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Show A&EDiversions Friday, Oct. 9, 2009 Page 7 Utah State University • Logan, Utah • www.aggietownsquare.com Brown’s fifth novel proves a big success Because I aim to introduce readers to books they haven’t heard of or wouldn’t ordinarily consider, as well as that they can enjoy while keeping up with textbook reading and coursework, this may be the only time I review a new, instant best-seller by such a well-known author. “The Lost Symbol,” by Dan Brown, was released Sept. 15 and sold more than one million copies that day and topped the New York Times Best-seller’s List the following week. Brown’s fifth novel, and third featuring protagonist professor Robert Langdon, keeps up the fast pace and exciting timeline of events much like he did in “The Da Vinci Code” and “Angels and Demons.” “The Lost Symbol” proceeds chronologically with a few flashback-style narratives that allow the reader to understand what motivated the sequence of events that are the main focus. The problem with this plot device is it is so obviously designed to let the reader in on some background information without them having to be too innovative with the writing. The plot itself, however, is innovative and picks up pace toward the end more than I recall noticing in the previous to Langdon books. The theme of freemasonry brings a fresh insight to the art and religious history that was prominent in “The Da Vinci Code” and “Angels and Demons,” and the Washington, D.C. setting brings it closer to home. Though I’ve been a skeptic – albeit a fascinated one – since I got sucked in by “The Da Vinci Code,” “The Lost Symbol” discusses museums, buildings, art and artifacts, people and organizations that are historically interconnected and have fascinating tales to tell. Even though the book is a work of fiction, I was compelled to take up some further reading and documentary movies on some of the topics I was introduced to through the book. Dan Brown is a phenomenal historian, researcher and storyteller, but he is a mediocre writer. “The Lost Symbol” was thrilling and intriguing, but it was also frustrating because much of the description and characterization was tired and redundant. I went into it knowing what to expect from Brown, and I was still surprised by the big twist, so I was not disappointed with the novel by any means. I recommend “The Lost Symbol” to anyone who has enjoyed Brown’s other works – including the lesserknown “Digital Fortress” and “Deception Point” – those who study or have an interest in American history, and those Grade Bwho have an interest in any of “The Lost Symbol” Brown’s usuals – religion, symbology, crime and blackmail, By Dan Brown theoretical science or cars and guns. After fall break, I will review “Entrapment,” by Michael Spooner, a young adult novel written in instant-message format; “Harry, a History,” by Melissa Anelli, a nonfiction insider’s account of the Harry Potter phenomenon and its active fan community. If you’d like suggest a book for Chelsey Gensel to review she can be reached at pulcre.puella@gmail.com Chelsey Gensel Book Review ‘Whip It’ offers a satisfactory movie-going experience Bliss Cavendar (Ellen Page) and she begins to find out who Nicholas she really is, and it sure isn’t a is a very confused girl. She is Peterson beauty queen. living in a small town outside of Austin, Texas, where the only This movie was semi-difficult thing she has going for her is to review because I once again working at the local diner with left the film satisfied. That was her best friend. all I felt though. There were no Bliss could be described as warm fuzzies inside me. No tears an alternative girl who really Grade B were welling up in my eyes. No doesn’t have much direction in “Whip It” urges to call my friends and let her life, except the stern directhem know they had to see this tion she constantly receives Visit www.aggietown incredible movie. I was satisfied, from her mother. Surprisingly and that was it. There was nothenough, all her mom really square.com for video ing spectacular or exciting about wants from her is for her to featuring more from the film. become a beauty queen like Nick as well as local That being said, it was in no she once was in her younger way a bad movie. I guess would years. While Bliss is smart and moviegoers opinions. classify it as a weekday movie, beautiful, there couldn’t be anynot a weekend movie. If you’re thing further from what Bliss asking yourself what the eff I’m really wants in life. She continues with the talking about, let me explain. pageants only to make her mother content. Okay, there are certain movies that you One day while Bliss and her mother go have been waiting for since you first saw that shopping for a day they get some bonding amazing trailer that got you so excited you time together, she gets a major wake-up call. almost died a little inside thinking about how A group of badass female roller skaters cruise long of a wait you had ahead of yourself. into the store to pass out flyers advertising try- These movies, my friends, are weekend movouts for their roller derby league. While there ies. If you are still confused, some examples of are many teams in the league, which are all weekend movies would be: “Titanic,” “Lord of female, this particular team is named the Hurl the Rings,” “The Dark Knight,” and, of course, Scouts, and let me tell you, they don’t mess the upcoming “New Moon.” (You didn’t hear around when it comes to this sport. this from me but beware the midnight tickets After her little run in with the Hurl Scouts, for “New Moon” are on sale at the Logan Bliss makes the decision to try out for the theaters, and you better hurry and get yours team. She realizes there is more talent inside before you get shut out.) of her than she ever thought. Bliss quickly A weekday film, although not as exciting becomes one of the star skaters in the league, as a weekend film, can still be a great movie. Reel Reviews Some of my favorite weekday movies are “Dan in Real Life,” “The Family Stone,” and, my personal favorite movie of all time, “Nick & Norah’s Infinite Playlist.” “Whip It” could be thrown right in there with all my other weekday films. While they aren’t for everyone, they certainly have a place on my movie shelf. Although I wasn’t jumping for joy over it, I still felt it was worth my $5.50 spent on the matinee showing. I might even stretch my pocketbook a tad bit more and Redbox