More
•••
of everything
you desire in an
adultstore!
Open 24-7
LINGERIE
•VIDEOS
AGAZINES
exclusively
C?Q 3Hnlt
LATE TUESDAY
THURSC
MAY tJ
SHOW
MIND ALTERING
JAZZ-TRONIC
DANCE GROOVES:
9:30 PM SHOW
ELEVEN EYES
FRIC
MAYO
8:30 PM SHOW
LUNA Late Night Menu Open Tuesday Through Saturday
|W Live Music Thursday Through Saturday!
CjMmjjkV Next to Adam’s Place Restaurant
Dinning Room open 5 pm to 9 pm weeknights 10 pm weekends
022212|
ASUO Ex^tjve St,^
NOW HIRING
Positions Available:
Educate and activate students for political acton on state and federal issues related to
students and higher educaton.
Serve as a liaison between the student body and the ASUO, in addressing issues of safety and
university housing, as well as inclusion with student groups and University Committees.
Serve as a liaison to the University and the greater community to develop programs and address
issues around students' needs and concerns with the community.
Serve as a liaison to the University administration, faculty, staff organizations, councils and committees.
Advocate for and develop programs addressing concerns of students of color, gay and lesbian students,
and other under-represented groups, and to be a liaison between these groups and the ASUO.
dent. Advocate
Act as a liaison to international students and act as a resource for programs serving
international students.
Serve as a liaison between the University of Oregon's Greek Community, including all ethnically,
culturally, and professionally based chapters, the ASUO, and the greater student body.
Provide information and assistance to ASUO programs, and approve and monitor student programs.
Vac ate
(Grad, Law, Returning Students and Student Parents)
Participate in addressing issues of concern to non-traditional students in conjunction with student and
University organizations, councils, and committees at the campus, local and state level.
Oversee elections for student government, ASUO programs, and Family Housing.
Work with the ASUO President and Vice-President to coordinate the ASUO budget process and
oversee expenditure of current ASUO program budgets,
Coordtn
■
Coordinate the Fall and Spring Street Faire, as well as create marketing plans and strategies for the
ASUO, develop fundraising projects for the ASUO Executive, and assist ASUO programs in their
fundraising efforts.
rector
Provide visibility and communications within and outside of the University community for all projects
and events in the ASUO, and act as the spokesperson for the ASUO.
Applications available in ASUO Office (Suite 4 EMU)
Due Friday, May 13 by 5 pm
An affirmative action/equal opportunity/Amencans with Disabilities Act employer. (AA/EOE/ADA)
■ Video game review
Aliens, mad scientists dont add flavor
to convoluted plot of vanilla game
The excellent sound in 'Area 51' isn't enough to compete
with other first-person shooter games on the market
BY ANDREW MCCOLLUM
DAILY EMERALD FREELANCE REPORTER
Midway's first-person shooter
(FPS) "Area 51" is loosely based on
the lightgun arcade game of the same
name. Both games are set in the titu
lar military base, Area 51, and both
feature guns, but the similarities end
there. "Area 51's" trite storyline and
vanilla gameplay do little to separate
the game from the already crowded
FPS genre.
"Area 51" puts players into the
head of Ethan Cole (voiced by David
Duchovny)a HazMat officer whose
team has been sentto investigate the
disappearance of another squad that
was investigating a virus in the bow
els of Area 51. Sound confusing? Well
that's not the half of it. "Area 51's" sto
ry combines aliens, mad scientists,
the Illuminati and a few other
conspiracy staples to become one of
the most convoluted stories ever to
grace a video game. The entire plot
seems to the result of a late night
game of Mad Libs.
Duchovny reads his lines like he's
auditioning to be Fox Mulder again.
The game also features Marilyn Man
son playing a mysterious entity known
as Edgar, who pops up occasionally
and recites lines that may have been
written by an angsty eighth-grader.
Graphics and sound in "Area 51"
are okay. The environments are de
tailed, although limited in variety. Ene
mies look interesting, and have a
good deal of detail. Sound is possibly
one of the game's best elements. The
guns sound menacing, enemies
scream afterthey have been shot and
shells click as they hit the ground.
"Area 51's" downfall is its lack of
innovative gameplay. The weapons
in "Area 51" are almost all standard
fare in first-person shooters. The
levels are dull; players will find
themselves trudging through halls
as they try to find the keycard that
unlocks the next area.
