"Pullhiar Rubeye" overshadows music with concept
Music Review Avey Tare & Kria Brekkan Pullhair Rubeye 2 stars The expectations for a music act composed of members from Animal Collective and m
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Music Review Avey Tare & Kria Brekkan Pullhair Rubeye 2 stars The expectations for a music act composed of members from Animal Collective and m
MUSICREVIEW The Rosebuds Night of the Furies 3.5 stars While other bands dabble in sounds familiar in comparison to their own catalog, The Rosebuds are moving into new territory, which should leave the group's listeners dancing in the wake. On Night of the Furies, the Raleigh-based husband-wife duo has shed its more organic-sounding indie rock style of guitars, drums and keys, shifting to a world of pulsating, synth-heavy tracks full of atmosphere and mystique. The change is apparent from the first track, "My Punishment for Fighting," in which Kelly Crisp's keys tinker above clicking rhythm and a bassline that harkens back to the darker new wave of the '80s - like an unsaturated Depeche Mode . Even with the synthetic musical emphasis, The Rosebuds still sound organic and authentic. But if the music has changed, Ivan Howard's voice hasn't. It still fits - maybe better than it did on the band's two previous full lengths, The Rosebuds Make Out and Birds Make Good Neighbors. Aloof at times, the sentiment found in Howard's vocals aptly complements the new Rosebuds. As far as vocals go, Crisp adopts a style not unlike her husband's and contributes more to Night of the Furies than on their previous albums - taking singing duties on "I Better Run" and "When the Lights Went Dim." The album's catchiest track takes the form of "Get Up Get Out," solidifying the departure with its synthesized strings, clicking hi-hats and driving bass that makes it also the record's most danceable song. On previous albums, fans of The Rosebuds could enjoy only listening to quality indie rock. Now, they can dance to it. Contact the Diversions Editor at dive@unc.edu.
In the cinematic stroke of genius known to the American public as "PCU," Jeremy Piven's character, Droz, explains a crucial bit of concert wisdom to his friend Gutter. He says, in the profoundest of manners, "You're wearing the shirt of the band you're going to see? Don't be that guy." Here is a concise guide to the unspoken laws of not being "that guy." Sting and the Fashion Police Wearing the shirt of the band you're going to see says one of three things about your character: 1. You're a dangerously obsessive fan who probably dreams of forming a tribute band.
MUSICREVIEW The Summer Wardrobe The Summer Wardrobe 3 stars It seems obvious that a country rock outfit would come out of Austin, Texas - maybe even clich
It's a bittersweet transition for Sugar Hill Records, leaving its hometown of Durham for the music mecca of the South, Nashville, Tenn. For nearly 30 years, the Triangle-based record label has brought roots music to millions around the world. But after being bought out by the Welk Music Group in 1998, Sugar Hill permanently closed its local doors Friday and moved to the country music capitol. To have remained in Durham for so long has proved the label's most impressive accomplishment - especially as the label's roster has included such acts as youthful bluegrass experimentalists Nickel Creek and country music legend Dolly Parton. "You don't have to be in New York or L.A. or Nashville - we could do it all from here," said Sugar Hill founder and self-proclaimed "chairman emeritus" Barry Poss. "It was a badge of honor to be in the Triangle and not one of those places." All the more impressive than Sugar Hill's thriving for so long in Durham was the label's inception, described by Poss as an "accident." Poss originally came to the area to attend graduate school at Duke University. His venture into the record industry came shortly thereafter, in 1978, after living in an area that possessed an enthusiasm for country, folk and bluegrass music. Bland Simpson, professor in UNC's creative writing program and pianist for Sugar Hill recording artists Red Clay Ramblers, said that Poss recognized the weight roots music carried in the area at the time and packaged it for those outside the Triangle. "It was a great cultural idea," Simpson said. "He helped translate that from local significance into significance much beyond the area." And that significance followed with various awards and honors, including a total of 46 Grammy nominations, of which the label won 12. But Poss said the awards aren't what defines Sugar Hill. "It wasn't so much some of the big success stories," he said. "The Grammys are nice, but it was working with this incredible core group of artists." With the reputation Sugar Hill had built for itself, Poss said good things were always around the corner. "There was something exciting always about to happen," he