River Cities' Reader - Issue 851 - March 6, 2014

River Cities Reader Vol. 21 No. 851 March 6 - 19, 20142 Business Politics Arts Culture Now You Know RiverCitiesReader.com

River Cities Reader Vol. 21 No. 851 March 6 - 19 , 2014 3Business Politics Arts Culture Now You Know RiverCitiesReader.com

Continued On Page 12

Warning: Watching C-SPAN Will Not Make You Fun at Parties

by Kathleen [email protected]

WORDS FROM THE EDITOR

Try something novel and experiment with your news diet. Stop consuming CNN, MS-NBC, Fox, ABC, NBC, or CBS news broad-casts as well as the equally redundant counter-parts in talk radio (Rush Limbaugh, Ed Schultz, Thom Hartmann, Glenn Beck, Alan Colmes, Sean Hannity) all of which strategically perpetuate political divisiveness. Instead, turn your dial to C-SPAN (channel 96 on Mediacom cable), C-SPAN 2 (channel 87), C-SPAN3 (channel 88), or C-SPAN.org. Be warned, however, that watching C-SPAN with any regularity will expose the mainstream medias woeful neglect of the relevant news of the day. Prepare to be shocked at the amount of infor-mation that goes under-reported, or not reported at all. As Americas watchdog, C-SPAN is the most compelling indictment of the mainstream medias systematic failure.

Sure, a lot of the legislators speechifying during C-SPAN coverage is vacuous and mugging for the camera. While Congress feigns oversight, especially during congressional hearings, panel members and/or legislators leak need-to-know information.

At a minimum, names and organizations are given, allowing anyone to do an Internet search to glean insightful information about these so-called experts and their connections and associations. DC begins to shrink with our

expanding knowledge of its inhabitants and their activities, providing for better perspective, understanding, and manageability of relevant data moving forward. Information is empowering, and hopefully for some provides inspiration to get engaged more meaningfully and effectively.

Observing DCs dysfunction can be highly motivational because it informs solutions from Americans, who are not mired in concerns over the political consequences of actually solving problems. It is too easy to listen, then immediately dismiss, news being delivered by broadcasters, whose coverage practically ensures disengagement of viewers. Couple it with mainstream-talk-radio coverages purpose to elicit emotional responses by directing blame for Americas woes to the proverbial other party and you have a well-honed formula for discouraging public participation.

Both types of coverage have been strategically designed to maintain the status quo by convincing voters to stick with their partys candidates or suffer. This is the great deceit of partisanship. This practiced media manipulation delivers the intended result that no matter how egregiously or often incumbents betray their constituencies, voters will not deviate from party affiliations even though the only promises ever kept once elections are over are to the special interests.

If more citizens would more often watch

Congress in (so-called) action, this veil of partisanship would lift, and we could stop this endless loop. Voters can impose term limits if they are willing to accept the competing partys candidates as a means to hold their own partys candidates accountable. As I have often stated, Americans have a limited number of extremely powerful tools: the power of the purse, the power of the vote, and the power of the jury. It is time to use them, even if it means inconveniencing ourselves. Honestly, the difference between the two parties is theoretical at best, pure fiction at worst.

Granted, C-SPAN exposes plenty of political manipulation, especially during congressional hearings in which the partisanship is deliberately on steroids. But more often than not, questions get asked that are highly informative. Perhaps more illuminating are the questions that dont get asked. Those become glaringly apparent and inform viewers of the unreported agenda. You can be a dyed-in-the-wool Democrat or Republican, but the consistent partisan avoidance and blustering reveals these politicians for whom they really are unlike any information you are fed as news by the networks and talk shows.

C-SPAN also provides viewers insight into the endless foundations, NGOs, think tanks, and associations that plague DC and American

politics/civics. It is a whole underworld of influence that goes completely under the radar but for C-SPAN. While all of these organizations have strategic missions that serve an array of special interests, many have a taxpayer-funded component, which means taxpayers are entitled to know what they are funding in part or in whole.

Again, learning of their existence then researching board members, affiliations, funding sources, missions/tasks, and expenditures all helps connect important dots. Any intimidation you might have relative to politics and/or DC will disappear when you recognize that your own skill sets likely far exceed those running the show.

Congress is largely composed of career politicians and lawyers who have truly lost touch with their constituencies in favor of the special interests that fund their campaigns. Learning what committees they each serve on is extremely useful in knowing whose special interests they are looking out for. C-SPAN is one of the few tools Americans have to monitor legislators political/economic influence, as each serves on relevant committees that advance their benefactors interests.

It baffles me why, with so many truly talented people unemployed, more would not opt for

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funds for this initiative immediately and will allocate the rest after the election which was deemed a smoking gun by some Republicans, who claimed that it proves Quinn used millions in state money to boost his campaign. Quinn barely edged out Bill Brady that November.

Currying favor with Chicago aldermen also resulted in a recent benefit for Quinn. Some members of the Legislative Black Caucus met with African-American aldermen who are also ward committeemen last year and asked them to hold off on an early Cook County Democratic Party vote to slate Quinn.

The legislators wanted the opportunity to push Quinn on things such as Medicaid funding, but their pleas were dismissed, with aldermen saying that, unlike the legislators, they had built a

strong relationship with Quinn.The result is that Quinn isnt currently finding

many allies among the Black Caucus as he gears up to defend himself against the allegations.

In fact, the Senates Black Caucus Chair, Senator Emil Jones III (D-Chicago), has introduced legislation to require that members of the Illinois Criminal Justice Information Authority be confirmed by the Illinois Senate.

That body is now administering the scaled-back anti-violence program. Jones bill has been assigned to the Senate Executive Committee, and Jones said last week he wants to use the legislation to bring some accountability to the violence programs.

Quinn has been in hot water with the Black Caucus for a while now. For instance, African-American senators, along with Latinos, have refused to support the Senates confirmation of Julie Hamos for another term as director of the Illinois Department of Healthcare & Family Services.

Theyre angry at the way Hamos has pushed for cuts to the states Medicaid program. Let her get Republican votes, said one senator recently when asked about Hamos prospects.

The governor recently hired a formerly popular black state official to handle Hamos relations with the General Assembly, but the political brick on Hamos appears too big to be schmoozed away.

Anyway, Republicans want a full-scale criminal investigation of this violence-program mess, with some justification, so things could get really hairy, really soon. And Quinn will need all the allies he can get. Its time he made a peace offering.

Rich Miller also publishes Capitol Fax (a daily political newsletter) and CapitolFax.com.

Some Illinois Legislative Black Caucus mem-bers are saying I told you so in the wake of a stunning state Auditor General investi-gation into misspending, waste, and possibly even fraud in an anti-violence initiative hastily created by Governor Pat Quinn.

Quinn created the program in August of 2010, a few days after meeting with ministers from Chicagos Roseland neighborhood about rising violence. In early September, several Chicago aldermen gave their lists of preferred local groups that could administer the state program. Quinns administration sent requests for proposal only to those alderman-recommended groups.

By October, just weeks before the November 2010 election, the program had mushroomed to $50 million.

Despite initial claims that a specific formula was used to choose the targeted neighborhoods for violence-reduction programs, no actual documentation exists for how those decisions were made.

Some of the request-for-proposal applications were changed retroactively and, curiously enough, quite a few of the highest-crime neighborhoods received no funding at all.

The audit found that up to 40 percent of spending couldnt be documented, several neighborhood groups did not maintain required time-sheet documentation, and $2 million in unspent funds couldnt be explained.

The audit produced some of the most scathing findings and harshest language of any such reports since the Rod Blagojevich days. The audit uncovered pervasive deficiencies in [the Illinois Violence Prevention Authoritys] planning, implementation, and management of the [Governors Neighborhood Recovery Initiative] program, for instance.

Some Legislative Black Caucus members say Quinn was specifically warned in 2010 not to deal directly with aldermen or allow them to pick local groups. State grants have a history of problems, and tough regulatory and reporting laws meant that letting politicized aldermen control the recipients could only lead to trouble.

Plus, this was state money. Legislators viewed that as their domain. Going around them to the aldermen was seen as an insult.

But Quinn went around the legislators anyway, threw the program together in a rush, and then the whole thing disintegrated.

