“It’s Always Sunny In Philadelphia,” a sitcom on FX, has gained a notorious reputation in its five years of being on the air as one of the most crass, immature, and hilarious shows on television. The four main characters, Dennis, Mac, Dee, and Charlie, run Paddy’s Pub, a dive bar in South Philadelphia. In the episode, “Paddy’s Pub: The Worst Bar in Philadelphia,” Fisher Stevens plays Lyle Korman, a reporter for the Philadelphia Inquirer who gives the bar a scathing review. This prompts the owners to try to persuade Korman to write a new review of their bar. Charlie, whose illiteracy and paint huffing habits make him all the more loveable, ends up kidnapping Korman and holding him hostage in the bar. “The Gang,” as they’re referred to in the show, spends the rest of the episode plotting a way to release Korman without him going to the police.
One of the strongest qualities of the episode, like all other “It’s Always Sunny In Philadelphia” episodes, is that you really don’t need a back-story to be able to follow the plot. Now, that may speak to the shallow nature of the characters, but more likely it exhibits the writer’s lack of desire for a conventional show. Within minutes of the opening credits, you can see exactly what kind of people Dennis, Mac, Dee, and Charlie are.
The biggest flaw of the episode, though, is the conspicuous absence of Frank, Dennis and Dee’s biological father, played by Danny DeVito. He is nowhere to found throughout the episode and his absence is never even addressed. But when Frank is present, his off-color comments, constant reminiscing, and cluelessness of anything post-1969 make his character the one that stands out among the rest. Though Frank is never the main character in any episode, his coarse and tasteless views make the rest of the characters, who are by no means saints, look like boy scouts.
Another unusual turn in this episode occurs when The Gang actually listens, or is forced to listen, to Charlie’s dimwitted ideas. It was his plan to kidnap Korman, hold him at Paddy’s until he wrote a more favorable review, and, ultimately, try to give him amnesia by breaking a bottle over his head. In most cases, The Gang’s plans are at least somewhat sensible, and they almost seem ingenious when compared to Charlie’s. But his outrageous schemes and total disregard for common sense and others’ safety reminds the audience that this show’s purpose is to make people laugh.
While this episode stuck to the show’s main formula, it still was able to be fresh. The witty writers and their vulgar-for-cable script look like geniuses when the lines are caught on camera because of the great chemistry between the actors. “Paddy’s Pub: The Worst Bar In Philadelphia” exhibits outrageous scheming, shockingly shallow reasoning by the characters, and plenty of entertaining plot twists, all things that make the show unlike any other on television.
Monday, April 12, 2010
Monday, April 5, 2010
"Expect the Unexpected"
“’Expect the Unexpected’ captures the last 20 years of [Hollis Sigler’s] work. The paintings are deeply grounded in personal experience,” said Patty Rhea, the curator of “Expect the Unexpected.” Sigler, who during her life was a prominent Chicago based artist and member of the Columbia College Chicago faculty, died of breast cancer in 2001. Her personal message and use of color vibrancy and shading make her work all the more meaningful. “Expect the Unexpected” was an exhibit on display at the Chicago Cultural Center from January 30 to April 4, 2010 that showcased over 60 of Sigler’s pieces.
There was a wide variety of themes throughout Sigler’s catalog. Though her struggle with breast cancer was often the topic of her work, she also worked feelings of sexuality, repressed emotions, religion, and loneliness into her work. Her 1991-1992 painting “It Keeps Her Going,” an oil painting on canvas with a painted frame, shows a tranquil outdoor scene, complete with a fountain, but the seemingly calm scene is being viewed from the inside of a devastated house, filled with broken down appliances and shattered glass. This metaphor for false facades may be symbolizing Sigler’s feelings about her sickness. She wants to show how on the outside things may seem peaceful, but beneath the surface they’re utterly chaotic.
Though most of Sigler’s displayed pieces were paintings, there were other variations of her work. One of them, called “If She Could Free Her Heart to Wild Desires,” is a lithograph pop-up book. When opened, the book shows two very dark and vicious jackal-like animals being freed from a seemingly Pandoran box. The use of three dimensions gives the characters a more lifelike and realistic feel.