said. The quality roots music coming out of the Durham office even prompted revered bluegrass artist Doc Watson to contact Poss, saying, "Son, I like what you're doing, and I would like to make a record for you," as Poss puts it. "Now that's a milestone," he said. But Sugar Hill wasn't always known for its high-profile acts, and Poss said the process of creating a name often was just as rewarding. "It was exciting to start somebody out from scratch." One such somebody was Nickel Creek's mandolin player Chris Thile, who was just 13 years old when he signed to the label. And aside from business, those who worked there said the Durham label was about people, both inside and outside of its office's corridors. Fred Jasper, licensing director for the Welk Music Group, said there was a "family vibe" to the Sugar Hill office, which he remembers never having more than 10 people working at any given time. "I still consider a lot of the people that worked in that office better than friends," he said after not having worked in the Durham office since 1999. Throughout the years, family was an important aspect of the Sugar Hill brand, whose music had been distributed worldwide to receptive audiences. Poss recalled an instance when thick-accented tourists arrived in Durham and searched him out just to visit the "home of Sugar Hill Records." "They ended up staying with me for a week," he said. "People in the Triangle might not realize that." It's that aspect of Sugar Hill, Simpson said, that gives the label a sense of "down-home accessibility." And that is not something one can always find in the New Yorks and Nashvilles of the world. Contact the Arts Editor at artsdesk@unc.edu.
MUSICREVIEW Jamiroquai High Times: Singles 1992-2006 3.5 stars It hardly seems like a decade ago that Jamiroquai frontman Jay Kay garnered popular attention for donning a big, goofy hat and walking around a room on a treadmill. But everyone still remembers the images from the band's video for "Virtual Insanity." And the band's back catalog proves just as enticing as that breakthrough music video. Assembling more than a decade's worth of music, Jamiroquai's High Times: Singles 1992-2006 gives listeners 19 tracks of club-ready soul and funk. Well before "Napoleon Dynamite" catapulted Pedro to high school presidency, "Canned Heat" was the same catchy track accompanied by a disco-inspired string section. Listeners didn't and still don't need a high school outcast to show them this song lends itself to dancing - even if it's just in the comfort of your own room. Of course "Virtual Insanity" appears on this best of, along with "Deeper Underground" from the 1998 soundtrack to the movie "Godzilla." With fuzz bass at the track's forefront, Jamiroquai shows that it's not all happy dance time as there's an apparent sinister quality. The track that shows the band at its pinnacle comes in "Alright." Jamiroquai's affinity for bass shows with a funky slap sound that will have your head bobbing off your shoulders. And Jay Kay, for the duration of the album, proves that style is way more important than his lyrics. Put on those dancing shoes, pull that stupid, exaggerated top hat out of the closet and boogie down to a greatest hits album that might make you jump on mom's treadmill and give those Jay Kay moves a try. Contact the Diversions Editor at dive@unc.edu.
CONCERTREVIEW The Black Keys with The Black Angels Cat's Cradle Thursday, Nov. 9 4.5 stars Guitar and drums - seems to be the trendy instrumentation to go with these days if you're in a band. But The Black Keys aren't just a fall-in-line, White Stripes knock-off. Playing to a sold-out crowd Thursday night at Cat's Cradle, the duo from Akron, Ohio, rolled through a set of its blues-inspired rock, pulling from past albums and the latest, Magic Potion. Opening with "Thickfreakness," The Black Keys' Patrick Carney churned out a pounding rhythm behind the heavy guitar work of Dan Auerbach. For the uninitiated to the band's music, the opening song proved defining. Before seeing The Black Keys live it's hard to imagine a single guitarist culling the barrage of notes from his guitar, but Auerbach does so with a tone unmatched in richness. "The Flame," from the band's latest effort, showcased the worn vocals of Auerbach, which sound more like he hails from the Delta than the Midwest. The highlight of the night came with "10 A.M. Automatic," a gritty cut from the 2004 release Rubber Factory. The crowd and the band were at their most intense, bobbing heads and jumping to the rhythm. If all rock 'n' roll being produced today sounded as pure as that of The Black Keys, there wouldn't be a reason to complain about modern radio. Playing songs from the 2006 album Passover, the Black Angels from Austin, Texas, opened in a wash of red light that played into the band's moody and atmospheric psychedelic rock. Contact the Diversions Editor at dive@unc.edu.