A 2012 CNN report included minutes from a September 2010 Illinois Violence Prevention Authority meeting that quoted an official from the governors office saying, The governors office is committed to allocating some of the

Quinns Handling of Anti-Violence Program Comes Back to Bite Him

by Rich MillerCapitolFax.com

ILLINOIS POLITICS

The audit produced some of the most scathing

findings and harshest language of any such reports

since the Rod Blagojevich days.

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The Post Mortems, Cracked & Crooked; March 7 at RIBCOComplicated Laziness

Bassist and singer Devin Alexander attributes The Post Mortems two-instrument setup to laziness, but its not ordinary laziness as theres very little thats typical about the Quad Cities/Iowa City band.

From its bass-and-drums-rock conceit to its gear to the seven-plus years it took to record its new album Cracked & Crooked, The Post Mortems have often traveled through bramble and brush.

But as arduous as that has often been for Alexander and drummer Al Raymond, the bands March 7 album-release show at RIBCO should provide plenty of proof that the journey

has borne fruit. The record successfully hews to The Post Mortems two-man core while pushing past the boundaries of what should be possible with only a traditional rhythm section maintaining a minimalist identity while giving listeners much of they dynamic range and texture they expect from a larger outfit. And Alexander said his recently debuted live bass rig should be a revelation to longtime fans of the band.

This Is InterestingLets start with the laziness, because its

instructive how narrowly Alexander defines it. In a recent phone interview, he said it started with not having to coordinate schedules with other people. Plus, he added, it was easy to sound tight that way. ... If theres just two of us, I dont have to worry about what any other instrument thats stringed or chording is playing. So we stuck with it because it was easy and were lazy.

Theres more to it, of course. I was never particularly interested in the sound of a six-string guitar, Alexander explained, because to my ear it didnt have as much power as I wanted it to have. When I heard the bass, I was like, There are the frequencies that I want to contribute to music. I want to be the person putting these frequencies in the audiences ear.

But it remained a challenge to learn how to use the bass as a lead instrument. Alexander said he and Raymond thought, This is interesting. Weve got a lot of experimenting to do with the this. And the allure of having to make decisions that were atypical was a pretty strong allure. We liked that.

The bassist said he was inspired by Les Claypool of Primus and the bass-guitar lines of Nine Inch Nails (even though they werent

necessarily being played by a bass). It sort of boils down to effects pedals, he explained. Im not a great bass player. People think that we sound like were really good, but thats why I have a giant pedal board so I dont have to be good. He jokingly added: Its all just a series of complicated pre-recorded loops that we activate, and then we mime to it.

In sum, despite what Alexander claimed, he conceded that a lot of people would say that its not the lazy or easy choice for ... a conventional band ... .

The long process of making Cracked & Crooked provides ample evidence. We actually recorded it three complete times or at least 90 percent ... , Alexander said. And that was largely a function of deciding the best ways for the bass to fill the roles of guitars and keyboards in normal bands.

For the record, Alexander said that I dont feel like Im playing a lead instrument [with the bass]. I feel like my vocal is the lead instrument, and the bass is still just bass, but I think a lot of listeners would disagree with me.

Normally with The Post Mortems, he said, the vocals take the place of the typical guitar. Im not doing something [with the bass] that a guitar would do, he said. Im actually filling a frequency range that we as listeners are used to hearing playing a melody. It doesnt matter to me whether its a voice or a guitar or a keyboard or in our case a bass ... . Its a nod to listener expectation.

Im only tired of guitar because Ive heard it a lot, Alexander said. And how many

times can I just do some solo that probably somebodys already written better than me, played better than me, sounded better than me? What we lack in virtuosic playing or guitars or something, we just try to substitute something else in thats unique and sounds interesting to us. Its not a purposeful exclusion of the guitar. Its just an inclusion of that frequency range.

Seven Years in the MakingThe duo began recording detailed demos

for Cracked & Crooked in 2006, and then it went into the studio to track them properly.

There were two problems at the outset, Alexander said. First, we just werent ready. ... It was mainly just our performances that werent up to standard. We just needed to be more comfortable with the material.

Second, we made the mistake of comparing demos to what we were getting out of the studio. We put too much effort into the demos, and then its very difficult to reproduce that. You sort of fall in love with some particular sound that you made or some particular delivery, even though it may not even be the best. Not in the best interest of the project.

The drums ultimately used for the album were recorded in 2010, Alexander said, and then it took him another year to record (and, before that, figure out) the vocal and bass parts. And then mixing took until the end of 2013.

Again, inexperience was one pitfall. I will hopefully never, ever mix my own stuff

again, Alexander said. Every time you put your foot down to try to accomplish something, your foot gets stuck, and you get sucked into some mundane detail that Im sure the audience never even hears or notices.

But there was also the overarching question of what, exactly, The Post Mortems should be. Drum decisions were made early, Alexander said. But as far as what does a band sound like when there are no guitars or keyboards, that limitation was actually the thing that took the most time, because I had so many different decisions to make for each individual song. What is the normal

bass sound going to sound like? What is the distorted bass sound going to sound like? What kind of extra things can I do to this to make it more interesting and fulfill what an audience wants to hear, and especially what me and Al wanted to hear with the bass guitar? The skys-the-limit limitation really crippled me as far as how long it took to put it out.

He likened that process to a multiple-choice test that has an infinite number of ... choices. ... That discovery is what kept me from becoming sick of the songs but also made it take very long to get them out there.

Thoughtful Yet EnergeticTo these ears, the wait was worth it. Cracked

& Crooked is surprisingly supple, varied, and rich a thorough and thoughtful exploration of that infinite number of choices in which each song feels carefully assembled and arranged without sacrificing power or energy.

It does take time, however, to acclimate to the palette.

That process is aided by the albums sequencing and flow. While its not inherently a linear experience in terms of a progression of mood or narrative, listening to it in the given order helps in establishing and building on its atypical, constrained vocabulary.

The feedback, punkish thrash, and explosion of opener Flarelight create an illusion of fullness, but thats undermined by the next song: the stripped-down Bloodwine,


by Jeff Ignatius [email protected]

MUSIC


Vol. 21 No. 851 March 6 - 19, 2014

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The Col Ballroom, at 1012 West Fourth Street in Davenport, is 100 years old this year. No other large ballroom in Iowa has reached a century of continuous operation. For that matter, neither has any ballroom in Chicago.

During the past century, the sign in front of the Col has been changed several times. The installation of a neon sign during the Jazz Age signaled a change in the cultural role of the ballroom. It was replaced when rock n roll became king, re-made when

rock went psychedelic, and duplicated when there wasnt a prevalent new direction in popular music.

Each sign had its own aesthetic, stylistically shaped by its era. Each is interesting in and of itself. However, they are all the more fascinating when we see them as a reflection of the sweep of changes in popular culture throughout the century.

In 1914, the Cols appearance reflected the desire to bring elevated culture and important

speakers to the community. The ballrooms full name, Coliseum, was written in raised letters in

stone over the entrance (and spelled with a v instead of a u, as one would have seen in ancient Rome). The buildings name and its architectural elements the barrel-vaulted roof, the arched entrance, and the cornices and sconces that flanked the entrance announced that this building was of great cultural importance to the community.

The ballroom opened its doors on October 27, 1914, with a performance by Ernestine Schumann-Heink, an internationally celebrated operatic contralto who performed with Gustav Mahler in London and was renowned in Germany for her renditions of Richard Wagners operas. Other early appearances included senators, authors, oratorio singers, and Shakespeare interpretations.

A decade later, the Roaring 20s were in full swing, replete with flappers and bootleggers. It was at this time that a large

Art in Plain Sight: The Col Ballroomby Bruce Walters

[email protected]

neon sign with the word dance across its top was installed on the buildings exterior. The sign, especially at night, would have dominated the outward appearance of the ballroom emphasizing innovation and excitement over the values expressed through the classical features of the building. Neon signs were first used in America in the 20s and were as new as jazz and the daring dances in vogue at this time the Black Bottom, the Charleston, and the Shimmy, to name a few.

On March 4, 1924, King Oliver & his Creole Jazz Band played the Col to an overflow audience of 2,000 and returned for a second engagement a few days later because of overwhelming demand. The band took the stage at midnight and was, according to a newspaper account of the show, so sensational ... that the people stopped dancing, crowded around the platform, and howled and stamped their feet for more. The band featured a young Louis Armstrong on trumpet. Also in 1924, George Gershwin performed Rhapsody in Blue on piano with Paul Whiteman & His Orchestra, shortly after the compositions famous premiere in New York.