A common characteristic of Sigler’s paintings was the color variety and intensity. Cool blues and purples gave the viewer a placid and relaxed feel while shades of intense red and orange voiced her rage, often directed at her disease.
The several recurring items throughout Sigler’s works are very helpful when comparing different pieces. They give the audience a basic idea of what Sigler wants to say. Often seen items were fountains, statues, windows, clothing, tables and chairs. In a video being played at the exhibit, Sigler said, “Clothing can represent different time periods in a person’s life.” By using such simple and common items, Sigler connected with the audience on a more personal level. The piece that shares the same name as the exhibit, “Expect the Unexpected,”(1995) brings many of the commonly seen items together in one piece. But the most striking thing in this work isn’t in the color lithograph of a kitchen being wrecked. It’s in the message Sigler wrote around the frame that reads, “One in eight women will be diagnosed with breast cancer in their lifetime. Every 12 minutes another woman dies from breast cancer.”
Her attitude toward the disease that ultimately claimed her life was one that could easily be related to. By acknowledging it and addressing it openly, Sigler was able to give everyone who saw her work a firsthand look into her world.
There was a wide variety of themes throughout Sigler’s catalog. Though her struggle with breast cancer was often the topic of her work, she also worked feelings of sexuality, repressed emotions, religion, and loneliness into her work. Her 1991-1992 painting “It Keeps Her Going,” an oil painting on canvas with a painted frame, shows a tranquil outdoor scene, complete with a fountain, but the seemingly calm scene is being viewed from the inside of a devastated house, filled with broken down appliances and shattered glass. This metaphor for false facades may be symbolizing Sigler’s feelings about her sickness. She wants to show how on the outside things may seem peaceful, but beneath the surface they’re utterly chaotic.
Though most of Sigler’s displayed pieces were paintings, there were other variations of her work. One of them, called “If She Could Free Her Heart to Wild Desires,” is a lithograph pop-up book. When opened, the book shows two very dark and vicious jackal-like animals being freed from a seemingly Pandoran box. The use of three dimensions gives the characters a more lifelike and realistic feel.
A common characteristic of Sigler’s paintings was the color variety and intensity. Cool blues and purples gave the viewer a placid and relaxed feel while shades of intense red and orange voiced her rage, often directed at her disease.
The several recurring items throughout Sigler’s works are very helpful when comparing different pieces. They give the audience a basic idea of what Sigler wants to say. Often seen items were fountains, statues, windows, clothing, tables and chairs. In a video being played at the exhibit, Sigler said, “Clothing can represent different time periods in a person’s life.” By using such simple and common items, Sigler connected with the audience on a more personal level. The piece that shares the same name as the exhibit, “Expect the Unexpected,”(1995) brings many of the commonly seen items together in one piece. But the most striking thing in this work isn’t in the color lithograph of a kitchen being wrecked. It’s in the message Sigler wrote around the frame that reads, “One in eight women will be diagnosed with breast cancer in their lifetime. Every 12 minutes another woman dies from breast cancer.”
Her attitude toward the disease that ultimately claimed her life was one that could easily be related to. By acknowledging it and addressing it openly, Sigler was able to give everyone who saw her work a firsthand look into her world.
Almost Famous
The 2000 film “Almost Famous” is the paramount story of lost innocence. From the soundtrack to subtle plot shifts, Cameron Crowe’s semi-autobiographical film shows how someone’s outlook on life can completely change over a period of less than a year. The main character, William Miller, a 15 year old high school senior from San Diego, is a music fanatic who is given the opportunity to write a piece for Rolling Stone Magazine about a band of his choice. He decides to follow the up-and-coming group Stillwater. On the surface, they are a blue-collar band who plays solely for the fans and isn’t in it for the money. But as the plot develops, everyone’s true colors show.
Cameron Crowe’s character development is one of the script’s strongest qualities. William’s mother, Elaine, played by Frances McDormand, is an immensely overprotective college professor with a sixth sense for finding and removing whatever she deems unwholesome in her children’s lives. While William’s sister, Anita, played by Zooey Deschanel, is a free spirit who clashes with her mother on nearly everything. Also, she is the one who sparked William’s interest in rock n’ roll.
