcia said. “I’m hoping that I can be able to express myself from the heart and at the same time, be able combine my music with the commercial sound.”

Garcia, still an underground artist, finds difficulty in relating to today’s popular artists. He has a general distaste for the modern Hip-Hop.

“I hate the radio,” Garcia said. “I dislike the fact that a lot of rapper’s don’t really put enough emphasis and thought into their lyrics. You really don’t need to be talented this day-in-age. You just need a catchy phrase or dance, and that’s really what I don’t like about the radio.”

With an attitude separating him from the modern rap artists, Garcia recognizes the struggle he faces with the passion and heart he puts into his music as opposed to the more polished safe sound of contemporary popular hip-hop.

“There are a lot of artists out there that actually sit down in the studio and write songs that have a lot of meaning,” Garcia said. “But you never hear that from the artists on the radio.”

However, with the changing music scene, new light may shine upon the talented artists of the world such as Garcia. With new sources of communication and the rising fads of social networking, underground music is becoming more accessible than ever, creating newer easier ways for local talent to make a name for themselves.

“Between MySpace, Twitter, YouTube, there are a lot of people who have used the Internet to help them out,” Garcia said. “I feel like the underground scene is getting better.”

You can listen to some of Joey’s tracks here: http://www.myspace.com/joeygakalisten

Hayden Christensen [Star Wars Episodes I & III, The Virgin Suicides] plays Glass at the height of his career at age 24. Christensen greatly captures Glass’ manipulative nature as he weaves his way through his office and into the pages of the in flight magazine of Air Force One. Glass’ eludes two editors, a slew of co-workers and thousands that regularly read his work, only to be stopped short by Forbes online publication.

Any journalist who has seen this movie wouldn’t think for a second to pull a move anywhere remotely close to Glass’. The film shows intently that those who do wrong, will be punished. Not by literally death, but the death of your career and the future you hope to have. It casts morals upon the audience like an Aesop fable, minus any talking animals. Glass is covering up lies with greater lies before falling on his own sword in front of those that respected him the most.

The only snag in the movie has is it leaves a feeling of what happens now? Ray’s screenplay is based on Buzz Bissinger’s article that was published just after the discovery of Glass’ deception, and is detailed from beginning to end. But we see Glass being fired and meet with lawyers, but not what his life becomes afterward. Are we to infer that his life hit the crapper afterward? Or can we imagine that a pathological liar can find light at the end of the tunnel? A shadow is blanketed over the flick making us believe that it is possible to grow from the mud. The final shots show Glass alone, but whole. You aren’t shown his life to follow (that is if you skip out on the documentary that comes with the DVD).

Either way this star cast (Peter Sarsgaard, Chloe Sevigny and Hank Azaria to name a few), displays what it is like to work for a notable magazine. Sarsgaard received several awards for his capturing of Charles Lane, the Editor In Chief of The New Republic at the time Glass was revealed. His no-nonsense, thick-skinned attitude is visible even when it seems as if the entire office has turned against him. When his workers threaten to quit is Glass is disciplined, Lane maintains a cool-head, which has you rooting for his as the pure one to battle opposite Glass’ lies.

All in all, Glass’ story is not only a cautionary to journalists, but to anyone in a field that require original creativity. Either break a sweat or find a new profession.

Gordon G.G. Gebert has written (along with Bob McAdams) the book Kiss fans love to hate, “Kiss and Tell,” which chronicles Ace Frehley’s musical prowess on the guitar and his human frailties off stage. This hard hitting story pulls no punches and is heartfelt and honest. Beyond the writing of this book and “Rock War Stories,” Gebert is an accomplished keyboardist who has toured with Angel and been involved in numerous music projects. Reviewfix.com recently spoke to Gebert from his home in Connecticut and got his thoughts on Frehley’s days in Kiss in the ‘70s and as a solo artist in the ‘80s, Frehley’s drinking binges, drug use, exit from Kiss and Keith Emerson. It is a must listen for Kiss Fans and non-fans alike.

You can listen to the interview by clicking the link below:

http://www.podcastrevolution.com/file/oprivman/video/Gordon_G.G._Gebert_Interview.mp4

Note- You must have Quicktime installed on your computer to listen to the file.

Every kid goes through phases in life that they are not proud of later in life. It could be playing Dungeons and Dragons [one that some unfortunate souls never escape from], watching a TV show or in Rusty Cuyler’s case, it’s a band. Enfatuated with “The Clownies,” obviously an Insane Clown Posse rip-off, Rusty gets obsessed and goes on a wrecking spree around the Cuyler home that not only pisses his father off, but manages to turn his Grandmother on.

Don’t ask, it’s Squidbillies and it’s hilarious.

Always out of his mind anyway, Dana Snyder will have you on the floor with some of his one liners in this episode.

Who knew elderly squids loved rebels in paint?

Seeing the elder Cuyler get so crazy is easily one of the funniest moments in this episode and arguably one of the best moments in the show’s history.

Things get worse though when Early decides to embrace the fad himself, especially with Sheriff already a part of the band’s legion. Together, they romp through the town and are as thick as thieves.

That is until reality sets in for the younger Cuyler, who finally realizes that he’s into the same music as his father.

Totally not cool.

Like a foul-mouthed episode of “Growing Pains,” Early learns you can’t turn back the clock [or does he? Of course not. Early never learns anything], while Rusty goes on to the next fad, one that you’ll be even more surprised to learn, especially considering where the Cuylers come from.

Ah, boy squids will be boy squids.

And apparently girl squids will be whores.

A nice little spin to the episode is seeing the ladies of squid country working a side job as a pair of over-the-hill truck stop whores.

Only in Georgia.

Only on this show.

The latest installment in the popular DRAGON QUEST franchise, DRAGON QUEST IX: Sentinels of the Starry Skies features deep customization options and remarkable wireless features that let players of all kinds embark on an epic hand-held adventure. Players can choose their own appearance, occupations, companions and special items to aid in their quest, and even connect with friends for cooperative multiplayer fun.

In addition to live demos of the game, Comic-Con attendees who bring their Nintendo DS systems and copies of DRAGON QUEST IX: Sentinels of the Starry Skies to the show will have access to a special downloadable treasure map called Mortamor, available for the first time in North America. The map will be available at the Nintendo booth for the duration of Comic-Con International 2010. To access the map, players must have their Nintendo DS system running the DRAGON QUEST IX: Sentinels of the Starry Skies game and set to “Tag Mode.” Once players get to the town of Stornway, they are able to access Tag Mode at the Quester’s Rest inn.

The highly anticipated Metroid: Other M is a dramatic new chapter that brings the Metroid series back to its franchise roots. Starring the iconic bounty hunter Samus Aran, the game is the result of a dedicated collaboration between the director of Super Metroid™, Yoshio Sakamoto, and renowned game development studio Team Ninja. This joint effort blends expert level design, gripping visuals and a cinematic storyline with seamless third-person and first-person game play controls. For the first time, players will learn the story of Samus™ inside the suit. Comic-Con attendees will get a chance to play portions of the game in advance of its Aug. 31 launch date.

Oh and it’s a pretty funny movie too.

Set at the height of the Cold War with East-West rivalry at an apex, the story begins when a mad American general, morbidly named Jack D. Ripper, orders his bombers on an all-out attack on the Soviet Union. He does so to force the hand of his government because if they can’t recall the planes then they’ll have to commit everything to avoid getting struck by a Soviet nuclear counterattack.

For those unversed in Cold War nuclear strategy, this was the de-facto policy known as MAD or mutually assured destruction, which was practiced by both sides during this time. The film is basically a parody of the mindsets that were in charge. This all can sound pretty technical, but is handled deftly as we are focused on the characters attempts to come to grips with this dire situation.

And what an array of characters there are, from the constantly flabbergasted British officer who tries to get his boss to recall the attack, to the stone-faced President trying to stop nuclear war and to the ex-Nazi advisor who can just barely restrain his glee. It also bears to mention that all three of these characters are played by the same actor, Peter Sellers, who is on top of his game here, anchoring the film. Each of the personas he inhabits is quite different and it wouldn’t be surprising if a casual viewer didn’t get the distinction.

Also doing a great job is George C. Scott playing a comedic role as a general advising the President who sees the circumstances as a chance to hand it to the Russkies. Scott famously complained that Kubrick only used the takes of him overacting and vowed never to work with him again. However, he eventually grew to be proud of it, which he should be as he lights up the screen whenever he’s on.

Other performances worth noting include Sterling Hayden as the mad John Birch inspired general that launches the attack. In several close-ups you can just see the menace coming out of his pores. On the other end of the spectrum is Slim Pickens, playing the commander of the B-52 bomber that is leading the assault. Every scene he’s in is just comically explosive as he exhorts his crew in a thick Southern drawl while donning a cowboy hat that he had kept in a safe. Dr. Strangelove is also James Earl Jones’ first movie; he’s one of the crewmen of the B-52.

A lot of what makes this film a classic can be put on the shoulders of Kubrick himself, who also produced and co-wrote it. His influence is all over the picture. Coming out at a time when the events discussed were a very real possibility, the film was originally intended to have a more serious tone. However, some late night tinkering by Kubrick led to the film adopting a comedic tone. He was also on the cutting edge of filmmaking at the time, using hand-held photography to shoot several war scenes, lending them an air of gritty realism.

Speaking of realism, the production values of this film are top-notch. Specifically the sets for the war room where the President and his advisors yell at each other and the interior of the B-52 bomber that is leading the attack. In fact the latter set was so well made that Air Force personnel who came to look at it called it a perfect copy, even though the production designers received no help from the government.

Despite the end of the Cold War, the threat of nuclear weapons is still with us. Because of this, Dr. Strangelove remains as timely as ever. It artfully balances serious themes like oh say, thermonuclear Armageddon, with the humor of the American President trying to tell his drunken Soviet counterpart as nicely as possible over the phone that a million tons of firepower is on its way to his country. Also, the image of a cowboy riding a nuclear bomb down to its target never gets old.

Romeo, Michigan native Kid Rock (Robert James Ritchie), today’s king of Rap-Metal and country rock, was a dynamic, energetic warm up act for the headliners and won over the crowd from the get-go with scintillating versions of “Rock and Roll Jesus” and “You Never met a Mother *#$*er Quite Like Me.” Rock’s banter with the assembled throng included humorous comments like, “this ain’t American Idol” and pointed jabs at Britney Spears (“we don’t use tapes”) and Lebron James (questioning a certain person in the news’s loyalty to his hometown). He sang brilliantly, played keyboards, drums, guitar and scratched a turntable while imbibing and smoking a cigarette. His cover of Sly and the Family Stone’s “Everyday People” was an interesting choice and hit home with the audience as they sang along to that 1968 classic. Two high points of the show were Rock’s rendition of Waylon Jenning’s “Good Ol’ Boys,” as he tickled the ivories and his duet with his female backup singer on “Picture,” which he recorded with Sheryl Crow. The songs that really revved up the crowd were “All Summer Long” (with its reference to Lynyrd Skynyrd’s “Sweet Home Alabama”) and “Cowboy.”

All in all, it was a great set by a performer, whose rock and country roots are clear, to see and hear.

Bon Jovi took the stage to a thunderous ovation as original members, Jon Bon Jovi (vocals), Richie Sambora (guitar and vocals), David Bryan (keyboards and vocals) and Tico Torres (drums) electrified the 55,000 fans with “Raise Your Hands,” as the crowd took the title of the song to heart. Bon Jovi, 48 and looking 28, was in great voice and his charisma and stage presence were evident from the start. This Sayerville New Jersey native continually told the crowd he was glad to be home and you could tell that he meant every word. “You Weren’t Born To Follow” was augmented by exceptional visuals on a giant video screen. “You Give Love a Bad Name,’’ a Bon Jovi signature song, was given a first rate rendition and Sambora’s searing guitar “acrobatics” set the musical tone for the night.

“Born to Be My Baby,” “Superman Tonight,” In These Arms,” “When We were Beautiful,” Captain Crash and the Beauty Queen from Mars,” I’ll Sleep When I’m Dead” and “We Got it Goin’ On” demonstrated the vast Bon Jovi catalogue and underscored the fact that some lesser known and non–commercial efforts that the band has produced are fantastic songs that translate beautifully in a live setting. Bon Jovi’s spot on vocals and Sambora’s shredding yet workman-like guitar artistry are a wonder to behold. No wonder these guys have stayed around since 1983.

The 26 song set that lasted for two and a half hours hit its stride with “Bad Medicine,” a song that points to the fact that sometimes what we want in a romantic relationship isn’t always good for us. The video screen displayed a few silhouettes of women, who might have been the inspiration for the recording. A high point of the song was a mid-section, in which a giant Juke Box appeared on the screen and the band broke into Bob Seger’s “Old Time Rock and Roll.” The crowd went “berserk” as Kid Rock returned to that stage to join Bon Jovi on this rendition of another Michigan native’s rock and roll ode. The two singers took turns on verses, and sang spiritedly together on the chorus.They hugged after the song’s completion and this displayed their genuine admiration and respect for each other as musicians. “Lay Your Hands on Me” turned the new Meadowlands into a giant Karaoke party with the masses belting out the chorus in unison. “I’ll Be There for You,” a classic love song, found the lovers in the audience clinging to their partner a little bit tighter as Bon Jovi sang with great power and emotion.

The next section of the concert featured the band in an “unplugged” mood as they ventured to a walkway in front of the audience. Tony Award winner David Bryan (“Memphis”) took a break from his keyboard excellence on this night to play another instrument that has keys, an accordion, on a unique take of The Who’s “Squeeze Box.” “Someday I’ll Be Saturday Night,” an underrated Bon Jovi ballad followed, which provided a nice contrast.

“Have a Nice Day”, a song that has a great video, followed with young and slightly older fans dancing in their seats and in the aisles. “Work for The Working Man,” with an industrial theme on screen, showed the band’s social conscience and intelligent lyrical content that addressed social issues we all can relate to.

Hit after hit followed with “It’s My Life,” a song that extols the virtue of self-confidence and “Who Says you Can’t Go Home,” which was quite appropriate on this beautiful summer night as these New Jersey natives won over the crowd at this home of the Giants and Jets for the 2010 season and beyond. The next song’s title, “Keep the Faith,” points to the fact that a concert experience is somewhat akin to a religious ritual, in which zealots (fans) worship at the altar of their Rock “Gods.” Bryan’s keyboard artistry and Torres’ thunderous percussion were clearly evident throughout.

The band left the stage and was summoned back for an encore despite the fact that they left everything they had on the stage. The unsatiated throng wanted more and got it as Bon Jovi and Sambora took center stage for a riveting version of “Wanted Dead or Alive,” a rock and roll classic with a wild west theme (“I walk these streets, a loaded six string on my back”) as the packed stadium cheered deafeningly.

Sambora’s incredible work on the acoustic guitar shows that the ax slinger is not a one trick pony and equally adept on an electric or acoustic guitar. “I Love this Town,” resonated on this night as Bon Jovi were back home in a comfortable environment after recently touring England. At this point in the show Jon Bon Jovi was limping from a calf injury that he sustained at some point during the night, but he carried on nonetheless. He is a rock and roll icon with tremendous heart.

Bon Jovi’s reverence for rock standards reached new heights with a “killer” version of The Dave Clark Five’s “Glad All Over.” Though a rock veteran himself, Bon Jovi appreciates the fact that without the rock and roll pioneers that preceded him there would be no Bon Jovi. After a rousing ovation the night finished with a song for “every man,” “Livin’ on a Prayer,” with Youtube-like glimpses of Bon Jovi fanatics lip-synching to the tune on auxiliary video screens. Bon Jovi was in peak form and treated die-hard fans to great vocals, expert guitar work, powerful drumming and keyboard excellence.

A brand new stadium and a rock and roll treasure.

Who could ask for more?

Her first solo show, Glick’s performance is one of the brightest and funniest at the Eleventh Annual Midtown International Theatre Festival in New York City this summer. The story is autobiographical, and it is told with inner energy and passion by the playwright herself. From the protagonist’s narrative, the audience finds out about the woman’s childhood and early years when she discovers that it is quite hard to fit in if you are neither white nor black in the rural South, where everyone is pretty much the same. Her story is not only informative, but also extremely entertaining, as she reveals contradictions that exist inside her, mocks her mother’s Vietnamese accent and moves around like a cat, passing her enthusiasm to the audience members.

A big part of the play addresses stereotypes and prejudice against Asians. If you look “Chinese,” according to a common opinion, then it is likely that you don’t speak English and can be ignored. Glick’s experience reminds us of Amy Tan’s “Mother Tongue,” an essay about language, cultural peculiarities reflected in it and mistreatment provoked by “broken English” the writer’s mother speaks. Like “Asian Belle,” Tan’s essay is personal and brutally honest.

Another theme the comedy explores is personality formation. How does one define who he or she is? Is Glick’s Asian Belle exotic or indigenous? Should she try to fit in or get used to being different and feel “Asian pride”? The protagonist makes an attempt to find a place for herself where the two worlds she roots in can peacefully co-exist.

Telling her story, Glick imitates people she comes across, their intonation and manner. There is a teacher who gives Glick a role of an oriental chauffeur, which the protagonists detests; a woman that renames Glick’s brother Carl instead of Kha, which would be hard to remember; and finally, her Vietnamese mother, whom people don’t take seriously because of her accent.

While the content is thoughtful and complicated, the costumes are simple. The only change in dress and setting happens when Glick switches from the protagonist’s role to her mother, who is now divorced and owns a nail salon in Alabama. She puts an apron on and pretends to do a customer’s nails, the process that is reproduced scrupulously, stage by stage. Using her client as a pair of ears, this Vietnamese woman tells her the story of her marriage, expectations and disappointments, as well as how she evolved as a person living in a foreign country and having raised her children in the United States.

Through her Vietnamese mother, Glick explores immigration. When people come from a poor communist country to a high-income “paradise,” what are they supposed to do: assimilate or remain faithful to their religion and culture? Along comes another question: how easy is it to be radically different from your own children? Savoring ridiculous encounters of an Asian-looking American with “normal-looking” ones, the audience realizes that even though it is nice and funny, the play is also sad in some sense, as we are reminded that there is still prejudice and inequality in the society.

As people will never get rid of their xenophobia, “Asian Belle” is a good way to look at “the other side of the coin.” The play shows us that there are no “different” people; there are dissimilar cultures and mentality. It also makes us aware that learning about those differences is very useful in such a diverse multinational country as the United States of America.

This was the scene at the end of this past week’s TNA Impact.

Hear the crowd going crazy?

That’s because this might be one of the most interesting angles the company has put on in quite some time. Sure, ECW was killed by the WWE, but that doesn’t mean that TNA can’t have something of their own to celebrate the brand for themselves. At first, it looks like Tommy Dreamer, Raven, Stevie Richards and Rhino are in this all by themselves, but after a few minutes, D-Von Dudley, Rob Van Dam and Al Snow join in on the action.

A nice swerve, despite the fact that all of these wrestlers are out of their primes.

Kind of reminds you of the ECW invasion in WWE almost 15 years ago. Nevertheless, it’s a spice the show has been missing from the show. To see some of these guys work in the ring and push some of the young talent could be pretty interesting, right?

Well, it’s bound to happen now at this point, so get ready.

As well, considering what has gone on with Sting this month, Ric Flair beginning to start his own stable and Hulk Hogan and Eric Bischoff trying to change the company and infuse some more youth, this looks to be the beginning of an all out war in TNA.

It’s nice to Mick Foley back too. Let’s just hope the company finds a decent use for him this time around.

Because the way it stands now, this company needs something big.

While the new top 10 system has shown the depth of the Heavyweight Championship and every other belt having more than enough quality opponents to draw from, TNA needs a big storyline right now in the worst way.

Who knows if this will be it, but from the looks of it, TNA is going to try pretty damn hard to see where this takes them.

Simply put, aside from some new or returning talent and some of the youngsters getting bigger pushes than normal, Hogan and Bischoff haven’t changed things all that much. Having this brawl at the end of Impact this week brought a level of unpredictability and excitement to the show.

Anyone that knows anything about wrestling knows that those elements are crucial for this show to be in any place to take on the WWE.

Partnership with Black Bean Games to Bring Several Racing and Fitness Titles Speeding into North America

LARKSPUR, CA – Deep Silver, the games label of Koch Media, a worldwide producer and distributor of digital entertainment products, has announced on July 15 that it has entered a partnership with the Italian games publisher Black Bean Games to bring a range of phenomenal products to North America. The lineup spans the racing and fitness categories and includes Get Fit with Mel B for Playstation®Move and other next-gen motion control platforms and SBK®X, the latest episode of the Official World Superbike Championship videogame series.

“The North American market is wide open for quality racing games and what we have here represent the very best of established and upcoming racing organizations with global followings. Furthermore, the fitness products offer something way beyond the gimmick of new control systems to deliver real fitness results,” said Deep Silver’s Chief Operating Officer, Geoff Mulligan while maintaining a perfect downward dog yoga stance on a 600cc class sport bike while pulling a wheelie. “We’re looking forward to bringing speed, adrenaline and a balanced sense of well-being to the market at truly phenomenal price points.”

About Get Fit with Mel B

Developed by UK-based Lightning Fish studios, Get Fit with Mel B represents a breakthrough in the fitness genre. Using a proprietary engine featuring a sensational full-body detection system, Get Fit With Mel B enhances the exciting new game play capabilities of the PlayStation®Move system and other next-gen motion control platforms. Thanks to camera-based controls, players will appear on screen alongside celebrity superstar Mel B receiving her real-time feedback in several disciplines like dance fitness, cardio, step and kickboxing. In addition, Get Fit with Mel B delivers a personal nutrition program including 6 different meal plans and 140 recipes tailored to personal fitness goals. Supporting the use of a wide range of fitness accessories such as medicine balls, step platforms and resistance bands, Get Fit with Mel B is must-have for anyone seeking to improve their fitness and quality of life.

Get Fit with Mel B will ship to retailers in North America in October 2010 and will have a suggested retail price of $49.99 for PlayStation®3 computer entertainment system and $29.99 for Wii™.

About NewU Fitness First Mind Body – Yoga & Pilates Workout

With over 120 different exercises, New U Fitness First Mind Body – Yoga & Pilates Workout focuses on fitness training with proven yoga & Pilates techniques. Breathing, relaxation and meditation techniques utilize both the Wii Balance Board™ and Wii MotionPlus™ to deliver fantastic all-body and mind conditioning for everyone. New U Fitness First Mind Body – Yoga & Pilates Workout uses real personal trainers from Fitness First, the biggest gym chain in the world, to provide guidance on exercise routines that will leave the user feeling toned, relaxed and healthy.

New U Fitness First Mind Body – Yoga & Pilates Workout will be available in October exclusively for Wii with a suggested retail price of $29.99.

About SBK X

SBK X delivers the incomparable excitement of the Superbike World Championship; all the bikes, all the riders and all the tracks of the official season. For the first time, this edition of the hit SBK series contains three categories of game play: Superbike, Superstock and Supersport. SBK X includes a career mode, allowing the player to personalize their rider and manage their career. For even further game play options, players can choose to race in arcade and simulation modes for a quick blast around the track or a detailed simulation. Whichever game play style is preferred, with up to 16 player online multiplayer, SBK X is the most complete sport bike experience on the market.

SBK X will be available in September for PlayStation 3 system and other consoles with a suggested retail price of $39.99 and for Windows PC with a suggested retail price of $29.99.

About WRC FIA World Rally Championship

Official locations, official rally cars and official drivers – everything in WRC FIA World Rally Championship is designed to give the player the full experience of taking part in one of the most ferocious and challenging motorsports. WRC FIA World Rally Championship features “Road to the WRC”, an unrivalled career mode that will allow players to hit the dirt to win the ultimate championship. With advanced car tuning, stunning car damage effects and the opportunity to race against heroes of the sport, WRC FIA World Rally Championship is the closest you can get to being one of the most skilled and fearless drivers in the world.

WRC FIA World Rally Championship will ship to retailers in October for PlayStation 3 system, Windows PC and other consoles with a suggested retail price of $39.99 for consoles and $29.99 for Windows PC.

About Superstars® V8 Next Challenge

Based on the heart-pounding Superstars® license and featuring a variety of licensed V8 production cars, this game will rip you from your chair and put you on the track for an incomparable driving experience. Superstars V8 Next Challenge is developed with the expert advice of Italian car racing legend and champion of the Superstars competition, Gianni Morbidelli. Gianni’s expertise was used to enhance the game on every level and includes the ability to create a unique car with a customization feature allowing players to tweak even the smallest details. Superstars V8 Next Challenge is enriched with licensed cars from top tier manufacturers and some of the world’s best-known and challenging circuits.

Superstars V8 Next Challenge will ship to retailers in October for PlayStation 3 system, Windows PC and other consoles with a suggested retail price of $39.99 for consoles and $29.99 for Windows PC.

About Deep Silver

Since 2003, Deep Silver has developed and distributed interactive games for all leading videogame platforms. In all, the company has published more than 80 games. Deep Silver products are designed to equally appeal to a wide audience, from kids to adults. For more information please visit www.deepsilver.com

About Koch Media

Koch Media is a leading producer and distributor of digital entertainment products (software, games and movies on DVD). The company’s own publishing activities, marketing and distribution extend throughout Europe and the USA. It has also formed strategic alliances and distribution relationships with numerous software and games manufacturers: Avid Technology, Blade Interactive, Braingame, Capcom, Cyberlink, Dofus, DTP Entertainment, Focus Home Interactive, G-Data, Kaspersky Labs, Magix, Mindscape, Nero, Paradox Entertainment, Playlogic, RTL Interactive, Square Enix, System 3 etc. Headquartered in Planegg near Munich/Germany, Koch Media owns branches in Germany, England, France, Austria, Switzerland, Italy, Spain, the Nordics, Benelux and the USA.