The attempt to set "Area 51" apart
from other FPSs isn't successful. Ear
ly in the game, Cole gains the ability to
mutate into a sort of half-alien, half
human beast. When mutated Cole's
vision changes, his melee attack
power skyrockets and he gains new
projectile attacks. The firstfewtimes
players mutate are fun experiences;
Cole can tear through enemies with
his claws and take out groups by in
fecting them with a deadly virus. But
the novelty quickly fades.
With all the other FPSs on the mar
ket there is no reason to play this
game. If you are looking for a good
FPS, check out "Doom 3" or "Times
plitters 3," but don't waste yourtime
with "Area 51.ft
New releases by seasoned artists are
more mature, experiment with sounds
Albums twang through heartfelt experiences, sing
bittersweet stories and bring 1960s pop back on scene
Ryan Adams & The Cardinals,
"Cold Roses" (Lost Highway)
There are some Ryan Adams fans
who believe his 2000 solo debut
"Heartbreaker," was his best work. But
they might rethink that notion after lis
tening to "Cold Roses."
The double-disc set shows a maturi
ty in Adams that has never been seen
before. With "Cold Roses," Adams lets
the music speak for itself. And the mu
sic doesn't just speak—it sings as
beautifully as Adams' does, from the
desperate bittersweet pleading of
"Sweet Illusion" to the upbeat James
Taylor-flavored "When Will You Come
Back Home," and to the dreamy coun
try twang of "Easy Plateau."
The Cardinals are the first full band
Adams has collaborated with since the
release of "Heartbreaker" in 2000. The
band's sound is comparative to the
Grateful Dead — Cindy Cashdollar ca
resses the steal guitar with the same
sensuality as Jerry Garcia would have
back in the day. It seems that Adams, a
self-proclaimed Deadhead, has found
a band that suits this influence. "Cherry
Lane" could possibly be an outtake
from the "Workingman's Dead" studio
sessions. The darling songstress
Rachael Yamagata sings backup on
several tracks, including the Saint
Steven-inspired title track and the first
single "Let it Ride” which is reminis
cent of Adams' early days with his first
band,Whiskeytown.
While his output may be a bit much
for some, the factthatthese songs are
good old rocking tunes is undeniable.
— CarrieTolles
The Associated Press
Aimee Mann, "The
Forgotten Arm" (SuperEgo)
On last year's CD/DVD release of
"Live at St Ann's Warehouse," singer
songwriter Aimee Mann previewed
two songs from her upcoming album.
The twangy "Going Through the Mo
tions" and the soulful "King of the Jail
house" suggested that her new album
would cover different sounds.
Indeed, Mann's first concept album
and fifth solo effort "The Forgotten
Arm," is a lil' rock, a lil' folk, and a lil'
country all while invoking the 1970s. It
tells the tale of troubled love between
John, a Vietnam vet and boxer strug
gling with addiction, and Caroline, a
Southern gal. Mann gives John and
Caroline equal airtime to tell their loose
story of meeting, embarking on a road
trip, and dealing with John's destruc
tive addiction.
"Dear John" kicks off the album with
a spurt of electric chords, then gives
way to Mann singing in her usual de
tached manner. In a change of pace,
she gently dips into a haunting verse
followed by a '70s-influenced guitar
solo, firmly placing the listener in the
appropriate decade.
Mann, no strangerto the dark
themes of addiction, despair and
loneliness, is at her best when explor
ing them between slow acoustic
strums and electric guitars, measured
keystrokes, and experimentation.
Unfortunately, most of the songs
on "The Forgotten Arm" alternate
between folk and country without
heart, and the result is unremark
able. "Beautiful," the last song of the
album, is anticlimactic, lacking the
emotion it deserves and falling short
of expressing the tenderness and joy
of the reunited couple.
— Claudia Davila
The Associated Press
The Raveonettes, "Pretty
In Black" (Columbia)
In the three years since Danish outfit
The Raveonettes let loose theirthree
minute chords with lyrics focusing on
motorcycles, sex and seedy people,
the duo's work has garnered more fans
and a biggerfollowing almost it seems,
by the day.
The band's third effort "Pretty In
Black," is setto continue thattrend.
The album is a low-key, love letter to
1960s girl groups, pop and melody.
Among the tracks offered up by
Sune Rose Wagner and Sharin Foo, the
co-founders, there's a pleasant foun
dation of 1960s pop foundations that
firm up the modern sound.
Indeed, this is an album that takes
the best of 1960s pop, drenches it in
sparse production and haunting song
writing and brings out a result that's
equal parts old-country howl, surf jan
gle and girl-group pop.
— Matt Moore
The Associated Press