The typical battle of the bands results in the winning band walking away with a cash prize or a coveted recording deal. Not this battle. UNC Dance Marathon's Battle of the Bands will be held at The Library starting at 10 p.m. today. Four acts are scheduled to play, each pitted against the other for a chance to perform during the ninth annual Dance Marathon in February. "There are lots of student bands who would love to be involved with Dance Marathon," said senior Roger Horowitz, performance subcommittee chairman of the morale committee. That involvement with Dance Marathon will rest solely on the shoulders of the crowd, whose approval or disapproval will determine the winner of the competition. "The audience is the main part because they're the ones who vote," said Kourtney Taperek, moraler/spirit subcommittee chairwoman. According to Horowitz, each band has one 30-minute slot to impress tonight's crowd. Ryan Bailey, guitarist and vocalist for Caravan, a recently-formed band composed of UNC students, said that to win will means to pull off some expressive on-stage antics. "I think it's probably going to require some funky stage moves," he said. Caravan will be joined by local rock group Tripp, indie rockers The Busy World and Chapel Hill mainstay SNMNMNM. Bailey said the prospects of winning would be a huge accomplishment for Caravan. "It's great playing for the cause, and if we win, it'd be great to play in front of a thousand people," he said. Bailey's bandmate, guitarist Jesse Prentice-Dunn, said he's just excited to play in the competition, an event that's become a staple in the months preceding Dance Marathon. But he also said he thinks his band has a shot at wowing Fetzer Gym attendees early next semester. "If we bring our 'A' game, we've got a good shot," he said. But the night isn't all about the bands and the chance to play at the Dance Marathon. "When you do it for charity, it's just an added benefit," he said. All proceeds from the Battle of the Bands will go to the For The Kids Fund, which benefits the children and families at the N.C. Children's Hospital. Admission is $3 for all concertgoers 21 and older and $5 for everyone else. Prentice-Dunn said he is looking forward to the combination of tonight's events. "You almost never get a chance to see four student bands in one night . and it's for a good cause," he said. Bailey said some healthy competition also might make an appearance. "I think it's going to be a battle," he said with a laugh. Contact the Arts Editor at artsdesk@unc.edu.
With every chaotic act that occurs, there always seems to be an artistic voice to make light of those events. Ratan Thiyam's Chorus Repertory Theatre will present "Nine Hills One Valley" as a part of the Carolina Performing Arts Series at 7:30 p.m. today and 8 p.m. Friday at Memorial Hall to shed light on the struggle in Thiyam's homeland and the rest of the world. "I think the kind of work that I've been doing is known to every human being on this planet because we are suffering from many things," said Thiyam, the production's writer and director, who hails from the easternmost province of India, Manipur. Thiyam spoke to various classes throughout the week at UNC, including courses that focus on law and drama. He most recently spoke to students in a first-year seminar taught by the series' executive director for the arts, Emil Kang. His 26-member Chorus Repertory Theatre, from the same locale, will portray the strife and violence associated with the politics, economics and traditional values of their home. Kang described Manipur as one of the most remote locations he's ever been to, and he noted the military presence in the area. But the violence isn't just specific to Manipur. "The morning cup of coffee or tea becomes bitter," Thiyam said. "When reading the newspaper headlines, there's no difference between a small place or a bigger place." Kang said the production references events in our past such as the terrorist attacks of Sept. 11 and the bombings of Hiroshima and Nagasaki. But Kang said it also refers to ancient times. Thiyam said that Manipur is rooted in art and culture and that he tried to tie together the different times in "Nine Hills One Valley," specifically in terms of what he calls the modern man. "After all, what is a modern man?" he asked. "A mix of past and present." All of these themes come together in what The Washington Post called a "visually arresting" presentation. Kang said that the set is literally dark, and that the visuals are accompanied by live music. And the language is striking as well, being presented in Meitei, the language native to Manipur, and supertitled in English. But Kang, who saw the performance in Manipur, said he wonders if the translation will be as powerful. "I wonder about the effectiveness of the work when it's out of context in Manipur," he said. Thiyam said that he recognizes the difficulty in interpreting the work, but that what the audiences get out of his work is more important. "Penetrating - how it is being interpreted is more important." Contact the Arts Editor at artsdesk@unc.edu.