Other popular stars who performed during this era included Duke Ellington, Frank Sinatra, Benny Goodman, Glenn Miller, and Count Basie. (Visit RCReader.com/y/col for a list of notable Col performers

through the years.) Frankie Trumbauer was playing at the Col with the Benson Orchestra when it is said that he first met Bix Beiderbecke. The two musicians would perform together in several orchestras, creating some of the most seminal jazz recordings.

In the late 50s, the Art Deco sign from the 20s was removed and replaced with a sign more stylistically in step with rock n roll. The signs prominent kidney-bean shape that enclosed the word Col was characteristic of the Doo-Wop style popular at the time. During this period, the ballroom began to feature a new wave of stars including Little Richard, Johnny Cash, Jerry Lee Lewis, Gene Vincent, and the Everly Brothers.

In 1968, the new sign was painted over with three red letters, Col, in the shape of a heart. It reflected the new, psychedelic style introduced by bands such as the Jimi Hendrix Experience, which played at the Col on August 11, 1968. Another pioneering psychedelic rock band, The Yardbirds, played at the Col shortly before Jimmy Page left the band to form Led Zeppelin. In all, five of the top seven musicians on Rolling Stones list of all-time greatest guitarists would perform at the Col: Hendrix, Page, Jeff Beck, B.B. King, and Chuck Berry.

The sign that is now over the Cols entrance was installed in 2007. The change was made so a digital screen could be added to the marquee, and because the old sign was badly weathered and needed to be replaced. For the first time, however, the new sign was a reproduction its predecessor. After nearly four decades, the heart-shaped Col sign had become one of the most familiar even iconic images of Davenport, and there was resistance to changing it.

The decision to replicate the sign indicates that the ballrooms identity was no longer driven by a single direction in music. The

The Col's Jazz Age

sign

The Col's current sign


Photo by Bruce Walters

Photo by Bruce Walters


most recent winners that did 2005s Crash and 1989s Driving Miss Daisy are also two of Oscar historys more derided victors. Ironically enough, theyre also two of the relative few Best Pictures not to also score wins for their directors.) Maybe, like myself, voters en masse just liked 12 Years better than the eight other nominees, and considered Gravity more of a technical astonishment than the years finest overall achievement. But good luck convincing the haters of that; for them, McQueens movie won, and Gravity ultimately got screwed, out of collective

liberal guilt. And for this demographic, I fear, 12 Years Best Picture triumph will quite possibly be the reason many avoid seeing it in the future anti-12 Years partisans wont give it the satisfaction of viewership. (I have friends who refuse to ever watch Dances with Wolves because it won Best Picture over Scorseses GoodFellas, when they should instead be refusing to watch Costners Western for other reasons entirely.)

The anguished, however, should take heart, not merely because of the seven Oscars Gravity did receive, but because a tech-category-and-Director-sweeping film losing Best Picture to a rival with fewer total wins is hardly unprecedented in the annals of Academy history. Hell, it happened just last year, when Ang Lee and his Life of Pi team earned five awards to Best Picture winner Argos three, and there were two ceremonies in the 70s that even more closely mirrored what transpired Sunday night. The 1977 race found Star Wars nabbing seven technical Oscars (although not Best Director) while Best Picture and three additional trophies went to Annie Hall. And at the end of the 1972 contest, Cabaret boasted eight Oscars total, including Best Director for Bob Fosse, while another movie just like 12 Years a Slave wound up solely with Best Picture, Best Adapted Screenplay, and an acting award. Its title? The Godfather.

Hopefully, then, theres still a chance for 12 Years a Slave to be seen for what it is: one of the finest films in an almost universally agreed-upon outstanding film year, and the title that was just lucky enough to be in Will Smiths envelope over intensely tough competition, and in no way an F-you to Cuarns clearly highly regarded option. For the moment, unfortunately, I think 12 Years Best Picture victory or rather, Gravitys Best Picture loss is going to burn all the wrong people for all the wrong reasons. Those of us whove followed the race over the past several weeks know how uncomfortable, if not downright ugly, things were getting in the seemingly endless 12 Years-versus-Gravity debate. Even with 2014s Oscar race now behind us, and for the foreseeable future, its not likely to get any prettier.

So what else happened Sunday night? Well, as mentioned, Ellen DeGeneres

can hear the pissed-off masses cry with Will Arnett-style pique. Alfonso Cuarn gets Best Director and the movie gets six other Oscars and it somehow loses Best Picture?! They just voted out of guilt!

Maybe; 12 Years studio, Fox Searchlight, mounted an aggressive and, according to some, blatantly manipulative campaign strategy in the final weeks of voting, employing the slogan Its time as a not-so-subtle reminder of the Academys sorry track record with movies that even remotely broach the subject of race relations in America. (The two

Notes on the 2014 Academy Awards TelecastThe End of the Oscar Racists. Er ... Races.

At the tail end of her open-ing monologue on Sunday, Academy Awards emcee Ellen DeGeneres took a moment to acknowledge the years tight race for Best Picture, and stated that anything can happen regarding the evenings biggest prize. Possibility number one: 12 Years a Slave wins Best Picture, she said. Possibility number two: Youre all racists.

Which, it turned out, was a possibility voters were not willing to face.

I guess the writing shouldve been on the wall the moment we realized that Sidney Poitier a passionate and vocal 12 Years supporter was seated front-row center, the legendary actor/activists stern countenance suggesting the exhausted chaperone at a post-prom mixer. (Whenever the camera landed on or passed Poitier during the ceremony, even during its most agreeable moments of levity, you could read his expression as I will have none of this foolishness.) The more jaded among us may even have wondered whether the decision to have Best Picture revealed by Will Smith wasnt entirely about the mans box-office power or previous Oscar recognition. (DeGeneres, again nimbly addressing longtime complaints about the Academys lack of inclusiveness, kicked off the trophy-giving by introducing Anne Hathaway with And now, please welcome our first white presenter ... .) But when Smith opened the envelope, it was official: Despite Gravity leading into the announcement with seven wins to a mere two for director Steve McQueens film and with only two other top-prize nominees netting any wins at all 12 Years a Slave was named 2014s Best Picture.

Personally speaking, Im delighted about this. 12 Years was my favorite, if not my prediction, among the options, and judging by the wins rather ecstatic reception in the Hollywood & Highland Center auditorium, it was also the favorite among a great many voters. Yet I cant help feeling, just a smidge, that a Best Picture win might have been the worst possible outcome for McQueens slavery drama, at least for a few years, and especially for a significant percentage of Gravity devotees. Oh, come on! you

by Mike [email protected]

MOVIES


Top to bottom: The 12 Years a Slave team;

Best Actress Cate Blanchett; Best Sup-porting Actor Jared Leto; Best Director

Alfonso Cuarn


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by Mike Schulz [email protected] Mike Schulz [email protected] Reviews by Mike Schulz [email protected] is a good time. These actors, keeping you guessing throughout, also make it a pretty great one.

SON OF GODI truly dont mean to be heretical or

cause offense with this question, but after so many screen tellings and re-tellings over the years, is the Christ story the single least interesting plot available to movie-makers? Heaven knows I understand why cinematic works on the subject are made, and I get why so many people flock to them. But director Christopher Spencers new, ceaselessly mediocre Son of God unwittingly exposes their inherent limitation: Devoid of expressive filmmaking, they tend to emerge as little more than Greatest Hits packages of favorite quotes and favorite miracles, and unless youre Scorsese, its not as though the material can be tinkered with; the story will always have the same depressing, horrific ending, followed by the same Three Days Later (an actual title card here) postscript of grace, that everyone expects. So if youre predisposed to, by all means attend and enjoy Son of God. Just dont plan on the experience being one iota better, riskier, or more satisfying than any other offering of its type. The movie has the Passion; it just doesnt have the passion.

For reviews of Pompeii, 3 Days to Kill, Winters Tale, and other current releases, visit RiverCitiesReader.com

Follow Mike on Twitter at Twitter.com/MikeSchulzNow.