About Black Bean Games

Founded in 2004, Black Bean Games is the videogames publishing arm of the Leader Group (www.leadergroup.eu). Leveraging 20 years of market expertise and knowledge, Black Bean Games relies on a strategy focused on original IPs and strong licenses to create unique videogame experiences in order to globally release products for all home and portable console systems and PC. The actual philosophy adopted by Black Bean Games focuses its releases in 2 main areas: Racing and Family & Lifestyle. The catalogue can satisfy a wide range of target audiences and different platforms users. The 2010 line-up is a real breakthrough across the International industry, thanks to the new strong IPs based on prestigious licenses such as NatGeo Quiz!, NewU Fitness First, SBK ® , Superstars V8 and the exclusive WRC World Rally Championship. For further information about Black Bean Games and its products please visit www.blackbeangames.com

About Lightning Fish

Lightning Fish are a video games developer specializing in family-oriented titles based on motion tracking technology for PlayStation 3 system and Nintendo Wii. Based in Banbury, Oxfordshire, United Kingdom, Lightning Fish was founded by industry veterans Simon Prytherch, Mike Montgomery and David Hunt in June 2008. In September 2009 Lightning Fish released their first title, a fitness product for Wii called “NewU Fitness First Personal Trainer”. This was published by Ubisoft in the UK and most of Europe and was released as “My Fitness Coach 2″ in the USA in January 2010. Their second title, “NewU Fitness First Mind Body” was released in April 2010 and is a Yoga and Pilates based product for Wii. They are now working on multi-platform titles for all the major consoles and are expanding into other genres. Lightning Fish now has 40 staff and has just opened a new studio in Pune, India. They are also finalists for Best New Studio in the forthcoming Develop Awards 2010. For more info please visit www.lightningfishgames.com

About Milestone

Founded in Milan in 1996, Milestone S.r.l. is the biggest Italian developer and it is recognized worldwide as the leading Italian developer of interactive entertainment software specialized in racing videogames. In 2002 Milestone S.r.l. became part of the Leader Group. An obsessive desire for quality combined with an elaborate attention to detail have always been the trademarks and philosophy of the company. SBK® Superbike World Championship series is a clear example. Milestone is developing products for current and next gen platforms such as the upcoming WRC World Rally Championship official videogame. www.milestone.it / http://blog.milestone.it

In just two episodes, the writers of “Mary Shelley’s Frankenhole” have proven that they will go to absurd lengths to shock their audience. First, it was Blanket Jackson bringing his father back to life and this past week, it was Founding father Thomas Jefferson asking to have the penis of Barack Obama grafted on to his body so he could better please his slaves.

That’s a lot to take in for the first paragraph of a TV review isn’t it?

Simply put, in just 11 minutes, you will be so mortified, yet frozen with an undeniable smirk that you’ll wonder what the heck was going through the minds of this writing team when they put this episode together.

Brash, bizarre, and boisterous in sheer bodacious-ness, there isn’t another show like this on Adult Swim.

Thought Aqua Teen or Squidbillies was over the top?

Checkmate Dino Stamatopoulos.

However, while this episode is funny and totally enjoyable, it isn’t as solid as the first one, as it feels like it drags at certain points. With all the grafting doing on and all the different people that come into contact with Jefferson in his quest to find a new member, the show ends up possibly having too many characters and too many things going on, not concentrating on achieving some sort of goal.

Add in a musical number with the likes of Ike Turner, Bill Cosby and several other African-American men from infamous and famous ranks of pop culture lore and you have an episode that will be remembered for quite some time.

Not scared at who they piss off and ready to do anything for their audience, this show has some staying power, it just has to play with its execution and bit more.

That in itself shouldn’t be a difficult endeavor, as the first episode was a tad more heavy on the dialogue side and induced a bit more laughs, making it seem the show needs to just tinker a bit more.

With a scientist the likes of Victor Frankenstein on-board here, it feels like a safe assumption that the creation this show eventually becomes will be an enthralling one.

No?

Well, neither have I.

Some people, however, seem to find the idea of traditional fantasy creatures engaged in a fight on the gridiron to be great fun. In fact, the good people at Games Workshop even made a fairly popular role-playing board game based on on just this concept: Blood Bowl.

This mash-up of hobbies has also found it’s way to the world of video games several times in the past. A new development team has taken up the task of trying to convert this turn-based board game into a fun, visual-based video game. Unfortunately, Cyanide Studios doesn’t have much to brag about, at least as far as their take on Blood Bowl is concerned.

The board game version requires players to roll dice at the start of their turn, and this feature is implemented into the game. After you assemble a team from the various character classes, you roll the virtual dice to determine what actions your team of monsters can take toward the ultimate goal of advancing the ball and, ultimately, reaching the endzone. If you put together your squad wisely, you’ll have a better chance at success, especially if you also use in-game cash that you earn as you play to purchase upgrades.

Strategy, however, only gets you so far. The game has so many flaws that even fans of such tactical endeavors will likely be too frustrated to spend much time with the title. The visuals are simplistic, boring, and simply unappealing. It doesn’t help that the framerate stutters relatively often. The control scheme is confusing and, at times, unresponsive. Worst of all, unless you’re familiar with the board game, the rules and regulations are so confounding and plentiful that before you’re even done reading the instructions, you’ll probably be on your way toward hitting the eject button.

(Word of advice: If you do give this game a chance, don’t just jump straight into the gameplay without reading the in-game manual. You’ll be totally lost.)

It seems like this game was made for a different platform and ported over to Microsoft’s console without any consideration of the Xbox360 audience.

Look, if you’re a fan of the Blood Bowl board game, then maybe this is a game that you should take a chance on. Maybe you’ll even enjoy it. If you aren’t familiar with the board game, however, then you should steer clear of this one. It’s a poor effort, and in a video game market over-saturated with filth, it’s an effort that stands out for all the wrong reasons.

BELIEVE: The Eddie Izzard Story was written, produced and directed by Sarah Townsend, who has produced theater and stage shows, award winning short films, features and documentaries. British actor and comedian Eddie Izzard is well known for his unique and surreal comedic style. His work includes award-winning stand-up comedy specials, a starring role in the television series The Riches, numerous motion pictures and acclaimed Broadway performances including his current run in David Mamet’s Race. His latest special, Eddie Izzard: Live from Wembley and the documentary BELIEVE: The Eddie Izzard Story premiered on EPIX in January 2010.

“We congratulate Sarah Townsend, Eddie Izzard, The Collective and Salient Media on this honor,” said EPIX CEO and President Mark Greenberg. “EPIX is committed to delivering top quality premium programming and it is exciting to see this work recognized so early in our first eight months on the air.”

About EPIX

EPIX, a joint venture between Viacom Inc. (NYSE: VIA and VIA.B), its Paramount Pictures unit, Metro-Goldwyn-Mayer Studios Inc. (MGM) and Lionsgate (NYSE: LGF), is a next-generation premium entertainment channel, video-on-demand and online service. With access to more than 15,000 motion pictures spanning the vast libraries of its partners and other studios, EPIX provides a powerful entertainment experience with more feature films on demand and online and more HD movies than any other service. It is the only premium service providing its entire monthly line-up of new Hollywood titles, classic feature films, original series, music and comedy specials through the linear channel, video-on-demand and online at EpixHD.com, the leading online destination for movies. EPIX has made the commitment to deliver the industry’s most expansive online collection of movies, making more than 3,000 titles available to subscribers this year. The service is available to over 30 million homes nationwide through carriage agreements with Verizon FiOS, DISH Network, Cox Communications, Mediacom Communications, Charter Communications and NCTC.

For more information about EPIX, go to www.EpixHD.com.

It’s not the most revolutionary song you’ll hear, still “Rules Don’t Stop” doesn’t try to be something greater than what it is. Although the lyrics are repetitive the instrumentation is solid. In fact the drums are the best part of this song.

“Baby Lee” – Teenage Fanclub

If you’re in a self-depreciating mood, then this track’s for you. Masochistic tendencies abound as the narrative might depress you. Still if you want to feel better about how well your own life is going, then give this track a shot. It does have a deceptively pleasant melody in contrast to the stalker-like lyrics.

“Look Out!” – Peter Case

“Look Out!” sounds as if you’ve discovered a lost jam session of The Beatles. It’s a great rock song where you feel the good vibes Peter Case and his fellow musicians had in recording it. Whenever you just want to feel that there are still real artists who play instruments that you can recognize play this song.

“Killing Time (Paul Oakenfold Remix) – Infected Mushroom; Perry Farrell

Have you ever had a headache that wouldn’t go away? It’s not bad enough to take medication for, but it just seems to make everything in your day a laborious task. That’s what “Killing Time” sounds like and it doesn’t help that it’s over seven minutes long.

“Yulia” – Wolf Parade

Remember when you wrote your first poem and tried to set it to music? Perhaps you had a modicum of musical talent and played a decent guitar or could do a mean drum solo, but your writing skill sucked and made all your other talents meaningless. That’s what “Yulia” is. As good as the musicianship is the lyrics bring the song down.

“Graduation Day” – Chris Isaak

Remember Chris Isaak’s “Wicked Game?” That track is like lightning in a bottle. Now you’re listening to “Graduation Day” and you can only hear Isaak’s desperate attempt to recapture the “Wicked Game” moment. While it is a good song, it sounds as if it tries to hard. However it is free and has a solid guitar solo that you’ll enjoy listening to.

“Pearl of the Stars” – Coheed & Cambria

This is one of those tracks that you need to listen to when you’re euphorically happy. If you’re not in that moment then “Pearl of the Stars” is not for you. This takes self-depreciating, masochism to a whole new level. However the haunting melody in and of itself works no matter what mood you’re in. Tracking down the instrumental version would be worth it.

However, one type of puzzle has outlasted any other, and that is none other than the ubiquitous crossword.

Existing in its present form for almost a hundred years, crossword puzzles are said to be the most popular word game in the world. The first modern crossword has been credited to a journalist by the name of Arthur Wynne and was published on December 21, 1913 in the New York World. Over the next couple of decades interest in this form of puzzle spread across America and Europe, appearing in newspapers and games magazines.

The popularity of crosswords can be derived from being easily available in the daily newspaper and are seen as a way to pass the time. To many however, they are more than just a diversion, but a way to increase their understanding of language.

“It helps to increase vocabulary, to learn new things,” said Ruth Abere, a tutor at Kingsborough Community College in Brooklyn, New York. “Sometimes you come across a new word and learn its meaning. It’s a challenge and good for the mental brain.”

Word puzzles by their definition prove themselves challenging by giving the solver a bunch of words that they potentially might not have heard of, with the only bit of help being a decidedly vague clue and the number of letters in the word. Solving the puzzle can give that person a new word to add to their lexicon.

Due to a perception of increasing one’s knowledge, crosswords have a legitimacy that is lacking from a lot of other types of puzzles. But does that mean that it is in fact more popular than its contemporaries?

“Overall, easier puzzles are more popular than harder puzzles, or at least they sell better,” said Wayne Schmittberger, editor-in-chief of Games Magazine. “Word-Find magazines are more popular than crosswords, and easy crosswords are more popular than hard crosswords.”

Being as commonplace as they are, crosswords attract a wide variety of people who think they have what it takes to crack the puzzle. The knowledge required to do so depend on the puzzle itself, but some people are just more capable than others.

“In a sense, solving a puzzle can also be seen as cracking a code, which might explain why a healthy chunk of people with mathematical minds are good at solving crosswords,” said Patrick Merrell, co-editor of the New York Times Wordplay blog. “Being aware of letter patterns and being able to recognize words with letters missing helps. Beyond knowing things and possessing certain skills, practice is the biggest factor in solving puzzles better.”

Interestingly enough, perhaps obviously, there is an overlap in the knowledge needed to both solve puzzles and to create them. Both, according to Schmittberger, require a base of general knowledge as well as a large vocabulary. But this does not mean that being good in one area makes you adept in the other.

Merrell said, “Some crossword constructors are great solvers, some aren’t. I think what this says is that there’s a set of skills needed for constructing and one for solving. There’s certainly some overlap, but to differing degrees with different people.”

Creating and finishing crosswords do require different skill sets; however, what exactly is the process that creates the puzzles? Are they handmade or are they put together by computer, or some other modern method?

“Crosswords used to be entirely created by hand, and many still are, but now computers are used to assist creating them or even to create them entirely,” said Schmittberger. “Software like Crossword Compiler can make it easier for a person to compose and edit a puzzle and put it into a form from which it can easily be typeset.”

Crossword Compiler is a downloadable program available from WordWeb Software that allows it’s users to create crossword puzzles, word searches, and Sudoku. According to its website “Most puzzles for the New York Times and other publications are made with help from the program.”

Schmittberger continues, “Still, if a crossword is to have a theme, as many do, a human will need to come up with the idea for the theme as well as the theme answers and will also have to decide what size puzzle grid is to be used. After that, a computer can be used to help fill in the white squares with interlocking words from an approved database of grid entries. However, even if a computer is used this way, puzzles will still benefit from a human touch to come up with as many clever and original clues as possible.”

The concept of themes is important as it allows crossword constructors a framework around which to focus their energies on. According to Merrell, “Most puzzles have a theme.” The theme also helps the solver by allowing them to narrow down the possible solutions to the various puzzles.

Crosswords thus are started by first finding a theme and are finished by writing down the clues. However, despite the modern methods available, constructing crosswords can still be a time-consuming affair.

“A crossword can theoretically be put together in several hours or, more realistically, over several days,” said Merrell. “Sometimes it might take weeks or even a year.”

Though often viewed as a solitary experience, crosswords are capable of becoming a more communal event by bringing people together in order to solve the puzzle together.

“I used to do the Sunday Times, it was a family thing,” said Abere. She would work on it with her husband and sons, passing it back and forth from one another. “We had to use the encyclopedia. Some would consider that cheating, but it would help us understand the words.”

At the end of the day, crosswords like other types of puzzles are simple distractions, sources of entertainment to focus the mind in an age of constant interruption. They sharpen the mind and in their own way enrich it. Behind them are people much like those that enjoy them, curious individuals with an affinity for words.

“The main purpose for creating a puzzle is to make something that people will enjoy,” said Merrell. “As to who that person will be, it could be anyone. Solvers and constructors both come from every walk of life imaginable.”

Episode Commentary:

Ray Drecker has the “tool” to be the greatest male gigolo the world has ever seen.

So why can’t he just shut his brain off and turn his member on?

At first, many that watched “Hung” wanted it to be a sexy diversion from “True Blood,” but make no mistake about it, it’s not and never will be. Much like “Bored to Death,” it’s a witty show that has quietly carved its own niche on HBO.

Forcing you to use your head, rather than your body each episode, it’s a tease to see a slew of beautiful women on the screen and watch Drecker not know what to do with all of them.

Nonetheless, it’s far from a horrible viewing experience- it’s just not as steamy physically as you’d expect.

There is plenty of drama to be had though.

This is mainly shown through the relationship between Drecker and his ex-wife, which continues to heat up. By the end of the episode, you’re left wanting him to escape this life of money and sex and have the stability he never wanted to lose in the first place.

After the last episode ended, you’d think Drecker was working towards accomplishing that goal, but that’s anything but the case. Forced again to do the right thing for everyone else, Drecker almost sabotages his relationship with his best client [perfectly showing, much like last season that he does not have the heart for prostitution] and now has a co-worker wondering how he’s paying for buses for his bankrupt High School baseball team.

However, rather than get a thank you or a hand shake for his care and concern, all he gets for his trouble is a new bed to sleep in.

Literally.

We wish it could have been figuratively.

If that wasn’t enough, his two pimps can’t get along either. This element of the story is quickly becoming an interesting one as Lenore and Tanya are both hilarious on-screen together and provide a nice break in between the main drama with Ray.

Because of all this going on, this episode of “Hung” hits the spot and has us waiting eagerly to see what happens next.

Again it ma not be as sexy as we’d like, but it’s still more than entertaining.

It’s 1936, and Fenton Paddock is a former British soldier who has used his military training to become a rogue smuggler. Having developed a reputation for finding things that shouldn’t be found, he is asked to help locate a missing military expedition in the far-flung reaches of Tibet. Along the way, his path crosses an elite squad of Nazis tracking down powerful occult weapons for use in their conquest of the western world. It’s up to Fenton to find the lost expedition and stop the Nazis from finding the greatest treasure of all, the mysterious city of Shambala!

“Lost Horizon will offer Point-and-Click Adventure enthusiasts a wealth of entertainment at an amazing p sdfadsfrice,” said Geoff Mulligan, Chief Operating Officer at Deep Silver. “With its compelling storyline, sharp dialogue, challenging puzzles, and beautiful hand-drawn locales, Lost Horizon brings an action-packed blockbuster experience to the player for less than a couple of tickets to the movies!”

Lost Horizon will be available for digital download through several top online PC game retailers for $19.99 this August. For more information, visit lost-horizon.deepsilver.com

Starting his career in 2009, Olsen has already released a self-titled EP on May 11, 2010.

Even though he has not yet produced a full-length album, his first debut single, “Summer Thing,” was available for country music fans all over the world in April of 2010.

Such a song came out at such an appropriate time, seeing that summer was just around the corner.

Throughout the tune, Olsen expresses natural emotions of an unforgettable summer experience. The lyrics that he uses are extremely detailed and true, making it easy for a first time listener to envision these descriptions in their head.

The compassion and soulfulness of Olsen’s voice is very similar to that of George Strait.

Along with the described thoughts of warm weather, pretty girls, drinking problems away and giving thanks to life, the strumming of Olsen’s acoustic guitar allows the entire scenario to be calm and influential.

It might be rare to visualize a bunch of teenagers joining together and playing Olsen’s style of music, but when it involves a track that can be related to, “Summer Thing” is absolutely suitable.

In general, Olsen’s debut single is an outstanding contribute to the current country scene and is certainly something to listen to during a crazy summer night that in hopes, will be remembered forever.

Lately with the resurgence of Thrash Metal there have been some good bands and some bad bands. One of the better bands being LA thrashers in half shell, Bonded By Blood. The band has been slowly, but surely rising to fame through the power of metal. Having learned that their second album, Exiled to Earth, is coming out on August 24th, 2010, Review Fix was able to get in touch with their lead singer, Jose “Aladdin” Barrales, to discuss the origins of the band, the new album and upcoming tours with his idols, Exodus and Malevolent Creation.

Review Fix: The band was formed in 2005. What was it like in the very beginning?

Jose Barrales: We didn’t have any visions of “whoa wed be touring and blah” (Is it ok to leave it like that in quotation marks?) (whom we’d be touring). We just wanted to be a band. We were really young when we started and nobody took us seriously, especially because of the genre we were playing. Everyone thought thrash was dead. We were playing with hardcore and emo bands in the beginning, so it was hard to take us seriously, at first. Eventually, when more thrash bands started popping up, things got a lot better.

RF: The band name is quite significant being named after the Exodus album of the same name. Why did you choose this name and what names were almost out there?

JB: When we started the band, there were other names. The one I remember the most was God of War and we decided we didn’t want that because there was a video game with this name coming out. The name came about because there were mostly emo/hardcore kids around and at the time, that was the album we mostly listened to. We didn’t even know that people around us knew what we were talking about, or the whole reference to that album. And we didn’t think about the future or being where we are at. It stuck and it was cool and it was mostly for the song and not the whole album because we feel that we are all a brotherhood.

RF: Not many people know this, but Tom from the band Lich King designed the logo. How did you get in touch with him because Lich King is from Massachusetts and you guys are all the way from L.A.?

JB: Me and him go back before the band even started. I think it was on thrash unlimited forums and that was where people go online and discuss their views on different things. And I saw that he was an artist for his band at the time. I think I sent him a demo and he listened to it. Back then he didn’t even like our band. I remember that for sure, but he decided to do it. He was like “well, I’m willing to help you guys out; you are younger, blah,” but we became really good friends over time and he is a really cool guy. I am glad he got to do our demo covers and our album.

RF: The dude with the laser eye that’s on the cover of your earlier releases, was it his idea or yours?

JB: It was our idea and he drew it. We kind of dropped that guy now.

RF: Who did the artwork for the new album?

JB: One concept artist, who’s never done an album before. His name is Reid Southern. He has done movies and video games. He really liked the band and he does a really good job with sci-fi stuff.

RF: Shortly after you released the EP Extinguish the Weak, you singed to Earache Records. How did you get signed so quickly?

JB: We posted Extinguish the Weak online at Myspace and it was around the time when Myspace was booming and a lot of bands were getting signed like crazy. Through the magic of My Space someone from Earache heard us and liked us. He sent us a message and at first we thought it was fake because we had gotten messages before like “oh, I want to sign you” and they were regular guys, so we thought “oh, it’s nothing serious” and he’s like “oh, yeah I’m from Earache.” He sent us a message form, an official email and we were like “oh, shit, this guy is serious.” We were looking into a deal with Nuclear Blast at the time and what happened was with Nuclear Blast, it seemed like we were just going to be another band on a roster and with Earache we were going to be treated more like a family. So far, they have kept their word on everything they have ever said, so I’m glad we signed with Earache.

RF: In 2008 you released your debut album, Feed the Beast. What was the experience like?

JB: We had to rerecord it. We had to do two takes on it. One producer was Michael Rosen and he’s done a bunch of bands, like Ash Done Testament and Death Angel. And what happened was that we went to Sacramento to record this and he was really hard on making it more poppy and radio friendly and we were not. He cut a lot of things out that we didn’t want to and he kept insisting on doing choruses, like Green Day, and we didn’t want to do stuff like this. We didn’t finish recording there. We had to go back to where we recorded our EP and a whole month’s worth of recording we did in two weeks. I’m glad Earache gave us a second chance because it came out better than the actual recording. The whole feeling was a lot of power and angst into that recording and it came out good.

RF: On August 24th your new record, Exiled to Earth, is coming out. What was the process behind that like?

JB: It took us two years to come up with a new album and we wanted to top the first album. We also wanted to progress a little bit more as well and that’s what the technically and tightness and catchy songs we have matured as a band and people keep seeing us and go “oh, these guys are good; they’re getting better, they keep progressing instead of sticking to one formula.” That’s what we want because by the time the third album comes around, it will be really good so that’s what it all boils down to keep trying to top your last record.

RF: Exiled to Earth is also a concept album. Tell us a few details about the concept and who came up with it.

JB: That concept is what our bassist Jerry and I came up with. There is this alien race called The Crong that has been living here on Earth and they have always been there. They finally decide to get out into the world and this human revolution comes out because they try to take over the world. From taking over the world, some of them conform and some don’t and they get stuck in different sectors and become alien slaves. There are a few that start a revolution, but they stay underground because this big fucking bomb has gone off and the few humans that have started a revolution have died and the ones who survive are underground and they are not allowed to leave until 600 years after the bomb has exploded and that’s where the album starts off with the humans trying to take back earth from The Crong. Jerry is into government conspiracies and I am into alien conspiracies, so we just put them together and we asked the rest of the band. They were all like “cool” and we went crazy with it and the end result is Exiled to Earth.

RF: Who produced it?

JB: His name is Ralph Patlon. He has done Megadeth and White Wizard. He is a really cool guy and I am glad he did it because it came out really good.

RF: Have you ever considered Exodus’s Gary Holt producing at Sharkbite Studios?

JB: That would be really cool. I know Warbringer did it with their last album. It came out really good. We are going on tour soon, so I’ll probably talk to him about it.

RF: In August you guys are going to be touring with Exodus and Malevolent Creation. What is it like to be not only seeing your idols every night for a month, but playing with them and hanging out with them?

JB: That’s actually going to be really cool. We have opened for them a couple times, but the tour is going to be a whole different story because we get to see them every night and hang out with them. We played a show in Hollywood a couple of weeks ago with Heathen and afterwards we were talking with them and they were like “we are going to hang out and we are going to show you guys how to really party” and we were like “wow.” I mean it is like a dream coming true, so bring it on!

RF: You played L.A.’s Thrasho De Mayo festival this year?

JB: Yeah, we played it last year, too. With Exhumer, it was really awesome to play. Both times it was a really packed show.

RF: What was it like to see these two legendary bands returning to the stage after all these years?

JB: Exhumer was really cool. It was packed last year at the Knitting Factory. This year it was at this new venue I think it’s called the Ultraviolet and it was a great show, really energetic. I’m a big fan of Agent Steel and I’m a big fan of Evildead. It was a late show because a lot of things were going on and a lot wasn’t going according to the plan, but I’m glad I got to see them because I didn’t think it would ever happen. Our merch booth was right next to theirs and it was a cool thing. I was glad to hang out with them and I’m glad they reunited because it was great to see one of my favorite bands even better, plays with them!

RF: How did you get the name Aladdin anyway?

JB: That goes way back to sixth grade or something like that. I was going into a new school and I had long hair and my skateboard. At the time they were watching Aladdin and as I was a new kid, they called me that and it stuck. Eventually, I grew to like it. I mean, all the teachers knew me as Aladdin and so on. It’s really not an interesting story.

RF: Later this year you have a US tour with Overkill and the returning Forbidden plus UK and Irish thrashers Evile and Gama Bomb will be joining you. What does that feel like?

JB: That feels really good. I’m actually a big fan of Forbidden and Overkill and I’m looking forward to it. I’m a fan of Gama Bomb. They are really good. I can’t wait for them to come. We recently did a European tour with Gama Bomb and plus Evile is coming, so I can’t wait.

RF: What ninja turtle would you be and why?

JB: That’s easy: Michelangelo because he is the party turtle. Why wouldn’t you want to be him? All the other turtles are party poopers man!

Episode Commentary: “Nine Crimes”

This past week’s episode of “True Blood” was easily the weakest of the season.

However, in the long run, it may figure in as one of the most important.

Marking what appears to be the end of the Sookie Stackhouse-Bill Compton era, the series may never be the same again.

Add in the new werewolf elements and the problems Sam Merlotte is having with his new family, Eric Northman’s drug dealings gone astray and Jason Stackhouse’s trials and tribulations and this show feels almost completely different from the steamy and sexy show it was just a month ago.

However, one can only hope, after beginning to shed some more back story on some of the show’s newer characters over the past few weeks, that it will go back to its roots- before the less exciting and more drawn out ones it’s been growing as of late begin to take hold.

Because after a few weeks of lukewarm episodes and a weak second half of Season two, this vampire epic needs to get provocative and fast.

After the end of the episode before this one, with one of the craziest sex scenes in Cable TV history, you wouldn’t have been wrong to think the show was going to pick up in the action department.

Not the case at all here though.

Make no mistake about it- if this episode was indeed a vampire, its fangs would be capped and rendered useless by the dentist from “Little Shop of Horrors,” but without the charisma of Steve Martin and a blood-thirsty plant.