With the opportunity to camp out for basketball tickets long gone, students slumbered on the bricks for a chance to see the 2006 Homecoming concert. Tickets for the Nov. 4 event, which features Philadelphia hip-hop act The Roots and is sponsored by the Carolina Union Activities Board and the Carolina Athletic Association, went on sale at 10 a.m. Wednesday. The ticket line extended down the Cameron Avenue sidewalk and around a construction barrier. And as the box office closed, only 26 tickets remained, CUAB President Erika Stallings said. But long before the box office opening, UNC students pitched tents and rolled out their sleeping bags to secure a spot in the more-than-1,400-seat Memorial Hall. "We got here at 6:30 (p.m. Tuesday)," said first-year student Eric Anderson. In fact, Anderson and his four friends arrived so early, Memorial Hall employees asked them to move their tents because of a UNC Symphony Orchestra performance. "We had a performance last night so we asked people to stay across the street," Memorial Hall Box Office Manager Emily Montgomery said. After the performance, the campers retook their positions in front of the box office, ready to take in the camping-for-tickets experience. "We can't camp for basketball, so we've got to get it somewhere," said first-year student Alexander Stephens. "It's good to see students have that much passion. Even if it is a concert," CAA President Rachel High said. Stallings, who arrived at the box office at 9:15 a.m., said she is happy with the turnout, but expected nothing less than tents and sleeping bags. "The fact that people camped out didn't surprise me," she said. Pablo Friedmann, CAA Homecoming committee co-chairman, said that he had heard people were planning on camping, but that he didn't expect the turnout - almost 40 people. He said it shows the support for the choice of the Homecoming act. "Nobody's forcing these kids to camp out, and if they're camping out, it shows how excited they are to hear The Roots play," he said. High said she is pleased with the day's ticket sales and enthused about students camping. "That was more exciting - to see people camped out more than 10 hours before tickets went on sale," she said. For freshmen Yasemin Tokmakci and Aisha Amuda, who showed up to wait in line at 11:45 p.m., the camping was nothing new. "We've already camped out for Sufjan (Stevens) tickets," Tokmakci said. Amuda said that Memorial Hall shows seem to sell out quickly and that she didn't want to miss the chance to get a ticket for the Homecoming event, which was announced Sept. 19. "We knew for The Roots it was going to be a really long line," she said. For the students who braved the elements, the morning's arrival proved worth the wait. "I didn't sleep at all," said Kirkland Lynch, a junior health policy and administration major. "It was too cold and the ground was too hard." But Lynch was all smiles at 9:15 a.m., knowing he would be one of the first to get tickets. By the time The Roots take the stage, Tokmakci said she wouldn't forget her night spent in a sleeping bag in front of the box office. "It's rewarding once you're going to the show and know you endured the bricks." Contact the Arts Editor at artsdesk@unc.edu.