NON-STOPEvery Academy Awards season, the

idea of adding a Best Casting category appears to gain some traction among film journalists and professionals. (This past autumn saw the limited release of a documentary Tom Donahues Casting by devoted to the subject, and Woody Allen, whom one wouldve thought indifferent to the Oscars at best, even wrote an open letter to the Hollywood Reporter in support of a casting trophy.) Im personally fine with restricting the ceremony to the two dozen categories we do have, but if such recognition were to be included, voters could do worse than to consider Amanda Mackey and Cathy Sandrich Galfond casting directors for the enjoyably ludicrous Non-Stop for the prize. To be sure, it doesnt take much wit to suggest that Liam Neeson play a grieving alcoholic with a bad temper and a gun. But casting, as two beleaguered flight attendants, 12 Years a Slaves abused slave Patsey opposite Downton Abbeys rigid Lady Mary? Now thats witty.

And the pairing of Lupita Nyongo and Michelle Dockery in this airborne action thriller is just the tip of the smart-casting iceberg, as the entertainment in this zippy little lark is substantially increased by spot-on performers who grab your attention even in the most seemingly throwaway of roles. Non-Stops setup is a simple, juicy one. During an intercontinental flight to London, Neesons troubled air marshal Bill Marks receives an anonymous text, purportedly from someone aboard the plane, saying that

unless $150 million is deposited into an account in 20 minutes, a fellow passenger will die, with another knocked off every 20 minutes until the demand is met. Marks must consequently determine both whom the texter is and whom the potential victim(s) might be, and director Jaume Collet-Serra (whose 2011 Unknown gave him experience with Neeson in paranoid-and-angry-ass-kicker mode) does an expert job of escalating suspense, with the jets confines seeming to shrink as the tension, and Marks blood pressure, rise. Although his film, for all of its loose ends and practical impossibilities, may as well be titled Non-Sense, Collet-Serra delivers thrilling long takes and speedy, startling bursts of violence a restroom fight to the death is especially jolting and the movie is peppered with terrific jokes, a surprising number of them visual jokes. (When the plane experiences turbulence while Marks reads a text, the message, shown in on-screen subtitles la House of Cards, vibrates along with the passengers.)

Yet in the end, its the casting, and the spirited work of those cast, that transform Non-Stop from a guilty pleasure to a guiltless one. Neeson, like his physique, is solid as hell; the performers tortured monologue detailing Marks character foibles and unimpeachable decency is a tad embarrassing, but Neeson even pulls that

off with fierceness and professionalism. The rest of the in-flight manifest, however, really nails it, with their crafty Could he/she be the killer?! underplaying lending the film a giddy whodunnit vibe that brings to

mind Agatha Christie adaptations such as Murder on the Orient Express and Death on the Nile. (Sticking with that 70s-movie motif, the film is also a pretty neat update on the decades kitschy Airport series that climaxed with the legendarily awful The Concorde: Airport 79.) Beyond Dockery and Nyongo the latter of whose appearance here, at this early stage in her career, is awesome because you dont know whether her role is merely minor or misleadingly minor Julianne Moore shows up, in excellent form, as an eccentric flirt who, when asked what she does for a living, cagily replies, I take a lot of flights. Corey Stoll, so marvelous as poor Peter Russo in House of Cards first season, is a curt, racist NYPD cop, while Scoot McNairy is a twitchy nebbish en route to Amsterdam, and Omar Metwally a poker-faced Muslim doctor. And on and on: Linus Roache as the pilot, Nate Parker as a loquacious computer wonk, Anson Mount as a fellow air marshal ... even the unseen field agent speaking to Marks from the ground cant be trusted once you recognize his voice to be that of Boardwalk Empires sensational Shea Whigham.

Listen to Mike every Friday at 9am on ROCK 104-9 FM with Dave & Darren

Airport 14

Liam Neeson and Michelle Dockery in Non-Stop


MusicAmadeus TrioAugustana CollegeSaturday, March 15, 7:30 p.m.

On March 15, the latest guests in Quad City Arts Visiting Artists series will present their public concert at Augustana Colleges Wallenberg Hall, and all I can say to that is: Rock me, Amadeus! Or rather: Chamber-music me, Amadeus! (With apologies to Falco for rescinding the plug.)

Yet Quad City Arts hasnt exhumed Mr. Mozart for a weeks worth of educational-outreach programs and the Augustana booking. Instead, it has secured the talents of violinist Timothy Baker, pianist Hiroko Sasaki, and

cellist David Teie, three exceptional artists who, together, compose the Amadeus Trio.

Since making its Lincoln Center in 1992, this impassioned chamber collective has delighted classical-music lovers from Los Angeles Ambassador Auditorium to New Yorks Carnegie Hall, and has amassed sensational reviews in the process; the Los Angeles Times calls the Amadeus Trio a world-class ensemble, while the Toronto Star describes the outfit as a powerhouse American chamber group. As local audiences will soon see and hear, Baker, Sasaki, and Teie also have a gift

TheatreThe Secret GardenPlaycrafters Barn TheatreFriday, March 14, through Sunday, March 23

From March 14 through 23, Molines Playcrafters Barn Theatre is inviting family audiences to forget about the winter chill by escaping into the sunny, glorious, magical land of The Secret Garden. I had a college friend who had a secret garden, too, but families were definitely not allowed to visit.

Based on the beloved childrens novel by British author Frances Hodges Burnett a work first published in serialized form in 1910 playwright Pamela Sterlings adaptation (one different from the 1991 musical

version) concerns the young orphan Mary Lennox, a lonely girl who finds a world of enchantment hidden behind the locked doors of her uncles Yorkshire home. And this saga of secrets, family, friendship, and the human spirit will surely boast added enchantment in Playcrafters production, which will find director Donna Weeks guiding a cast that features the gifted young Emma Terronez as Mary, in addition to an ensemble including such familiar area talents as Patti Flaherty, Tyler Henning, Chris Zayner, Bill Peiffer, Ben Klocke, and Jack Sellers.

MusicL.A. GunsRascals LiveFriday, March 7, 9 p.m.

L.A. Guns are coming to Moline. And by that, I mean that the rockers of L.A. Guns will be performing a concert at Molines Rascals Live on March 7. I absolutely do not mean that my third-cousin is arriving from California with illegal arms in the trunk of his car. I mean, why would you ever think that? I never said that! And I hardly ever talk to the guy anyway!

A-a-a-a-anyhoo, since its formation in 1983 and during the bands many iterations in subsequent years L.A. Guns has been a popular staple of the hard-rock scene, serving up two gold-selling albums and one platinum-selling LP, and wowing concert-goers with fiery, thrilling numbers from such Billboard hits as Man in the Moon, Acoustic Gypsies, and Cocked & Loaded.

Currently composed of vocalist Phil Lewis, guitarist Michael Grant, bassist Scott Griffin, and percussionist Steve Riley, L.A. Guns Rascals set is sure to be a hard-rock

blast for newbies and longtime fans alike. If youre among the latter, just how well do you know the groups discography? Lets find out by having you fill in the missing words in this quintet of L.A. Guns album titles.

L.A. Guns plays Rascals Live with an opening set by Halo of Flies, and more information on the night is available by calling (309)797-9457 or visiting RascalsLive.com.

Whats HappeninWhats Happenin All-Quiz Edition!1) Archibald Craven2) Dickon Sowerby3) Ben Weatherstaff4) Colin Craven5) Dr. Craven

A) the sickly boy whom Mary befriendsB) Marys uncleC) the man who administers pain reliefD) brother to Marys maidE) an elderly gardener

Answers: 1 B, 2 D, 3 E, 4 4, 5 C. Funny. That latter description applied to my college buddy, too.

1) American _____2) Covered in _____3) Hollywood _____4) Tales from the _____5) Vicious _____

A) CircleB) GunsC) HardcoreD) StripE) Vampires

Answers: 1 C, 2 B, 3 E, 4 D, 5 A. Of course, if L.A. Guns re-recorded

all those albums placing Vampires in the titles, the band could dominate

the tween-girl market for decades.

Answers: 1 C, 2 D, 3 B, 4 A, 5 E. That description is also perfectly befitting of me. Although Im trying really hard to stop touching people.

1) Arensky Trio in D minor, Op. 652) Ravel Trio in A minor3) Smetana Trio in G minor, Op. 154) Haydn Trio in C major, Hob. XV, 275) Brahms Trio No. 2 in C major, Op. 87

stranglehold on todays politics. Well, that and a highly orchestrated two-party political system whose primary mission is to keep incumbents incumbent. Attend any local party meeting it doesnt matter which party and learn for yourself just how irrelevant they have become. It is far more about the race itself and re-electing incumbents, regardless of performance, than it is about real solutions.

