Pulse Editor
Jacquelyn Lewis
jacquel5mlewis@dailyemerald.c0m
Thursday, November 7,2002
Oregon Daily Emerald
Online
See Ani DiFranco
photo gallery at
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Air Force
musicians
revel in
emotion
The men and women of the U.S.
Air Force are a brave lot who defend
our country, bomb the hell out of
enemies around the world and bold
ly give classical music concerts.
There’s noth
ing like the
serene sound
of classical mu
sic to provide
inspiration
during cere
monies or be
fore invading a
foreign coun
try. The Air
Force Strings
play music for
either occa
sion. Tonight,
the string ensemble will show us our
tax dollars at work when they give a
free concert at the McDonald The
atre at 8 p.m.
It’s difficult to imagine the terms
“classical music” and “Air Force”
being used in the same sentence,
but the Air Force Strings is an ac
complished group of musicians who
play a repertoire that ranges from
classical to bluegrass tunes. The 22
person ensemble has played for
every American president since
Eisenhower. All the musicians are
graduates of respected universities
and music conservatories.
The Air Force Strings is an inter
esting dichotomy of military protocol
and emotional music. The promo
tional material is full of military
speak, including sentences such as:
“A key element of (the Air Force
Strings’) mission is to entertain audi
ences at high-level protocol events in
a formation known as the United
States Air Force Strolling Strings.”
Ouch. That’s enough military jargon
to make my brain explode.
Once the group begins playing,
however, the universal language of
music overwhelms the stilted lan
guage of government bureaucracy.
These musicians revel in musical dis
plays of emotion unheard of else
where in the military. Their inspira
tion comes from the genius works of
Bach and Beethoven, not the moron
ic “Let’s Roll” slogan emblazoned
across the fuselages of Air Force fight
er jets.
On occasion, the ensemble puts
away their music and strolls
through the audience, playing their
tunes by memory — it’s their way of
making the music up-close and per
sonal.
Tonight’s concert is worth attend
ing because of the group’s dedica
tion to musical perfection and be
cause they play for free (unless you
count the billions of taxpayer dol
lars funneling into the Air Force,
but that’s another matter). For non
classical listeners, the concert offers
a good introduction to chamber mu
Turn to Hallman,, page,7. , , '
Peter
Hallinan
Better than
beer-bonging
The ‘Razzle
Dazzle ’ of ‘Chicago ’
The famous play “Chicago” brings
tales of murder and fame to the
Robinson Theatre this month
Ryan Bornheimer
Senior Pulse Reporter
The Bob Fosse-inspired choreography.
The sexy costumes. Songs such as “All
That Jazz” and “Razzle Dazzle.” There’s
no mistaking the musical “Chicago.” And
this month, Eugeneans will get a taste of
Broadway when the acclaimed produc
tion makes its debut at the Robinson
Theatre.
Set in the Roaring ’20s, “Chicago” tells
the story of Roxie Hart, a chorus girl who
kills her faithless husband. Acting as her
own defense, with the help of lawyer Billy
Flynn, Roxie is acquitted of murder. Dur
ing the public spectacle, both Roxie and
another murderess on death row, Velma
Kelly, vie for the spotlight and the head
lines, each hoping the publicity will cata
pult them to fame, freedom and success
ful stage careers.
“Chicago” was written by celebrated
playwrights Fred Ebb and Bob Fosse. Mu
sic is composed by John Kander, with
lyrics by Fred Ebb.
The musical fantasy is being staged by
the University Theatre and the Universi
ty School of Music. Directed by theater
Associate Professor Jack Watson, “Chica
go” offers students working on the show
an opportunity to tackle a large-scale
production.
According to University Theatre De
velopment Director Joseph Gilg, it’s one
of the few times the University Theatre
has worked so closely with the School of
Music in producing a show.
The production boasts a six-piece mu
sical combo directed by music Adjunct
Assistant Professor Mark Kaczmarczyk.
The combo will be on stage, not in the pit
— integral to the visual dynamics of the
show. According to Watson, “Chicago”
has “a truly fine musical score that offers
wonderful opportunities for the student
performers.”
But bringing any show to the stage is a
long process. “Chicago” is no exception.
Turn to Chicago, page 7
Jeremy Forrest Emerald
(From left) Yasmin Ravard, Nathan Loveless and Kimberly Bates will perform in "Chicago" at the Robinson Theatre.
Hypocrisy abounds in Aguilera’s CD
Courtesy'phdto
CD review
Aaron Shakra
Pulse Reporter
“Irony” abounds in Christina Aguilera’s
obligatory annual new album “Stripped,” but
calling it irony might be putting things lighdy.
“Hypocrisy” is probably more accurate.
Allow me to explain. The recording “artist”
graces the current issue of Rolling Stone, clad in
nothing but a guitar, when she doesn’t even play
the instrument. The name of her new album is
“Stripped,” while every picture of her has her
face and body full of makeup, and is obviously
airbrushed. Maybe she was talking about her
clothes, but those don’t come off, either.
Consider the redundandy titled “Loving Me
4 Me,” a simple story about Aguilera and her
lover. Hints of the genuine come out as she
sings “Stripped of all make-up / No need for
fancy clothes / No cover ups, push ups / With
him, I don’t have to put on a show,” but when
considered in the context of the image she
flaunts — yes flaunts — in interviews, music
videos and album covers, “hypocrisy” comes
’out as-the best description again. v • <
Of course, this is nothing to hold against her.
Aguilera probably doesn’t realize her own ho
mogeneity. She claims and flaunts her individ
uality in the lyrics of “Stripped” and on maga
zines such as “Rolling Stone,” but neglects to
realize or address the fact that she is only able
to do so because she meets the acceptable
standards for what society deems “physically
attractive.” The question raises itself: How suc
cessful would she be if she were considered
“ugly” by the majority of her listeners?
What we have here is a fast food recording. It
sounds nice to the ears, it looks nice to the
eyes, but once consumed, leaves the viewer
congested and unhealthy.
To her credit, she writes and “composes” the
songs on “Stripped,” but somehow it’s hard to
imagine that she was somewhere in a studio
arranging piano, string and drum and horn and
guitar sections for these songs.
A suggestion that is worth mentioning but
will certainly go unheeded: Stop releasing al
bums with assembly line lyrics and produc
tion; take a break, disappear and change.
Contact the Pulse reporter
at aaronshakra@dailyemerald.corr