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Show ARTS&ENTERTAINMENT Tuesday, October 10,2006 Page 4 ARTS Tuesday, Oct. 10 Eoln Golfer Free 7 p.m. The King's English (1511 S. 1500 East) CSS and Ladytron $15 in advance/ $ 17 at the door 8 p.m. The Depot (400 W. South Temple— at The Gateway) It's a Big; Big, Big, Big, world Playwright of upcoming 1984 performance to speak with book, stage and politics lovers on campus Alexandra Gregory The Daily Utah Chronicle In conjunction with this weekend's performance of the stage adaptation of George Orwell's 1984, Kingsbury Hall is hosting a series of related events, offering students a rare opportunity to discuss the text and explore the themes behind the production with the playwright himself, Michael Gene Sullivan: Tonight at 7:30, Kingsbury Hall will hold an event called "Book Klub Kaffe Klatsch: An informal evening celebrating our freedom to read and discuss literature." Students and community members are invited to interact with various members of book clubs in an open discussion of Orwell's novel, lead by Sullivan. Sheri Jardine, public relations associate to Kingsbury Hall, said students who are currently reading the novel, or freshmen who have recently read it in high school, will find the event to their liking, as Sullivan will be highlighting key passages within the book. "Students interested in politics or current events may be interested because we will also be discussing the ways in which the book continues to be relevant in our society today," Jardine said. "Also," she said, "writing or theatre students will be interested in attending because Michael Gene Sullivan will be talking about the challenges of adapting a novel into a stage play and the differences and similarities (between) the two mediums." A reading from the play will also be presented at "Book Klub" by some of the company members from The Actors' Gang. "Those who attend the book discussion may have a greater appreciation of the performance this weekend because the discussion may bring to light aspects of the book that they may not previously have discovered," Jardine said. Sullivan, who is visiting Salt Lake City to generate discussion and thought around his adapted play, participated in a radio event held at the Hinck* ley Institute of Politics yesterday, offering additional insight into the novel. "He mentioned that although there are many similarities in the (novel and play) Don't look for Revelations here Audioslave's latest enterprise plays it safe, which means playing it dull Danny Letz • :•:" The-Daily Utah Chronicle m 4t' i- $ • • • - - Like any underachieving child, Audioslave elicits in people an equally compelling impulse to both throttle and cuddle the unfortunate little waif. I say cuddle because, let's face it, Audioslave is working in the shadow of two of the greatest bands of the last 15 years—Rage Against the Machine and Soundgarden. But I also say throttle because the band's previous work shows it can do better. Audioslave's third release, Revelations, though more consistent and rounded out than the band's last effort, Out of Exile, still leaves much to be wished for. The title track provides an excellent showcase for singer Corneirs vocal virtuosity, followed by "One and the Same," which reminds us that Tom Morello still has the ability to transform his guitar into an instrument that sounds little like your typical five-string excuse for a power chord. The remainder of the album, however, is so tied up in banality and the blase that it seems the perfect model for FM radio waves, and Audioslave that is RevRevelations elations' bigEpic Records gest con. Three-and-a-half Punctuated out of five stars by the footstamping beat of "Original Fire" and the bass heavy, guitarreeling groove of "Broken City," ' the remainder of the tracks seem like leftover singles constructed to test the number of "hits" the album can score on mainstream waves. There are few to no "deep tracks" (radio unfriendly tracks) and even fewer tracks that risk originality, "••'.., ' ,- . . "Shape of Things to Come;' "Wide Awake" and "Moth" all fol- See A U D I O S L A V E Page'Sf to the current political administration, past administrations have also abused power and used fear to control the press and the masses," Jardine said of yesterday's event. "It was an interesting discussion," she said, "and I think that people who heard (Monday's) radio program and also attend this book group discussion will leave the performances with a better understanding of what they have seen." "Book Klub Kaffe Klatsch" is a free event, with complimentary coffee and pastries served to those in attendance. Reservations are required; please contact Sheri Jardine at 801-585-1556. Free parking is available at the Rice Eccles stadium lot. a.gregory@ chronicle.utah.edu A wily old crooner loses just a little steam I'll be honest: I Bob Dylan honky-tonk instrudon't feel qualiModern Times ment sets in motion fied to critique Bob Columbia a convincing, yet Dylan's new album, Records stubborn, locomoModern Times. •Four out of tive determined for To be even more five stars the long haul (each honest, I feel as song averages six adequate and com1 minutes). An old fortable writing man—the conducabout this American legend tor—moans out instructions as I would scrapping with and anecdotes that are more James Dean in a switch- significant and intelligent blade fight—which is to say, than the simple, repetitive I'd rather not. Nonetheless, lyrics let on. Dylan deserves the attenTake, for instance, this line tion. He is a legend, after all. from "Rollin' and Tumblin'," • But I'm going to pretend which says it all: "I got trouhe's not a legend. bles so hard, I can't stand I'm going to pretend I nev- the strain/ Some young lazy er saw the '60s documentary slut has charmed away my of Dylan "Don't Look Back," brains." wherein I was convinced Brilliant. Bob Dylan was the coolDespite the vivacity, this est, most badass dude that old man's heart is slowing ever lived. I'm going to treat down to a slugging, nearly Modern Times the only way inoperable pace as the loI can and the only way I feel comotive runs sparsely on it deserves to be—in and of steamed cadence. But just itself. when you thought there were There is a wily simplicity no tracks left in the West, he riding through these songs. says, "You think I'm over the Light punches from every hill/ You think I'm past my prime. Let me see what you got/We can have a whopphV good time." You can't separate the residue on this one, and you can't escape the legend that is Bob Dylan. I'm still convinced this guy is still the most badass dude that ever lived; he could beat James Dean in a knife-fight—even at sixty-five. Spencer Young "Book Klub Kaffe Klatsch: An informal evening celebrating our freedom to read and discuss literature." Free RSVPto ' " sheri.jordine@kingsbury.utah.edu 7:30 p.m. Kingsbury Hall Hardships and lullabies Despite the loss of: numerous band'". members, this Static sounds just fine <\ Jessie Peterson . -; The Daily Utah Chronicle . \ \ Doesn't everybody wish secretly that some bands would just go away and stop already? I know I do— A Static even performers Lullaby' that still contribA Stotic Luljaby ute to the musical Fearless Records landscape. Like Four out of Five Madonna: Stop Stars '.• touring and mak•••*:: ing millions upon millions of dollars! It's not like you need it. ; •; But thank the lucky stars that a band like A Static Lullaby can lose three of its five members, regroup and then write the best album of its career. As such, choosing to self-title its newest release works wonders as a new beginning, a re-identification of the band's entity and image for-its members, as well as the fans. '•'> Of course, the album is not perfect, but A Static Lullaby is solid, foeused and well produced. •. \ The entire album is characterized by dark moods created by pummeling and highly virtuoso guitars,, trass lines that meander in just the Tight parts, borderline obtuse lyrics, plenty of crashing symbols and, obviously, lots of minor chords. Whereas inpst choruses can feel recycled, those in A Static Lullaby stand out as ingenuous and refreshingly different—even if not all of them are exceptional.' What makes A Static Lullaby ;less noteworthy are the moments wjien it loses its main vision. It's one*- of those things that can't be explained: Certain tracks fall short of their: potential, not for any fault of their <5wn, but possibly because they're overpowered by exceedingly excellent See L U L L A B Y Page 5'<\ |