So for those of you who dont aspire to politically serve, yet refuse to extract yourselves from the two-party theater that defines us politically, at least get over to your party meetings and take a hard look at the same old players running them. You will find most of these organizations begging for genuine leadership.

Continued From Page 3

legislative office, especially considering the average annual salary is $175,000 plus valuable benefits such as 75 percent of health-insurance premiums paid thanks to special exemptions for Congress, lifetime pensions regardless of tenure, and lavish expense reimbursements, not to mention a fully paid-for staff. In todays political market, as evidenced by watching C-SPAN, just about anyone with a pulse is eligible for office. Imagine if men and women with relevant skills (and a sense of old-fashioned honor) decided to challenge the status quo. We the People might finally get results-oriented representation.

One of the greatest threats to America is the increasing unwillingness of new folks to run for political office, whether local, state, or federal. This dire lack of competition for seats is what perpetuates the status quo and special interests



WORDS FROM THE EDITOR



cellist David Teie, three exceptional artists who, together, compose the Amadeus Trio.

Since making its Lincoln Center in 1992, this impassioned chamber collective has delighted classical-music lovers from Los Angeles Ambassador Auditorium to New Yorks Carnegie Hall, and has amassed sensational reviews in the process; the Los Angeles Times calls the Amadeus Trio a world-class ensemble, while the Toronto Star describes the outfit as a powerhouse American chamber group. As local audiences will soon see and hear, Baker, Sasaki, and Teie also have a gift

for making incredibly challenging, even intimidating classical pieces sound as though playing them were the simplest things in the world.

And happily, several of those pieces can be heard with one simple mouse-click! To prep for the performers area visit, and to test your own classical-music chops, try matching these AmadeusPianoTrio.com recordings with the descriptions provided by the groups Web site.

For more information on the Amadeus Trios area residency, call (309)793-1213 or visit QuadCityArts.com.

version) concerns the young orphan Mary Lennox, a lonely girl who finds a world of enchantment hidden behind the locked doors of her uncles Yorkshire home. And this saga of secrets, family, friendship, and the human spirit will surely boast added enchantment in Playcrafters production, which will find director Donna Weeks guiding a cast that features the gifted young Emma Terronez as Mary, in addition to an ensemble including such familiar area talents as Patti Flaherty, Tyler Henning, Chris Zayner, Bill Peiffer, Ben Klocke, and Jack Sellers.

Young readers have been enraptured by The Secret Garden for a century-plus now a 2007 online poll by the National Education Association named it one of Teachers Top 100 Books for Children but how well do you recall this timeless tale? Find out by matching these Secret Garden characters with their descriptions.

The Secret Garden plays at 7:30 p.m. on Fridays and Saturdays and 3 p.m. on Sundays, and more information and tickets are available by calling (309)762-0330 or visiting Playcrafters.com.

TheatreMillion Dollar QuartetAdler TheatreSunday, March 16, 7 p.m.

Million Dollar Quartet, the Tony-winning Broadway smash whose American tour lands at Davenports Adler Theatre on March 16, is a musical dramatization of the real-life, largely unknown recording session that transpired among Johnny Cash, Jerry Lee Lewis, Carl Perkins, and Elvis Presley, and features its leading singers/instrumentalists performing live renditions of the rock n roll icons greatest mid-1950s hits.

You couldnt possibly require more information to determine whether to get tickets or not. So ... on to the quiz! Try matching these Million Dollar Quartet numbers with the artists who made them famous.

For tickets to Million Dollar Quartet, call (800)745-3000 or visit AdlerTheatre.com.

MUSICFriday, March 7 The Post

Mortems Album-Release Party. Area rockers celebrate the release of Cracked & Crooked, with opening sets by Satellite Heart and Mutts. Rock Island Brewing Company (1815 Second Avenue, Rock Island). 9 p.m. $5. For information, call (309)793-4060 or visit RIBCO.com.

Friday, March 7 Patio. Erik Wilson, Pat Willis, Derek Reid, Dan Olds, and Alan Vrombaut perform the gamut from heavy metal to jazz, with an opening set by Zeta June. The Redstone Room (129 Main Street, Davenport). 10 p.m. $5. For tickets and information, call (563)326-1333 or visit RiverMusicExperience.org.

Friday, March 7 Dick Prall. Concert with the folk and pop singer/songwriter. Englert Theatre (221 East Washington Street, Iowa City). 8 p.m. $16. For tickets and information, call (319)688-2653 or visit Englert.org.

Saturday, March 8, and Sunday, March 9 Quad City Symphony Orchestra. Instrumental ensemble performs the fifth Masterworks concerts of the season, with a repertoire including Jacob Bancks world premiere Rock Island Line, Beethovens Symphony No. 8, and

What Else Is Happenin

Whats Happenin All-Quiz Edition! by Mike [email protected]


1) Hound Dog2) I Walk the Line3) Real Wild Child4) See You Later, Alligator5) Sixteen Tons6) Thats All Right7) Who Do You Love8) Whole Lotta Shakin Goin on

A) Johnny CashB) Jerry Lee LewisC) Carl PerkinsD) Elvis Presley

Answers: 1 D, 2 A, 3 B, 4 C, 5 A, 6 D, 7 C, 8 B.

If you got em all right, youre definitely the right audience for

Million Dollar Quartet! But please dont sing along during the

show, because if Im sitting behind you, I may have to swat you

on the back of the head. How will anyone ever hear me?!

A) the sickly boy whom Mary befriendsB) Marys uncleC) the man who administers pain reliefD) brother to Marys maidE) an elderly gardener

Answers: 1 B, 2 D, 3 E, 4 4, 5 C. Funny. That latter description applied to my college buddy, too.

Answers: 1 C, 2 D, 3 B, 4 A, 5 E. That description is also perfectly befitting of me. Although Im trying really hard to stop touching people.

1) Arensky Trio in D minor, Op. 652) Ravel Trio in A minor3) Smetana Trio in G minor, Op. 154) Haydn Trio in C major, Hob. XV, 275) Brahms Trio No. 2 in C major, Op. 87

A) glittering, very fast lighthearted rompB) very moving work with an explosive endingC) darkly, beautifully romantic and very virtuosticD) shimmeringly beautiful musicE) grand, sunny, robust, and at times touching


Saturdays 10 a.m.-5 p.m., Thursdays 10 a.m.-9 p.m., Sundays noon-5 p.m. Free with $4-7 museum admission. For information, call (563)326-7804 or visit FiggeArt.org.

EVENTSFriday, March 7 Tutu Fabulous.

Fundraiser for Ballet Quad Cities featuring dance performances, wine, hors doeuvres, a silent auction, and an open dance floor. Hotel Blackhawk (200 East Third Street, Davenport). 7 p.m. $40-45. For tickets and information, call (309)786-3779 or visit BalletQuadCities.com.

Wednesday, March 12 Lightwire Theater. Multimedia event with the stage artists and Americas Got Talent performers. Englert Theatre (221 East Washington Street, Iowa City). 6:30 p.m. $20-35. For tickets and information, call (319)688-2653 or visit Englert.org.

Friday, March 14, through Monday, March 17 Kellys Irish Pub & Eatery St. Patricks Party. Annual weekend celebration of all things Irish, with live music, dance, the Skydiving Leprechauns, magic, food and drink, and more. Kellys Irish Pub & Eatery (2222 East 53rd Street, Davenport). Free admission. For information, call (563)344-0000 or visit KellysIrishPubAndEatery.com.

Friday, March 14, and Saturday, March 15 Shamrockin Patty OPardy. Two-day, heated-tent holiday celebration featuring a Friday-night set with Mommys Little Monster, and Saturday performances by the Barley House Band, Mayer School of Irish Dance, Funktastic Five, and Motorbiscuit. Kavanaughs Hilltop (1228 30th Street, Rock Island). Friday 7 p.m., Saturday 1 p.m. For information, call (309)786-9055 or visit RCReader.com/y/patty.

Saturday, March 15 St. Patrick Society of the Quad Cities Grand Parade XXIX. The only interstate St. Patricks Day Parade in the United States starts at the corner of Fourth Avenue and 23rd Street in Rock Island, travels through the District area, heads across the Mississippi River via the Centennial Bridge, and proceeds through downtown Davenport to Second and Harrison streets. 11:30 a.m. Free. For information, visit StPatsQC.com.