The constant influences from both sides in the early part of the film lay a strong foundation for William’s personality in the remainder of the movie. The balance that Crowe exhibits in William is incredibly detailed. The respect and fear for authority instilled from his mother mesh seamlessly with the musical passion and curiosity that his sister gave him. These qualities become more and more interlocked as William’s character develops from a starry-eyed fan to a quasi-cynical rock critic.
The film’s soundtrack is just as important to the story as the script itself. The songs not only enhance the scenes, but in several cases, encapsulate them entirely. The emotions in the scene, whatever the may be, are given a voice through the music. Since the film is based on the idea of music in general, the soundtrack is that much more important. One of the more subtle, yet equally important elements of the movie is the simultaneous maturity of the soundtrack along with the characters. “The Chipmunk Song” by the animated group The Chipmunks accompanies the opening credits. But as the story and William’s music taste evolves, the audience is hit with classic rock anthems one after another, such as Jimi Hendrix’s “Voodoo Chile,” Led Zeppelin’s “Misty Mountain Hop,” and Neil Young’s “Cortez the Killer.” Very few soundtracks have been able to characterize their entire movie so completely as this one. It’s almost as though it’s a soundtrack being played with a movie in the background, not vice versa.
Only a handful of films made in the last 25 years, let alone the last 10, use music and vivid character development to tell as story as well as “Almost Famous.” This movie not only shows the complexities of separating what is your job and what is your passion, but it will serve as the guidebook for those looking to find a way to balance the two.
Cameron Crowe’s character development is one of the script’s strongest qualities. William’s mother, Elaine, played by Frances McDormand, is an immensely overprotective college professor with a sixth sense for finding and removing whatever she deems unwholesome in her children’s lives. While William’s sister, Anita, played by Zooey Deschanel, is a free spirit who clashes with her mother on nearly everything. Also, she is the one who sparked William’s interest in rock n’ roll.
The constant influences from both sides in the early part of the film lay a strong foundation for William’s personality in the remainder of the movie. The balance that Crowe exhibits in William is incredibly detailed. The respect and fear for authority instilled from his mother mesh seamlessly with the musical passion and curiosity that his sister gave him. These qualities become more and more interlocked as William’s character develops from a starry-eyed fan to a quasi-cynical rock critic.
The film’s soundtrack is just as important to the story as the script itself. The songs not only enhance the scenes, but in several cases, encapsulate them entirely. The emotions in the scene, whatever the may be, are given a voice through the music. Since the film is based on the idea of music in general, the soundtrack is that much more important. One of the more subtle, yet equally important elements of the movie is the simultaneous maturity of the soundtrack along with the characters. “The Chipmunk Song” by the animated group The Chipmunks accompanies the opening credits. But as the story and William’s music taste evolves, the audience is hit with classic rock anthems one after another, such as Jimi Hendrix’s “Voodoo Chile,” Led Zeppelin’s “Misty Mountain Hop,” and Neil Young’s “Cortez the Killer.” Very few soundtracks have been able to characterize their entire movie so completely as this one. It’s almost as though it’s a soundtrack being played with a movie in the background, not vice versa.
Only a handful of films made in the last 25 years, let alone the last 10, use music and vivid character development to tell as story as well as “Almost Famous.” This movie not only shows the complexities of separating what is your job and what is your passion, but it will serve as the guidebook for those looking to find a way to balance the two.
Rubber Soul
The sixth studio album by The Beatles, “Rubber Soul,” was a massive change of pace from the band’s poppy, cut and dry style. It showed their openness to different musical influences and the willingness to expand and adapt their musical style, both in terms of sound and songwriting. By being able to record the entire album uninterrupted, The Beatles were able to focus more on making a truly exceptional album.
“Rubber Soul,” exhibits more songwriting depth and ability in its 14 songs than in the five previous albums combined. Instead of singing about loving someone eight days a week and wanting to hold their hand, John Lennon and Paul McCartney find themselves wondering if anyone is going to listen to their story, all about the girl who came to stay. The songwriting reaches its pinnacle in the song “Michelle.” It’s the melancholy story of an abusive and unappreciative lover in which Lennon and McCartney write, “When I think of all the times I've tried so hard to leave her, she will turn to me and start to cry. And she promises the earth to me, and I believe her. After all this time I don't know why.”
