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Western Carolinian Volume 73 Number 01
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Page 13 Western Carolinian REVIEWS Febuary 21 THE SPENCER ILLUSION 2\ i) Wife and Husbad Duo preform their jluusionist act. Photo credit: huntsville.about.com By: Carolyn Ellison staff writer The Spencers Illusionist show was defiantly high energy considering Kevin Spencer opened it by cutting his _ wife in half. He then attempted to teach the audience the difference between an dllusion and reality. For years Kevin and Cindy Spencer have been touring the world sharing their passion for the interac-_ tive art of magic, as Kevin put it. Kev- in and Cindy came out both dressed in black from head to toe and began the show with a wide variety of tricks. From the classic hat trick to walking through a solid brick wall! Kevin was also incredibly convincing and charming with his dimples and non- stop smile. Cindy actually never said a word. Kevin brings up a lot of history in the show, most of it directly refer- encing Harry Houdini and his work in the early 1900s. Kevin also brings up his past, growing up as a boy, when their magic act could fit in a van, and his recent trips around the world. The set and light ef- fects for the show were dazzling. When the illusions were per- formed, it was done very artistically. Kevin and Cindy dramatically took their positions under the swirling lights while the music blared. The finale was the most impressive, when Kevin escaped from a locked milk can filled to the brim with water after having his hands bound. It took him about two minutes to get out. Overall it was a great time, au- dience members had a chance to be part of the act, Kevin performed tricks he learned in other parts of the world, and some of the best illusions were done right before my eyes. The only down- side is the occasional corny joke-and when Kevin doesnt pick you for the volunteer. Kevin and Cindy were the most genuine illusionists I have ever seen, so watch out for their next show because these two take their work incredibly se- riously, T believe that my job as a ma- gician is to connect people to wonder. lupe Fiasco ~ The Cool By Jason W. Eckard staff writer Without a shadow of a doubt, Lupe Fiasco is the harbinger of hip- hop, the force needed to launch the genre into the next dimension. With a lyrical style that brings a nonstop combination of intellect and complete confidence, Lupe Fiasco simply kills. The Cool begins with a spoken word bit concocted to create a biting wit about what society considers cool; from Virginia Tech to gentrification, the concept of irony rings true in this small bit. Fiasco finally reaches the mi- crophone in track 3, Go Go Gadget Flow, a track which shows just how much Lupe has increased his game from his last album, Food & Liquor (2006). Its a kiss-off meant to show off his flow and just how far he can take it. Following this track is The Coolest, a track that starts out with an extremely Muse-ish riff, only to descend into lyrical chaos on the sub- ject of Lupes lost love. Its by this point that one fact is sealed- the pro- duction value of this album. One of the most fascinating aspects of The Cool is the fact that Lupe actually gives a thought as to the production value of his songs. Unlike most rappers its very obvious that Fiasco has thought out the purpose of these beats. They are more than simple schemes meant to sound good Snea k Peek: By Brad Semma staff writer Michael Clayton was _ re- leased in theatres on January 25th, 2008 after being nominated for sev- en Oscars. The film, directed and written by Tony Gilroy (The Bourne Trilogy) and starring Oscar winner George Clooney (The Oceans Tril- ogy), is the story of a lawyer for one of the worlds leading law firms in New York City. But Clayton is not your average attorney; hes a fixer whose primary job is to clean up messes caused by the firms clients using his vast network of connec- tions around the country. The movie begins with Mi- on your cell phone; they are meant to evoke a true feeling. Superstar, featuring vocals by the amazing vocalist Matthew Santos, is the club hit of this album, but there is more underneath its surface. As with most songs on the album, Fiasco decides to take a typical rap formula and apply a completely new spin on it. Superstar is really more of a take ona star and how his life is forced to reside within the confines of fame. For better or worse. Paris, Tokyo, one of this au- thors favorite songs, is a rhyme over a very relaxed beat followed by Lupes spinning a tale of spanning the globe but not being able to escape the love of someone back home. Personally this is the song I blast when I just want to escape the world, pretend that I am in fact living this life, one that spans the globe and all of its people. Escapism is certainly the key to this track. The track Hi-Definition is a collaborative effort featuring backing vocals from Snoop-Dogg. It also fol- lows the formula of club track, a song meant simply to shake the low end of the audience. The most honest and epic track on The Cool is Hip-Hop Saved My Life. It is a tongue-in-cheek look at the costs of making a career in hip-hop, but it isnt just a track meant to poke fun; far from it. Its incredibly sincere, showing what is needed to accomplish ones goals. The characters mentioned chael Clayton, played by George Clooney, playing cards in an illegal gambling den four days after a long time friend and associate of Clay- tons suffered a nervous break down while in deliberation over a very large case involving Claytons firm Ken- ner, Bach, and Ledeen and their client U North. Soon after leaving the card game, Clayton receives a phone call from a colleague who has a client that has just been involved in a hit and run accident and is in dire need of help. Clayton heads to the house of the cli- ent where, through dialogue between Clayton and the client, his role as a fixer is explained to the audience. Clayton leaves the house and begins to speed down roads till he stops at a in this song are trying their hardest to get out of the niche of their society, this songs honesty should get to you, at least I hope it does. The song Dumb it down sums itup. Seriously, Lupe Fiascos rhymes are far from trivial, theyre smart and theyre honest and most of all, they re- quire you to actually think. Generally missing in todays rap, this is the song in which Lupe takes time to make fun of his adversaries. With a chorus that asks Lupe to make his music simple and without intellectual involvement, its a hilarious musical middle finger for all of his enemies. The song Hello/Goodbye (Un- cool) is an impressive number that brings in guitar elements, and not just any elements. The work is of Josh Homme of Queens of the Stone Age, just another name-drop that adds to this tracks credentials. You could call it Lupe Fiascos take on a jazzy Hendrix number. Lupe Fiasco is the voice of the 21st century hip-hop scene. Everything about him is exactly what the average listener should be down with. The Cool is as big of a play on concepts as it is a simple state of fact. Fiascos lyrical style is something that cant be ignored. If youre sick of the typical rhymes about drinking and clubs, give Lupe Fiascos catalog a spin. Its as cynical . as it is honest; its as depressing as it is uplifting. Its something that should be in your life. | Michael Clayton horse pasture. The very tired and de- spondent looking Clayton approaches three horses in the pasture. This oddly tranquil scene is disrupted by an ex- plosion which sends the audience back four days earlier. Michael Clayton is a story reminiscent of those written by John Grisham and would be appreciated by fans of Grishams stories. This is not a film about a lawyer showboating for a jury in a court room trying to win the case for his ailing client. Michael Clayton is about the world outside of the court room where billion dollar companies and the law firms that rep- resent them will do whatever it takes to win a lawsuit no matter what the truth really is. 32 ANT AO Sort oT
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The Western Carolinian is Western Carolina University's student-run newspaper. The paper was published as the Cullowhee Yodel from 1924 to 1931 before changing its name to The Western Carolinian in 1933.
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