Brahms Symphony No. 2. Saturday: Adler Theatre (136 East Third Street, Davenport), 7:30 p.m. Sunday: Augustana Colleges Centennial Hall (3703 Seventh Avenue, Rock Island), 2 p.m. $10-55. For tickets and information, call (563)322-7276 or visit QCSymphony.com.

Saturday, March 8 Anthony Gomes. Blues-rock guitarist and singer/songwriter in concert. The Redstone Room (129 Main Street, Davenport). 8 p.m. $12-15. For tickets and information, call (563)326-1333 or visit RiverMusicExperience.org.

Saturday, March 8 Whitey Morgan & the 78s. Honky-tonk and country musicians in concert, with opening sets by Them SomBitches and Al Scorch. Rock Island Brewing Company (1815 Second Avenue, Rock Island). 9 p.m. $10. For information, call (309)793-4060 or visit RIBCO.com. For a 2011 interview with Morgan, visit RCReader.com/y/whitey.

Saturday, March 8 Nathan Carterette. Classical pianist performs in two Englert Intimate Series presentations. Englert Theatre (221 East Washington Street, Iowa City). 2 and 8 p.m. $10-15. For tickets and information, call (319)688-2653 or visit Englert.org.

Sunday, March 9 Third Day and Skillet. Christian rockers in concert, with opening sets by Mandisa, Brandon Heath, Peter Furler, and We As Human. i wireless Center (1201 River Drive, Moline). 7 p.m. $20-97.50. For tickets, call (800)745-3000 or visit iwirelesCenter.com.

Sunday, March 9 Pink Martini with the von Trapps. Electric classical, jazz, and pop arrangements with the little orchestra, featuring performances by vocalist China Forbes and the von Trapps the great-grandchildren of the Sound of Music family. Adler Theatre (136 East Third Street, Davenport). 8 p.m. $29-59. For tickets, call (800)745-3000 or visit AdlerTheatre.com.

Sunday, March 9 Rally Round the Rawley: Shots & Chords for Shots & Cords. Benefit for hospitalized youth Rawley Sisson; with a bake sale, raffles, silent auction, wine pull, and performances by the Franti Project, Modern Mythology, Justin Morrissey, the Lowdown, the Mercury Brothers, Funktastic Five, and the Candymakers. The Redstone Room (129 Main Street, Davenport). Noon-10 p.m. $10 suggested donation. For tickets and information, call (563)326-1333

or visit RiverMusicExperience.org or RawleyBenefit.MyEvent.com.

Friday, March 14 Bret Michaels Birthday Bash. Concert celebration with the singer/songwriter and lead vocalist for Poison, featuring opening sets by Divebomb and Shallow Side. Rascals Live (1414 15th Street, Moline). 7 p.m. For information, call (309)797-9457 or visit RascalsLive.com.

Saturday, March 15 Rehab. Rockers in their farewell tour, with an opening set by Angels Cut. Rock Island Brewing Company (1815 Second Avenue, Rock Island). 9 p.m. $15. For information, call (309)793-4060 or visit RIBCO.com.

Saturday, March 15 Dervish. Concert with the internationally touring Irish musicians. Englert Theatre (221 East Washington Street, Iowa City). 8 p.m. $22-25. For tickets and information, call (319)688-2653 or visit Englert.org.

THEATREThursday, March 6, through

Saturday, March 15 Absurd Person Singular. Relationship comedy/drama by Alan Ayckbourne, directed by Eric Forsythe. University of Iowas David Thayer Theatre (200 North Riverside Drive, Iowa City). Thursdays through Saturdays 8 p.m., Sunday 2 p.m. $5-17. For tickets and information, call (319)335-1160 or visit Theatre.UIowa.edu.

Wednesday, March 12, through Saturday, March 22 Miss Abigails Guide to Dating, Mating, & Marriage. Limited-run engagement of the comedy boasting how-to relationship advice. Circa 21 Dinner Playhouse (1828 Third Avenue, Rock Island). Wednesdays through Saturdays: 6-7 p.m. buffet, 7:15 p.m. show. Sunday: 4-5 p.m. buffet, 5:15 p.m. show. March 12: 11:45 a.m.-12:45 p.m. plated lunch, 1 p.m. show. $43.37-$49.12. For tickets and information, call (309)786-7733 extension 2 or visit Circa21.com.

Friday, March 14, through Sunday, March 23 A New Brain. Composer William Finns semi-autobiographical off-Broadway musical, directed by James Fairchild. District Theatre (1611 Second Avenue, Rock Island). Thursdays through Saturdays 8 p.m., Sundays 2 p.m. $20. For tickets and information, call (309)235-1654 or visit DistrictTheatre.com.

DANCEThursday, March 6, and Friday,

March 7 Ragamala Dance: Sacred Earth. Modern-dance company performs in a presentation in the Hancher Auditorium Visiting Artists series. University of Iowas Space/Place Theatre (20 Davenport Street, Iowa City). 7:30 p.m. $10-35. For tickets and information, call (319)355-1160 or visit http://www.Hancher.UIowa.edu.

SPORTSFriday, March 14, and Saturday,

March 15 Caged Aggression XII: Victory. Matches between 24 professional and 24 amateur fighters, with five professional and five amateur titles awarded. Davenport RiverCenter (136 East Third Street, Davenport). Noon. For information, call (563)326-8500 or visit RiverCtr.com.

MOVIESFriday, March 14 National

Theatre Live: War Horse. A screening of Nick Staffords Tony Award-winning World War I drama. Englert Theatre (221 East Washington Street, Iowa City). 7 p.m. $15-18. For tickets and information, call (319)688-2653 or visit Englert.org.

Saturday, March 15, and Sunday, March 16 Movie Star: The Secret Lives of Jean Seberg. Screening of the Hollywood-star documentary by area filmmakers Kelly and Tammy Rundle, featuring post-film Q&A sessions. Saturday: Figge Art Museum (225 West Second Street, Davenport), 6 p.m., $15-20. Sunday: Nighswander Junior Theatre (2822 Eastern Avenue, Davenport), 2 p.m., $8. For information, call the Figge at (563)326-7804 or Junior Theatre at (563)326-7862, or visit JeanSebergMovie.com.

KIDS STUFFThursday, March 13 Sesame

Street Live: Make a New Friend. A new stage adventure featuring Big Bird, Elmo, and other favorite PBS characters. i wireless Center (1201 River Drive, Moline). 6:30 p.m. $16.50-50.50. For tickets, call (800)745-3000 or visit iwirelesCenter.com.

EXHIBITSaturday, March 8, through

Sunday, March 16 Young Artists at the Figge: Moline. Exhibit featuring the works of student artists. Figge Art Museum (225 West Second Street, Davenport). Tuesdays through


What Else Is Happenin


and economic stability.Far greater wealth is in the hands of far

fewer people; more people are in poverty; the middle class is shrinking faster; 80 percent of congressmen are millionaires (many becoming so after being elected) and 70 percent are attorneys; almost every agency executive position is either a career position or occupied by executives from the industry the agency is supposed to oversee; law enforcement is becoming more arbitrary with administrative statutes that have little if no Constitutional authority; and perhaps most alarming of all is that civic education and


These lifers could not be less concerned with platforms conforming to their proclaimed political ideologies. As an experiment, pose relevant questions and see what that gets you. I would be delighted to be proven wrong, so try.

I propose that local party leaders, including those of the Scott County Republican and Democratic parties, are generally cheerleaders for incumbent elections. Beyond that, apparatchiks mandate is to screen candidates to ensure that only malleable challengers willing to go-along-to-get-along prevail. The local party groups have degraded into nothing more than exclusive vetting organizations for the status quo.

The solution here is to get involved with replacing this destructive political process with one that boasts restorative goals that are inclusive. Start working to get elections, especially local elections, back to something with genuine change that is representative of residents and taxpayers. You cant do this from the couch, or via e-mail or Facebook. You have to be present to win.

Our collective failure to hold government accountable, regardless of which party has control, has resulted in no less than five decades of massive growth in government agencies and spending, with ever-increasing levels of spending for both corporate welfare and social programs, education, and gov-co services, resulting in the largest income gap ever, and a staggering degradation in education, infrastructure, civil rights, oversight,



understanding is almost nonexistent in the current voting population.