The musical style of the album is another reason why this is one of The Beatles’ best works. The lead guitarist, George Harrison, was infatuated with the sitar at the time of recording, and the second track on the album, “Norwegian Wood (This Bird Has Flown),” was the first pop recording to feature the instrument and its entrancing sound. Ringo Starr, whose drumming chops are still criticized to this day, showed his own desire to expand the sound of the group by incorporating maracas, tambourine, and even books of matches into his repertoire. Also, this is one of the first instances where the band uses distortion on their instruments. The heavy lead guitar riff on, “Think For Yourself,” gives listeners a preview of the band’s future sound. Like many Beatles records, this album doesn’t waste time. In fact, only one of the 14 tracks, “You Won’t See Me,” is more than three minutes long.
The band broadened its influences when recording “Rubber Soul.” Obviously, drugs were some of the biggest influences, but they also drew from other contemporary musicians. Bob Dylan, who was reaching his peak in terms of songwriting during the time of recording, had one of the biggest impacts on the group’s evolution. Instead of turning out the same pop that had dominated their first five records, The Beatles opened up to more folk-oriented acts, and their sound matured as a result.
“Rubber Soul” is arguably The Beatles’ most important album. It was the launching pad for later masterpieces like “Revolver,” “The White Album,” and “Abbey Road.” It’s vastly different sound, innovative style, and developed lyrics marked a turning point in the band’s mindset. All these factors together have given the album staying power that only a handful of other records possess.
“Rubber Soul,” exhibits more songwriting depth and ability in its 14 songs than in the five previous albums combined. Instead of singing about loving someone eight days a week and wanting to hold their hand, John Lennon and Paul McCartney find themselves wondering if anyone is going to listen to their story, all about the girl who came to stay. The songwriting reaches its pinnacle in the song “Michelle.” It’s the melancholy story of an abusive and unappreciative lover in which Lennon and McCartney write, “When I think of all the times I've tried so hard to leave her, she will turn to me and start to cry. And she promises the earth to me, and I believe her. After all this time I don't know why.”
The musical style of the album is another reason why this is one of The Beatles’ best works. The lead guitarist, George Harrison, was infatuated with the sitar at the time of recording, and the second track on the album, “Norwegian Wood (This Bird Has Flown),” was the first pop recording to feature the instrument and its entrancing sound. Ringo Starr, whose drumming chops are still criticized to this day, showed his own desire to expand the sound of the group by incorporating maracas, tambourine, and even books of matches into his repertoire. Also, this is one of the first instances where the band uses distortion on their instruments. The heavy lead guitar riff on, “Think For Yourself,” gives listeners a preview of the band’s future sound. Like many Beatles records, this album doesn’t waste time. In fact, only one of the 14 tracks, “You Won’t See Me,” is more than three minutes long.
The band broadened its influences when recording “Rubber Soul.” Obviously, drugs were some of the biggest influences, but they also drew from other contemporary musicians. Bob Dylan, who was reaching his peak in terms of songwriting during the time of recording, had one of the biggest impacts on the group’s evolution. Instead of turning out the same pop that had dominated their first five records, The Beatles opened up to more folk-oriented acts, and their sound matured as a result.
“Rubber Soul” is arguably The Beatles’ most important album. It was the launching pad for later masterpieces like “Revolver,” “The White Album,” and “Abbey Road.” It’s vastly different sound, innovative style, and developed lyrics marked a turning point in the band’s mindset. All these factors together have given the album staying power that only a handful of other records possess.
Office Space
The first feature length film by Mike Judge, “Office Space,” is the quintessential story of being frustrated with life and deciding to change it. The film centers on Peter Gibbons, played by Ron Livingston. Peter works at a faceless programming company called Initech, where he is a slave to his cubicle and to the rat race in general. Peter and his friends Michael Bolton, played by David Herman, and Samir Nagheenanajar, played by Ajay Naidu, equally hate their jobs, but are very hesitant to do anything about it. Tired of his manic-depressive behavior, Peter’s girlfriend Anne, who he suspects of cheating on him, takes him to an occupational hypnotherapist, who puts Peter in a state of complete relaxation, but has a heart attack and dies before Peter snaps out of the trance. With his new mindset of optimistic apathy, Peter now finds himself free to do whatever he wants, without regard for any consequences.