Mirroring the storyline of Merlotte and his family, which is intriguing, but losing steam each week, and frankly getting boring, “True Blood” needs a big week this upcoming Sunday in worst way possible.

With a new sheriff in town, Tera involved with a vampire and Eric seemingly falling for Sookie more by the minute, the intangibles are there for that to indeed be the case.

The jury is out when those intangibles will induce a full-blown fangtastic episode however.

In the beginning of the show, you’d bet it’s the former, but by the end you start wondering if it’s the latter.

But is it worth your time to ponder throughout?

To answer this question, first try to figure out what you are expecting a one man comedy show to be. If you would like to see a great actor transforming into dissimilar characters, then this is what you get. However, if you are ready to laugh until your stomach aches, then this is not the kind of play you need to see.

Martin Joseph, who has written and performed the play, clearly has a gift for acting. During the short show time, he is capable of transforming into a variety of people, such as an attractive host with high self-esteem, a well-paid hooker, a teenager who lacks confidence and speaks to his toy, a rapper who actively promotes his upcoming CD and finally, an old man who just loves to chat. As he does it brilliantly, the audience members admire his ability to walk on high heels and trim hair falling on his forehead when he pretends to be a woman, believe that he is a late-coming spectator when he sits among them dressed like a 13-year-old boy and sympathize with him when he tries to save his ruined show.

In the meantime, the breaks that allow him to change his clothes and become the next person are filled in with video advertisement on the wall and his assistant’s talking, which is good because there is no awkward silence and some of the assistant’s jokes are funny. Besides, the reality of a talk show is truly re-created, with all those ads we usually are irritated by.

Why do they have to appear every five minutes? Well, in Joseph’s talk show they served, at least, a very good purpose.

In addition to this, the host often addresses the audience, even when he appears on the wall in a video, interviewing a guest he plays in front of them. Viewers are encouraged to ask questions and talk about themselves. As a remedy for shy ones, there are cards with prepared questions the assistant, Scotty, happily gives away. It may be the idea of a talk show where the host tries to control the flow of the conversation; however, it looks quite weird.

Another thing that disturbs the audience is a bad crew behind the scenes. Not only do they laugh at jokes the audience doesn’t, as it happens in boring comedy shows, they also forget or “forget” to switch to another image where they should. At the end, the screen on the wall shows the angry host yelling at his assistants behind the scenes, complaining that everything went wrong, so by the time the audience is eager to go home, they finally understand that the show was not bad; it was meant to be messed up.

Or maybe, it comes from expectations of failure, uncertainty about the jokes’, the host’s and the play’s success. This is the dilemma that does not benefit the show in the least.

With his friendly, outgoing and marvelous personality and tremendous acting skills, Joseph’s abilities are more suited for performing, as this one man show lacks the type of story that truly captivates. An example of a great idea that lacks the polish and pizzaz to be pulled off effectively, this performance doesn’t make you think about laughing, it makes you think about what could have been done to make it better.

We’ve also got new arrivals in the “Big Name Games” section of the WarioWare™: D.I.Y. series, which features downloadable microgames from some of the industry’s most talented figures. This week we have some new additions from the Treehouse, Nintendo’s game localization team. New “Big Name Games” will be added every Monday through July 26, all available to download for zero Nintendo DSi Points™ to anyone with broadband Internet access and a copy of either WarioWare: D.I.Y. for the Nintendo DS™ family of systems or WarioWare: D.I.Y. Showcase software for the WiiWare service. Visit the Nintendo Channel on your Wii system today to learn more about these games.

WiiWare

Toribash
Publisher: Nabi Studios
Players: 1-2
ESRB Rating: T (Teen) – Animated Blood, Fantasy Violence
Price: 1,000 Wii Points™
Description: Toribash is an online fighting game where you make all the moves. Use precision motion controls to create any move you want – the only limit is your imagination. Manipulate your fighter’s joints for maximum impact and take out your opponents with precise hits. Boost your joints for added speed and strength to hit harder, then grab your opponents and slam them to the ground. Fight online and challenge players around the world using Nintendo® Wi-Fi Connection (broadband Internet access required). Want to make your own fight movies? Just jump into the replay editor. You can enter replays at any point in time and review your fight to catch that mind-blowing move you missed. When you’re done, share with your buddies through WiiConnect24™.

Balloon Pop Festival
Publisher: UFO Interactive
Players: 1-2
ESRB Rating: E (Everyone)
Price: 800 Wii Points
Description: Balloon Pop Festival is a revolutionary puzzle game that’s suitable for all ages. Point the Wii Remote™ controller at the screen to aim and link a series of balloons to create satisfying combos. Watch as the festival is beautifully animated, releasing different graphical elements to represent each month. The goal of the game is to score as much as you can before balloons cross the line on the bottom. Each festival has different graphical elements, animation and character costumes. The more you do through the festival, the more you will unlock graphics for playing other modes.

Nintendo DSiWare
Primrose
Publisher: Sabarasa
Players: 1
ESRB Rating: E (Everyone)
Price: 200 Nintendo DSi Points
Description: Take your time, set your own pace, establish your own goals and adapt your play style however you like. Primrose rules are easy: There are no time limits, no levels, no arbitrary objectives and no constraints. Just place pairs of tiles on a game grid and attempt to corral groups of tiles with pieces of a different color. Surrounded tiles disappear and surrounding tiles change colors, allowing chain effects to trigger combos for massive points. You can play long matches and try to keep up with increasing levels of difficulty, or just go all out on a huge single-move combo for millions of points.

Pop Island – Paperfield
Publisher: odenis studio
Players: 1-8
ESRB Rating: E (Everyone) – Comic Mischief
Price: 200 Nintendo DSi Points
Description: Discover a fresh, fun universe with easy pick-up-and-play control themes. Join your team and race, surf or fly on three new islands. Get a maximum of flags to win in the “Race for flags” or “Capture the flag” modes. With the new “Magic Shooters” team, take control of eight land, sea and air vehicles (including tanks, hovercrafts and planes) or animals (surfing penguins, eagles and black cats). An impressive graphics engine runs fast and smooth at 60 frames per second. In Solo Mode, rack up points and unlock new playable vehicles and maps. Use DS Download Play to share Pop Island – Paperfield and compete joyfully with up to seven friends. If you own Pop Island on your Nintendo DSi system, you can get three new maps and four vehicles, including a helicopter and a submarine.

Music on: Retro Keyboard
Publisher: Abylight
Players: 1
ESRB Rating: E (Everyone)
Price: 200 Nintendo DSi Points
Description: Turn your Nintendo DSi system into a full electronic keyboard with a carefully chosen selection of sounds and rhythms from the mythic computers and consoles of the 1980s. Whether you’re already an expert or taking your first steps, Retro Keyboard will help you capture your inspiration wherever you are. Features include an ’80s-inspired interface and a selection of keyboard, console and computer sounds from the ’80s, plus rhythms inspired by the first generation video games. You can also enjoy an automatic accompaniment function with chord recognition, up to eight user-definable chords, a six-octave keyboard (two octaves visible), pitch bend function, 16 instruments, an integrated sequencer, metronome, recording and replay options.

24/7 Solitaire
Publisher: cosmigo
Players: 1
ESRB Rating: E (Everyone)
Price: 500 Nintendo DSi Points
Description: 24/7 Solitaire features 24 variations of the most widely known and best-loved single-player card games including Klondike, Freecell, Spider, Pyramid, Yukon and seven versions of Peg-Solitaire. Most games have custom game play options so you can enjoy the game with your favorite rules. On-screen instructions can help you learn new Solitaire variations. Statistics are available for players who love to track their wins. Save your game status at any time. The game’s style and interface have been designed for easy, intuitive operation with the stylus or the control pad. Sit back, relax and enjoy the endless challenge and fun of this Solitaire game collection.

4 TRAVELLERS™ – Play French
Publisher: AGENIUS Interactive
Players: 1-4
ESRB Rating: E (Everyone)
Price: 800 Nintendo DSi Points
Description: Challenge your family and friends in a new digital board game while learning your first words in a new language together. Compete in a foreign hotel where the goal is to acquire objects, money and friends. Strategy and fast learning are essential. The game is suitable for players young and old, and no previous knowledge is necessary. The more you play, the more your French vocabulary increases. The game is perfect to bring on your trip, including more than 240 carefully selected words.

Nintendo adds new titles to the Nintendo DSi Shop and the Wii Shop Channel at 9 a.m. Pacific time on Mondays. Users with broadband Internet access can redeem Wii Points or Nintendo DSi Points to download the games. Wii Points can be purchased in the Wii Shop Channel. Nintendo DSi Points can be purchased in the Nintendo DSi Shop. A Nintendo Points Card™ can be purchased at retail locations.
All points from one Nintendo Points Card must be redeemed in either the Nintendo DSi Shop or the Wii Shop Channel. They are not transferable and cannot be divided between the two systems.
Remember that both Wii and Nintendo DSi feature parental controls that let adults manage the content their children can access. For more information about this and other features, visit http://wii.com or http://www.nintendodsi.com.

Last week, former NHL tough guy Bob Probert passed away after collapsing due to chest pains on his family’s boat, he was just 45 years old.

A titan on and off the ice and never scared to speak his mind, Probert was more than a hockey player, he was toughness personifiedwith a bad boy image to match, but was nonetheless  a shining example of how hard work can make dreams come true.

Over the past few years, Probert even appeared in the movie “Love Guru” and the TV show, “Battle of the Blades.” With his charisma and his demons of drugs and alcohol behind him, it was a shame that Probert didn’t get a chance to do more things in the media.

 He had that kind of a personality.

Here is our tribute to “Probie”:

When Bob Probert was on a sheet of NHL ice, players of all-skill levels made sure they knew where he was at all times. Fifth on the NHL’s all-time penalty minutes list, Probert probably has more knockouts under his belt than most fighters competing in the Ultimate Fighting Championship today. For that reason alone, Probert will always be remembered as one of the sports greatest enforcers and a reminder of how much the sport has changed over the past five seasons.

With the lack of fisticuffs in the league today however, younger fans wouldn’t even know who Probert was if it wasn’t for the tremendous amount of time older fans have spent on YouTube, uploading his most notorious bouts with tough guys like Troy Crowder and Tie Domi, in addition to dozens of other tribute videos, which catalogue some of his career’s most famous moments.

That alone has continued to keep the legend of Bob Probert alive long after his professional hockey days have concluded. While the NHL continues to take measures to eliminate fighting from the game, Probert believes it’s something the league will never be able to escape itself from.

“I think that fighting will always be a part of the game regardless of what the leagues tries to do to cut down on it,” he said. “It’s a part of the game that should always be there. It belongs in the game and keeps people honest; it also limits the amounts of cheap shots. Guys think twice about sticking someone if they know someone on the other team is going to come after them if they get too physical.”

And boy, did things ever get too physical. Playing with the greats the likes of Steve Yzerman, Sergei Federov, Adam Oates, Jeremy Roenick and Denis Savard over a span of 17 years, Probert spent many a time in the penalty box. Nonetheless, he doesn’t regret all the time he spent in sin bin. Feeling he helped protect his fellow teammates and gave them the space they needed on the ice to help his team win, Probert feels it was an investment in his success.

However, despite the bravado he exhibited on the ice while sticking up for his teammates, he did admit there were times where he really enjoyed trading punches with the opposition.

“There were times when players were going after Steve Yzerman and I had to go after them. There were also times when guys would come after me and give me a cheap shot and I would have to stick up for myself. Sometimes though, there are just times when you look at someone the wrong way and you go at it,” he said with a chuckle. “Sometimes you knew before the game that this was someone you were going to have to fight and you figured why not get it over with. There are a lot of different reasons. There’s also the motivation factor, a big hit or a fight can definitely motivate your team and change the game. That’s what my job was.”

If being a tough guy was his job, then the 163 goals he scored during his time in the league were a bonus. Scoring 40 points four times in his career, Probert was much more talented than most of the players he was fighting with every night. For instance, Probert has more career goals than both of his old nemesis’, Domi and Crowder, combined. He also made an appearance in the NHL All-Star game in 1988, a task most enforcers would deem impossible, in a season where he ended up with 29 goals and 62 points during the regular season.

Despite his development as an offensive player though, Probert believes he always enjoyed the rough stuff.

“I had an opportunity to play with Steve Yzerman that year,” he said proudly of his stellar season in ‘88. “I was told by the coaches, ‘Hey Probie, don’t be fighting, stay out on the ice.’ I also got 398 penalty minutes that year, so I didn’t really listen to the coaches that much. That’s just the way I played the game and that year, everything really came together for me. I got a chance to play my rough style, but also got a chance on the powerplay and to play with some great players. That was my favorite part of playing in the NHL.”

Continuing his spark plug play that season, Probert led the Red Wings in scoring with 21 points in 16 playoff games in 88 and let the rest of the NHL know that he had arrived..

“I believe that was the year Stevie [Yzerman] got hurt, so I got a chance to play on the top line with guys like Petr Klima, John Chabot and Joe Murphy,” Probert, who also had a career high 62 points that season, said. “Because Stevie was hurt, I got to play that much more and show everyone what I could do. I had a great playoffs that year and it was really fun. It’s fun when you can put some points on the board and be one of the key players on a team.”

Like any good hockey player, Probert proved that season that he was much more than a guy with a pair of hands made out of cement. While he would never reclaim the status he had in ’88, due to injuries and several off the ice problems, he was still a more than serviceable player who would do anything to help his team win.

Today however, players in the mold of Probert are pretty much extinct. As a result, many older hockey fans feel disconnected with the game and call on older moments when asked about why they watch the sport. Probert himself believes that the league doesn’t understand that toughness is simply a part of the game that is never going to go away.

“A lot of people growing up now didn’t have a chance to see the game in the ‘80s and didn’t get to see the sport the way I and so many people played it,” he said. “Nowadays, the game is so much quicker and sometimes there aren’t even many hits. However, the team that won the Stanley Cup last season [Anaheim Ducks] was the most physical and if you ask me, that’s the reason why they won. In the end, it’s not really about fighting. It’s about being physical and team justice. You get a big hit and it can change the game. If you get an entire team playing physically, you can go places in the league.”

Even though Probert isn’t happy with how much the league has changed since his retirement, he does feel he’d have at least one person to tango with if he ever decided to lace up his skates again.

“Probably Sean Avery,” he said, trying to hide his laughter. “That’s a guy I would probably go after [laughing]. He gets under my skin just watching him play, so I’m sure if I was still playing he’s definitely someone I’d like to go with.”

In spite of the tiger that still lies in his heart however, Probert has changed his playing style recently, lacing up in NHL Alumni games across Canada. Not ready to call himself a finesse player yet, Probert still sees himself in a much different light.

“There’s no hitting or fighting there, so I’ve had to change my game,” he said, again trying to conceal his laughter. “I feel like a kid again.”

This article was originally published in April 2008.

Located at 625 Broadway, a few steps from SoHo, Gonzalez y Gonzalez is a festive dining area in downtown Manhattan. If you are a fan of Latin music and food, this is definitely a great bar to enjoy your night. You’ll experience a very mellow but dynamic environment, with a colorful scenery and candlelit tables. There are TVs in the bar area for sports fans, but once you enter, I guarantee the music alone will interest you. Gonzalez y Gonzalez is the type of bar and restaurant that can suite any type of setting and occasion.

The menu is filled with a variety of different foods, from tacos, quesadillas, arroz con pollo, even seafood. Along with the collection of foods, the prices are pretty decent and reasonable at this hangout.

The waiters assist you in a well-mannered form, and the wait for food is no longer than 20-30 minutes. Once you are seated, you are welcomed with a huge bowl of tortilla chips and salsa dip, and as you receive your food, they compliment you with a shot glass of Jose Cuervo to top it off.

With one fajita meal, you have the choice of steak, chicken, fish or all three. This meal comes with a side order of rice and beans, sautéed vegetables, three soft tortillas (per order), guacamole and sour cream. The food is rich with seasoning, but not too salty.

The drink menu is filled with fruity alcoholic and non-alcoholic drinks. You can have drinks ranging from margaritas to tequilas and, of course, lemonade or soda for the non- alcoholic drinkers.

Gonzalez y Gonzalez also hosts weddings, cocktail parties, corporate events, etc. They have happy hour from Sunday through Friday from 12 p.m.- 7 p.m., and Saturday 12 p.m.- 9 p.m., serving $3 drafts and $5 margaritas – any flavor and style.

If you want to appreciate Latin culture more, Gonzalez y Gonzalez is definitely the place to go. Want to hang out with friends or your family, this is the bar and restaurant to spend time in as well. You can have drinks and food for good prices, while loving every moment of your experience. It’s even better if you ever have a really busy shopping day and just need a place to catch a breather.

Because of this, if you’re ever hungry and in SoHo area, you should stop by Gonzalez y Gonzalez.

With an overall length of only 27 pages, issue 11 comes with two stories involving superheroes, the first of which follows Homer Simpson’s alter-ego, Pieman. While on a mission to foil some criminals one day, he stumbles upon a bunch of other superheroes who are even more obsessed with pastries than he is. (They’ve managed to come up with more creative names, too: Colonel Custard, Captain Kidney Pie, etc.)

After they tell him all about the pie-related crimes that they’ve pledged to prevent, Pieman–along with his pintsized sidekick the Cupcake Kid, who bears a striking resemblance to a certain 10-year-old underachiever–agrees to give them a hand in their eccentric exploits. The fate of your local bakery may depend on them.

The next one catches up with Stretch Dude and Clobber Girl, a duo that Bart and Lisa Simpson started after acquiring superpowers. When Clobber Girl gets sick and needs time to recover–her doctor tells her that she’s contracted the “superflu,” which only superheroes are susceptible to–Stretch Dude attempts to go out and fight crime on his own. After it becomes clear that he can’t fight crime alone (his stretchable limbs are kind of a liability, especially when he gets near a pasta roller or a taffy puller), he gets help from another partner named Gluestick, a superhero that Lisa’s old boyfriend Ralph Wiggum turned into after eating some paste. Given some of the other school supplies he’s ingested over the years, it makes you wonder why he didn’t turn into a giant crayon instead.

If you’re still unclear on why this comic doesn’t work, it’s because the whole thing feels too much like a product–something to squeeze a few more bucks out of Simpsons fans. Although these characters helped spice things up on the TV show, everything they do in comic form feels so routine, as if there weren’t any particular need to do something new with them.

With six months to work on this stuff, you’d think they’d come up with something more interesting.

This article originally appeared on AllMediaNY.com

Link to ‘Riding Free’ song in PSYCOMANIA: http://www.youtube.com/watch?v=kjW81M3sO68

Link to Harvey Andrews interview and playing ‘Riding Free’ song today: http://vimeo.com/13151322

Forcing you to channel your inner-”MacGuyver,” (you know, the super, uber cool ’80s sitcom with Richard Dean Anderson where he’d save the world with common household items like a rubber band, match book and a used handkerchief) this title turns you into a detective Sherlock Holmes would be proud of, or drives you completely insane trying to move the story forward.

Either way, you’re in for a hearty adventure that you’ll remember after you finish it.

Simply put, the puzzles in “Secret Files: Tunguska” are not for the weak of mind and those who lack patience. Looking through every room for clues, this title asks you to ponder every possibility, resulting often times in bizarre answers to questions surrounding a Russian catastrophe a century ago and the experiments that followed. While the story itself is sound, putting together all of the clues is no joke and is a tough task. At times, it’s even an ardous process that gets extremely frustrating. Nevertheless, those willing to try every option, [in every room and in their pockets as well] will eventually find the answers needed to continue on.

As a result, the level of satisfaction one gets when finding out the keys to each puzzle is extremely worthwhile. Relying on imagination and logic more than any other game on the system, ”Secret Files: Tunguska” feels more like those cool create your own adventure discs from the Tom Hanks film “Big” than an actual video game.

The fact that this feeling is created, in spite of the game’s true linear story is a testament to an easy control system and a fun story.

Aside from the story and finer gameplay mechanics, graphically, the game is nothing to marvel at, as blurry sprites sometimes make it harder to see smaller objects and advance the story. Helping matters though are cool cut scenes and a bevy of locations that turn this potential problem into a minor flaw that barely hampers your overall gameplay experience.

Add in a cost-friendly sticker price of $19.99 and that’s more than enough to whole-heartedly recommend this game, and get lost in its wild world of suspense and intrigue.

You’ve heard her voice everywhere, on soundtracks for a plethora of television shows and the film “Shrek Forever After.” She seems to be a five year overnight sensation. Now that she has more media exposure, you can put a face to the voice. But don’t mistake this artist for one of those sugar-pop singers. Schwartz writes and arranges her own music and her musical influences shine all over these tracks without taking over.

Take for instance “Morning Calls.” It sounds as if it’s a lost track from The Beatles’ “Abbey Road.” With overlapping harmonies with guitar as the prominent accompaniment, you could imagine John and Paul coming up with this, but no it’s Lucy and the album just gets better from there.

At first listen you may not know what to make of “Take a Picture,” but stay with it. The interesting musical arrangement makes the sound unusual to the ear like “the sound that [you] hear inside.” Here Schwartz successfully recreates that pitter-patter of your heart when you’re around that special someone. It’s also far too short of a track. You’ll keep pressing replay on your mp3 player with this one.

Just when you think that there may be a lull you hear “Someone to Save Me.” Thought-provoking cannot be overly used to define the lyrics in this song. The emotions are also subtly heightened with an urgent guitar and symbiotic background vocals. The sense of urgency in Schwartz’s voice is adamant making this track an unusual roller-coaster ride of emotions.

The piano shines in “Gone Away.” It makes the track poignant and nostalgic without romanticizing the simple truths that are revealed in the lyrics. Then there’s “Shadow Man.” This song simply rocks. It’s the track that Bonnie Raitt wished she wrote. Tough lyrics with an in-your-face, bluesy arrangement will make think that this track is a cover song of Muddy Waters or Etta James. Yes, it has that much soul.

If you’re a sucker for good harmonica and solid musical arrangement, then “Those Days” must be in your mp3 player. Here Schwartz bypasses her musical heroes as she seamlessly weaves solid storytelling with underused and under-appreciated instruments.

What’s great about this album is that every emotion is expressed and sometimes duplicated, but never sounds repetitive. Schwartz never takes the easy way out by overtly repeating melodies. Instead you are forced to take each song on its own terms and she makes you like it to the point where you’ll be singing “Life in Letters” on the street out loud, with a big smile on your face and won’t care who sees.

Essentially Schwartz has created an album that you must own. Her short pieces of narrative episodes will musically entice you and draw you in. Perhaps with albums like Lucy Schwartz’s “Life in Letters” there may be hope yet for the music business.

“Avenging Angel” is the sequel to 1984′s “Angel,” which featured the untalented Donna Wilkes. Wilkes played the student by day, hooker by night without any emotionally intensity. This left the original movie with the feeling that Disney was trying to create a family-friendly Grindhouse movie. Then again if Disney had a hand in that production, maybe the production value would be much higher. “Angel” is eventually taken off the streets with the help of a cop.

Despite what it sounds like, this did not originally air on Lifetime.

The sequel kicks off with Angel cleaning her act-up, by hitting the books instead of the streets, and now played by the beautiful Betsy Russell, who is probably best remembered for riding a horse topless in “Private School.” The former cop that helped her is shot to death by the mafia, because he was in the wrong place at the wrong time. Now, Angel must put the high heels and tight pants back on to search for truth, justice, and the American way.

This premise has worked dozens of times in the exploitation world, but the problem with this film is the annoying, over-the-top supporting characters. Rory Calhoun plays the obnoxious, mentally unstable former cowboy/stuntman, Kit Carson. Susan Tyrrell (“Night Warning”) plays the angry, lesbian, that serves as a testament to lousy acting. But the worst supporting actor has to be Barry Pearl as Johnny Glitter. Pearl’s acting is so bad that it has to be seen to be believed.

What is even more perplexing is how this film managed to score Ossie Davis in the cameo role of Captain Harry Moradian. One can’t even imagine why an actor of Davis’ caliber would appear in a B-movie this bad. Luckily, his appearance was brief and many people often forget he was even in this film.

The only asset to the film is Russell, whose beauty keeps your attention on the screen. She also has a knack for light comedic roles, and is the reason this sequel is better than the abysmal original.

However, there are times when the slapstick comedy is out-of-place in a movie that is supposed to be about a hooker. The comedy removes you from the grittiness and that becomes a real problem for this picture. An early scene of them trying to get Carson out of the mental hospital, falls flat on delivery. In other words, this is bad movie making at its finest, which is an oxymoron in some ways. But there is an audience for this type of trash and they will eat it up with a smile on their faces throughout the short running time.

Now, the climax of “Avenging Angel” reaches an all-time low, even for people who can turn their brain off briefly to enjoy a B-movie. An intense shoot-out between the mafia and Angel’s gang of misfits in an abandoned apartment building leads to an outlandish ending. The mafia managed to kidnap a baby for a trade-off with someone from the crime-family that Angel and friends have kidnapped. When the deal goes wrong, the baby is let loose, falling several stories to the ground floor, however Carson manages to catch Little Buck just in time.

What on Earth was the writer thinking, when he concocted this piece of drivel?

This film was followed by two more sequels (surprisingly), including the slightly improved “Angel 3,” which featured Mitzi Kapture (“Silk Stockings”) in the role of Angel, and Richard Roundtree in a decent supporting role. The first three films in the series were released by Anchor Bay in a boxed set. However, “Angel 4″ featuring Darlene Vogel in the role was never released on DVD, which left viewers curious has to why Anchor Bay snubbed the final film.

“Avenging Angel” works best when you are open-minded to just how funny lousy film-making is, and while you won’t be laughing at the comedy on the screen, you will be chuckling at an atrocious piece of cinema. What is great about this picture is that if you scratch the surface to find a deeper meaning, you will come up with nothing.

How often do you come across a movie that serves no purpose at all, except as a study in inept film-making?

Some might say it’s a shame that McClanahan never got that kind of attention after the show went off the air in 1992, and that for as many TV shows as she’s appeared on, people will remember her primarily for her role on The Golden Girls, where she played a Southern sexpot named Blanche Devereaux. It’s actually a glorious burden to have to bear–few TV shows have endured the way The Golden Girls has, so much so that it isn’t unusual for the people at WE to broadcast several marathons of it a week. The fact that they’ve got seven seasons worth of episodes to work with helps.