Basic civic information is readily available for our consumption by visiting state, county, and city Web sites and nonpartisan informational sites such as VoteSmart.org, OpenCongress.org, GovTrack.us, and CBO.gov. Before we can effectively hold government accountable, we must first get solid footing with our own knowledge base, political ideals, civic values, and aspirations for governance.

You might even find it is a lot more interesting than prime-time TV.

WORDS FROM THE EDITOR February 20 Crossword Answers


smattering of applause) and continued with a fervent request for more movies for and about women movies that, as Blanchett reminded everyone, arent merely niche releases and in fact earn money. (A personal gripe: How, after her Best Supporting Actress clip, did the camera somehow not manage to find Blue Jasmine co-star Sally Hawkins? She may not be immediately recognizable by name or face, but for Petes sake, she was sitting right next to Blanchett!) Popular victories were enjoyed by Cuarn (twice, as he also co-edited Gravity), and 12 Years poised and lovely Lupita Nyongo, and an obviously touched and surprised Spike Jonze, who beat out American Hustle front-runners David O. Russell

2014 Academy Award WinnersBest Picture: 12 Years a SlaveBest Director: Alfonso Cuarn, GravityBest Actress: Cate Blanchett, Blue JasmineBest Actor: Matthew McConaughey, Dallas Buyers ClubBest Supporting Actress: Lupita Nyongo, 12 Years a SlaveBest Supporting Actor: Jared Leto, Dallas Buyers ClubBest Original Screenplay: Her, Spike JonzeBest Adapted Screenplay: 12 Years a Slave, John RidleyBest Animated Feature: FrozenBest Original Song: Let It Go, FrozenBest Foreign-Language Film: The Great BeautyBest Documentary Feature: 20 Feet from StardomBest Original Score: GravityBest Cinematography: GravityBest Film Editing: GravityBest Production Design: The Great GatsbyBest Costume Design: The Great GatsbyBest Sound Editing: GravityBest Sound Mixing: GravityBest Visual Effects: GravityBest Makeup & Hairstyling: Dallas Buyers ClubBest Documentary Short: The Lady in Number 6: Music Saved My LifeBest Live-Action Short: HeliumBest Animated Short: Mr. Hublot

hosted, and was ... okay, I thought. Her opening monologue was actually pretty killer. With no movie-montage or song-and-dance to start the evening, the genial and seemingly relaxed DeGeneres who previously played Oscar-night ringleader in 2007 strode on-stage and was obviously the immediate beneficiary of much goodwill in the wake of last years wildly divisive emcee Seth MacFarlane. (Noting that the 2007 nominees included Cate Blanchett, Meryl Streep, Leonardo DiCaprio, and Martin Scorsese, DeGeneres assumed a perfect deadpan and labeled this year so different.) Her early jokes, though, made it clear that she wasnt going to be the completely nicey-nice alternative to MacFarlane; following a salty jab at June Squibb (Im telling everyone you were wonderful in Nebraska! she mock-yelled at the 84-year-old), DeGeneres also got in solid shots at Jennifer Lawrence, for her tendency to fall down in public, and Liza Minnelli, for looking just like Liza Minnelli. (Good job, sir.)

But while she managed to salvage portions of her later shtick through sheer amiability plus the ne plus ultra in Hollywood-elite selfies the hosts evening-long, wandering-through-the-aisles routine too often fell flat, with the ordering-in-for-pizza running gag only yielding very occasional pleasures. (The sight of Brad Pitt passing out paper plates was one of them.) And aside from an intentionally tardy entrance as Glinda the Good Witch, which happened in conjunction with the shows time-wasting tribute to The Wizard of Oz (albeit one highlighted by Pinks fine, if vocally-unsupported-at-times, take on Over the Rainbow), there really wasnt much else to DeGeneres hosting. Many of her on-screen moments took place with DeGeneres deliberately losing herself in the crowd, and thats how her hosting, in general, came off; I tended to lose track of her even when she was directly in front of me.

And, sadly, beyond the early appearance of Jim Carrey, DeGeneres was pretty much alone in delivering laughs last night at least intentional laughs, and at least laughs provided courtesy of the presenters, whose uncharacteristically dry, this-is-serious-stuff banter might also have portended the eventual 12 Years victory. (Jamie Foxx was stuck with a Chariots of Fire bit more than three decades past its prime, and even Bill Murray wasnt allowed to be funny although he did, after announcing

the nominees for Best Cinematography, deliver some heartfelt recognition to longtime friend and collaborator Harold Ramis, who passed away on February 24.) For unintentional laughs, at least we had Charlize Therons charming confusion over the teleprompter and the fun in hearing Naomi Watts accent add some class to the Makeup & Hairstyling nomination for Jackass Presents Bad Grandpa. (Or, to hear Watts say it, Jock-oss Presents ... .) Oh, yeah, and there was Kim Novak. Moving right along ... .

The film montages, all of which addressed the ceremonys previously announced A Salute to Heroes theme, were as ridiculous, and ridiculously vague, as the theme itself. There were montages for animated heroes, and comic-book and super heroes, and bucking-the-system heroes, and finally one that positioned Roy Scheider in Jaws next to Jimmy Stewart in Its a Wonderful Life next to Sigourney Weaver in Aliens next to Kevin Bacon in Footloose ... . Did the shows writers somehow forget that hero and protagonist arent the same thing? The montages quickly emerged as less a collective Salute to Heroes than a Salute to Movies Youve Actually Seen.

At least the shows musical numbers were more bearable. (The Hollywood & Highland Center crowd sure thought so, as they stood up at the conclusion of every number performed except for Best Original Songs low-key Her nominee The Moon Song, performed by Karen O.) Pharrell Williams offered a kicky and nicely abbreviated take on his Happy number complete with a pair of dancing tykes who were clearly having the times of their lives; U2s Ordinary Love rendition was as exciting as the number itself is dull. And Bette Midler sure started well on her post-In Memoriam delivery of Wind Beneath My Wings ... until, that is, the song obviously became less a hymn to the deceased than an awkward, and awkwardly self-serving, reminder of her own vocal prowess. (The less said about Darlene Loves unexpected, badly amplified wailing in the wake of 20 Feet from Stardoms Best Documentary win, the better.)

Hmmm ... what else ... ? With Best Supporting Actor the first category announced, victor Jared Leto got many misty-eyed awfully early by opening with sweet acknowledgment of his mom. Best Actress winner Cate Blanchett, in a classic speech, began with appropriate but potentially alienating recognition of Woody Allen (whose name received a

The End of the Oscar Racists. Er ... Races.by Mike Schulz

[email protected]

and Eric Warren Singer. (Impressively for me, I correctly predicted the winners in 18 out of 24 categories, and also foresaw, unfortunately, American Hustles complete and unfair 0-for-10 shutout.) Best Actor champ Matthew McConaughey was ... McConaughey ... meaning the women at my Oscar party swooned over his typically loopy and grandiose speech and we men just rolled our eyes. As one of 12 Years a Slaves producers, Brad Pitt can finally, finally, call himself an Oscar winner.

Oh, and how about that Adela Dazeem singing Frozens Let It Go?! What a powerhouse! And to think, before Sunday night, Id never even heard of her!


Best Supporting Actress Lupita Nyong'o and Best Actor Matthew McConaughey


of roller-coaster ride at that point, so we can cut loose and be crazy, and Als drumming his guts out, and Im jumping around and probably barely playing anything coherent ... . Live, the solo is [replaced by] the visual part of the song.

But you can expect to hear a more dynamic sound than The Post Mortems have been able to achieve live previously. Cracked & Crookeds release coincides with the unveiling of Alexanders new rig, which adds two cabinets and two amps and allowed him to cut the number of effects pedals he uses in half.

He said The Post Mortems resisted the equipment upgrade for a long time. We didnt want to carry a bunch of garbage, he said. We just wanted to be a two-piece band that had almost less than two musicians worth of gear.

But the new setup results in a sound that is bigger, cleaner, and more organic, he said: Its so much more powerful, so much more reflexive to what Im putting into the bass with just my hand. The equipment now reflects our dynamics at the hand level his hands on sticks, my hands on the strings. Now when I flex the muscle of the bass, it gives back to me instead of feeling like a car without power steering. ...

Now there are four parallel avenues of sound instead of just two. Because of that, it blends more nicely. Things dont fight one another. ... Its not easy to explain how it feels, but the audience will be able to hear it; whether they realize it or not, they will sense it.