This weekend, music in North Carolina will bring hope to people living in poverty halfway around the world. Carolina Hope, a nonprofit organization in the area, will present the second annual HopeFest on Sunday at the Koka Booth Amphitheatre in Cary to benefit women affected by HIV and AIDS in impoverished Kenyan communities. The festival will feature notable performers such as headlining act the Indigo Girls as well as Aimee Mann, Thad Cockrell, Chapel Hill's Roman Candle and the Christian rock outfit Caedmon's Call. "I don't think you're going to find another festival that bookends with Caedmon's Call and the Indigo Girls," said Jana Piepenbring, a UNC graduate student and vice president of the board for Carolina Hope. "The idea was to be as diverse as possible." But the goal of HopeFest isn't just to bring music to the masses. "It raises awareness of what's going on across the world," Piepenbring said. "AIDS in Africa is a huge issue." Through this concert, Carolina Hope will raise money for Beacon of Hope, a Kenyan organization that helps women and children affected by HIV and AIDS. The group provides vocational training and job opportunities to secure medical treatment and education. Already, Beacon of Hope will receive more funds from this year's festival than last year's - Piepenbring said three times as many tickets have been sold. And when concertgoers arrive at the amphitheater, they will have the opportunity to see the fruit of the vocational training that Beacon of Hope provides - handmade rugs. From the shearing and spinning to the weaving of the wool, Kenyan women produce the rugs to survive. Those rugs will be available at the festival for purchase to further aid Beacon of Hope, said Jim Thomas, a UNC professor of epidemiology and the president of the board for Carolina Hope. And the artists involved are excited to play for such a worthy cause. "They have all been enthused about why they're coming together for this concert," Thomas said. Country crooner Cockrell said he recognizes the importance of HopeFest. "I think they have really good ideas on how to solve the problem," Cockrell said. "Nothing will get stopped or helped until we solve the poverty issue." Recently, Cockrell was set to go on a mission trip with an organization similar to Carolina Hope, but regrets he wasn't able to attend. "I wasn't able to do that but I'm able to do this," he said. Whether it's buying concert tickets or handmade rugs, HopeFest 2006 will help lend a hand to Kenyans struggling to survive in a world of poverty and AIDS. "This is going to raise a lot of money that's going to help a lot of people," Piepenbring said. Contact the Arts Editor at artsdesk@unc.edu.
MUSICREVIEW Chris Thile How to Grow a Woman from the Ground 3.5 stars Chris Thile, along with his Nickel Creek posse, has made bluegrass accessible for the nonbluegrass listener. And even without the Watkins siblings behind him, Thile extends that accessibility with his latest solo venture, How to Grow a Woman from the Ground. Covering The Strokes and The White Stripes speaks volumes of the audience the virtuoso mandolin player tries to reach on this album, luring in listeners with what they've already heard. But this is no gimmick. "Dead Leaves and the Dirty Ground" sounds as if it easily could have been a bluegrass standard compliments of Thile - and Jack White's lyrical imagery lends to the track as well. Strumming mandolin at a breakneck speed immediately before the band members belt out in harmony "I didn't feel so bad 'til the sun went down" make this cut a standout. But if one is going for the most impressive indie-rock cover on this album, that prize goes to "Heart in a Cage," penned by The Strokes. The guitar intro on the original is furious and cuts into the listeners' skin. Thile enlists a banjo on his take, providing a serene quality and giving the song an uplifting vibe. Listener beware: Thile drops the f-bomb in this one. When has that ever happened in bluegrass? The indie-rock covers shouldn't steer one to the wrong conclusions. Thile covers others as well, notably Jimmie Rodgers and Gillian Welch and David Rawlings. As for his own original material, Thile bounces from bluegrass to singer/songwriter. Tracks such as "Stay Away" and "I'm Yours If you Want Me" are so instrumentally minimalist, Thile's lyrics become the single element of the song to attend to. "Stay Away" tells of a failed love where Thile laments "'Cause she don't care at all anymore/ And I don't know why I still do or why I'm telling you." The lyrics aren't the deepest, but the simple can be transformed by the delivery. And Thile brings emotion, giving life to the words. How to Grow a Woman from the Ground opens and closes with an instrumental, giving Thile an opportunity to showcase his mandolin virtuosity. It's not like everyone didn't know already. The strings of notes he puts together are nothing short of impressive. Thile still will be growing fans from the ground with his latest, and probably will transplant a few from their roots in other genres as well. Contact the Diversions Editor at dive@unc.edu.