All four actresses were essential to the show’s success, which might explain why each of them took home Emmys for making their characters work as well as they did. Of course, they all probably had a blast playing them–Arthur was Dorothy Zbornak, the substitute teacher who had a knack for snappy answers to stupid questions; White was Rose Nylund, the farm girl from Minnesota with well-intentioned but ridiculous anecdotes that bored people to tears; Getty was Sophia Petrillo, the hell raiser who was trapped in an octogenarian’s body.

McClanahan’s Blanche was the oversexed widow who was forever 39, but she saw a little deeper into the role than that. The army of gentleman callers she kept at arm’s length was a sign of how afraid she was of commitment, and as sincerely confident as she was in her own sexuality, there was still a very vulnerable part of herself that she sought to protect. Although it isn’t easy to balance those extremes, it helps when you’ve got an actress who knows what she’s doing.

There’s also something to be said for the chemistry she had with her fellow cast members, which is probably why there’s such a strong sense of intimacy throughout the series. It’s nice to know that that intimacy will survive, even after the stars who shared it have faded away.

This article originally appeared on AllMediaNy.com

“Superman” #700 contained a sneak preview of indie superstar Jeff Lemire’s plans for the upcoming “Superboy” series. From Essex County, Canada, Jeff Lemire has won the hearts of indie and mainstream comic fans alike with his Vertigo title, “Sweet Tooth,” about a young boy with antlers in a post-apocalyptic world.

Taking time from his writing and drawing schedule, Lemire devoted as much phone time as he could to answer a few questions about “Sweet Tooth” and his personal journey into the comic industry.

Review Fix: Are you going to any cons this year?

Jeff Lemire: Yeah, I am going to San Diego and New York Comic Con in the fall. I got back from Seattle and Emerald City con. It was a great show.

RF: Where did the idea for “Sweet Tooth” come from?

J.L: It came from a bunch of different places. I was into a lot of post-apocalyptic fiction when I was a kid; I really liked “Mad Max,” so I always wanted to do my own thing. I was also working on a graphic novel called “The Nobody,” which was based on loosely H.G Wells’ “The Invisible Man” novel, so I think I also had his other novel “The Island of Doctor Moreau” in my head a little bit when I was doing that. It was just me wanting to do a little something that was more action-adventure and horror influenced.

RF: What do you have planned for the series? Is there a definite end to the series?

J.L: I definitely know the ending to the series already; it’s the matter of working towards that.  I would say the end is probably going to be 30-40 issues long.

RF: You also have another piece of work called “Essex County.” Can you speak about that?

J.L: Sure – “Essex County” was three graphic novels I did for a company called Top Shelf over the course of 3-4 years. It was set in a fictionalized version of a small town in Canada where I grew up. It’s a small farming community; the books follow one family over the course of a bunch of different generations. It shows the trials that push and pull the family together over that course of time.

RF: Do you have other creator-owned work coming out?

J.L: “Sweet Tooth” keeps me pretty busy since it’s a monthly book – that’s my main focus in terms of creator-owned stuff now. I am slowly working on a new graphic novel for Top Shelf but that won’t be out for another two or three years.

RF: So would they fall under the same timeframe or would you begin it after “Sweet Tooth” is done?

J.L: Well, I am working on them at the same time, but “Sweet Tooth” always comes first because I am working with a monthly deadline. So it’s more of me working on it when I have a chance, and it’ll take quite a while to get done.

RF: So how did you first get into comics?

J.L: Well, I have been reading comics and drawing them since I was young, probably 4 or 5 years old, so I have always loved them. As far as getting into it as a career, I started seriously drawing comics about 10 years ago. I started off by self-publishing mini comics. I did a book called “Lost Dogs,” which I self- published, then I hooked up with Top Shelf for the Essex County book. It’s a long process, slowly putting work together and getting it out there.

RF: What is on your pull list or in your reading pile?

J.L: I read a lot of indie books, but I also read a lot of superhero stuff. My favorites are the book “Scalped” that’s out, and “Criminal” by Ed Brubaker. That has to be some main titles I am reading right now.

RF: If someone wanted to purchase some original art of yours, could they? Or do you do any commission work on the side?

J.L: I’m usually too busy to do commissions right now, but I always do commissions for people at conventions. As far as art is concerned, I haven’t started selling “Sweet Tooth” art, but I am going to start selling it soon. I have a Blogspot, and all my work will probably go up there in a month or two.

RF: Are there any characters you want to work on?

J.L: I am actually working on “The Atom” for DC, and there are other characters I am looking forward to doing, so  I am pretty excited to do that.

RF: How did you end up pitching Sweet Tooth to the VERTIGO line, or did they end up approaching you?

J.L: Well, like I said, I had been doing one other graphic novel for them called “The Nobody,” and I think that was based on the strength of the Essex County books that they approached me about. I think I was getting close to done with “The Nobody” and I was wondering what I was going to work on next, and Vertigo had some spots opened up and asked me if I had any ideas, and it just all worked out.

You don’t have to be a rocket scientist to know that Dino Stamatopoulos’ “Morel Orel” was one of Adult Swim’s most underrated shows during it’s three-year run on the network.

Witty, charming and about the innocent days of youth, it’s comedy was suggestive, but hilarious nonetheless. This show has a completely different feel, as it forces you to embrace your most evil thoughts. That being said, you do have to have the mindset of a mad scientist to truly enjoy “Mary Shelley’s Frankenhole.”

Because if you don’t, replacing Michael Jackson’s bones with those of the Elephant Man just won’t have the same appeal.

With the main character being a parody of Kenneth Branagh, you know you’re in for an over the top and melodramatic performance and that’s exactly what you get in this debut episode. Aside from kicking his dead father numerous times, Victor Frankenstein helps someone else with daddy issues, one Blanket Jackson, reanimate his father, some 30 years after his death.

The only problem is, his father is incredibly upset at what his son has become.

Normal.

The end result is one of these losers with unsolved issues with their father gets some solace, but not the one you’d think.

Sure, it’s predictable, but it’s still funny.

The fact that Jacko’s voice is absurdly female helps matters too, as well as the stop-motion animation, which gives the show a look all it’s own and feel.

Because of this, with its unique premise, black humor and the writing of Stamatopoulos, this show looks to be a must-see show this summer.

You can listen to the interview by clicking the link below:

Ben King Interview

Shyamalan has based his newest project on Nickelodeon’s “Avatar: The Last Airbender.” The television show quickly became the favorite show of his family as well as a large majority of the country.

The story of Aang, who is the last airbender and an avatar, spent 100 years missing and a world that was once lived in peace is now at war with the fire nation. Between being captured, followed, and wanted by his enemies, Aang must travel all over the world to learn how to bend the other elements and defeat the fire lord.

The starring role of the Aang was given to up and coming actor, Noah Ringer. Ringer has done an amazing task in portraying the fictional character. It was quite believable to witness Ringer’s role as a young, confused child who suddenly has the fate of the world on his shoulders. Aang’s character is the only one that seems to have remained consistent to the Nickelodeon show.

According to the television series, Katara was the group’s unofficial mother figure and voice of reason. Katara, played by Nicola Peltz, was now the sidekick to her big brother and almost had no voice at all. When she did have a moment of speech, to her credit, she was convincing in her intentions as the character. Katara is also the only water-bender in her home of the southern water tribe.

Sokka, portrayed by Jackson Rathbone (also a part of the popular Twilight series as Jasper Hale), is Katara’s brother and a proud water tribe warrior. Although the show has depicted a goofier and unlevel headed character for Sokka, Shyamalan’s version of a strong, decisive and more serious Sokka is  fitting for a young adult.

The series’ villain, Zuko, is the son of the fire lord and was banished after he was disrespectful to one of his father’s generals. In order to retrieve his honor and his father’s love back, he was sent on a three-year wild goose chase to find the avatar, someone who, again, has not been seen for over one hundred years. Dev Patel has done a good job at being a desperate, sad young man destined to live as a nomad while looking for someone who may have been dead for years.

The film offered amazing special effects and a fantastic plot, but there were a few kinks along the way. “The Last Airbender” was a relatively short experience and moved a bit too fast from scene to scene. Being that it was an hour and 43 minutes, the movie could have been longer and been more fluid throughout.

After everything was said and done however, it is still a successful venture. With book one: water down and two more books to go, it will be a welcomed wait to see what will be coming up next.

Players begin by creating fully customized heroes to guide on their quest, choosing from different face, hair and even eye color. As they journey forth, characters are further developed and enhanced as they choose from more than 1,000 items and pieces of equipment, change jobs and abilities, and join up with new customizable companions. Using a local wireless connection, up to four players within range of each other can band together at any time to explore mysterious dungeons and tangle with fearsome monsters throughout a spellbinding world of adventure.

In addition to a wireless multiplayer mode, DRAGON QUEST IX: Sentinels of the Starry Skies includes an interactive Tag Mode that allows players to keep the game active even while their Nintendo DS system is stored in their pocket, purse or backpack. When two players come within range of one another, Tag Mode enables them to wirelessly – and automatically – exchange character information, customized greetings and treasure maps. These treasure maps allow players to find otherwise inaccessible dungeons called grottoes featuring special boss monsters and even rare items.

“There’s no limit to the fun of DRAGON QUEST IX: Sentinels of the Starry Skies,” said Cammie Dunaway, Nintendo of America’s executive vice president of Sales & Marketing. “The ability to create your own characters and enjoy the game with friends makes every adventure as unique as players themselves. Better yet, the Nintendo DS family of systems makes the game easy for people to enjoy anytime, anywhere.”

Interacting with different characters will unfold the story and point players toward their next quest. Players might be asked to find a missing item or to defeat a monster in a particular way. All quests come with a reward, which might be anything from a rare item to a new, unlocked occupation. During their journey, players will encounter mighty monsters in fast-paced battles. The more foes players defeat, the stronger they become. Players who get the urge to upgrade their characters can visit an in-game online shop (broadband Internet access required) to acquire new items using in-game currency they have collected while playing. The selection of items changes daily. Players can also connect online to download new weekly quests for about a year from the launch of the game, each with its own challenges and rewards.

For more information about DRAGON QUEST IX: Sentinels of the Starry Skies, visit www.dqnine.com.

The embodiment of adventure and discovery in the purest sense, Etrian Odyssey III transports gamers to a sparkling oceanic paradise filled with atmospheric dungeons to chart and survey, vast watery expanses to sail across, and rumors of a sunken city to investigate. Aspiring explorers are responsible for charting their travels utilizing the intuitive touchscreen map editor, meaning that careless cartography could easily spell doom for a fatigued party trying to escape danger. Powerful challenges demand cunning and strategy: players will assemble and fully customize their party of adventurers from a variety of highly specialized classes and sub-classes. For the patient and prepared, fame and fortune await.

Fans who pre-order Etrian Odyssey III will receive a special bonus art book, “Forests Of Eternity,” at participating retailers while supplies last. With 60 pages of premium, full-color art work, “Forests Of Eternity” is the ultimate Etrian Odyssey collectible, featuring designs and sketches spanning the entire Etrian Odyssey series. To see a sample of the pre-order bonus art book, visit http://issuu.com/atlususa/docs/etrian_artbook.

Etrian Odyssey III: The Drowned City is scheduled to release September 21, 2010 for Nintendo DS. For more information, visit the official website at http://www.atlus.com/etrian3.

Throughout the book, Rave gives an outstanding description of the Manhattan and Brooklyn lifestyles. One who is very familiar with these places will notice that Rave’s visualizations are done to perfection. Chapter one right away, gives the reader the sense that they too, are riding the subway on that hot summer morning with Anna to Impresarios.

Rave is not only spot-on with Big Apple, but he also knows his fashion. Sex and the City should watch out. His three main protagonists (not so much Anna at first) can certainly rival Carrie and her gal pals. Rave name drops some greats: Versace, Armani, Valentino, and Gucci, to name a few, and dresses his characters wonderfully, both inside and out.

Anna, the mom who is by no means a fashionista, is very unlike her ‘cooler’ sisters. She knows her daughter would rather hang out with her aunts, and decides to work with them for some extra cash. It is a shock to reenter the workforce and join the waxing game, and Anna learns that while she has been working so hard to keep up with Carolina, she may have neglected her teen daughter, and younger daughter Ariel, who is the key to a family shocker, one Anna tries hard to conceal from her new friend JJ, and caused a riff with her ex-husband Christopher.

Carolina runs her business with the utmost professionalism; often times forgetting she is related to some of her employees. She’s bossy, independent, and does her best to keep her salon’s fancy customers happy at all costs. She not only runs the show, but also has a product in the making for Sephora. On top of her professional life, however, things get a bit complicated with her young boyfriend Ron, and an old flame that comes back into her life.

Sofia, the newly married younger sister, is hot for her husband. Rave designs her as a fashionable, lovable character that is head over heals for her steamy new hubby. She tries to maintain the bickering between her two older sisters, and yearns for them to all be closer. At the salon, she finds a new “bf” (that’s best friend, but you be the judge…) in her new gay client Dennis. With her new buddy accompanying her to clubs and the New York nightlife, she realizes that her new friend may not be what she is looking for.

Overall, Rave’s book is brilliant. Its setting is written beautifully, and he has clearly done his homework in the fashion department. Each woman is, in her own right, written with flaws that can’t be fixed with wax, but maybe the adventure they find in working together, can teach them that perfection may not exist in the ways they thought. Rave spins in some life lessons in this new read. It must be picked up, and enjoyed.

Episode Commentary: Fatal Distraction

After two minutes of this Squidbillies episode, it proves itself a winner, in the end, it wins for a completely different one.

It’s insane.

While “South Park’s” Eric Cartman dressed as “Dog, the Bounty Hunter” is funny, seeing Early Cuyler in that get-up, peeing into a cup while driving his monster truck, armed with a brand new GPS, to Afghanistan for Osama Bin Laden, is classic.

As most episodes of the show, that plot premise lasts a tad bit longer than a fart, [it would have been great to see the whole show dedicated to that premise, but that's been done before on other shows, mainly “South Park”] only to take us on a semi-parody of the ’80s film “Fatal Attraction,” which is where the rest of the episode stays.

You’ll never guess who plays Glenn Close in this one.

Often times, the writing of this show is so outlandish that it keeps your eyes glued throughout. Between the hilarious characters and unmistakable dialogue, it’s more than enough to keep you entertained for the measly 12 minutes that encompass this episode. This time though, you’ll never expect the course of events that nearly lead to Early and his family’s demise.

You have to see it to believe it.

His escapades are normally ridiculous [in the best way possible that is] and filled with catchy one-liners, but this episode is special in the fact that this is one of the only times this white-trash “fish” is legitimately scared for his life. Seeing him try to solve the problem [or get solved trying] is of course, just as insane as the premise for this episode, but it works of course.

Throw in a few witty pop culture references, some alcohol drinking and elderly strippers and you have one heck of an episode.

And to think, all of this could have been avoided if Early bought the “Paul Stanley” GPS model instead.

Dragonette is currently signed to Mercury Records, but before that, they produced a self-titled EP that came out just as fast as they became a band. Eventually becoming signed, their full length album, “Galore,” dropped in 2007. It was clear that they were working quickly in order to climb the music industry’s ladder.

Taking advantage of being signed to more than one label, Dragonette grabbed the opportunity of adding Universal Records to their list. On September 29, 2009, their second CD, “Fixin to Thrill” was released.

“Pick Up The Phone” is Dragonette’s second hit single off of “Fixin to Thrill” and it finely represents who they are and what style they have created as a group.

Throughout the track, Sorbara sings about a partying lifestyle that two young and average people share together. It involves doing everything they’ve always dreamt about. With a soothing and gentle voice, she shouts the catchy chorus that constantly repeats the title of the song.

Played by only two people, the background music that Kurtz and Stouffer concoct is surprisingly chipper and booming. Even though the drum beats are simple, the guitar riffs allow the song to be happy-sounding.

Speaking about a wild and filled lifestyle, this is definitely a track that would be appropriate for any type of prom and/or party. It croons and energizes to the end. If the song were longer, listeners would be able to appreciate it even more.

Overall, “Pick Up The Phone” is the perfect dance tune and provides the air with tons of versatility.

IRVINE, CALIFORNIA –Atlus U.S.A., Inc. recently unveiled “Forests Of Eternity,” a pre-order bonus art book for its upcoming Etrian Odyssey™III: The Drowned City, the third chapter in the acclaimed series of exploration RPGs for Nintendo DS™. With 60 pages of premium, full-color art work, “Forests Of Eternity” is the ultimate Etrian Odyssey collectible, featuring designs and sketches spanning the entire Etrian Odyssey series.

“From the sparking beauty of Armoroad and its broad azure horizon, to the haunting depths of the waters off its coast, Etrian Odyssey III: The Drowned City is a visual treat, offering explorers a world full of varied, colorful locales to discover,” stated Aram Jabbari, Manager of Public Relations and Sales at Atlus. “As such, the addition of a premium 60-page, full-color art book for fans who pre-order feels like the perfect complement. What makes ‘Forests Of Eternity’ even more appealing, however, is the fact that it boasts designs and sketches not just from The Drowned City, but from the first and second Etrian Odyssey games as well. It truly is the ultimate collectible for series fans.”

“Forests Of Eternity,” the official Etrian Odyssey III pre-order bonus, is only available from participating retailers while supplies last.

Etrian Odyssey III: The Drowned City is scheduled to release September 21, 2010 for Nintendo DS. For more information, visit the official website.

About Etrian Odyssey III: The Drowned City

Off tranquil ocean shores, far below the surface of the sea, the city of Armoroad bears a secret. Rumor suggests that this coastal metropolis is less than it once was; much of it, they whisper, was lost to the unforgiving waters. Will you assemble and train a team of explorers to uncover once and for all what really lies beneath, or will you succumb to the innumerable dangers hidden in the abyssal depths?

Key Features

*
Create your unique team — A system of 10 new classes and sub-classes and a wealth of proprietary skills make developing the optimal party absorbing, tactical, and rewarding. A maximum of 30 possible member slots provide plenty of room to experiment. You decide where to apply members’ skill points: will you invest in sword mastery or learn a new healing spell?
*
Live and die by your map(-making) — When danger lurks around every corner, it is imperative to keep track of where you have been and what you found there. The streamlined map maker lets you draw paths, paint in terrain, and drag and drop icons. Watch the map grow bigger and more detailed under your hands as you capture every door, map, set of stairs, and secret pathway.
*
Adventure in the high seas — The ocean becomes a new stage for exploration as you take to the city of Armoroad to uncover the secret of why half of this once vibrant and technologically advanced metropolis sunk below the waves. Sail your ship, chart the ocean map, sink enemy vessels, and take on seagoing FOEs on your way to playing out one of three possible endings.
*
Wirelessly share with friends — Up to 5 friends can team up in special combat challenges over a local wireless connection to take down the toughest monsters living in the ocean. Additional options let you wirelessly trade items.

Etrian Odyssey III: The Drowned City has been rated “E10+” (Everyone 10 and older) with Alcohol and Tobacco Reference, Language, Mild Fantasy Violence, Suggestive Themes by the ESRB.

Even with all the good looks these two have to offer, it’s strange to see Bella react as strongly as she does to a pair of monsters – most of the women you see in these kinds of films would be running for the hills.

What no one seems to be able to agree upon, though, is which one of Bella’s suitors she should give her heart to. For reasons I’m not quite able to get my head around, most Twi-hards are leaning toward the vampire, Edward, the sickly looking fellow with jaundiced eyes and pale skin. Considering the fact that the werewolf, Jacob, has too many muscles to count (and, as a bonus, is part of a gang where no one ever puts a shirt on), you have to wonder what Bella finds so exciting about a guy like Edward. Maybe he’s one of those vampires who uses mind control.

Seriously, though, even if Bella’s not the type who can be charmed by good looks (the insanely good looks of a muscle god, at that), Bella should know better than to run off with Edward while poor Jacob spends the rest of his lonely life baying her name at the moon. After all, if you’ll recall what happened in last year’s “Twilight” movie, “New Moon,” part of the reason why Jacob fell so hard for Bella is because of the time he spent with her once Edward left. Sure, Edward told Bella that she was in danger as long as he stuck around, but keep in mind that by leaving, he left her defenseless – namely to the other gang of vampires, the ones that kill humans for food.

As if Edward’s foolhardy judgment weren’t bad enough, remember also that when Bella crossed paths with one of those vile vampires, it was Jacob and the other werewolves who rescued her. Never trust Edward to do a Jacob job, I guess.

Now that Edward’s back in the picture for this new film, you’d think that he’d have to work to earn Bella’s forgiveness, but all he does is resume his power over her by telling Bella how he knows what’s best for her well-being. Although the “Twilight” films have their fair share of plot holes, the biggest one is probably that Bella would want anything to do with this jerk.

This article originally appeared on AllMediaNY.com

While the overall action wasn’t fantastic, the match between Rob Van Dam and Samoa Joe was light years ahead of anything on RAW this week, and shows fans that TNA, unlike RAW has several legitimate World Heavyweight contenders on its roster.

To see two guys wrestle and get tired out there, on Cable TV, makes you think that TNA understands what the fans want and aren’t about to waste two hours so their advertisers are happy.

Because that’s what RAW felt like this week.

While some of the other matches featured on Impact this week were on the short side, they did the job, as far as leading into the next pay per view. AJ Styles and Kazarian went back and forth for about six minutes before being counted out, and getting a stern talking to from the “Nature Boy” Ric Flair. Soon after, Flair announced the duo will be tagging against mystery opponents at the next pay per view.

Styles and Kazarian as a tag team? Sign our eyes up right now.

Eager to start his own stable, in the vein of “The Four Horsemen,” Flair has so far started scouting Beer Money, Matt Morgan, Styles and Kazarian.

Pretty interesting stuff. All that we can say here is that the industry could use a cool stable right about now, especially considering all the bad ones that have failed over the past few years.

Anyone remember the Main Event Mafia?

Think we just heard someone throwing up in the corner.

Moving on…

Giving TNA an opportunity to start a bad ass group with four of its top young stars, that started out there, would be an interesting idea and one that would showcase why this company is so different from the WWE.

Other interesting and developing storylines include the Jay Lethal Flair angle, which will be a stinker in the ring, but featured a great, livid interview from Flair that probably scared the bejesus out of any small children or attractive women in the Impact Zone. While he can’t compete the way he used to and shouldn’t compete at all, Flair could make one heck of a manager and a great mouthpiece for a faction or big ogre with no mic skills.

This new Flair faction idea is looking better each second.

In the main event, Jeff Hardy proved he’s a step ahead of Mr. Anderson in the ring but on the same page otherwise. Say what you want about the guy but, Anderson is easily the most charismatic wrestler in the promotion right now. People like Joe, Styles, VanDam and Hardy can still wrestle, but this cat is the whole package. Giving him a title run would be a pretty fun endeavor, to say the very least.

We can see it now, signs calling Anderson their favorite a**hole.

However, a rarity nowadays, Anderson doesn’t need a belt to get over, while many of his opponents do, which means he’ll be a worker until TNA feels he’s really ready for the spotlight.

Make no mistake about it, he’s ready right now.

Aside from that, seeing Kurt Angle work his way up the food chain is going to be fun and give a bunch of young wrestlers [The Pope, especially] a chance to go with the best pure wrestler in the sport today. The angle with Kevin Nash trying to get a meeting was fun as well, as listening to “Big Sexy” talk about the “Dungeon of Doom” brought back some great memories.

However, the storyline with Team 3D looks to be a real stinker and unless the ECW dudes that have joined the company over the past few weeks [Tommy Dreamer, Stevie Richards and a healthy Raven and Rhino] this angle will fall faster than Duane Gill’s career.

The same thing goes with Doug Williams, who is easily the worst X-Division champion the company has ever had. Scared to walk up a ladder? Horrible stuff indeed.

Here’s us hoping Brian Kendrick brings some slices of bread with him to the pay per view.

In spite of all of the sidesteps though, TNA Impact this week was a more than watchable show and proved that the company is at least trying to keep an audience.

That’s more than one can say for the WWE right now.

New York writer and director Andrew Rothkin has decided to press his luck once again by showcasing his play “Danny” for the third time, making its first debut at the Planet Connections Festival in the Green Room Theatre. A comic dramatization of old college friends scorned by a tragic accident that are years later forced to sever ties to the past and move forward with their futures. Having won the Outstanding Overall Production of a Short Play, One-Act, or Monologue award in 2009, can Rothkin dazzle the judges two-years straight?

Review Fix: How long did it take to write the play?

Andrew Rothkin: This is actually the third time I put up this play. I had initially written it about 10-years ago. The first time I produced it was something like ’99 or ’98 and then I produced it a year or two later. It’s been through many many changes. This is also the first time I ever directed it. The first two times it went up I was acting in it.

RF: How has the play improved with each production?

Rothkin: Each production is a little bit better than the one before. There are possibly somethings that might have been easier the last time it went up. This is the first time it’s gone up for a festival. The first time I had a producer credit. I was young and it was the first show I ever wrote that was put up so I had very little control over anything. I let the producer and director take over everything. The second time I wasn’t the director so I didn’t have as much say, but we were able to paint the set.

RF:What was the message you were trying to get across to your audience?

Rothkin: In this particular play there’s a lot. I think this is one of my more thought-provoking pieces, where there’s a lot that I’m saying to the audience, but I let them come away with it what they will. A lot of my reoccurring themes that I write are looking into your life. Where you are in your life right now, are you living the life that you want to lead, why or why not? What’s in your way and what are you going to do with the life you want to lead? Are you being genuine to yourself? A number of my plays and this probably more than any of them is about the past, the present, the future in terms of the person’s own past.

RF: Which of the six characters is your favorite?

Rothkin: What comes to mind off-hand is the character of Marco, because he’s sort of like my Oscar Wilde character. He’s got the wittiest lines; he’s got half the lines in the play. He’s this really flamboyant outrageous character and I had a lot of fun writing his lines. But all of the characters have something. Each one I think is distinct, each one I think is real. I love something about each one of them.

RF:What was the most challenging part of producing the play?

Rothkin: It would have been much easier to do if we had an extra six weeks or two months. There’s never enough time. There’s so much history in this play. These people have known each other for years and have created that sense of ensemble. I think the actors do a great job, but if we had more time it would have been great. Another thing is that we really had a lot of challenges with the set for this particular production.