The Post Mortems record-release show will be held Friday, March 7, at RIBCO (1815 Second Avenue, Rock Island; RIBCO.com). The 9 p.m. show also features Satellite Heart and Mutts, and cover is $5.

For more information on The Post Mortems, visit ThePostMortems.com or Facebook.com/ThePostMortems.

range of performers in the past few decades has been diverse from country singers such as Reba McEntire to metal groups such as Metallica; from rappers such as Trina and the Beastie Boys to alternative bands such as Sonic Youth and the Killers. Jazz is still performed live at the ballroom, and so is rock n roll.

Extraordinarily, the whole sweep of the past century is still there to be seen. The classical elements, the neon technology introduced in the 20s, and the psychedelic-


Complicated Lazinessby Jeff Ignatius

[email protected]

styled heart still grace the ballrooms faade. The new sign is a promise that the buildings life will extend well into its second century.

Bruce Walters is a professor of art at Western Illinois University.

This is part of an occasional series on the history of public art in the Quad Cities. If theres a piece of public art that youd like to learn more about, e-mail the location and a brief description to [email protected].

with its dominant, sneaky, dubious bass; when the distortion kicks in on it, it sounds like a downtuned, fuzzed six-string, but in the context of the song its creation with the bass is apparent enough.

The song deftly segues in to the swinging, hooks-aplenty Hard, in which Alexanders voice reveals itself as a warmly welcoming component. Striptease returns his voice to an affected, warbling speaking style of singing, and the songs contribution to the albums first third is a slow build to a climax of twinned tortured singing and frenetically elastic bass and drums.

After those four songs, The Post Mortems have established both a depth and a range within their limited instrumentation, and the remainder of the album has the freedom to dance around while staying of-a-piece, with each track boasting a distinct vibe and clear sonic aims. The pulsing Fall of Home, the lovely, nearly conventional alt-rock emotional arc of Hope Falls, the stuttering interplay of drum and bass on Brother, the organ-like wash of I Am I, the dull, flat throb on Golden, with its angular, metallic punctuation from the bass ... .

That distorted bass is the secret weapon throughout the album, with the fuzz and buzz a satisfying substitute for electric six-string: a forceful, tuneful instrument that Alexander wields with precision. Im giving short shrift to the drumming, singing, and traditional bass on the album, but thats only because The Post Mortems use of the bass as a lead stringed instrument is so bracing.

As for live performance, dont expect to hear the album note-for-note. On the album version of Hope Falls, for example, theres a bass solo that sounds like its a guitar whose inclusion Alexander said was the subject of significant debate. If I could have sung that with my voice, I would have, he said. We dont do that solo live. ... Live were a different animal. Were sort of at the apex of some sort

Art in Plain Sight: The Col Ballroomby Bruce Walters

[email protected] Continued From Page 8


theres anything you could do to be more manhunky for her. This is just what youre supposed to do in a relationship make that extra effort to please your partner, even if it takes, oh, five minutes every few days to run a razor over your legs and pits. She can still rebel against the patriarchy in other ways, like by going around in snarky T-shirts and blogging about how leg-shaving is an obvious plot to keep women in the shower and out of the House of Representatives. The bottom line, for you and many other men, is that its really sexy to run your hand through a womans hair just not the hair on her ankles.

Dial Another DayIs it really that inappropriate to give a girl

your number instead of asking for hers? I met a cool girl at the gym. We really seemed to hit it off, and I asked whether we could get a drink sometime. She said yes, and I said, Here, Ill give you my number. She said, Um, dont you want my number? Well, I just offered her mine because she had her phone with her and mine was in the locker room, but apparently she was offended. Really? Who cares?

Hung Up on an Issue

Giving this woman your number and expecting her to call you is like the lion saying to the gazelle, Would you mind coming over here and killing yourself, and then Ill eat you? For millions of years, theres been a natural order of things and it involves men chasing women, and it hasnt heard of Gloria Steinem and doesnt care that your phone is in the locker room. Sure, women these days may sometimes pursue men. But when you want a woman, do you really want to walk away without her phone number and hope shell call which most women wont do? Also, chances are, expecting a woman to call you comes off a little insulting telling her youre interested in her, just not interested enough to lift a finger and touch it to phone buttons 10 times. In other words, the thing to do was to toddle off and get a writing implement and a scrap of paper so you could take down this womans number and call her, not try to rewrite male and female psychology and dating practices for your convenience: Great meeting you! Ill just be sitting home painting my toenails and waiting for the phone to ring.

Got A Problem? Ask Amy Alkon.171 Pier Ave, #280, Santa Monica, CA 90405

or e-mail [email protected] (AdviceGoddess.com)2014, Amy Alkon, all rights reserved.

Ask the Advice Goddess BY AMY ALKONWhen Harry Met Hairy

My girlfriend of six months just stopped shaving her legs and armpits. I think she is so sexy except for this. Recently, I asked her whether shed shave again, and she snapped that shaving is time-consuming and the idea that women should remove their body hair comes from anti-feminist propaganda. I dont know about that. I just like seeing female legs and armpits without a bunch of dark furry hair cover. Do I get to ask again?

In the Thick of It

Its great when your girlfriend reminds you of somebody exotic out of the movies when that somebody is Mila Kunis or Eva Mendes, not Chewbacca.

As for your girlfriends notion that the de-furred look traces to anti-feminist propaganda, way back before there was Cosmo, there was Ovid, the Roman poet, advising women looking for love: Let no rude goat find his way beneath your arms (dont let your underarms get stanky like a goat) and let not your legs be rough with bristling hair. Archeological evidence (including hair-scraping stones and an impressive set of Bronze Age tweezers) suggests that women and often men have been shaving, depilating, and yanking out body hair since at least 7000 B.C. In the early 1500s, Michelangelo sculpted David (who would have been a hairy Middle Eastern dude, looking more Borat than babys bottom), making him look like he was too busy spending three weeks at the waxer to slay Goliath. And these days, male bodybuilders also remove their body hair, lest their admirers have to peer through the hair sweater to find the pecs and abs.

You, likewise, would just like to see your girlfriends legs without having to send your eyeballs off on a search party through Furwood Forest. (You must look back fondly on the days when you could picture her naked without first giving her a mental bath in a vat of Nair.) Is there a double standard at play here? Sure there is if youd shave a Fidel Castro beard to be more attractive to her but she refuses to shave her Fidel Castro legs.

Let her know that you arent looking to turn her into a razor slave of the patriarchy youre just trying to keep your sex life (and, in turn, your relationship) alive and ask whether

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LEO (July 23-August 22): I recommend that you sleep with a special someone whose dreams youd

like to blend with yours. And when I say sleep with, I mean it literally; its not a euphemism for having sex with. To be clear: Making love with this person is fine if thats what you both want. But my main point is that you will draw unexpected benefits from lying next to this companion as you both wander through the dream-time. Being in your altered states together will give you inspiration you cant get any other way. You wont be sharing information on a conscious level, but thats exactly the purpose: to be transformed together by whats flowing back and forth between your deeper minds. For extra credit, collaborate on incubating a dream. Read this: TinyURL.com/dreamincubation.

VIRGO (August 23-September 22): One chord is fine, said rock musician Lou Reed about his no-frills approach

to writing songs. Two chords are pushing it. Three chords and youre into jazz. I recommend his perspective to you in the coming weeks, Virgo. Your detail-oriented appreciation of lifes complexity is one of your finest qualities, but every once in a while like now you can thrive by stripping down to the basics. This will be especially true about your approach to intimate relationships. For the time being, just assume that cultivating simplicity will generate the blessings you need most.

LIBRA (September 23-October 22): You Librans havent received enough

gifts, goodies, and compliments lately. For reasons I cant discern, you have been deprived of your rightful share. Its not fair! What can you do to rectify this imbalance in the cosmic ledger? How can you enhance your ability to attract the treats you deserve? Its important that we solve this riddle, since you are entering a phase when your wants and needs will expand and deepen. Heres what I can offer: I hereby authorize you to do whatever it takes to entice everyone into showering you with bounties, boons, and bonuses. To jump-start this process, shower yourself with bounties, boons, and bonuses.

SCORPIO (October 23-November 21): The art of living is more like wrestling than dancing, wrote the

Roman philosopher Marcus Aurelius more than 1,800 years ago. Is that true for you, Scorpio? Do you experience more strenuous struggle and grunting exertion than frisky exube

River Cities' Reader - Issue 851 - March 6, 2014

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