The film used a very different style of humor than what many Mike Judge fans were used to when he was still writing “Beavis and Butt-Head.” Instead of a lowbrow compilation of fart jokes and obvious sexual innuendo, “Office Space” utilizes a much more Seinfeld-like brand of situational humor to point out the annoyances of everyday life as a cubicle worker.
The incredibly dry script is one of the reasons why this movie has become a cult classic. In one scene where Michael and Samir are talking about why their names are less than desirable, Samir suggests that Michael go by “Mike” instead. Michael replies, “Why should I change? He’s the one who sucks.” Also, when Peter is talking to efficiency experts brought in by the company, he tells them, “Ya see, I’m not lazy, I just don’t care.”
The highly relatable cast of characters is another reason why this movie has the staying power that it does. Everyone has known someone like Michael; someone who likes to put on a facade that they’re not bending to the will of authority, but when given the opportunity to speak up, they conform like everyone else. Peter’s neighbor, Lawrence, played by Diedrich Bader, is everything Peter wishes he could be before the hypnotherapy: crass and senseless, but nonetheless very happy with his life as a construction worker.
While the film may not have meant to be inspirational, it definitely could give some people hope that their seemingly bleak situations could be improved with a few minor changes in their demeanor and attitude. With Peter’s apathy comes success that he never could have thought possible before visiting the hypnotherapist. The film doesn’t suggest that not going to work will get you promoted, but that changes may not be as unattainable as they seem.
The film used a very different style of humor than what many Mike Judge fans were used to when he was still writing “Beavis and Butt-Head.” Instead of a lowbrow compilation of fart jokes and obvious sexual innuendo, “Office Space” utilizes a much more Seinfeld-like brand of situational humor to point out the annoyances of everyday life as a cubicle worker.
The incredibly dry script is one of the reasons why this movie has become a cult classic. In one scene where Michael and Samir are talking about why their names are less than desirable, Samir suggests that Michael go by “Mike” instead. Michael replies, “Why should I change? He’s the one who sucks.” Also, when Peter is talking to efficiency experts brought in by the company, he tells them, “Ya see, I’m not lazy, I just don’t care.”
The highly relatable cast of characters is another reason why this movie has the staying power that it does. Everyone has known someone like Michael; someone who likes to put on a facade that they’re not bending to the will of authority, but when given the opportunity to speak up, they conform like everyone else. Peter’s neighbor, Lawrence, played by Diedrich Bader, is everything Peter wishes he could be before the hypnotherapy: crass and senseless, but nonetheless very happy with his life as a construction worker.
While the film may not have meant to be inspirational, it definitely could give some people hope that their seemingly bleak situations could be improved with a few minor changes in their demeanor and attitude. With Peter’s apathy comes success that he never could have thought possible before visiting the hypnotherapist. The film doesn’t suggest that not going to work will get you promoted, but that changes may not be as unattainable as they seem.
Sunday, February 14, 2010
Bon Iver's "For Emma, Forever Ago"
Sam Charles
Reviewing the Arts
“For Emma, Forever Ago” by Bon Iver
The first studio album by the indie-folk outfit Bon Iver, “For Emma, Forever Ago,” was released in the summer of 2007. It is the very definition of a bare-bones record. With half of the songs only featuring Justin Vernon’s voice and an acoustic guitar, Bon Iver proves, beyond a shadow of a doubt, that great music still can be played that doesn’t rely on loops, fills, and copious amounts of autotune.
Justin Vernon is the creative force of the group, having written all of the lyrics and musical arrangements on the album while, as he called it, “hibernating” in a remote cabin in Northwestern Wisconsin during the winter of 2006. According to the band, all of Vernon’s personal trouble, heartache, longing, loss and guilt that had been stockpiled over the course of the previous six years, and was purged into the form of song. Vernon’s songwriting style isn’t particularly complicated, but the powerful messages that he conveys are what make his songs so profound. On the third track, “Skinny Love,” Vernon writes, “In the morning I’ll be with you, but it will be a different ‘kind,’ I’ll be holding all the tickets, and you’ll be owning all the fines.”