RF: Last year you won an award for the play, “Meredith’s Ring” can you tell us about that experience?

Rothkin: It was a two-person 45-minute one-act play. I had been living in New York for about 20-years and last year I decided to move in with my family in Baltimore. My friend Glory and Frank Calo started the festival last year and I was sad I couldn’t be apart of Planet Connections Festival for the first year they were doing it. But somehow I got it together and created a 45-minute play. I wanted to do a one-act, because I didn’t want to deal with the pressure of filling in the seats. I used two Baltimore actors, we rehearsed it, we came up and we did it here. That was a really neat experience.

RF:How does “Meredith’s Ring” compare to “Danny?”

Rothkin: In certain ways the play was very different from “Danny,” but they do have stuff in common. They both have a lot of heart. They are both very funny, but have a sadness to them also.

RF: How did you get involved with Planet Connections Theatre?

Rothkin: Initially it was from Glory Cadigan, the executive/artistic director. Glory and I worked together many times. She’s one of my old best friends. i acted three times under her direction. She directed one of my plays; it was perhaps one of my most successful plays. I was hearing about this when it was a seed and knew I wanted to be involved.

RF: Considering yourself an actor foremost, when did you form an interest in writing?

Rothkin: I’ve always did some writing, but it was really when I first came to New York. I wanted a way to be creative between auditions. These days most of the actors I know that come to New York fresh out of school do a little of everything. They produce their own things; they start their own theater groups. When I came, which wasn’t long ago in the early ‘90s pretty much people were actors. At least my clique of friends, we didn’t produce. We would go to auditions and if you didn’t get cast then you couldn’t be creative and do theater.

RF: Tell us about the White Rabbit Theatre.

Rothkin: White Rabbit is my company I started at. The first time I ever directed anything I got together with an old friend of mine from college and we produced a few Tennessee Williams’ one acts. She was the producer, I was the director. We just couldn’t agree on a name for the theater company. I knew I wanted it to be a big deal, because I wanted to hold on to the name. We went over a million names and I don’t even know if she got the reference as exactly what it means to me, but it was finally something that we both agreed on.

RF: What was the inspiration behind the name?

Rothkin: I just really like animals. It’s a big part of my life. Another thing that’s more important is the magician pulling the white rabbit from the hat. Theater is about magic and illusion and some of my earlier logos had the rabbit coming out of the magician’s hat. But the main one for me is in reference to Alice in Wonderland. The way I like to think of it is that every White Rabbit production is a different adventure. We’re guiding the audience through a different journey and each journey is different. Each has a different message, a different essence, but it’s always going to be an exciting interesting journey and one that involves writing of literary work and some heart and soul.

RF: After the festival is over, what’s next for your theatrical career?

Rothkin: I’m directing a one-act and acting in a play in the Midtown International Small Theatre Festival; it’s a 10-minute play and have six rehearsals. The play I’m directing is called, “Facebook” by Mery Wallace. The play I’m acting in is by Jonathan Wallace, “Harley and Lalya Together Again.” It’s six different one acts, Harley is a woman and it’s sort of a love story. I play the devil, it’s a very fun role. Yesterday we had this very intense rehearsal for a bike choreography. It’s the devil and Harley, a biker chick, we get in this big fight. It’s comic, but intense.

This once-in-a-lifetime event features SPECIAL GUESTS-LIVE CONCERTS-INTERVIEWS-PANELS-UNPLUGGED PERFORMANCES-MUSIC & MEMORABILIA MARKETPLACE-AWARDS CEREMONY-FILM SCREENINGS- AUTOGRAPHS-MUCH MUCH MORE.

Fans attending “Weekend Of 100 Rock Stars” will be able to talk directly to, obtain signed autographs and meet some of their favorite rock and media personalities on common ground: 100 stars all at the same time in the same place! Those attending the three-day extravaganza can also browse through the world’s largest rock & roll music and memorabilia marketplace.

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Meet radio and TV music personalities like television DJ Clay Cole, the only host to have both The Beatles and The Rolling Stones on the same broadcast. Also, there will be the ROCK CON FILM FEST SCREENING ROOM with such films as “The Wrecking Crew,” “Wages of Spin,” “Fabulous” and other seldom seen rarities.

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After I moved out of Staten Island, everything was cool because I had a little job, I had my shorty, I had my apartment. Then, everything started falling apart. I lost my job, me and my girl broke up, and I lost my apartment. So I picked up my camera and was just catching all different types of footage.

This is where Tamer, Brooklyn T comes in. I knew this n**** for like mad years. So I’m walking around with my camera and I bump into his brother. He was like, “Yo what’s up man, what you doing? Have you spoke to my brother yet?” So I told him how I’m just doing this video shit walking around with my camera. He tells me, “Holla at Tamer, cuz you know he’s doing that music thing.”

I felt bad because I had no cell phone, no money, and I haven’t talked to Tamer in like seven years. His brother picked up his phone dialed Tamer’s number and it was all love. I wound up chilling with him that same day. We met up at his homie’s house. They had the studio, with mad people in the crib. It was mad hood.

I recognized everybody from when we were mad young back in the park days. So we’re there burning an “L” and everybody loved when I told them that I was doing videos. I told them I was homeless kinda and they said, “Yo you wanna stay on the couch n***a?” I was like ,”Word I can stay here? There’s no beds in this apartment” and they was like, “Crash where you crash.” I don’t even know them like that.

I moved everything I had in there and was living there for like three months with these dudes I don’t even know and I’m experiencing shit I don’t even know and hood Chef really wasn’t even born yet. Cuz it’s me and him (Tamer) every day eating one Chinese food combo meal. Everyday splitting it between the two of us like poor people. Holes in my sneakers and no money left me walking around like a bum.

I was waiting for unemployment to kick in, so I went to Florida in the meantime to visit my mom. While I’m down there, Tamer calls me up and says “Yo the dude you was living with got evicted.” So he brought all my stuff to some garage and all of it got fucked up cuz the roof leaks and had holes in it. All I could salvage pretty much was my clothes.

I found another hood crib with a room for rent, and being that I had to do a filming of Howard homecoming, I just moved in and dropped everything off at the new place and headed to D.C. I’m at Howard one day I get another phone call from Tamer and he’s telling me, “Yo the new people you living with just got evicted.” So I moved out of that house and T took me to another homie’s house. All this moving happened within a matter of a week.

So now I’m living with these Crips now. This one was even wilder than the first crib. Once again when they found out that I do videos they started wilding. They offered me an empty room in the back. I lived with these dudes for three years. This time, every apartment they moved to, they took me with them. “Hood Chef” was born in their house. We was still broke though and we had maybe 10 dollars all together. I said, “With 10 dollars I can buy chicken, rice and beans and cook it for all of us.”

The Hood Chef was born.

Tamer filmed “Hood Chef” as a kind of segment for my show called “Savage Life.” We was hungry, high and broke. So we started doing it every day. The next day we ate hamburger helper, and the next day we ate something else. “Hood Chef” started buzzing, but not too much so we went back to hip hop and the recording of “Savage Life.”

During this break I started getting tattoos. Me and Tamer had our hands in a lot of different things. Then, one day, Tamer says, “You haven’t done hood chef in mad long and you about to cook that steak. Let’s do it.” I was mad high and shit and I started singing some song “dah dah dah Hood Chef Hood Chef you know I’m back.” The next day on Youtube people started replying, “Yo that shit’s the theme song I love that song.” I went to the studio, dropped it, and that became the intro to the show that I use now.

Even though “Hood Chef” was buzzing we weren’t really paying it much mind. Then my Mexican tattoo artist (Badder Israel) calls me and says to come to his shop because there’s an important guy from NYU there. Turns out this guy is from the Daily News. He starts telling me, “I really want this interview, I pitched the idea to my editor and he fell in love with it.” I did the interview over the phone and the photographer came through. The picture in the newspaper was taken right here on the roof of my building.

From there, I started getting phone calls early in the morning and hits like crazy on our website. We’re not getting 100,000 hits a day but we do get value views. The people watching our videos are the important people. We have unique users, cult followers, and we got people who been following us for four years and even from out-of-state. People in the industry follow us, people who count.

Now we’re shooting the pilot. Hot 97 popped us off and gave us promo by joking around saying that the “Hood Chef” only cooks crack. It was hilarious and every bit of promo like that helped us get off the ground. Now it was time for me and Brooklyn T to really start taking “Hood Chef” more seriously because our buzz was huge and new blogs were coming out everyday about us.

We finally put our hip hop on the side and started making more episodes. So we started making one episode, two episodes, three episodes, vodka chicken pizza sandwich. We did an episode in my close friend’s father’s butcher shop in Manhattan. We did the show and that went well because it caught the owner of Whole Foods attention. The manager of Whole Foods brought us back to do a paid episode in D.C. We hooked up with whole foods and now they commission us to take videos and shit like that while we shop in their stores.

Right now, we got the “Hood Chef” food truck coming out and we’re going to have all the signature sandwiches and foods on there. You’re going to see it all over the five boroughs. It’s going to be like an ice cream truck and shit. We’re also working on a cook book. We started with two lap tops and a hard drive. We’re shooting the pilot with Aristotle from the production company By Any Means Necessary. He did work with Fabolous and a lot of big names out there so once the pilot is done it’ll be on WorldStar and Smash. We’re going to have Cool Kids, Fabolous, Ninja Sonic, Currency and others all on the first episode.

I feel like we’ve worked so hard and been through so much that we’re guaranteed to make it somehow. The networks love our ideas, and they love our swagger. The crazy shit is that celebrities walk up to us sometimes. We usually don’t walk up to celebs because we smoke. That’s what we do and we’re not going to act different because at one point all of these rappers, actors, producers or whatever started from where we are. They notice our hustle and that we’re on our grind and they come up to us and it’s all love.

Our show is going to consist of “Hood Zagat” which is where we go to a celebrity’s favorite restaurant and create food challenges for them. Hood Chef cooking time where I’ll just be in the crib or at a kitchen cooking up something easy and hood that anybody can make. We’re also going to have a segment called munchies madness for stoners or kids who come home from school and got no food.

We’re going to have cookouts, we’re going to different celebrity cribs and we’re getting all of our food from Whole Foods and from a farm. Our food is all going to be organic. It may not all be the healthiest, but it will be delicious. It’s going to be hood and good. We have three seasons already prepared and mapped out so we can’t give away too much until you actually see the new episodes. Trust me, the world is going to love the food, the features and the fun.

The following article was a Studs Terkel piece, written in the point of few of the subject, based on his own words.

Photo by Michael Cruz

Weinglass on piano with Chris Woods on violin has created a concept album on the seasons that is un-paralleled in today’s era of throw-away modern music. It also delivers what the album title says. This is in truth an odyssey, a journey in which you will feel completely swept away in.

It is difficult to distinguish which will be your favorite song. From the first thralls of “January” you will feel as if you’ve found the holy grail of classical/jazz musicianship, but it gets better from there. Each month musically, punches you emotionally and dries your tears – at times simultaneously. In “May” there is lightness in the melody that gives optimism and hope for the remainder of the year. However the languishing melody of June enters and manipulates you once again. What happened to all the promise that “April” and “May” offered? Don’t worry, although “June” has melancholy tendencies, it is a track that you can’t help but fall in love with.

“July” one of the longest tracks on the album lulls you. Then you’re enveloped in the splendor of “August.” You wouldn’t think there could be so much emotion derived from a piano and a violin. It’s Weinglass’ melodic arrangement that draws you in. Like Alice down the rabbit hole you don’t quite know what world you’re inhabiting, but you’re intrigued.

The latter months in particular show Weinglass’s creativity and his ability to collaborate with another artist. “September” has some residual rhythmic arrangements from “March” and “August,” but it’s not repetitive. There are several crescendos that break up the pattern and will once again bring you on a roller-coaster ride of emotions. “October” is a controlled yet whirling chaos. It’s the coming of winter where everything dies and in “October” there is this frenzy to live as full as you can before the dormancy of “November” and “December” come around.

“November” and “December” are songs of remembrance and renewal. Both tracks reveal that in order to live again one must take time to look back and prepare for the new year.

Weinglass has described “Odyssey” as a “journey through time.” It is that and more. If you’ve avoided classical-jazz like the plague, then you’re missing out on one of the best album’s of the year, perhaps the decade.

Over 10 years later however, its slightly revamped remake on the PSP puts you to sleep.

In spite of polished graphics, improved loading times, better localization and added anime scenes, this is one title that hasn’t aged well at all and is only for those who fell in love with it the first time around.

Following a band of teenagers on a deeply philosophical and spiritual journey, “Persona” features the type of story that is easy to get lost in, even for intellectual gamers. Regardless of the improved dialogue (the original’s translation often made the game hard to follow) there are questions presented pondering life that many gamers would never ask themselves outside of it. Nevertheless, the modern-day setting and relatable characters help make the topics presented a bit less heady.

Aside from the complex story, the real problem with “Persona” is the camera. While maneuvering around rooms works well in a three-quarter overhead view,  dungeon-crawling, in first-person, is a hot mess.

Feeling like you’re stuck in a maze, it’s almost impossible to escape the claustrophobic feeling you’ll get while walking around in this game.

It worked 20 years ago with games like “Shining in the Darkness” for the Sega Genesis and even for this one when it was first released, but when it’s all said and done, because of the shoddy camera, exploration is an utter bore and an inescapable chore.

Add in a crazy amount of battles in one of the zaniest random encounter engines ever and it’s safe to say that this title best belonged on the dust-covered shelf it’s been laying on.

While the added cinemas do an excellent job of bringing out the story and the improved loading times speed up would could be a tiresome experience, they are not redeeming enough qualities to make this game worthwhile for anyone who hasn’t played the original.

With that being said, even fans of the original will find something unfulfillable here.

All in all, it doesn’t matter if the battle system is solid and there’s plenty of game to be played here either. Simply put, like a pack of pogs, “Persona” is best remembered as the game it was when it was released and not what it is now- an obsolete homage to a great era of gaming and a reminder of how far the RPG has come over the last decade.

Los Angeles, CA–Sundance Institute announced the Documentary Film Program grant recipients for the Spring 2010 round. Eighteen feature-length documentary films, chosen from 750 filmmakers in 111 countries, will receive a total of $500,000 in support. In addition to financial assistance, all of the filmmakers are eligible for a range of year-round creative support services from Sundance Institute, including Creative Labs, Work-in-Progress screenings, and documentary activity at the Sundance Creative Producing Summit and Sundance Film Festival.

Selected filmmakers follow international stories ranging from young leaders in South Africa’s Shack Dweller’s Movement to the presidential campaign that might change the future of politics in Colombia, to the moving story of a Palestinian and an Israeli who form the bonds of friendship. U.S. stories follow former gang members fighting violence in Chicago, undocumented immigrants facing life and death in Arizona’s desert, inner city Philadelphia girls taking pride in their urban soccer team, and Detroit residents fighting to bring their city back to life.

“Sundance Institute salutes the filmmakers from 111 countries who submitted proposals in this round; we had an incredibly high quality applicant pool,” said Cara Mertes, Director of the Sundance Institute Documentary Film Program. “The result is a new resurgence of nonfiction filmmaking on the world stage, and we look forward to welcoming the new grantees into the fold.”

The Sundance Institute Documentary Fund is a core activity of Sundance Institute’s Documentary Film Program, which provides year-round creative support to nonfiction filmmakers globally. Proposals are accepted twice a year, and submissions are judged on their approach to storytelling, artistic treatment and innovation, subject relevance and potential for social engagement. Sundance Institute considers projects in the Development, Production/Post-Production and Audience Engagement phases. The film selection is juried by creative film professionals and human rights experts. The next postmarked deadline is July 7, 2010. Please visit www.sundance.org/documentary or www.sundance.org/DocSource for more information.

DEVELOPMENT

Detroit Hustles Harder
Heidi Ewing and Rachel Grady (U.S.)
Can Motor City rise from its ashes? There is a growing feeling that as Detroit goes, so goes the nation. This film tells the dramatic story of a city and its most innovative people who refuse to leave the building, even as the flames are rising.

Politics Not as Usual
Margarita Martinez (Colombia)
Antanas Mockus goes on the campaign trail in a bid for the Colombian presidency. Mockus’ candidacy is a grassroots, socially networked movement of a new kind, and his campaign may hold keys to the future of South American politics.

The Path (working title)
Senain Kheshgi (U.S.)
In a coming-of-age story, a Pakistani teenage girl grows up during one of the most violent times in her country’s history.

PRODUCTION AND POST-PRODUCTION

The Anderson Monarchs
Eugene Martin (U.S.)
Girls at an inner-city soccer club transcend race, poverty, crime and stereotypes to successfully play the game they love.

Better This World
Katie Galloway and Kelly Duane de la Vega (U.S.)
Two childhood friends from Midland, Texas set out to prove the strength of their political convictions to themselves and their mentor: a revolutionary activist turned FBI informant.

Dear Mandela
Dara Kell and Christopher Nizza (U.S. / South Africa)
In the year leading up to the 2010 Soccer World Cup, three young leaders in South Africa’s Shack Dwellers Movement resist mass eviction while putting Nelson Mandela’s promise of a ‘better life for all’ to the test.

Donor 150
Jerry Rothwell (U.K.)
The filmmaker weaves together a twenty-first century tale of identity and genetic inheritance to reveal what may perhaps be the family of the future.

Girl Model (working title)
Ashley Sabin and David Redmon (U.S.)
First-hand accounts of the modeling industry by scouts, agencies and a 13-year-old model reveal a complex supply chain between Siberia and Japan.

Granito
Pamela Yates (U.S.)
A classic documentary film deeply intertwined with Guatemala’s turbulent history is revisited decades later, and proves to be a crucial player in a present-day case against genocide.

Pit No. 8
Marianna Kaat (Estonia / Ukraine)
Set in the heart of a once-thriving Ukrainian coal mining region now overcome with poverty, the film is a timely portrait of parents and teenagers trying to earn a living in abandoned coal pits.

Shenandoah, PA
David Turnley (U.S.)
In Shenandoah, Pennsylvania, four of the town’s star, white football players are charged with beating to death Luis Ramirez, an undocumented Mexican immigrant. A Pulitzer Prize-winning photographer turns his eye towards creating a deeply felt portrait of a community on trial.

The Interrupters
Steve James (U.S.)
Using an innovative approach to breaking cycles of violence in inner cities, former gang leaders and ex-cons in Chicago’s toughest neighborhoods take a stand to “interrupt” shootings and protect their communities from the violence they themselves once employed.

The Law In These Parts
Ra’anan Alexandrowicz (Israel)
Using interviews, archival footage and deep historical research, this film explores the formal legal mechanisms of Israel’s forty year military occupation of the West Bank and Gaza.

The Mosuo Sisters
Marlo Poras and Yu Ying Wu Chou (U.S. / China)
When they lose the only jobs they’ve ever known, two spirited daughters from China’s last remaining matrilineal ethnic minority are thrust into the worldwide economic downturn.

The Undocumented
Marco Williams (U.S.)
The skyrocketing number of deaths of illegal immigrants along the Arizona border is viewed through multiple prisms in light of the state’s proposed new immigration law.

Turkey Creek
Leah Mahan (U.S.)
Settled by emancipated slaves in the 1860s, Turkey Creek is surrounded today by an airport, a Wal-Mart, two highways and an industrial canal that threaten the historic Mississippi community and its fragile wetlands. When the twin disasters of Hurricane Katrina and the BP spill devastate the Gulf Coast, residents join with other endangered coastal communities in the fight of their lives—and for a sustainable future for us all.

Within the Eye of the Storm
Shelley Hermon (Israel)
After Bassam, a Palestinian, and Rami, an Israeli, each experience personal tragedy, the two men turn from enemies to brothers.

DISCRETIONARY

Losing Sacred Ground
Christopher McLeod (U.S.)
Losing Sacred Ground tells from the perspective of indigenous elders and activists eight compelling stories of indigenous people resisting the destruction of their culture and lands, and explores climate change, biodiversity loss and sacred site destruction.

Sundance Institute’s Documentary Film Program is made possible by generous support from The Ford Foundation, Open Society Institute, the Skoll Foundation, The Charles Engelhard Foundation, Cinereach, the MacArthur Foundation, the S.J. and Jessie E. Quinney Foundation, the Woodruff Charitable Memorial Trust and the Bastian Foundation. Sundance Institute also gratefully acknowledges the generous assistance provided by the following organizations: Alesis Corporation, Apple Computer, Avid Technology, Inc., Hewlett-Packard Company, HP Marketing, JBL Professional, LaCie Limited, Mackie, Mark of the Unicorn, Sony Business and Professional Products, Sony Media, Sony SXRD and Soundcraft.

Sundance Institute Documentary Film Program
The Sundance Institute Documentary Film Program is dedicated to supporting U.S. and international feature documentary films that focus on current human rights issues, social justice, civil liberties, and other contemporary issues. Since 1996, the Sundance Documentary Fund has supported more than 450 artists in 52 countries, providing a continuum of support throughout the life of a project. Films supported by the Fund have received widespread distribution to their intended audiences via broadcast and theatrical release, and many have garnered a number of awards and exceptional industry recognition. Films have included My Country, My Country; Iraq In Fragments; Why We Fight; The Inner Tour; The Betrayal (Nerakhoon); and Traces of the Trade. Please visit www.sundance.org/documentary or www.sundance.org/DocSource for more information.

Sundance Institute
Founded by Robert Redford in 1981, Sundance Institute is a not-for-profit organization that fosters the development of original storytelling in film and theatre, and presents the annual Sundance Film Festival. Internationally recognized for its artistic development programs for directors, screenwriters, producers, film composers, playwrights and theatre artists, Sundance Institute has nurtured such projects as Angels in America, Spring Awakening, Boys Don’t Cry, Sin Nombre, Born into Brothels and Trouble the Water. www.sundance.org.

You can listen to the interview by clicking the link below:

Ellis Paul Interview

For those unfamiliar with Paul’s work, check out a video of his mega-hit “World Ain’t Slowin’ Down.”

The first of its kind, Matilda is the only Mexican/Italian fusion eatery in New York City. The restaurant first opened its doors on October 5 2007 and it was created by Esteban Molina and Maristella Innocenti. It is named after their daughter, Matilda, and dedicated to her. From the name right down to the stylishly fun décor, they’ve made their business personal, evoking the blending of two cultures.

“Our Daughter is a fusion,” says Innocenti. “Now we also have a restaurant where we serve a fusion of Tuscan and Mexican cuisines.”

The owners of this humble establishment are quite modest themselves and they are always present. Upon entering the room, one might see Innocenti behind the bar mixing drinks and chatting with the customers. It’s easy to see how genuinely friendly she is. Her energy is contagious and she makes you feel right at home from the moment you walk in until you leave.

Some might wonder what would inspire such family oriented people to decide to open a restaurant.

“I’m still asking myself that,” says Innocenti. Then she goes into the story of how it all started; the beginning of what is now known as Matilda.

Innocenti was a bartender in Florence for ten years and she always cooked for friends. Since 1999, she worked as a chef at I Coppi, her sister’s Tuscan restaurant in the East Village. It was at I Coppi that she met her husband Molina. They were both chefs at I Coppi for eight years. As the two worked alongside each other, they realized many similarities between their native cuisines. After Matilda was born in 2003, they joked that they had a Tusc-Mex in the family. They also got the idea to open up a restaurant of their own, a fusion of their cultures, just like their daughter. Thanks to supportive friends who were willing to invest in them, their crazy idea came to be reality. That’s not to say everything has been easy.
Like every business, they’ve come across their share of problems.

“We were scared with the recession,” says Innocenti. “We thought we were going to have to close. We fought hard to stay open and fortunately, we made it.”

Matilda also offers a lot for a little. The prices are reasonable for the atmosphere and quality of food and service that you get. It’s difficult to imagine how they managed to stay afloat by asking such low prices for so much but Innocenti waves away any queries.

“Nobody makes money on the food anymore,” she says. “You have to make money on the drinks and our drinks are very good. We use only fresh fruit in everything. Also, with Esteban and I doing a lot of work and not taking tips, there’s more to share with the staff and I want them happy. These are my partners and if they’re happy, everyone is happy.”

Clearly, these aren’t your average restaurateurs. The simple fact that this restaurant is named after and dedicated to their daughter speaks volumes. Matilda is a living, breathing representation of this family’s past, present and future. And even though Matilda herself is nowhere to be seen, she’s present in the very architecture of the establishment.

Every corner of this restaurant has a name and is a representation of something bigger than just a place to eat. The history that resides here is nothing short of incredible. An elegant, central mahogany piece evokes a grandmother’s closet where a child would look for hidden treasures, but also defines two small niches for more private dining: la Zona Rosa and El Carro. Matilda’s Room is a corner lounge, La Mesa represents a family table and La Cantina is the long counter by the bar, where one can sit alone or in the company of friendly strangers. A string of words in Italian, Spanish and Matilda’s parlance envelopes the dining space to celebrate what binds the creators of Matilda: the love for food, diversity and family.

However, as amazing as the architecture is, it’s not what keeps patrons coming back for more. The two cuisines complement each other in an exciting new blend. It’s like eating the food you’ve always loved and being pleasantly surprised by new, delicious flavors that were never there before.

“We made an entirely new cuisine,” says Innocenti, “there’s no other Tuscan-Mexican fusion restaurant. To be able to bring something new and have it be successful in New York, that makes me very proud.”
Some would think that creating an entirely new cuisine would be quite difficult but their sous chef Saul Landaverde far from confirms any suspicions.

“All the cuisines are easy to make,” he simply says.

Landaverde is from Salvador and doesn’t speak much English. However, he’s been working with Innocenti and Molina since they opened the restaurant three years ago and likes the creative freedom he has in the kitchen. There are so many possibilities with a fusion of two cuisines as vast as Mexican and Italian.

Everyone is hard at work at Matilda; even the owners. Innocenti doesn’t slow down for a moment. She mixes the drinks and takes care of the customers at the bar without breaking a sweat but she loves what she does and she loves what they, as a family, have created.

“We’re real,” says Innocenti. “We have a real story that hasn’t been made up by a PR person. I learned from my mom how to cook. My husband learned from my mom and his mom in Mexico. So we’re real. We make mistakes. We don’t pretend to be perfect.”