For an arts enthusiast such as Charleen Swansea, arts grants have provided a means of bringing her passion for film to Orange County residents for the past three years. With the help of grants provided by the Orange County Arts Commission, she has presented various film festivals featuring movies most people otherwise could never see. The commission will accept fall grants to fund artistic endeavors like Swansea's until the Nov. 21 deadline. And for those unfamiliar with the grant-writing process, the commission will hold a free workshop on Oct. 3 from 7 p.m. to 8:30 p.m. at the Chapel Hill Public Library. Nonprofit organizations, schools and the individual artist can take advantage of these opportunities for various projects. "The main criteria to make all of our grant decisions is the excellence of the artwork and the benefit of the citizens of Orange County," said Martha Shannon, director of the Orange County Arts Commission. Shannon said that in past years, grants have been used by various organizations, some that are not arts-specific. And schools that have utilized grant money often bring in artists-in-residence to supplement classroom learning. "We'd love to get more grant applications from schools," she said. "Generally, a school will be funded." Just as a school uses the money to expose students to art, Swansea has taken a similar approach. Her latest film festival, "Documentary Films with Extra Added Attractions," will offer community members a chance not only to view a documentary film, but also to participate in an interactive event following the screening. Drawing a crowd is one of the biggest obstacles for her film festivals, but the commission's grants have aided her in widening her audience. "It's very difficult to publicize," Swansea said. "The last grant I had allowed me to put up a Web site . to improve communications in the community." The goal of the grants, Shannon said, is to bring all forms of art to the people of Orange County, and Swansea said she recognizes that. "They want to support an art form which is difficult to get support for: filmmaking." Contact the Arts Editor at artsdesk@unc.edu.
The choice might have been obvious for 2006 Homecoming organizers. But the root of any concert's success is its appeal, and student reaction Tuesday was mixed. The Carolina Athletic Association along with the Carolina Union Activities Board announced Monday that hip-hop act The Roots would play the annual Homecoming concert at Memorial Hall on Nov. 4 - a decision that students on campus both lauded and questioned Tuesday. Charlie McGeehan, a sophomore political science and African-American Studies major, praised the committee's selection. "They were one of the bands that helped me get into hip-hop," he said. "I'm ecstatic." Senior Jounita Meekins, a communication studies major, cited the band's use of instruments - an almost unknown element to hip-hop - as a reason for her enthusiasm for the event. "They have actual instrumentation," she said. But students such as Anna Deloach, a junior elementary education major, felt a hip-hop or R&B performance for a third consecutive year is excessive. "They could mix it up some," she said. "Every single year gets a little old." CAA and CUAB addressed that question in its selection process, which began with preliminary efforts in April. "We set out and tried to steer away from that," Homecoming committee co-chairwoman Laura Sheppard said. And even when The Roots became the obvious choice for this year's Homecoming concert, the pick was met with some initial apprehension. The Roots, minus standout drummer, Ahmir "?uestlove" Thompson, came to Memorial Hall in May 2000. Don Luse, director of the Carolina Union, said the no-show drummer upset fans wishing to see the entire ensemble. The Roots partially reimbursed the Union for the incident, which cost $20,000 to book as compared to $40,000 this time around. Luse aided in the booking of The Roots for this year's Homecoming act, keeping in mind the group's past performance. "We want to make sure that doesn't happen again," he said. Sheppard said the committee knew of the prior UNC performance, prompting research of the band's more recent gigs. "We were cautionary about it, and that's why we contacted universities they performed at in 2005," she said. In addition to The Roots' performance, another band - one exclusive to the rock genre - will play during the Homecoming festivities. Sheppard could not mention a specific act as the selection process is ongoing. That performance could serve as an alternative to those not wishing to see The Roots or, more generally, hip-hop. Still, freshman Jamie Jennings said the concert would be a good way to reach out to students who don't traditionally listen to hip-hop. She said she might attend The Roots' performance. "It's not something I would count down the days to." Contact the Arts Editor at artsdesk@unc.edu.
