RENTALS!
Downhill (new shaped skis).$12
C
Snowboard & Boots...Zu
Back Country & Tele Pkgs...$20
13th & Lawrence • 683-1300 • www.bergsskishop.com
I i PsHpfli % ' HI 1
Musique Gourmet
Classical Music
Opera
Broadway
Filmscores
CD's
SACD'S
DVD'S
Open Noon - 5:20
Sundays Noon - 4:00
Closed Tuesdays
Behind Bradfords 04Q ndA1
Across from Library •*4*-'""**0 ■
- 942 Olive St. gmgj
g FREE PARKING
Good at 13th & High Street PakMail location only. • 343-1313
Not valid with any other offer or promotion. Must mention ad.
IK) School of Music & Department of Dance
JANUARY CONCERTS
For more information on School of Music events, call 346-5678,
or call Guardline at 485-2000, ext. 2533 for a taped message.
Thur. I MUSICI de MONTREAL
1/8 Chamber Music Series 8 p.m., Beall Hall
Music by Borodin, Bruckner, Denis Gougeon. Limited
$5 student rush tickets; reserved seats $12, $25, $29,
at the Hult Center (682-5000) or EMU (346-4363)
Sat. JEFFREY JACOB, Piano
1/10 Guest Artist Recital 8 p.m., Beall Hall
Performing contemporary piano music. FREE Admission
Tue. GLEB KARPUSHKIN, Horn
1/13 ALEXANDER TUTUNOV, Piano
Guest Artist Recital 8 p.m., Beall Hall
One of Russia's leading horn players. FREE Admission
Fri. OREGON JAZZ ENSEMBLE
1/16 with DIANE MONROE, Jazz Violin
UO Ensemble & Guest Artist 8 p.m., Beall Hall
$5 General Admission, $3 students & senior citizens
Sun.
1/18
Wed.
1/21
Thur.
1/22
Fri.
1/23
Wed.
1/28
RICHARD GWILT, Baroque Violin
WINNIE KERNER, Harpsichord
Guest Artist Recital 4 p.m., Beall Hall
Scottish and Italian music from the 18th century.
$9 General Admission, $5 students & senior citizens
UO CHAMBER CHOIR
UO Ensemble 8 p.m., Beall Hall
$5 General Admission, $3 students & senior citizens
OREGON STRING QUARTET
with DIANE MONROE, Violin
UO Faculty Ensemble & Guest Artist 8 p.m., Beall Hall
$9 General Admission, $5 students & senior citizens
“NO TENORS” Vocal Recital
Benefit for UO Opera Program 8 p.m., Beall Hall
Music by Mozart, Verdi, Donizetti, and Weill.
$18 and $10 reserved seats; 346-4363 for tickets
OREGON WIND ENSEMBLE
UO Ensemble 8 p.m., Beall Hall
FREE Admission
o
UNIVERSITY
OF ORECON
For our complete calendar, check: music.uoregon.edu
Karney sucks competently
Mediocrity is Karney's
strong point; her band
excels at reminding listeners
of better, dynamic music
By Ryan Nyburg
Senior Pulse Reporter
After so many great singer-song
writers passed on to the big folk festi
val in the sky last year, it's good to see
that a new batch is attempting to take
the reins. But while making an effort
is a laudable act, so is good songwrit
ing. Funny how that fact seems to es
cape so many people.
One of the most recent of these no
talent demon-spawn is Kamey (yep, just
"Kamey"), whose self-titled album is
somehow able to exemplify all that is
mundane and worthless in rock music.
An amazing feat for certain, especially
from an apparent newcomer, but I've
never been one to doubt the potential
for everyday people to create music that
truly and honestly sucks.
The problem does not lie in a lack of
talent. Kamey and her band are com
petent musicians in their own blandly
tunctional
sort of way,
but they nev
er use their
skill toward
anything
more than
repeating the standard rock forms of
years past. The music never strives to be
anything new or inventive; in fact the
band even seems to scorn any inven
tive behavior instead of aiming for the
predictable and boring.
But in itself, the music is not the
problem. Many songwriters have over
come worthless accompaniment by
the pure force of their lyrical and
melodic power. Kamey is not one of
this select few. Lyrically, her songs are
stripped-down tales of drugs, lost love,
want and rebellion. All pretty standard
REVIEW
fare these days, and Kamey doesn't re
ally add anything new to the mix, other
than maybe a startling lack of detail.
In fact, the songs are so stripped that
they cannot possibly hold any connec
tion to real life. While they are more
than likely about something, this does
not necessarily translate into something
meaningful. Throughout the album,
Kamey fails to make any convincing ar
gument as to why anyone should care.