Exactly how real they are is all too apparent, not only in the hard work that they do, but also in the way they greet their patrons. The familiarity between them is amazing and they greet everyone as if they are old friends. Their customers have only good things to say about the restaurant, Innocenti, Molina and their staff.

“I met Maristella before I even came to the restaurant, she was standing outside. She gave me a free coffee to welcome me to the neighborhood. She’s a very neighborly individual,” said one female patron. “The infusion of the two different cuisines is so interesting and original, I’ve never had anything like this. The staff here is very hard working.”

So, is Matilda just another hit-or-miss kind of place that lucked into being a hit? Luck has nothing to do with this East Village, Tusc-Mex phenomenon. It all boils down to delicious food, a beautiful environment and friendly service.

In Innocenti’s own words, “in a place like New York, it’s nice to come to a place where someone remembers you.”

We’ve also got new arrivals in the “Big Name Games” section of the WarioWare™: D.I.Y. series, which features downloadable microgames from some of the industry’s most talented figures. This week we have some new additions from the Treehouse, Nintendo’s game localization team. New “Big Name Games” will be added every Monday through July 26, all available to download for zero Nintendo DSi Points™ to anyone with broadband Internet access and a copy of either WarioWare: D.I.Y. for the Nintendo DS™ family of systems or WarioWare: D.I.Y. Showcase software for the WiiWare service. Visit the Nintendo Channel on your Wii system today to learn more about these games.

WiiWare

Pearl Harbor Trilogy – 1941: Red Sun Rising
Publisher: Legendo Entertainment
Players: 1
ESRB Rating: T (Teen) – Violence
Price: 700 Wii Points™
Description: Pearl Harbor Trilogy – 1941: Red Sun Rising is the first title in a trilogy of air-combat action games for the WiiWare service. Take off from aircraft carrier decks and historic military bases as you conduct covert strikes, engage in furious dogfights and fly search-and-destroy missions. Pilot the most prolific fighter, bomber and torpedo-bearing aircraft of the World War II Pacific Theatre. Featuring two campaigns spanning the early years of the Pacific War, you can play as the United States Naval Air Force or the Imperial Japanese Navy Air Force. You can also choose to practice your combat skills in the Avenging Ace or Survival dogfight modes.

Cruise Party
Publisher: Enjoy Gaming
Players: 1-4
ESRB Rating: T (Teen) – Simulated Gambling
Price: 800 Wii Points
Description: Welcome aboard! Here you’ll find four fabulous games to satisfy your appetite for gambling: Slot Machines, Roulette, Black Jack and “Video” Poker. Once on deck, you will be able to choose between Competition mode and Quick Play mode. If you beat a record, you’ll have to enter your name in order to appear in the high scores table. Beware of bankruptcy!

Nintendo DSiWare

QuickPick Farmer
Publisher: Dancing Dots
Players: 1
ESRB Rating: E (Everyone) – Comic Mischief
Price: 200 Nintendo DSi Points
Description: It’s time to shear your sheep, but a wolf named George is prowling around your farm, and he’s hungry. Hurry up and put the wool in the barns for safekeeping. Use the stylus to round up identical sheep, shear them, collect the balls of wool and catapult them into the barns. If George is getting too close to your flock, fire a ball right at his muzzle to chase him away and gain some time. Experience 30 crazy levels, a nonstop mode, striped sheep, spotted sheep and a goofy wolf. Test your powers of observation, your reflexes and your tactics in the wacky world of QuickPick Farmer.

Soul of Darkness
Publisher: Gameloft
Players: 1
ESRB Rating: T (Teen) – Animated Blood, Fantasy Violence
Price: 500 Nintendo DSi Points
Description: Enter a fascinating gothic world as the mysterious and powerful Kale. Try to save your beloved’s life and soul by freeing her from an evil vampire’s clutches. Explore dark woods, caves, huge castles and impressive cathedrals under the full moon’s light. Master and upgrade your sword and spear, and learn how to control your powers. Use the Fire and the Ice or transform into your enemies to overcome the numerous obstacles in your way. Face and defeat foes such as werewolves, succubae, gargoyles and zombies. Exclusive camera features let you use your environment to gain power-ups and upgrades. Good or evil – be the sole master of your destiny!

SteamWorld Tower Defense
Publisher: Image & Form
Players: 1
ESRB Rating: E10+ (Everyone 10 and Older) – Mild Cartoon Violence
Price: 500 Nintendo DSi Points
Description: Welcome to Cowbot County, home of the robotic master race of SteamWorld! As the sheriff, you must stop the human invaders in their mad hunt for gold. Build attack robots next to the roads they roam, then watch the invaders go down. Use your robots’ special skills to your advantage in this original tower defense variation where strategy and execution are equally important. There’s an Easy mode for rookies, but everyone will find a unique challenge in the great Western reaches.

101 Shark Pets
Publisher: Teyon
Players: 1
ESRB Rating: E (Everyone)
Price: 500 Nintendo DSi Points
Description: Choose from more than 101 baby sharks or simply adopt them all. Discover their personalities as you feed, clean and care for your new pets. Bring out each pet’s talents by training sharks in a variety of fun and wacky activities. Enter your shark into pet shows and earn money to buy exciting upgrades, including toys, food, clothes and accessories. The more tricks you teach and the more games you play, the more fun you’ll have!

Hello Flowerz
Publisher: Enjoy Gaming
Players: 1
ESRB Rating: E (Everyone)
Price: 500 Nintendo DSi Points
Description: Welcome to Hello Flowerz, the gardening game where you have fun with flowers. Sow your favorite flowers and look after them every day, helping them grow into healthy, beautiful flowers. Use your flowers to create wonderful bouquets and enter them in regular competitions. Landscape your own gardens, transplant flowers and arrange various items. Put on your gloves, grab your tools and start showing off your flowers!

Flips: The Folk of the Faraway Tree
Publisher: Electronic Arts
Players: 1
Price: 500 Nintendo DSi Points
Description: Jo, Bessie and Fanny have a visit from their snooty friend Connie. Connie won’t believe in the Faraway Tree and the magical people who live there: Moon-face, Silky the fairy and Saucepan Man. There’s only one way to prove her wrong. Together the children climb the tree and visit some of the lands at the top of it, such as the Land of Secrets and the Land of Treats. And after a few adventures, Connie learns to be a nicer person altogether!

Nintendo adds new titles to the Nintendo DSi Shop and the Wii Shop Channel at 9 a.m. Pacific time on Mondays. Users with broadband Internet access can redeem Wii Points or Nintendo DSi Points to download the games. Wii Points can be purchased in the Wii Shop Channel. Nintendo DSi Points can be purchased in the Nintendo DSi Shop. A Nintendo Points Card™ can be purchased at retail locations. All points from one Nintendo Points Card must be redeemed in either the Nintendo DSi Shop or the Wii Shop Channel. They are not transferable and cannot be divided between the two systems.

Remember that both Wii and Nintendo DSi feature parental controls that let adults manage the content their children can access. For more information about this and other features, visit http://wii.com or http://www.nintendodsi.com.

Review Fix:

Charlie Vasquez: I grew up in the Bronx, and although people typically cringe at the thought of such a thing and during the 1970s-1980s no less, my childhood seems typical in many ways. I had a traditional family structure. My parents divorced eventually but not until I was eleven. We had a TV and went on family vacations. The only thing that was missing was a car and a dog. It was as traditional a childhood that I will ever know. We lived on the south, west and northeast sides of the Bronx Zoo/Botanical Gardens, which are located at the heart of the Bronx, so I had a lot of greenery in my everyday life as a kid, as compared to most New Yorkers. I used to play in the native forests in the Botanical Gardens at least once a week.

Aside from that it was an exciting time, I had friends of all races and backgrounds at school, and I watched hip-hop grow out of soul, funk and early electronic music—it happened right before my eyes. Never did I think that this music would revolutionize music the world over, but never underestimate the powerful art generated in the poorest county in the nation at the time and one just miles from the global finance capital!

I am so proud to have grown up in the Bronx. The only problem is, is that I often feel the urge to punch people in the head and especially lately but I’m learning to suppress those feelings. Maybe I should invest in boxing gloves?

RF: What were your parents like? Do you have any siblings?

CV: My mom is a typical and adoring mom; she ironed our clothes, made sure our homework was done, clothed and fed us. We are lucky to have such a fantastic woman for a mother.

My father really tried during my early years, but unfortunately, he was one of those unlucky people who was challenged from the beginning and kept sinking deeper as he got older. My father grew up really poor in Juana Diaz, Puerto Rico. He would used to bathe in the local river and they would catch their own fish. He and his family came to New York during a great migration and encountered a lot of racism, discrimination and crime. He was a very sensitive person who grew up in a culture that didn’t except sensitivity. He was a very conflicted person and that is what I meant by unlucky. He battled chronic drug addiction for most of his life, until he died two years ago. He tried to deal with it as best he could. But he was instrumental in teaching me about the music and culture of Puerto Rico, where he was born and raised. He was my connection to lots of things that are important to me now, but didn’t seem so at the time.

I have two sisters and two brothers. I’m the oldest. We generally get along fine.

RF: Has your family approved your career choice?

CV: Career choice? While I’ve had a book published, that doesn’t mean much for money, as I still have a day job. I’m a DVD exporter for a high-profile adult entertainment business. Basically, I’m a warehouse manager for smut that is daily spreading the sexual revolution around the world. I think my family finds my dedication to writing a little strange. They are very family-oriented and traditional, yet open-minded. I got the impression they suspected it and have largely been supportive. The men had a harder time with it, but then again they have their own problems. You can’t please everybody.

They probably wonder why I spend so much time and energy on something that isn’t paying what it should, but let’s see how things unfold in the future. Some writers have writers’ block but I don’t. I have so many ideas in my head and so many of them I won’t get to because I don’t have to time. In terms of writing in the future, I have to balance that out because I am also a literary coordinator. And plus, I’ve never been one to seek approval from anyone. Had I turned out that way I would’ve been a very different person. I’d be working on Wall Street and having affairs with men behind my wife’s back.

RF: When did you realize your passion for writing?

CV: I remember writing funny stories in grade school, only because we had to, but I started writing on my own when I was in bands, in Portland, Oregon, during the late 1980s-early 1990s. When I was seventeen, I moved to Oregon to live with my aunt. I am one-quarter Cuban and in the 70s the United States placed a lot of Cuban immigrants in Oregon. I played the electric guitar in those bands which is the instrument I used to write music with. I wrote lots of lyrics and that evolved into poems and short stories and then novels. After I self-published my first novel Buzz and Israel in 2004, I realized I would continue no matter what.

RF: Have you been published anywhere else before?

CV: I’ve had stories and articles published in newspapers, magazines, and anthologies, namely erotica, but I don’t write erotica anymore. It was a great way to get started as an openly queer writer, but I got tired of the “seduction formulas” of erotic writing. It can become very cliché. It is always the same script but with different characters, different locations but the formula is how the writer draws you in with the sexual tension, the mystery, the chase. I didn’t want to be known as just an exotica writer. I still enjoy reading it at times, however. The late John Stahle published me in Ganymede Journal twice and I’ve been published online by a number of entities.

RF: How did you arrive at the concept for “Contraband”?

CV: Contraband’s plot boiled in my head for about a year before I even began writing it. I wanted to write a story that fused two elements: an internal, psychological upheaval of the main character that coincided with an external, political revolution of the world and how the two are really the same thing. And now with all the anti-Latino sentiment making its way onto the news—this is the best time to make a political statement through art and writing. And I really wanted to explore a paranoid protagonist (and narrator) that is aware of his paranoia and doesn’t always know what is really happening.

There are also real events in queer history that come into play in the plot—the Nazi abuse of gays, the McCarthy Pink Scare, and the persecution of gay journalists and artists in post-revolution Cuba. The anti-Mexican fiasco that is now happening in Arizona seemed like a faint possibility when I began writing Contraband, but these trends are going to escalate in my opinion. If you’re going to close the borders fine, I get that. But this demonizing of Latinos affects us all—and I hear anti-Latino statements right here in New York. My family has been in America since the 1940s—and in New York in particular. Understand why I want to punch people now?

RF: Do you think you have unresolved anger issues?

CV: I was exaggerating on this matter. Most of my anger issues stem from my childhood and I spent 17 years in beautiful Oregon to heal them. I do see a lot of unfairness and gross materialism in the world and find it unfortunate. People piss me off, but I am an optimist in the end

RF: Are you working on publishing more books?

CV: Toujours, mon ami (Always, my friend) I’m reworking my third novel with the hopes of securing an agent. I won’t talk too much about it, but I also have a couple of short story collections in the works, so hopefully by this time next year I’ll have a new book out. I’ve also been commissioned to write a book about a pioneering Nuyorican poet, so I’m researching for that now.

RF: Do you feel that there should be more openly gay and lesbian authors? If so, why?

CV: Yes there should, but we shouldn’t be expected to write only gay material necessarily, because closeted queers, and otherwise, have been writing books of all kinds since the invention of literature. Our presence in the world literary canon is immense and we should be able to speak honestly about the things that matter to us. When we do and others read it, we will be better understood. But publishers don’t always agree here—it astounds me that literature from the Harlem Renaissance, for example, can be marketed toward general readers, but queer work hasn’t. Most general readers can’t identify with having been black in the 1920s, but writing is writing, right? Why can’t queer work be presented in a similar way? Homophobia still runs deep in our sexually-oppressed society. People will not fully understand queer literature until they shed their fear of sexuality. It is sad.

RF: If you could be any vegetable in the world, which would it be?

CV: I would say a beet. It was my first thought on the matter. It would be that or a yucca. Why? Because they are grown underground, earthy, nutritious, just like me. I was being arbitrary. I’m a writer you know. I do eat lots of fruits and vegetables however, for any interested cannibals out there.

RF: Is there anything else we should know for the purpose of the article?

CV: I curate a reading series in the East Village called “PANIC!”, which features queer writers from all tentacles of New York’s massive literary world. I am a retired musician and photographer and all my info can be found at my website.

Ann M. Martin: A Corner of The Universe, and well, Bummer Summer, that was the first book that I ever wrote and published, so that was very important to me. But I would think that the one that really stands out is A Corner of The Universe. That is, probably, because it is the most personal of all of the books that I have written. It was a story that was inspired by the life of my own uncle and I never actually got to know him because he died before my parents even met each other. His death was actually one of the reasons my parents met each other. The story is so personal and I get a lot of response to that from all sorts of people who enjoyed the book, but also experienced similar things as well.

RF: You mentioned the graphic novels earlier. Why did you decide to turn some of the BSC books into graphic novels?

A.M.M: That was actually a suggestion by one of my editors who had been working on the BSC books for quite a while and is still the editor. He launched a graphic novel line at Scholastic. After I read some graphic novels, I became much more interested. An artist came into Scholastic and it turned out she was a huge fan. She was interested, and it just all sort of came together.

RF: So it all worked out?

A.M.M: It all worked out! And she did a really great job.

RF: Do you ever look back at a final published book, and thought that you should have changed something?

A.M.M: Oh, boy, every time I reread something that I have written. I see changes that I would like to make; they are smaller changes usually. I usually go back and line edit my own stuff. Not anything I’d want to change hugely, but anything I read that I wrote I immediately want to re-edit.

RF: Do you miss the classroom? I know you have not been in the classroom for sometime, but do you miss anything about it?

A.M.M: Well, I do. I really enjoyed teaching, and I especially enjoyed reading children’s books with my class. That is, probably, why I basically went into children’s publishing. Yes, I do miss the classroom. I miss daily contact with kids, and I particularly miss seeing kids discover literature that was my favorite part about teaching.

RF: Are any of your characters based on any of your former students?

A.M.M: No. Not off hand, I don’t think so. A lot of character have been based on people [in my life]. Inside Out, which is one of the first books that I wrote, which is told in the point of view of an older brother, whose younger brother is autistic, and that was based on the summers that I spent working as a therapist/teacher at a school for autism. The child in the book was more of a combination of the kids that I knew there.

RF: What charitable organizations do you support?

A.M.M: Okay. I mean I support a lot of them; most of them have to do with animal welfare, classical music, but the ones that I started, one is called The Lisa Libraries. I can give you some information, and I can give you the website. The Lisa Libraries was started in memory of a colleague. It is actually a very simple idea we collect new and unused children’s books from publishers, reviewers, authors, editors, and we have a small warehouse based up here in Kingston New York, and we sort books into categories and then resort them into small libraries that we donate to women shelters, kids who are in foster care systems, prison waiting rooms for children of incarcerated parents-anywhere kids don’t have easy access to books.

RF: Any upcoming projects?

A.M.M: Yep… I’m about to start working on a fourth Doll People book- that’s always fun. And I just finished a first draft for a book that will be out next year called Ten Rules for Living With My Sister, and I guess that’s it for now, and The Babysitter’s Club books are set to reissue. I think we are up to book five.

RF: I’m sorry, so then will they reissue all of them, or just a certain number?

A.M.M: I don’t think they know right now. We have up to five scheduled, but that doesn’t mean that there won’t be more. Oh! And right now I’m finishing up the tenth Main Street book, which will be the last one in the series.

RF: Do you have any suggestions, or advice for a struggling writer?

A.M.M:For kids I usually suggest first of all simply being an avid reader and becoming familiar with all different forms of writing which is fiction, non-fiction, journalism, poetry. I think the more familiar you are with writing; the more it will help you become a better reader and writer. And also for kids, though this certainly doesn’t hurt for adults either, is simply to keep a journal, and partly because it is good writing practice, and also because it is a great source for story starters.

I think the complaint I hear most from kids is that they don’t know what to write about. Just go back and look at your journals, you’ll probably find a lot of good things to write about.

RF: So looking back at all that you have accomplished, how would you describe your career?

A.M.M: Oh, my goodness! Well, probably, “mostly unexpected.” It was lots of fun and gratifying and rewarding, but the popularity of The Babysitter’s Club was not only surprising to me, but to my editors and publishers as well. I truly would have never expected that. None of them did. That is probably my overarching reaction. I feel extremely lucky.

From the “Feel Me” intro you know that this album is going to be special. Big Boi is the only one who can rhyme about the president and a prostitute and not have it be about a sex scandal. In “Daddy Fat Sax” rhythmic beats match wits with well placed lyrics that will renew your faith in hip/hop. “Turns Me On” featuring Sleepy Brown and Joi mixes big band rhythmic harmonies of the 1940’s with current topic lyrics. And the inventive jams just keep coming with “Follow Us” featuring Vonnegut. You begin to wonder if there’s nothing that Big Boi can’t do as he combines political ideology over yet another infectious beat.

If you think that Big Boi won’t go near rock, think again. There’s something about “Tangerine” with T.I. and Khujo that will remind you of a heavy metal track with rhythm & blues melodic undertones. Perhaps it’s the drumming or the guitar arrangement. Either way it’s an original track that will have you grooving. The lyrics are also some of the dirtiest you’ll hear, but you won’t care because the song is that good.

Because of record label constrictions Andre 3000 was not able to appear on this album, but that didn’t stop him from producing another solid song for it. While the lyrics for “You Ain’t No DJ featuring Yelawolf” are as top-notch as the other tracks on the album it’s the downbeat that seamlessly flows through the song that will have you continuously pressing replay on your mp3 player.

What Big Boi does with “Sir Lucious Left Foot: The Son of Chico Dusty” is not only celebrate soul groups of the past such as Soul II Soul, genres of music such as Jazz and harmonies that come straight out of the church choir, he has infused these ideas into one of the most addictive albums this year. You will not have one favorite track – you’ll love them all.

The following is not a review or commentary…it is a rant.

After watching “Monday Night Raw” this past week, three words came out of my mouth:

“What the funk?”

No, Too Cold Scorpio did not make a comeback as his dancing alter-ego, the show was simply horrible.

Having no real competition for as long as they have has hurt them over the past few years, resulting in what can only be classified by comedian Brian Regan:

The epitome of hyperbole.

The coolest thing about professional wrestling back in the mid to late ’90s was that the characters and story lines mirrored reality. Stone Cold Steve Austin was a hero because everyone wanted to stick it to their boss the same way Rey Mysterio was a crowd favorite because of his desire, which more than made up for his lack of size. On top of that, the athleticism exhibited in matches was insane and even if you knew the stuff was fake, you didn’t want to be on the receiving end of a “Rock-Bottom” from Dewayne Johnson or a powerbomb from Sid Vicious.

With that being said, this week’s “Raw” not only featured terrible matches, with horrible pacing and no suspense, there were barely any moves being used at all.

Case in point- Ted Dibiase’s match with John Morrison was an utter joke, especially considering they are two of the best young stars in the business. Aside from a few headlocks and leg lariats from Morrison, Dibiase’s finisher was the only real move in the contest. The result? Crap.

Unmistakable crap.

The same thing that goes for the rest of the contests, none of which lasted for any significant amount of time and failed to captivate at all.

Over a decade ago, you’d see things like Chris Benoit jumping off the top of a steel cage or the World Championship trading hands on Cable TV. Now all you get is weekly filibustering to a monthly pay per view, that, too, lacks the same charisma as the house shows of the late ’90s.

What happened to this “sport?”

What happened to seeing great story lines and moves that made you cringe?

Wrestlers and their promoters got smart and lazy, that’s what happened.

Sick and tired of putting their bodies on the line and seeing their stars get injured, wrestling, mainly the WWE [You can still see tons of great matches thanks to companies like Ring of Honor and sometimes TNA, when they remember what got them their fan base in the first place] realized that they can still make a ton of cash pushing an inferior product.

Like a smart drug dealer, Vince McMahon and other promoters, of course, chose to save their athletes’ bodies, minds and has tried to save the sport after the death of Benoit and a few others nearly tarnished it forever.

Nevertheless, as a result, something has been lost over the past few years, something the sport needs if it is ever going to thrive again:

Passion.

As for now, the only way for a real fan of this “sport” to get their fix is to watch their favorite matches on DVD.

Because, at this current moment, the greatest days of professional wrestling are in its past.

And that’s the bottom line, because there is no new Stone Cold or anyone else with this slightest bit of personality [or front office person with the marbles to let the real stars of this business shine] to say anything different.

Heard by millions of people around the world, Giacchino’s work has been nominated twice for an Academy Award-first, for his score to the animated blockbuster Ratatouille, and more recently, for his score to the highly-acclaimed Up for which he won the award in the Best Original Score category. Giacchino’s other notable credits include the score for ABC’s hit shows “Lost” and “Alias,” as well as the feature films Star Trek, Land of the Lost, The Incredibles, Mission: Impossible III, and Speed Racer.

Persona 3 Portable releases to glowing praise for its compelling story, unique soundtrack, high-quality voice acting, graphics, solid RPG gameplay, intriguing characters, and more, making it an RPG experience PSP owners won’t want to miss. Destructoid gave it their Editor’s Choice Award along with a perfect score (10/10), writing, “We loved it before and we still love it.” GamerVision stated, “Persona 3 Portable is one of the strongest games in the PSP catalogue, and a shining example of a role-playing game done right,” also giving it a perfect 10/10. IGN.com praised the game as well, calling it “…a stellar game…” and offering it their Editor’s Choice Award.

Unique among its competitors, Persona 3 Portable is laden with stark contrasts. By day, players attend school, juggle interpersonal relationships, and even court a romance or two. By night, they are tasked with the lofty goal of saving the world from encroaching Shadows and darkness, having to fight off a grotesque menagerie of otherworldly creatures. Featuring the addition of a new player-controlled female protagonist who offers players a fresh new perspective to one of gaming’s most inventive narratives, P3P dramatically increases the replayability of a game already renowned for its length and depth. Numerous additional improvements and enhancements, like reduced load times and one-button menu shortcuts, serve to streamline the experience for optimal handheld RPG enjoyment.

SMT: Persona 3 Portable is now available in stores and on PlayStation Network with an MSRP of $39.99. For more information, visit the official full Persona 3 Portable website: http://www.atlus.com/p3p.

You can listen to the interview by clicking the link below:

Lucy Schwartz Interview

You can watch her performance with Landon Pigg on the Tonight Show below as well:

After a bit of a “BSC” hiatus, Ann M. Martin talks about why she decided to come back to the popular Babysitter’s Club series, as well as what her writing process is all about, her charitable organizations, and advice to teachers.

Review Fix: Why did you decide to become a writer?

Ann M. Martin: Well, it was something I had always enjoyed doing, even when I was very little I enjoyed storytelling and I would draw pictures and make up stories about them and dictate them to my mother. I would turn the pictures over and write the stories on the back. I always liked storytelling.

My parents made sure that my sister and I grew up in a house that was filled with books, and we went to the library, frequently both the public library and our school library; we read aloud to each other, so reading and storytelling were always a part of growing up and I think that when I became an adult, I wanted to be able to continue that and be able to create new stories for other kids. It’s only been children’s books that I’ve been interested in.

RF: Can you walk through your writing process? Are there any specific steps that you take when you are writing?

A.M.M: Yep. Definitely. It is usually the same for every book, but sometimes things shift a little bit. After I have the initial idea for a story, I discuss it with my editors first. I rely very heavily on my editors. By the way, editorial process is very important to me and I enjoy working with my editors. It feels more like collaboration. As soon as we agree on the initial idea, then the next thing I do is start outlining. My outlines go through various processes. First I start taking notes, and then I draw up what I call a framework outline, which is just a couple of sentences about what might happen in each chapter. Then I expand on that and make longer notes about each chapter and then eventually what I hand in to my editor is usually a fairly lengthy outline, which can be maybe fifty pages or so, and they include information on the characters the setting and then a very detailed chapter by chapter outline. I wait for my editor’s opinion before I start writing. This gives me a chance to catch things before I get derailed in the middle the process.

RF:So why did you decide to write the prequel to the BSC?

A.M.M:Well, the series came to an end in 2000, and I would say that by around 2005 I began hearing from readers and how they had read books when they were kids, and hearing that they couldn’t find The Babysitters Club books anymore and in fact, they were starting to remain out of print.

So really the beginning was a demand from readers, who were adults now, and wanted to introduce the books to their own children or to their students. I began talking with my editor about the possibility to relaunch the series, and if we could kick off the relaunch with a new book. And the reason I wrote a prequel was because my favorite age group to write for is The Babysitter’s Club audience, or younger. It became interesting to explore the lives of the characters before the beginning of the series, and so that was the beginning of the prequel.