it for a night when it’s released on DVD. Speaking of Redbox, I will now be giving a short weekly recommendation on a DVD to rent for a good weekend film that you and your friends can enjoy. Hopefully you trust me enough to spend the 99 cents for the night. Nick’s Pick: It’s now October and getting closer and closer to Halloween. If you ask me, it’s time to bust out the good ol’ horror films. “The Haunting in Connecticut” is a great example of a terrifying PG-13 horror film, which you hardly ever see. I promise you will be squirming in this one. –nicholas.peterson@aggiemail.usu.edu Muse, no longer strictly your weird brother’s band Muse, the band best known for its participation in the “Twilight” soundtrack, released a new album, “The Resistance,” on Sept. 15. I like Muse. Over the last 10 Landon years, Muse has slowly grown from the band only your superHemsley weird brother knows about to the band that earns multimillion dollar recording deals, lands itself in a soundtrack and makes frequent appearances on the radio – both top 40 and alterGrade Anative. I approached the new “The Resistance” album with the hope that Muse by Muse wouldn’t let me down, and I think Muse does all right. As a band, Muse relies on heavy techno-bass lines and screaming guitars to distinguish itself. The only way that I could put it in terms most can relate to is by saying Muse is a mixture of Green Day and Metro Station but even that comparison doesn’t really suffice. The opening track to the album is called “Uprising.” It’s awesome. It is simply the raddest song of the season. I mean, if album-opening tracks were members of the opposite sex, going on a date with this opener would make you fall in love, because its awesomeness is simply beyond description. The song opens by establishing the beat and the bass line, which anchors the whole song. Singing synthesizers enter and establish a psychedelic, neo-rock feel. The song builds and builds and builds to the chorus, and then the best hook I’ve heard in a song all year long slams down with righteous impunity. It’s so cool. If you listen to this song two or three times, you’ll be humming it in your head and jamming to it all day long. It’s that addictive. It’s even more addictive than “I Kissed a Girl,” by Katy Perry. I love it. The second track is the title track to the album. It has a different tone to it than “Uprising.” The beginning establishes a gloomy, mid-’80s tragic love song feel, but it transitions soon enough to a quicker, more upbeat tempo, and less of a grunge, techno feel. This is more of your U2-style rock song. The chorus is by far the best part of this song. The song has a great hook and is a refreshing change of pace from the first track. But it isn’t nearly as good as “Uprising.” Even as this is read, I am still in shock with the sheer rock glory of the first Tune Takes track. The part of “Resistance” that I don’t like is the backup vocal line and the ending. It’s kind of juvenile, but the quality doesn’t detract at all from the chorus and doesn’t hurt the hook. I’ll let it slide this once, I suppose. Also, the ending of the song could come a bit sooner before going into a load of ephemeral storm sound effects. I really think it’s unnecessary and distracting. If you were looking for Muse to broaden its horizons, the band has. The third and fourth tracks start with piano and strings, which is not something Muse is known for very much at all. Minor chords abound, and though the electro style make short appearances, it’s safe to say Muse has found itself a different niche. The fourth track, “The United States of Eurasia,” sounds like Queen. Progressing track by track, the musical style and feel of the album becomes more and more clear. This is a sciency, spacey, dark, sort of “Here comes Darth Vader to take over the world” kind of feel. The album is loaded with tragedy, as if it was in memorial of what used to be a much simpler world. I was not expecting a tragedy. I was expecting a victory. I fully expected to hear loads of melt-your-face-off rock songs á là “Supermassive Black Hole,” “Black Holes and Revelations” and other big Muse hits, but they opt for tragic techno-ballads and off-the-wall nonprogressive tunes. I felt kind of let down, to be honest. I couldn’t really find anything to connect with in the album excepting two songs: “Uprising,” and “Exogenesis: Symphony.” The sixth track, “Unnatural Selection,” is just weird. Muse mixes a variety of styles into “Unnatural Selection,” making the song sound (wouldn’t you know it) unnatural. Yet, the song works. The change of pace certainly catches the ear. This song will probably fall off by the wayside for everyone except the ardent Muse fan, but I think it’s OK. It’s just weird enough to be somewhat cool. However, I will probably change my mind on that. Don’t quote me. “Unnatural Selection” also serves the purpose of warming up for “MK Ultra,” the last good lyrical track. “MK” is definitely a return to basics for Muse, arcing melodies, strong guitar riffs and a strong base line bring out the best of the song. I think this song has potential, but it doesn’t have a strong hook and is nowhere near as good as “Uprising.” Muse wraps up the lyrical portion of the album with “I Belong to You (+Mon cœur s’ouvre à ta voix).” All that French stuff following the English title of the song may confuse you. Trust me, it confuses me too. After an upbeat entrance in English, the song turns all dark and goes French. Eventually, it reverts back to the upbeat style, but I think the French portion of it sours the song. I can’t fault Muse for its consistency. Most of the songs seem to do what this one does: start quick, slow down, end quick. If not that, then the song will start slow, get fast, then end slow. The biggest exception is “Unnatural Selection,” which really just goes all over the place. Muse ends its album with a symphony called “Exogenesis.” It works for the album and lays down a nice finishing touch. The symphony is 13 minutes long and split into three tracks: “Overture,” “Cross-Pollination” and “Redemption.” I think this symphony really redeems the middle portion of the album. Muse drops few lyrics in this symphony but combines vocal tones with electric guitar and stringed instruments. It’s music that would do well enough standing alone without any lyrical presence at all. By no means will you ever hear it on the radio, but this music is beautiful, epic and powerful. –la.hem@aggiemail.usu.edu |