Nickel Creek's grass is blue. But upon hearing the band's multifaceted music, its grass could be any color. The experimental bluegrass act will play to a sold-out Memorial Hall crowd tonight at 7:30 p.m. as part of the Carolina Performing Arts Series. The Mammals, a group from New York that blends rock and Appalachian music, is scheduled to open for the band. Nickel Creek, a trio of twenty-something virtuosos from California, marries bluegrass with elements of alternative, indie rock and pop music, earning the band a significant following. "They arrived on the national scene at the same time audiences were interested in bluegrass," said Jocelyn Neal, a music professor who focuses on country music. Neal said at the time of its arrival, Nickel Creek presented the "perfect solution" to audiences interested in bluegrass but not wanting to hear a stagnant brand of that genre. As experimental as one might perceive Nickel Creek's music, Neal points out the band actually follows in the bluegrass tradition. "I would think in many peoples' minds that bluegrass is traditional music," she said. But she points to bluegrass musicians such as B
Memorial Hall came back to life last year with a performer who left his heart in San Francisco. This time around the season will get started with a trip to Texas. Lyle Lovett officially will open the 2006-07 Carolina Performing Arts Series tonight at 8 p.m. with a sold-out celebration dubbed "A Night in Texas." The crooner is slated to bring his unique brand of country music to a crowd decked out in Texas formal attire. A Texas native, Lovett infuses country music with a variety of influences that include folk and pop in a singer-songwriter tradition. His style, music historians say, is indicative of his home state's musical past. "There's always been a tradition in Texas popular music of blending," said Jocelyn Neal, a music professor at UNC who teaches a country music history course. That blending also makes it difficult to precisely tag the type of music Lovett has produced, setting him apart from country music of the past decade. "I think he's a great point of contrast to the commercial consistency of country music in the 1990s," she said. "The labels simply don't capture what he's doing as a musician." But the diversity of Lovett's music is exactly what the Performing Arts Series strives for, as evidenced by its upcoming season and its wide array of individual artists. "I think part of my challenge that the chancellor gave when we began the series was to present a series that is very diverse," said Emil Kang, executive director for the arts. After Tony Bennett, a premiere vocalist of the 20th century, opened the 2005-06 series, Kang felt Lovett would represent a much different point in the musical spectrum. "We wanted this year to extend the message a little bit further with an artist of a different genre," Kang said. "The series is for all people in the community." For those in the community who purchased tickets for the celebration events - more than just Lovett's performance - festivities at the Carolina Inn will both precede and follow the show at Memorial Hall. Just as Lovett's music is not concretely situated in any particular genre, the atmosphere of Memorial Hall will be different tonight. For an extra kick attendees have been asked to dress in Texas formal attire. Kang said he will don a tuxedo jacket, blue jeans and a bolo tie. He added that Memorial Hall is offering $50 bolo ties fashioned after the venue's chandelier. Neal said some people believe that country radio turned its back on Lyle Lovett in the early 1990s because of his different take on music. But the Performing Arts Series is excited to have an artist with Lovett's approach. "We really feel that Lyle Lovett crosses so many different genres, and does it well," Kang said. Contact the Arts Editor at artsdesk@unc.edu.