RF: Was the idea of the prequel something you were thinking about for some time?

A.M.M: It really didn’t come up until we began talking about relaunching the series and then writing a new book and so at that point, when I decided I wanted to write a prequel, I began rereading. I think I read the first two books of each of the four original members of The Babysitter’s Club, and then maybe also the first Mallory book just to acquaint myself again with the setting and the characters because it had been a while since I visited there. From beginning to end, the idea of having to write a prequel to a finished book was probably two or three years, although it only took about year to actually write, and I am including publishing and all that sort of thing.

RF: How do you decide which characters will narrate a certain book from The Babysitter’s Club.How does that come about?

A.M.M: Well, in the beginning, when I was first introducing those original characters, I had already drawn up the characters and knew what I wanted to happen for each of them. Of course, at this point there were only going to be four books in the series. The first four that was all it was going to be.

I don’t remember why they came out in that particular order. I had already decided what I wanted to happen for each character, I knew that Kristy was going to come up with the idea, Stacey would be facing some physical challenges, and that sort of thing.

Why they came out in that order, I don’t remember now, but with the later books of the series, it was really a matter of not necessarily assigning a particular topic to a character. I think it was more that my editors and I would brainstorm and think about what we wanted to write about and then decide who might tell the story the best.

Then at a certain point, when quite a few books had come out, the characters began to generate their own plot ideas. With something that had happened with Kristy earlier on could be picked up as a scene in a later book, so some of the ideas came about that way too.

And also some of the ideas came from readers’ suggestions. One that I remember specifically was Mary Anne and the Memory Garden. That idea had come about after I had gotten, I don’t know why, but for a period of time, a whole lot of letters from kids asking for books about the death of a peer or classmate, and then also a number of requests for a book that dealt with the issue of drunk driving. So that’s where the idea came from. Why we decided to have Mary Anne tell the story, I can’t remember at this point. It may have had something that had been going on in her life at that point in the series.

RF: You mentioned the reader suggestions, the first thought that came up was the Special Edition Reader Request books. Were those something the readers really asked for regarding Shannon and Logan?

A.M.M: Oh, yeah. But some requests that I’d get couldn’t be turned into books. There were a lot of requests for huge disaster stories, you know, of course, there’s a fire, and then the flood comes, and then they are all caught in a snow storm, but for things that were a bit more serious, we definitely paid attention to.

Picture this: A mean cowboy walks into the room, doesn’t crack a smile throughout the entire process of photography. He’s a bold Mickey Rourke looking fella, except this guy is from the real Sin City. Greg Friedler, the photographer, tells the man to take off his clothes. The cowboy takes off his shirt and he’s got tits. Art.

The documentary footage in “Stripped” takes the long road through the desert on a long and exhausting journey to find and film some of the most interesting people in town nude. Friedlers’ journey through Vegas is going to change the slogan of “What happens here, stays here” to “It happened, and now the world knows how big your privates are.” Art.

The entertainment capital of the world had some of the strangest, yet amusing melting pot of people show up to have Friedler paint his picture in history. With the use of the camera, he really composed a vision of every human figure as one of a kind, and the body, regardless of how different it is, is still a work of art.

Friedler’s work in finding people, places and things to put in his 3rd photo album-style book about the beauty of the buff led him to Las Vegas and put his stamina to the test. For his New York photo book, he put out an ad to which 11 people responded. In Las Vegas, he had so many people arrive that they threw a party in his studio while waiting their turn to be viewed and posed by the artist.

Everything worked out successfully, and after watching the entire process of meeting the people, taking their photos both clothed and nude, looking at and comparing the pictures, to then seeing the results and the models reaction to their own shape, it was priceless.

The method of reality as opposed to reality television brought everything to life and down to earth. It was touching at some points, and light and airy at others, all while it captures Friedler’s hustle. The 78-minute production shows that it’s hard work to put a vision into being, and even harder work to turn it into a work of art.

The latest installment in the popular DRAGON QUEST video game series, DRAGON QUEST IX: Sentinels of the Starry Skies has already attracted players of all ages and backgrounds in Japan, with 4.2 million copies sold. The game allows players to customize their own adventures by choosing their characters’ appearance, abilities, weapons and other items. Up to four players can connect via a local wireless connection to explore mysterious dungeons, tangle with fearsome creatures and complete challenges together. More information about DRAGON QUEST IX: Sentinels of the Starry Skies can be found at www.dqnine.com.

WHO:Teens, kids, adults, parents, video game fans and consumers of all kinds

WHEN: Saturday, July 10, 2010 1-4 p.m.

WHERE:
Nintendo World store
10 Rockefeller Plaza
New York, NY 10020
(Between 5th & 6th Ave.)

Make no mistake about it, “Hexyz Force” is not only a labor of love from Atlus, but is a game that will demand at least 40 hours of your time with two memorable adventures that demand patience, persistence and a love of the past games of the genre.

Feeling a bit like the original “Wild Arms” at times, with beautiful anime scenes, nearly 45 minutes in all, sprinkled in between the excellent plot-driven story, “Hexyz Force” is indeed a force to be reckoned with on Sony’s portable console.

In the end, it’s not exactly perfect, but it’s got plenty of reasons to keep your fingers glued to it.

With two campaigns to play through, one with the Cerulean Knight Levant or the youngster Cecilia, both with completely different personalities, there’s a story for everyone here. On one side, Leon definitely channels the Cloud Strife-type persona, as his battles with inner demons and inability to vent his emotions play a huge role in the tale, while Cecilia sometimes gives you the feeling she’s just a long for the ride, before understanding exactly what it is she’s fighting for. As a result of this, you’ll want to play through both campaigns [you can pick which character to play with at the start of the game] and see what the fate of Berge will eventually become. Like a great RPG and a well-told anime, both sides have great supporting characters at their side as well. As a matter of fact, sometimes you’ll even find yourself more attached to them than Leon or Cecilia. This doesn’t hurt the game by any means however, as it’s just a testament to the depth of the story.

Vincent Valentine eventually got his own game, nearly a decade after Final Fantasy VII, so why not the super, mega, totally awesome Lygar, Griek?

We’ll be waiting Atlus.

Regardless of this though, the story of “Hexyz Force” isn’t as epic as you’d like. Sometimes, you’ll feel that you’re just running from place to place, gopher-ing for one item to continue the story. These moments are few and far between, but enough to make you feel sidetracked while trying to uncover the mysteries of Berge.

Graphically, “Hexyz Force” features simple 3D sprites that are far from visionary, but are more than solid. During dialogue scenes, portraits of the characters are placed next to their words, providing a bit more allure [sometimes bringing out the “finer” qualities of the female characters as well] and adding enough polish to keep your eyes happy. Nonetheless, you’ll get aggravated whenever you stomp into a new area and see that you’re fighting essentially the same enemies [minus the boss battles of course, those are all pretty darn cool], just with different color swatches.

It worked in the original Dragon Warrior, Atlus, not anymore.

In spite of that though, a nice leveling up system that allows you to unlock new moves for your characters, a solid turn-based battle system and a nifty weapon and item creation system do more than make up for the apparent laziness of the enemy designs. Simply put, when so many elements of the game are this solid, you can look past minor imperfections and play this game all the way through.

Add in over 40 hours of gameplay in the Chef Boyardee [meat] part of the game and a few interesting side quests and it’s quite possible that “Hexyz Force” is quite possibly not only the best “new” RPG on the PSP this year, but the best in quite some time.

Categorized differently compared to a majority of bands and solo artists, Iwrestledabearonce is an American avant-garde metal crew that was formed from Shreveport, Louisiana, in 2007. Including other groups such as Ballet Brutality and Scared of the Dark, they were considered the first in the local avant-garde metal movement. This particular genre that they play ranges from a wide variety of death metal, industrial, noise, funk, hardcore, hip hop, progressive rock and even bluegrass.

Some tend to wonder where such a strange name for a band came from. Ironically enough, the title was originally a phrase that Gary Busey announced on Comedy Central.

Between their style of music and the name they decided to represent themselves as, it’s evident that this five-piece band is far from boring.

Even though Iwrestledabearonce has only been around for three short years, during the first year of becoming a band, they were successfully signed to Tragic Hero Records. Not too long afterward, through the same label, they managed to release a self-titled EP that contained six tracks.

Throughout this time, constant changes to the member lineup were being made, but this didn’t prevent Iwrestledabearonce from signing to a second label (Century Media) and gradually producing a full-length album.

Along the way, this experimental band has gone on tour with a number of popular acts such as August Burns Red, the Dillinger Escape Plan, the Human Abstract, Blessthefall, Fact, Greeley Estates, Sea of Treachery, Enter Shikari, Winds of Plague, All Shall Perish, Vanna and Horse the Band.

Current members include Krysta Cameron (lead vocalist), Steven Bradley (lead guitar, keyboards, samples, programming), Mike Martin (rhythm guitar, keyboards, samples, programming), Mikey Montgomery (drums, backing vocals) and John Ganey (bassist).

Their full-length album, “It’s All Happening,” was released in a way that is inconsistent compared to other CDs. This package contains three discs. The first carries 10 tracks. The second is a remix disc that other musicians have created that transforms nine out of the 10 songs into something completely opposite of what Iwrestledabearonce originally produced. The third is a bonus DVD that surprises fans with studio Webisodes, tour journals and promo videos that were specifically made for certain songs off of the album.

“You Ain’t No Family”: Being the first track off of “It’s All Happening,” it certainly starts it off right. Cameron begins with raging, screaming vocals that might scare those who aren’t used to this type of music, but those that are can easily be impressed. Extremely difficult to do, she constantly goes through the transaction of screaming to singing, which gradually calms the aura of the track. The entire song changes from hardcore beats to bluegrass and funky noises that create a random but amazing sound.

“White Water in the Morning”: The programming that Bradley and Martin create in this song is absolutely outstanding. The tunes are a bit mysterious and creepy, but the way Cameron sings along is suitable and strong. During a majority of the song, she sings, but then there’s a breakdown of a guitar riff that builds up the adrenaline for her to begin screaming. Just like “You Ain’t No Family,” the transactions are perfectly set, ending the song in a soothing way.

“Tastes Like Kevin Bacon”: Definitely considered one of the best tracks on the entire album. Cameron’s growls and inhales are insane. The electronic beats in the background are phenomenal, and can easily be danced to. If someone had to compete with Montgomery’s drumming, it would be almost impossible. His double pedaling is remarkably fast and off the wall.

“The Cat’s Pajamas”: The lyrics are totally irrelevant to the title that they decided to use for the song. The programming has a huge impact on the mood that the entire band is presenting. Even though this track stretches to only a little over three minutes, it still remains powerful, along with a hint of sadness. Screaming is barely incorporated — instead, the emotions of Cameron are more noticeable, and an unhappy explanation of family issues are demonstrated.

“Pazuzu for the Win”: The keyboarding for this song is great, but the vocals don’t really seem to flow as well. If less overlapping screaming was added, this track could have been a lot different, but better. Bradley and Martin’s guitar riffs go extremely well with what Ganey donates with bass. A mass of programming, guitar/bass and keyboarding combine to compose a variety of exceptional melodies.

“Black-Eyed Bush”: This song is out of the ordinary compared to the rest of the album. Cameron strictly mumbles unclear, high-pitched lyrics that follow simple and repetitive techno beats in the background. This track seems as if it would be an introduction to an album or to a song that gradually builds into something drastic. This is just one of those tracks that calms the aura of the CD and takes a break from the screaming vocals and the usual hardcore melody.

“Eli Cash vs. the Godless Savage”: The guitar riffs and drumming have an extreme dynamic impact during this song. Between the vocals, programming, guitar and bass, everything is exceedingly hard-hitting. The fact that listeners are able to hear Montgomery’s background vocals for this tune was a wonderful addition. It gave the mood a slight change, since Cameron’s voice wasn’t the only one being the center of attention.

“You Ain’t No Family” (DJ Danny Maverick of Horse The Band Remix): Compared to the original track that Iwrestledabearonce has produced, this song is beyond annoying. Huge fans of Iwrestledabearonce would most likely feel as if the remix has ruined the greatness of the actual song. In this case, agitating freestyle pauses and funky affects did not end up being beneficial. The way Cameron sings/screams was adjusted. Overall, it’s a disaster.

“Tastes Like Kevin Bacon” (Benjamin Weinman of Dillinger Escape Plan Remix): Considering that this was a complete transformation from the Iwrestledabearonce’s version, it wasn’t fully terrible. The entire song gives off a totally different sound, making it difficult to realize what song is being remixed. It seems as if the harmony was recreated, converting the original into a new song.

Studio Webisodes: These videos are similar to that of a diary entry. The band nonchalantly acts silly while they are recording and editing what the makings of “It’s All Happening” are going to result into. Even though they hard at work, this does not stop Iwrestledabearonce from having a good time while doing what they love the most.

It’s a candid, unflinching look at a childhood of a Jewish boy growing up with the life lessons of his parents to instruct him. For Willie he copes with his life through art and attempts to fit into his world and still retain his Judaic roots. Refusing to deny his heritage causes him to get into fights, lose potential girlfriends and friendships, but these incidences will not draw you in the way the stories of his parents do as they try to contextualize his life by using their pasts.

Have you ever had a relative that always had a story to tell? They would regale you with tales that started “When I was young.” You were supposed to glean some wisdom from it, instead it bored you to tears and you would wonder why your parents wouldn’t just pretend not to be home when they saw him coming up the street. Not so with Willie’s parents. Their lives are so rich with difficult life-changing decision-making that you can’t help to learn from them. When his father talks about his life in Vienna and the oncoming of World War I we see from Willie’s face that it’s not the first time it’s been told, however, it’s still necessary. As is his mother’s tale of her parents dying young. These are glimpses into the worlds of people who under ordinary circumstances would never have met. It also speaks about how people persevere in the face of their complex lives. Survival throughout this novel is definitely the main goal.

What makes Eisner’s idea come to life are not only his words, but his artwork. Best known for The Spirit, Eisner in this graphic novel uses his artwork to punctuate the emotions of the characters. Whether it’s a pensive stance or a wracking cough, Eisner made each scene real.

Having said that, if you’re looking for a graphic novel in the shade of Marvel or DC comics, then you’ve got the wrong book. “To The Heart of the Storm” would not be a hard sell for a literature class and not one themed on the graphic novel either. Make no mistake this is a work of literature with subthemes on a plethora of worldly ideas that are still being debated. Think Phillip Roth without the didactic angst and you will have an idea of what this novel has to offer.

Overall Eisner created a work told in black and white with an overwhelming shade of gray. “In the end [what he gave us was] a selective memory and the tyranny of eternal hope.” That’s not a bad combination at all.

Masterfully directed by Mike Hartman (DETROIT BLOOD CITY), HEAVY MENTAL comes with tons of hardcore features, including Hartman’s commentary and a behind-the-scenes special. Prepare to be rocked with mind-blowing FX, head-banging action, suspense, violence and one killer soundtrack, all on Amazon.com!

The idea is sound put your most popular singers with some lesser known talent and perhaps new fans will emerge. However, the first song on the album (Rihanna’s “Hard”) has been a chart topper on several billboard charts for weeks. If you’re a fan of Rihanna, then you already have her latest album which features this song and several other likable tracks. So where does that leave artists like Inna? Best known in Europe, Inna has yet to break onto the North American music charts. Her dance track “Love” has an infectious beat and her voice is pleasant enough, still if you have the better known artists’ songs you may not feel the need to invest in 13 other tracks from musicians you don’t know.

However, you should give this compilation a try. They’re all dance tracks that will light up a party. Rihanna’s version of “Hard” is on this album and not on latest studio album Rated R. There is even a better version of Mariah Carey’s H.A.T.E.U. that is an improvement than the one on Memoirs of An Imperfect Angel. The trance-like flavor causes remixer Jason Nevins to rejuvenate an otherwise forgettable song.

There’s also Mr. Hudson whose song “Supernova” barely cracked the top 200 billboard chart, but reached number 2 on several musical charts including the United Kingdom’s. This song deserves to be heard by a larger audience and Just Dance 3 is the right vehicle for the ability to reach a larger audience.

What makes this album a potential party favorite is that it goes from one song into another in a near-seamless fashion. Before you can catch your breath from Ludacris’ “How Low” here comes another track that forces you to get on the dance floor and shake your thing.

Overall, this album fulfills its intention of showcasing artists that need to be heard alongside refreshed remixes of current successful singers.

And believe you me, there’s plenty of stabbing in this film.

Just from the title and promotional art alone, it’s obvious that this is a horror flick and it’s even more obvious what the plot’s going to be like: some lunatic, yet good-looking and charismatic psycho works his way into a family and eventually tries to kill them.

Big whoop, right?

Well, with an intriguing beginning, where we see the transformation of David Harris [played chillingly by Dylan Walsh, you know, the dude from such TV shows such as “Gabriel's Fire” and “Brooklyn South”...wait you don't know him? Well he is married to Melora Walters, the hottie who played Wanda Henrickson on “Big Love” and if you don't know her, then...], this film starts off shockingly and has enough cool moments that make up for the mediocrity of the majority of the film.

With “Gossip Girls’” Penn Badgley co-starring as Harris’ step-son Michael, there’s also plenty of eye candy for the ladies and ironically enough, these two work pretty well on-screen together. Seeing them match wits and spoil each others plans actually gets downright interesting at times. Curious as to how his step-father was before he met his mother and just being a wise-ass teenager, Badgley uncovers the entire plot step by step, inch by inch, all the while his mother, the always cute Sela Ward and hottie girlfriend Amber Heard [who is rumored to be the new Mystique in the upcoming X-Men flick] telling him he’s crazy.

Little do they know that they’ll eventually be fighting for their lives in what turns out to be a pretty gruesome and scary, yet hilarious flick.

Lets just put it this way, you’ll be screaming at the TV the whole time.

Seeing Walsh take care of whoever steps in his way is a fun viewing experience, especially if you get off on seeing old ladies being thrown down a flight of stairs. It’s the kind of film that tries to be realistic, but fails miserably and induces laughs, rather than shock. Nevertheless, it ends up being something that you can watch all the way through and not feel like you wasted your time.

Considering the fact that many of the new flicks on the Instant Queue lack this appeal entirely, this is a motion picture that suits the midnight munchies and blues just fine.

Bauval was born in Egypt but he, himself, is not an Egyptian. In order to have the title of Egyptian, one must be of Egyptian blood. Bauval is of Persian ancestry.

Bauval grow up in a family of carpenters and construction workers, but he always had an interest in the Egyptian history and started his quest into the unknown with a trip to the Cairo museum and to the infamous three pyramids. He noticed right off the bat that only two of the three were perfectly aligned. The third was a little offset. For years, he wondered why until he took a look up at the night sky and saw the constellation of Orion. The alignment of the pyramids matched up with Orion’s belt, two stars are evenly aligned and the third is offset. The pyramids and the Orion constellation are not the only coincidence that Egypt has to offer.

A few years later, Bauval had another encounter with outer space and Egyptian monuments. The notable memorial of the Sphinx was his next major discovery. Bauval uncovered that the Sphinx faces the constellation of Leo, the lion. Bauval concluded that the Ancient Egyptian Pharaohs had a desire to ascend back into the heavens; we are now learning that building their monuments to face certain areas in the night sky were their approach to achieving that desire.

The film also beings up the issue that many people attempt to avoid which is the reason behind the existence of the human race. Examining this could be grounds for an uncomfortable discussion or of people attempted to discover answers from things that are external from the human body. Bauval believes that the human race may never discover or truly understand their purpose of being here.

In Gardiner film, Bauval is the only person being interviewed in what looks to be a hotel room and the interview is accompanied by photographs of real Egyptian artifacts and graphic designs, which are borderline amateur, to full empty space throughout the interview. As a result, it’s lacking the credibility needed to be taken  as seriously as it should.

If you are looking for information on the history and mysteries of Ancient Egypt, you might want to give this documentary a once over. However, considering the bland presentation and lack of charismatic information sharing, this isn’t a production for everyone.

LARKSPUR, CA – The ultra-fast off-road racing experience that is nail’d is to receive a rousing soundtrack featuring big names from the rock scene. While players race their quads or bikes down over-the-top tracks at breakneck speeds, fly through the air over yawning chasms and dodge insane obstacles that seem to spring from out of nowhere, a collection of kickass songs will help fuel their adrenaline to the absolute limit.

Deep Silver has secured the rights to epic music including tracks from Slipknot, the Backyard Babies, Queens of the Stone Age and Rise Against. Bands like these play fast and hard and provide the perfect soundtrack for a game that is all about speed, attitude and fun.

“We wanted a soundtrack that inspires the player to deliver their absolute best performance each and every time they race,” said Geoff Mulligan, COO of Deep Silver, Inc. “nail’d is about speed and nothing inspires the reckless and risky behavior required to dominate in the world of nail’d like guitar-shredding rock n roll.”

In addition to this fantastic collection of electrifying licensed tracks, nail’d will also feature incredible music created especially for the game by an all-star group of rock luminaries. More details regarding the nail’d OST and the stars contributing to it will be released in the near future.

Developed by Techland, nail’d will be released for the PlayStation®3 computer entertainment system, the Xbox 360® video game and entertainment system from Microsoft®, and Windows PC. The worldwide launch of nail’d has been scheduled for the fourth quarter of 2010.

Get more information about the game on the official website or join the nail’d community:

Website: http://naild.deepsilver.com

Twitter: http://twitter.com/naildgame

Facebook: http://www.facebook.com/naildgame

“Actually, I grew up all over the place because I was in the military. I wasn’t, my Dad was,”  Himan said.

The heavily tattooed power house and his family settled, mostly, in Florida and Hawaii. He and his sister were raised by their father and their paternal grandparents after they lost their mother and sister in a car accident.

“My grandparents moved around with us until I was eighteen. It was a good childhood. I was very introverted, so I kept to myself, kept to my room. I tried to be the best academic and I was a goody too shoes. It was good considering what happened at the beginning with my mom and stuff. I was lucky that people could come into my life and help, like my grandparents,” he said.

Himan has nothing but fond memories of his life and of both of his parents. Even though he lost his mother at around the age of four, Himan admitted that he holds tightly to a unique memory of her that may or may not have really happened.

“I have one memory of my mother, but you know how memories are when sometimes you dream something and you think, because you have thought about it for so long, that maybe it was just a dream and not a real memory? I have this dream or memory of her giving me an ice cream sandwich out of the freezer. I don’t know if I imagined that and just made it a memory or it actually happened because I think I was three years old. Anything before four years old, I don’t really have a good grasp on. I have that so let’s say it’s a memory,” Himan said.

Himan’s father, who he described as being “very quirky and weird,” was the main force behind his music career. Being that his father is a musician himself, like any parent, he wanted him to follow in his footsteps.

“I didn’t have a passion for it then. My father just sort of pushed it on me. It was almost like why don’t you play this sport? Parents do that to you, they sort of push you and you do it,” said Himan. “When I turned 13, I remember a lot of the music that I was listening to had guitar in it, so all of a sudden it was like I made that connection. I was like, ‘I think I can do this’ and that’s when it took off. So, I had a good five years of why am I going this.”

There were mixed reviews in his family when it came to Himan’s career choice and the realistic longevity of being in the music business. “My dad’s side of my family approved of it. My mom’s side is very Doctor and Lawyer oriented. They thought that you should go to college, get your job and you stay in that job, it was very rooted in that,” said Himan.

Himan attended and earned a degree in Psychology from Penn State University, but went head first into the music industry.

“The idea of coming out of college and doing music full-time and not knowing where things are and it is not a very easy path. Sometimes people think there is so much risk involved, they are like, ‘you are never going to make it’. Only about 13 people out of a million make it. They forget that there are people who just begin and there’s Madonna,” Himan explained that there is a whole group of people in the middle like him who make a living through music. He may not be Madonna but he has been going this for a long time and has been able to support himself by doing music.

Himan is a successful artist as a solo act and has been for ten years now but he is also a member of a group. Eric and the Adams were established about two years ago after a chance meeting with two up and coming musicians.

“I met Angel and Jimmy, who play the drums and bass and who are brother and sister, while they were backing up someone else at open mic night. I randomly meet the woman they were playing with in Washington, DC on tour. She said, ‘I’m playing tonight, you should come out.’ So, I did and they were backing her up,” Himan said. “Right before that, I was trying to get a gig in Tulsa and the guy was like, ‘I love your stuff, but I need you to have a band on the weekend because it can’t be just you.’ It just seemed perfect. The three of us started playing and my songs started to evolve a little bit because of their style. I switched to electric guitar and it seemed like it wasn’t just me anymore, it was us. A lot of it started with me stuff, so we kept it Eric and the Adams, which is their last name. We put out a CD in December. It was just a five-song CD, but it is doing well.”

Eric and the Adams were, “like a side project that turned into an equal project.” A few times, he didn’t know what he was going to book for the group or book for himself. There is a big link between the two acts. “We still play some of my music and I wrote some of the music for Eric and the Adams. I try to keep them a little bit separate. If we were booked as Eric and the Adams people would go, oh I know exactly what to expect. I have tried, marketing wise, to kind of make that separation, but at the same time play some of the Eric and the Adams stuff by myself and then play some of my stuff with Eric and the Adams. I am still learning and it takes a while,” Himan said.

It is widely known that many gay and lesbian artists tend to shy away from gender specific nouns and pronouns when they write and market their music. This is a far cry from their straight colleagues who create entire songs dedicated to having sexual relations with people of the opposite sex. Even the artist with the most open approach to their sexuality has made the knee jerk reaction of doing back into “the closet,” even Himan.

“I have to say, at first, I did shy away from it because it scared me. It scared me because you spend your whole life trying to get people to like you. In the gay community, you are almost set up, this is from ten years ago, but there were times when I felt that I was disappointing people,” said Himan. “Girls would come up to me and ask me out or it would go to that somehow and I was like, if I tell this girl who I am gay and that I am not interested then she is doing to be like, oh I don’t like you music either. It was irrational, but I did have that. At the time, your idea is just to reach everyone. You just want to do that, you want to be accepted.”