Someone also might have wanted to
point out to her that no matter how
much you twist your vocal inflection,
"earth" and "dirt" do not rhyme.
With all that said, I would like to
offer my sincerest thanks to Tom
Heinl for putting out a record
worth hearing. This Eugene resi
dent's latest, entitled "With or
Without Me," is certainly an inter
esting piece of work. Featuring a
wide variety of local musicians
playing background, Heinl
Turn to HEINL, page 10
ISRAEL
continued from page 6
rorism except for incredibly tight secu
rity measures in odd places, such as
malls. After our group left Tel Aviv, a
bomb was detonated at a bus stop out
side the city in a suburb that we had
passed only days before. The moment
was startling, like looking in the mirror
and seeing your own mortality.
One of the most touching experi
ences I had in the country came from a
fortunate interaction with a tour guide
at Independence Hall. Our docent was
a woman, about my mother's age,
who told us point blank that she did
not want her children to serve in the
army (2-3 years of military service is
compulsory in Israel after high school
graduation, and college is postponed
until later) but she added that it would
be unfair to ask that they be given ex
ceptions, and that they would proba
bly be fine. However, her voice be
trayed her statement and I could sense
her suppressed fear. Still, I also noticed
the strong confidence at her core that
so many of these people tap into.
Although Israel is a country where
people cannot dig more then a few
inches down before uncovering arche
ological remains, the country is, for
the most part, shockingly Westernized.
For me, the phrase "Middle East" con
jured images of crowded dirty cities,
bumpy roads, camels and people in
Steven Neuman Freelance Photographer
The Western Wall of the Temple Mount in Jerusalem is considered one of the holiest sites
to modern Jews. The Dome of the Rock (center) is sacred to Muslims.
ancient fashion. These images could
not be further from the truth. The
country seems more like Southern
California than anything else. The
cities feel like incarnations of Ameri
can ones with a slight twist, and the
citizens dress more fashionably than
most in Eugene. The only camels we
ended up seeing belonged to the
Bedouin (one of the last Arab no
madic tribes) who left them tied up
outside their tents next to their cars.
One of the few exceptions to this
seeming normality was the prevalence
of soldiers. Having armed forces so
prevalent constantly breaks the illu
sion that these cities could just be San
Diego. The Israeli army is everywhere
in the country, and it is as much a part
of the youth culture as, say, going
away to school for the "college experi
ence" is for Americans. Twenty-year
old Israelis, dressed in green fatigues
with semi-automatic weapons strung
around their necks, stroll around
tourist destinations (the army takes
the soldiers on sightseeing tours of
the country as part of their duty) talk
ing on their cell phones. It is a surreal
sight, made even more so by the sol
diers' close proximity to my own age.
Steven Neuman is a freelance
reporter for the Emerald.
Reggio’s film shows life as war
‘Naqoyqatsi,’ the third
in a series of films from
director Godfrey Reggio,
is ideal for renting on DVD
By Aaron Shakra
Pulse Editor
A forgotten film need not be limit
ed to something old, especially when
the film didn't even play on the big
screen in Eugene. "Naqoyqatsi,"
which ran theatrically in 2002 but
missed the
Emerald
City, has re
cently been
released on
video.
This is the third film of Godfrey
Reggio's "-qatsi" series, so named
after words from the Hopi lan
guage. "Koyaanisqatsi," released in
1983, translates to "life out of bal
ance." "Powaqqatsi," released in
1988, translates to "life in transfor
mation." And finally, with
"Naqoyqatsi," we have, "life as
war," or "war as a way of life." The
producers add their own interpreta
tion of this word, which is "civi
lized violence."
The word "tone poem" is fre
FORGOTTEN
FILMS
Courtesy
Stills from Godfrey Reggio's "Naqoyqatsi,” which was recently released on video and DVD.
quently used to describe this style of
film, arguably pioneered (or at least
popularized) by director Reggio.
Each is a series of filmed images de
livered to a sweeping orchestral score
by Philip Glass.
While the titles describe the narra
tive theme of each of the films, the
tag line for "Naqoyqatsi" is some
what misleading, because it disguis
es the multiple meanings the film
contains. Yes, images of war are
prevalent, but these are also paral
leled with those of technology, biol
ogy, industry and modernization.
Obviously, the connection here is
that these two are inextricably
linked. What might not be so obvi
ous is how humans have increasing
ly come to reflect their own creations
— that this drive toward war and civ
ilization is ultimately dehumaniz
ing, alienating and out of balance
with sustainable living.
Of course, this might be assum
ing too much. Since "Naqoyqatsi" is
entirely image and music-driven
and completely lacks dialogue,
there is space for a viewer to make
Turn to NAQOYQATSI, page 11