Independent music fans in the Triangle can start making plans for October. The nonprofit Durham Music Festival Inc. will present the Troika Music Festival on Oct. 18 through Oct. 21 at various locations in Durham. While the festival will feature bands from around the country, Triangle favorites Portastatic, The Rosebuds and The Mountain Goats will be among the headlining performers. "Every time I look at a schedule I get excited," said Zeno Gill, a member of Troika's se-lection committee. Okkervil River, Two Ton Boa, Asobi Seksu and Elvis Perkins will headline in addition to the local acts. Even with national acts set to perform, Gill said staying local is still a staple of the festival. "I think we always want it to have a certain element that celebrates and showcases the bands we have locally," he said. The festival has more than 60 musical acts lined up - and that's after more than 100 submissions came in from various bands, Gill said. "Bands were calling out of the woodwork," said Jeannine Sato, Troika public relations coordinator. "We were flooded." With a large number of bands wanting to play, committee members said they had to be selective. "We're trying to carefully grow the festival," Gill said. The committee making the decisions also had a valuable resource in Chaz Martinstein - owner of Chaz's Bull City Records - who is familiar with what albums people are purchasing. "He kind of knows what's hot even before anyone else does," Sato said. Even though the number of headliners exceeds the days the festival lasts, Troika organizers tried to make it possible for concertgoers to attend all the main events. "I think an athletic-enough person could see everyone they want to see," Gill said with a laugh. Tickets for the festival will be available at Chaz's Bull City Records in Durham and at Schoolkids Records in Chapel Hill. A festival pass will cost $19, while individual show tickets can be purchased at the venue doors for prices ranging from $5 to $10. All the money raised from the festival will go toward putting on next year's festival. More information concerning the Troika Music Festival can be found at troikamusicfestival.org. And as for the name Troika, it refers to the area the festival looks to promote. "It's not as mysterious as you hope," Gill said. "It's the Triangle." Contact the Arts Editor at artsdesk@unc.edu.
The Ackland Art Museum now has a leader to oversee the expansion that will almost double the museum's size.
There won't be a shortage of writers discussing their work on campus this fall. Both the UNC Creative Writing Program and the Bull's Head Bookshop will present a variety of speakers, from Pulitzer Prize-winning poets to UNC graduate students. Sept. 14 will mark the beginning of the Bull's Head lineup when UNC graduate student Alex McAulay will discuss his latest novel "Lost Summer" - recently released by MTV Books. His first published novel "Bad Girls" was released in 2005.
MUSICREVIEW M. WARD POST-WAR 2 and 1/2 stars Post-war times often are marked by a lull in the daily life. M. Ward picked an apt title for his latest release. Post-War, a sonically serene album with enjoyable singer-songwriter-style tracks and notable guest appearances, falls short in keeping the listener engaged. Not that background music is necessarily a bad thing, but Post-War lends itself well to casual listening, allowing listeners to slip off to do whatever else and never miss a beat. M. Ward's muddied vocals and acoustic guitar sum up the heart of each song with occasional keys, strings and distorted electric guitars injecting volume and life into the otherwise sedated cuts. It's the more rocking tracks that stand out on Post-War, jolting the folky monotony. "Requiem" is one of those tracks. Its drums seem to drag M. Ward into belting out in a raspy wail the lyrics: "He was a good man and now he's gone." A crunchy guitar solo mirrors Ward's vocals, deviating from the rest of the album yet still justly feeling restrained. The best track on the album comes in "Chinese Translation," a shuffling reflection on life as Ward asks: "What do you do with the pieces of a broken heart?" My Morning Jacket's Jim James lends backing vocals, blending almost perfectly with Ward's. Both singers' vocal styles favor each other but Ward's presentation is more subdued. As a whole, Post-War draws on My Morning Jacket's Z with its far-away vocals, but with a larger emphasis on the melancholy. Neko Case also makes a guest appearance on the track "To Go Home" - a track saved by energetic drumming and keys and Case's added vocal range. Ward hypnotizes with an unwavering formula and snaps his fingers every once in a while to break the listener's complacency. But M. Ward could've pulled a Bob Dylan move on Post-War and used more electric guitars. It worked on Bringing It All Back Home. Contact the Diversions Editor at dive@unc.edu.