Finding inspiration for music is not that difficult for Himan. He uses his five senses and is inspired by events around him and in his life. “It is kind of strange. I started playing at Penn State and then going a lot of college stuff and that is a whole circuit in itself. It was almost like, ‘if you didn’t go to those colleges you wouldn’t know anything existed.’ In 2003, someone wrote a story about me in Instinct magazine and then all of a sudden, Out magazine and then all of a sudden I was in gay media like crazy,” Himan said.

“I felt like I wasn’t anything different from the other Lesbian singer/songwriters, in my mind. I was like, hey we are all playing music, and we are all equal. In their mind, other people were like, but you are a boy and boys play dance music. I tried to build that gap that people were thinking of. At first, it was a little confusing and now there are tons of guys out there that are like me in that world. It is pretty neat now to see now but in the beginning, I felt like the only one. In a way you have the idea that you are groundbreaking but you are so odd people don’t know what to do with you.” Himan’s music can be found at Barnes and Nobles, Borders, ITunes and Rhapsody.

His inspiration steams from everybody from Bonnie Defranco to Pearl Jam to Led Zeppelin to Billy Joel and Melissa Etheridge. “I draw my inspiration from, and I know this sounds a little cliché, but my life. You write about what you know. I draw a lot of inspiration from other artists,” said Himan.

As modest as he was, there was another reason why he analyzed other performers. Although he is a great performer now, he still learned through trial and error. “I learned so much from other artists because I was never formally taught how to play or sing but I learned from listening and imitating other artists and finding my own voice within that. I grew from that and just working on my voice to the point where I wasn’t cringing. When you are yelling in your bedroom when you are fifteen years old, sometimes you cringe. My Dad would used to come into my room and say Eric that’s enough, you are too loud and we can’t hear the TV,” Himan said.

Himan also has a few hobbies that he enjoys. He has recently started experimenting in the kitchen with cooking, something that his partner of five years would normally do. He is proud of the fact that he is now stable enough to do so. He would also not be opposed to working with Lesbian, Gay, Bisexual and Transgendered (LGBT) youths. “I was one of those kids who didn’t have role models or I didn’t choose the role models that would available to me,” said Himan.

It took him a long time to be able to find others like him and people who he could emulate. “I had to learn for a long time that just because I was gay didn’t mean I had to be a part of gay culture or whatever gay culture was spitting out at that moment,” Himan said. Now, Himan is looking to put out another solo, acoustic album and a full length label from Eric and the Adams. Like any creative process, it will take some time.

He always had acceptance and love in his family but others are not as fortunate as he was. If Himan had his way with the world, he would do away with the idea of hell and things being done to others out of the “fear of going to hell.”

“I feel that it is meant to control people and in many organized religions, it is meant to control people,” said Himan. “Sometimes it is used so much so in an abusive way. I lot of crap probably happens to a lot of people in this world because someone said to someone else that they were going to hell.

“I would play straight events, gay events and clubs, just anywhere I could play and then my audience, when I look out now, there are lesbians and gay men and straight people. It is very cool to see that you don’t just speak to one group. Regardless of who or what I am, I am still talking about emotions and everybody has emotions. Everyone breaks up with people and everyone has stories like that, I just choose to sing about them.”

All in all, it ends up great.

The first character we meet at the stage is Vincent, a man in his 50s, who knows that his body has lost its attractiveness and is uncomfortable. Suddenly, he meets a man, Jerry, who loves him the way he is and proposes to him. Even though Vincent is crazy about Jerry, he keeps wondering whether the third date is too soon to make such an important decision.

There is another thing that bothers Vincent as well. His mother suffers from Alzheimer’s and he is afraid that he will inherit this terrible disease. The idea that Jerry, who, by the way, is a male nurse, will have to take care of him until the end of his life makes Vincent miserable.

While Vincent is indecisive, emotional and soft and lacks confidence, Jerry is his opposite. He is sure that Vincent is the man he wants to spend the rest of his life with and therefore, he does not hesitate to propose. Jerry says, referring to the guys he dated before, that he “wanted to make them happy,” while Vincent is the one who wants to make him happy without asking for anything in return. This seems to be the formula for true love, for two people “made for each other.”

Jerry’s character is also explored through his grandfather, Damiano, who died and now lives in his brain. According to Bauer, dead people go neither to hell nor to heaven. Our loved ones who passed away are alive as long as we remember them. They take a place inside our brains; they know everything that is going on with us and they care about how we feel. The audience learns that the old man regrets that his grandson stopped doing what he loved being a child, which was acting and singing, and dislikes that he smokes. Damiano approves of Vincent, as he notices that after Jerry met his “second half,” he decided to quit smoking and to come back to acting classes.

Likewise, Vincent’s character is seen through his mother, who is not dead yet, but she also lives in his brain. Vincent remembers her as an actress who never made it too far, who got married several times, who “used to be a pistol,” but now lives like a plant.

As different as they all are, these characters require a lot of creativity and talent when it is a one man show. John Fico, who performed at the Flea Theater, York Theatre, Mazer Theatre and many others, plays his roles brilliantly. Transforming to a new character by means of changing a couple of pieces of clothing, Fico quickly becomes a new person.

Here is his first role: Vincent, who is wearing a suit, a piece of formal clothing that does not give him any additional confidence. Very romantic and sensitive, he cries a lot and uses gestures, wiping his glasses from time to time and calls himself “a faggot over 50.”

In a second, the jacket and glasses go off and Vincent becomes Jerry, a male nurse who consults a doctor helping him to quit smoking. He speaks confidently and passionately. He knows who he is and he is very comfortable with it. Being a male nurse, he is also protective and he understands Vincent’s fear of Alzheimer’s and is ready to be there for the man he loves.

It takes only a sweater, old-fashioned glasses, a cane and a truthfully Italian accent that we can often hear in Bensonhurst, for Jerry to become Damiano. The old man keeps coughing and spitting into his handkerchief, as even his death did not free him of his illness. Damiano is a good-humored, energetic man, who passed to a better world laughing, a strong mind in a fragile body dressed in a baggy old woolen sweater. He is the audience’s favorite character, making them laugh every minute.

And finally, sexy sunglasses and a long fetching scarf turn Fico into Vincent’s mother. Viewers can clearly see that she indeed was a sex pistol when she licks a little Christmas cane unequivocally. Surprisingly enough, the two older characters show more energy than the two younger ones, maybe because energy is the only life they have in their close people’s brains.

And last, but not least, Bauer brings in homosexuality. On the one hand there is Jerry, who is not ashamed of being a homosexual and a male nurse, and there is Damiano, who supports his “little fairy grandson” and says that “gay” actually means “merry.” On the other hand, there is Vincent, who has been dating men for all his life, but does not feel OK with who he is and the rest of the world made of people like Jerry’s dad, who gave his son that look Damiano calls “I know who you are” when Jerry would run around singing.

The play also touches the problem of gay marriage. To make their relationship formal, Vincent and Jerry have to travel to Connecticut. In addition to the responsibility of making such a crucial decision, connecting one’s life to another person, they have to overcome other obstacles. At least, it is somehow possible, compared to what the situation used to be. Vincent and Jerry’s wedding is extremely timely considering the current discussion about whether or not homosexual marriages should be permitted by law.

Filled up with contemporary and eternal themes, the play is entertaining for an hour you are watching it. However, once you get out of the theater, give it a day or two to think about the characters and their actions and then you will understand why Vincent did what he did at the end of the play.

If you do not bother going deep into it, though, leave it simple. Do not forget that the simpler it is, the greater it will be in the future.

Although you have to send away for the disc, once it arrives the set-up is quick and painless. Yes in order to access Netflix on your Wii console you need to physically put the disc into the machine. This is barely a minor irritant since there are a plethora of features that make up for it. For instance, you’ve just watched season three of Torchwood and have a hankering for more sci-fi like fare. Just direct your Wii remote to the arrows on the screen and you will find 21 suggestions that you may be interested in. These are not shows that you have added to your instant queue from your computer, rather these programs are a representation of what you may be interested in based on what you’ve recently seen. And that doesn’t just go for television, it’s for anything that you have recently viewed. To make your choice of viewing accurate once you revisit Netflix on your trusty computer, it will ask you to rate what you saw. Then it will generate the 21 choices once you return for more viewing pleasure.

There are also the new arrivals categories. Each one whether it be film or animation will give you 75 choices. It’s a venerable buffet of documentaries, television shows and films that you may never have heard of, and you may be pleasantly surprised.

Viewing quality is nearly seamless. As long as your internet is up your show will play. And if you have a 60-inch high-definition television, then it’s even better. One way to test this theory is to play a DVD of your favorite show, then switch to the instant queue. You’ll find that the sound is richer and the picture is clearer.

For those of you who like to work out and your computer isn’t in the ideal place where you can follow the moves, then the Netflix on the Wii will be your best friend. It’s great for trying out yoga or whatever you’re into, instead of having to wait two days for a disc.

It isn’t perfect. If a movie is under several categories you may not like the choices. In that case you can always go back to Netflix and rate them “not interested.” You won’t see it recommended again.

Overall if you already have a Wii and a Netflix account then this is the ideal situation for you. We must remember that there are still people out there who use dial-up and Nintendo knows their audience. So if you already have an X-Box 360 and you’re over-pained to walk two feet to put a disc in a slot, then this isn’t for you. However, if you have both, then order the disc and compare the features between the two. After all the disc is free if you already have an account.

That feeling of anticipation never wanes, despite the fact that you never get to see the title character at all.

The build up alone to the second book, is worth the price of admission all by itself.

Written by Warren Ellis and illustrated by Trevor Hairsine and Steve Epting, the book manages to cater both to the technologically savvy writing of Ellis and the action-scene craving Epting, resulting in a five-issue trade that is full of drama, suspense and intrigue.

With millions around the world committing suicide after a broadcast signal from outer space, depicting the genocide of millions more, is repeatedly shown, both Shield and the X-Men are forced into action to find the culprit. The end result is a sci-fi detective story that features an excellent cast of characters that work extremely well together.

Consisting of Jean Grey, Colossus and Wolverine, Professor X’s team is bickering throughout, with Grey changing her demeanor throughout as they get closer to their target. Great dialogue is featured every step of the way and you’ll be laughing as much as fearing where their next step will take them. On the other hand, the team of Nick Fury, Black Widow, Captain America and Falcon is a bit different, as they have more of an “A-Team” meets “Star Trek Away Team” kind of feel to them. While Fury, Widow and Cap are all cool and have their own parts to play in this story, Ellis makes Falcon so charismatic, intelligent and tough that you’ll find yourself running to the comic book store for back-issues.

One scene in particular captures this moment better than any other, leaving Captain America speechless at his talent as a scientist and a fighter.

In the immortal words of Stan Lee: “Nuff said.”

Because of the great writing, which feels like an Ultimate Avengers and Ultimate X-Men team-up you almost forget about the fact that Galactus is coming. However thanks to excellent scenery art and downright scary villain shots from Epting and Hairsine, you know this is something very much different.

Meeting an incredibly important ally along the way, both teams then begin to release their fate is going to be intertwined and they must work together to overcome it. Soon after, the trade is over and you’re left wondering what will happen, as the sweat beads down your forehead and your mind races with thoughts of the infinite possibilities of what could happen next in your head.

Accomplishing all this, while still setting the scene for the real action, is no easy task, but Ellis and company pull it off, resulting in one heck of a trade that is arguably one of Ellis’ most under-appreciated works to date and a testament to the artistic ability of both Hairsine and Epting.

Almost two years later however, Southpeak Games, rather than continue to build off of an already solid engine and add the missing pieces, has simply ported over what they could and leaving out the extras, resulting in a decent game in itself, but one that is all too familiar to fans that one the companies first effort.

The end result is a missed opportunity that fails to both take advantage of the PSP’s capabilities and captivate hungry fans that were looking for something different.

With essentially the same roster and gameplay modes as the last game, “TNA Impact: Cross the Line” doesn’t bring anything new to the table. Those who loved the first game, will still enjoy this one, doing everything from performing the signature moves of their favorite wrestlers like AJ Styles, Kurt Angle and Samoa Joe and playing through the zany story mode featuring Suicide.

The same thing goes for the controls, which aren’t perfect, but get the job done on the handheld, despite problems with clipping and times when you’ll try to pin your character and end up leaving the ring entirely if you’re too close to the ropes. The lack of a real individual moveset too hurts the title as many of the wrestlers perform the same moves and you yourself will be such pulling off the same ones as well. These same problems detract from the fun, but don’t erase it entirely.

What does hurt the package is that none of the wrestlers featured have had any changes to their attires made since the last game, making the game feel incredibly dated to the hardcore wrestling fan. The graphics as well, away from the beautiful cinemas are a bit blurry and a far cry away from the breathtaking ones featured on the 360 version. However, again, in spite of these glitches along the way, the game is still competent. The excellent loading times and plethora of gameplay modes, such as the Super X Cup, Ultimate X, Falls Count Anywhere make this game more than playable and even extremely fun at times.

Nevertheless, at the same time, with all the changes the company has been experiencing over the past six months, with huge additions to their roster, the removal of the six-sided ring and a new championship, you can’t help but feel jipped a bit when playing this title.

There is absolutely no reason why Rob Van Dam, Jeff Hardy, Hulk Hogan are not in the game, but miraculously, Petey Williams, Scott Steiner and Booker T, three athletes who haven’t been in TV in months, are. It’s almost like a bad joke.

In the end, it’s not fair at all to the gamers who were expecting something different almost two years after the game’s original release.

On the other hand, if you never played the first game and have a PSP in hand, this is not a bad wrestling option at all, especially considering how the WWE games on the system are known notoriously for their horrendous loading times and lack of polish.

Just don’t expect to be blown away.

Serving more as the scoop slam before a five-star frog splash than the devastating finishing move itself, “TNA Impact: Cross the Line” on the PSP packs a punch just not enough for a three count.

In it, five old college friends meet annually on April 26 by the grave of their deceased friend, Danny, to celebrate his life by retelling stories from the past. All the characters except John, Danny’s former partner, are unable to accept the tragedy and move on. Daring to cut off all communication with his friends, John is forced to face his demons in order to make peace with his past.

James Kaliardos gives a convincing performance as Marco, a homosexual with a mouth that runs faster than any mind can form a sentence. The introduction of each character at the cemetery was too much to keep up with, especially Marco’s. He seemed to ramble on, dropping one celebrity name after another and singing choruses from popular oldies, accompanied by the character of Gary’s (portrayed by James Pravasilis) guitar playing. It was rather confusing, finding yourself lost among the dialogue. Nevertheless, Marco’s character had some of the wittiest and comedic lines, easily provoking laughs from the audience.

Clip-on microphones were not necessary as the theater was quite small, seating about 30 people with the stage no more than 20 feet from the last row; at times, the actors were a bit too loud for such close proximity.

The stage was rather bare, except for a white headstone with the name “Danny” printed on it in gold letters and a picnic setup complete with utensils, wine and food in front of a large projector displaying a scene of greenery. Boosting the imagination to bring the set to life were the soft bird chirps playing on repeat, giving the audience a real burial-ground atmosphere.

The costumes were nothing special, just regular clothing that worked well for the present period. The characters’ outfits reflected their personalities, as Marco, the most flamboyant character, was dressed in candy-apple red pants, shirt and suspenders and silver-studded black Chuck Taylors. John, the uptight one, had on a button-down white shirt, khaki slacks and glasses getup.

Toward the end of the show, things start to look up – well, for the audience at least, as the mood of the play does a 180 and turns into a drama-filled fiasco. John, played by Jason Barker, gives an amazing emotional breakdown performance, enabling the audience to understand his ways and why he needs to leave the past behind. Sympathy invades the audience as the characters become more real and relatable, causing you to feel for their loss. Another strong execution by Kaliardos’ character weeping silently to himself in a corner makes you want to go on stage and comfort him.

Combining both comedy and drama,“Danny” is an entertaining play that will have you laughing and tearing by the end. With intense acting, the characters are brought to life through the talented cast, overshadowing the minimal stage setup. The plot is not attention-grabbing on paper, but onstage it’s a different story, as the cast struggles to make it through another day without their dear friend, Danny. You will find yourself asking, “Am I happy with my life, or am I settling for the familiar?”

The various varieties of crap are all addressed, including how to identify, avoid and dealing with the crap that comes into the lives of numerous individuals on a daily basis.

When dealing with your superiors, like bosses, teachers, and parents, you need to ask yourself if the crap that is coming from them is truly useless crap or constructive criticism. The same thing goes when pondering the answer to if crap from your friends can help you to become cool or is just peer pressure. The answers could go either way with these questions. Crap is a word that has several meanings and all of them are not in the dictionary. It is best to weigh the pros and cons of the so-called meaningless crap.

Avoiding crap can be as easy as knowing when to play and when to fold in accordance with thoughtful decisions and social interactions. According to the book, people should be more flexible and choose their battles more carefully. Some arguments that involve crap-like reasons are better left not fought. Another way is to simply avoid negative people. As the saying goes “misery loves company and misery does like to spread.” One last way of avoidance is to not be on the offensive or instigate trouble with those negative persons.

There are times that crap is identifiable, but inevitable and when that happens dealing with it is the next topic in the book. Groups of supportive people in your corner are one of the best ways to deal with the shortcomings of life. When crap, in the form of clutter, builds up in your home, have a party. According to the book, making fun out of spring cleaning helps to pass the time. Not only are the groups of family and friends helpful, but having a positive outlook on life is also a plus. Visualization of better outcomes can help in trying situations as well.

As an added bonus to this, there are the actual facts about crap throughout this paperback. Facts such as what actual crap is made up of, an Asian elephant can expel up to 500 pounds of fecal matter in one day and in Singapore there is a $1,000 fine for individuals who neglect to flush a toilet.

Authors Erin Elisabeth Conley, Karen Macklin and Jake Miller have made an amazingly funny, yet informative collaboration. What it lacks in size, it makes up for in entertainment and information. The flow of it makes it a real page turner and offers immense information to citizens in need of it.

“Wake Up The Nation” – Paul Weller

Paul Weller’s punk rock roots show up in “Wake Up The Nation.” Still with the song’s title being constantly repeated you’ll feel as if you’re being beat over the head with its didactic message. However, if you’re in the mood for some light punk rock, then give it a shot.

“Hold Me Down” – Sia

Whatever “Hold Me Down” is trying to be, listenable is not it. Sia’s lethargic singing will turn you off. It’s as if she’s garbling the lyrics, making this one annoying track. Skip it.

“Tattoos & Tequila” – Vince Neil

From the latest album of the same name Vince Neil has one rocking song that has some definite replay value. It’s a fun track that’s heavy on solid guitar licks and rhythmic, metal drumming. Get it before the-powers-that-be realize that they’re giving this away.

“Learned to Surf” – Superchunk

“Learned to Surf” isn’t a bad punk-rock song, but it’s not revolutionary either. It’s also a bit on the self-indulgent side lyrically and is about three minutes and 52 seconds too long.

“On a Wicked Night” – Danzig

From their latest album “Deth Red Sabbaoth” Danzig has created a melodically macabre, heavy-metal song that rocks. With few lyrics to get in the way of the solid musicianship “On a Wicked Night” shines. Who knew that you could get your point across musically with great guitar riffs and well-written lyrics?

“Gravitate” – Lou Barlow

If there is such a genre as folk-metal rock, then Lou Barlow has mastered it. “Gravitate” is everything you want a rock song with a tinge of heavy metal to be – witty lyrics, heavy on the drumming and solid guitar playing. Get it.

Alabado, 30, was born in Janesville, Wisconsin, to a Filipino father and a German mother. His parents divorced when he was three, and soon after married other partners. He is the eldest son of his parent’s eight children. Five of his siblings were adopted by his mother and his stepfather, but they are still related by blood.

“My mom had a really hard upbringing,” Alabado said. “Her mom died when she was six and then my grandfather wasn’t fit to take care of a kid, so she got put into foster care. I didn’t really know my mom’s side of the family that well, but one of my uncles had five kids. He was sent to prison and their mom was a drug addict, so they got put into foster homes. My mom sat [my family and me] down and says that she was going to take in her nieces and nephews. [My cousins] are actually brothers and sisters themselves.”

Life in the farm state of Wisconsin was not always easy for the young bi-racial gay man.

“Let’s just say it wasn’t a very accepting, tolerate town,” Alabado said.

If the name of his hometown sounds familiar, it should to a few. It was the same place where reporter and talk show host, Geraldo Rivera, was punched in the face on national television by a member of the Ku Klux Klan during a taping of his show.

“It has gotten a lot better since I was a kid. But Janesville is mostly white. There was a lot of racism and, of course, homophobia back then,” said Alabado.

His home life was not the best, either. “My mom had me when she was 16 years old, and since my parents divorced when I was 3, I was kind of like the third parent [to my siblings],” Alabado said. “That is kind of why I act like a kid sometimes because I never really got a chance to be one.”

Since his parents were so young when they had him, they did not graduate high school. Alabado was the first in his family to complete high school and then go on to college.

As for his sexuality, that was something that was not a surprise to him. “I was young and I knew that I was different,” Alabado said. “I was a smart little kid. I tried everything that I could to not be gay, but I just had to accept who I am. I was too strong-willed to be in the closet. I just couldn’t do it. My family didn’t take it too hard. I think that my mom always know that I was [gay], but my dad and I had a little falling out. I was happy because I got more [trouble with classmates] before I came out then after.”

He does not feel that being openly gay will hurt his entertainment career, either. It will help him to stand out and bring gay male comedians to the forefront with fellow lesbian comedians, like Ellen DeGeneres, Rosie O’Donnell and Wanda Sykes.

He always wanted to be an entertainer. “I have been performing since I was a kid,” he said. “I have been singing and dancing since I could remember.” He was also in a show called, “The Kids from Wisconsin” for a few years. His family was supportive of his decision to become an entertainer. Well, half of family needed a little bit more time to come to terms with it.

“They are pretty supportive now,” Alabado said. “My [German] side of the family was happy that I was going to school. My Filipino side was definitely a little upset that I was going to school for acting. They wanted for me to be a lawyer or a doctor. They know how hard this business is, and they are just hoping that one day soon, I will be working consistently.”

Alabado attended the University of Wisconsin-Stevens Point. “It was the only one state that had a B.F.A. in musical theater,” he said. “That is what I originally went to college for, but I ended up with a B.F.A. in acting. I knew thatwas my strongest suit. I was not a strong enough singer to go to Broadway.”

After he graduated, he had a few jobs lined up.

“I did musical theater in Kentucky, I did a theme park in New York, and then I went to Memphis and did some more musical theater,” Alabado said. “I was burnt out. I was like, ‘I’m over this.’ I stopped musical theater and I quit my job. I went home and then to L.A. to pursue acting and now standup comedy.”

Alabado has had a lot of success as an actor. He was cast in the starring role of Clifford in the 2007 movie, “Rock Haven.” It is a typical coming of age story that deals with religion, sexuality, the summer love interest and self-acceptance. “Rock Haven” was directed and written by David Lewis.

“I auditioned for the part,” Alabado said. “After my first callback, [the director] said that I was the one. He cast me first before the character of Brady. Brady was the main role, and my role [as Clifford] was second. [The director] actually used me for during the auditions as Brady, and he called back eight guys. I had to audition with all eight of them. He appreciated my input when it came to what I thought about each individual actor. The guy who ended up playing Brady was my first choice. I definitely felt a good connection with Sean Hoagland, and we definitely acted well together. It worked out perfect.”

He also was awarded the role of Gavin Arvizo, the main accuser in the re-enactment of the Michael Jackson trial on E!

“That role was really intense because it was something that was never done before,” Alabado said. “I was 25 playing a 15-year-old, but they had to have an actor who could handle it. I was acting off of a teleprompter. Not only was the material difficult, but everything had to be word for word. It was the court transcript from the actual trial. Everything that was said in the trial was said on the show. If I said one word wrong, I had to redo the whole take. It was very difficult, but I pulled it off. I remember the day that Michael Jackson showed up in pajamas and we were three hours behind in filming. I had to do a whole day of court because I was the only witness that day.

“The director was like, ‘Listen, I know this is hard, but you have act and read at the same time,’” Alabado said. “I was actually saying these words for the first time and acting at the same time. It was definitely the hardest thing that I have ever had to do as an actor, period. It was actually the [most fun that] I have ever [had], because it was a challenge, and I love challenges.”

Being that Arvizo was a minor at the time, he was referred to as “John Doe” during the trial.

Alabado is not only a talented actor, but he is also a man of various laughs. He said that the majority of his standup “[Comes] from my personal life and my personal experiences. I pull a lot from my life.

“I have been labeled the straight gay [in my routine],” said Alabado. I make fun of myself because I hang out with all straight people. I talk about that a lot, being biracial and being from Wisconsin. A lot of my stand up is observational. Observing people and the stupid things that they said or how they react. I would pick at certain topics like the economy and racism in an airport. I try to be broad in a sense. I don’t just talk about gay stuff and being biracial. I try to touch on other things.”

Of all of his career paths, Alabado gets his biggest high from being a comedian, for personal reasons. “I love being on stage, telling stories and making people laugh,” Alabado said. “Professional-wise, acting is what feeds my creative soul. It gives me a purpose, and the feeling that I am doing to right thing. Every time I feel like I did a role really well or a scene really well, it makes me feel like a whole person.”

Comedy, on the other hand, is more of a personal little joy for him. From a career standpoint, acting is what he loves to do the most. As for Alabado, behind closed doors, standup is definitely what he loves to do.

“Musical theater will always be in my bones,” said Alabado. “I will always love it. Someday I hope to have a career where I can use my film and television clout to go on to Broadway and do shows like John Stamos, Molly Ringwold or Catherine Zeta-Jones. All of these actors have used their notoriety to go into Broadway and to do musicals.

He has expressed his desire to be a polymath, also known as a Renaissance man, and be successful in the fields of acting, standup and theater. Alabado can soon be seen in the upcoming movie, “Trick of the Witch,” which is an indie horror movie. It should be released by this coming fall, and he is also set to be working on an upcoming martial arts film. He is going to be the acting coach for three major martial-arts stars from France. Alabado is also looking to work on one more film over the summer season. With acting, theater and comedy under his belt, Alabado has demonstrated that he is here to stay.

“I am determined to be one of the best male gay comics in the industry,” Alabado said.