“For Emma, Forever Ago” sounds like it was recorded in someone’s living room with only one or two microphones, which makes sense because that’s actually how it was recorded. The stripped down recording style helps the listener feel more connected. These are songs that you could easily imagine a friend playing outside next to a campfire in the middle of summer.
Vernon and his small supporting cast of musicians aren’t virtuosos by any stretch of the imagination. But they know their limitations and don’t try to over-play their instruments. Every song is played with simple chords that any student of guitar learns within two weeks of picking up the instrument. They don’t play to impress the audience, they play to relate with them, and it works.
The beautiful vocal harmonies created by Vernon and his band help carry the songs when the musical accompaniment needs a little help. The singers have the range of Thom Yorke, but they sing the same way they play their instruments. They don’t sing to impress, but to get closer to the listener.
This is truly an indie everyman record in both the sense that someone could learn to play it in about an hour, but also that it’s very relatable. All the emotions conveyed by Vernon and his bandmates are ones that everyone has felt at one time or another.
With all these elements coming together on one album, it’s hard not to be taken by “For Emma, Forever Ago.”
Reviewing the Arts
“For Emma, Forever Ago” by Bon Iver
The first studio album by the indie-folk outfit Bon Iver, “For Emma, Forever Ago,” was released in the summer of 2007. It is the very definition of a bare-bones record. With half of the songs only featuring Justin Vernon’s voice and an acoustic guitar, Bon Iver proves, beyond a shadow of a doubt, that great music still can be played that doesn’t rely on loops, fills, and copious amounts of autotune.
Justin Vernon is the creative force of the group, having written all of the lyrics and musical arrangements on the album while, as he called it, “hibernating” in a remote cabin in Northwestern Wisconsin during the winter of 2006. According to the band, all of Vernon’s personal trouble, heartache, longing, loss and guilt that had been stockpiled over the course of the previous six years, and was purged into the form of song. Vernon’s songwriting style isn’t particularly complicated, but the powerful messages that he conveys are what make his songs so profound. On the third track, “Skinny Love,” Vernon writes, “In the morning I’ll be with you, but it will be a different ‘kind,’ I’ll be holding all the tickets, and you’ll be owning all the fines.”
“For Emma, Forever Ago” sounds like it was recorded in someone’s living room with only one or two microphones, which makes sense because that’s actually how it was recorded. The stripped down recording style helps the listener feel more connected. These are songs that you could easily imagine a friend playing outside next to a campfire in the middle of summer.
Vernon and his small supporting cast of musicians aren’t virtuosos by any stretch of the imagination. But they know their limitations and don’t try to over-play their instruments. Every song is played with simple chords that any student of guitar learns within two weeks of picking up the instrument. They don’t play to impress the audience, they play to relate with them, and it works.
The beautiful vocal harmonies created by Vernon and his band help carry the songs when the musical accompaniment needs a little help. The singers have the range of Thom Yorke, but they sing the same way they play their instruments. They don’t sing to impress, but to get closer to the listener.
This is truly an indie everyman record in both the sense that someone could learn to play it in about an hour, but also that it’s very relatable. All the emotions conveyed by Vernon and his bandmates are ones that everyone has felt at one time or another.
With all these elements coming together on one album, it’s hard not to be taken by “For Emma, Forever Ago.”
Sunday, February 7, 2010
TimeOut Chicago Roundtable
Sam Charles
Reviewing the Arts
The critic I chose was Don Hall, a theatre blogger who writes for An Angry White Guy in Chicago.
Hall brings up a few different points throughout the roundtable discussion.
The first being the old saying that, “Opinions are like assholes, everybody has one.” Hall and the rest of the roundtable go on to further dissect this statement by talking about the differences between opinions that are worth reading and the many more that aren’t.
Hall stresses the importance of having knowledge of what one is criticizing. By having a strong understanding of what one is discussing, they’ll be able to provoke more thought from the audience.
Along with education, Hall says, comes passion. He says that if someone is passionate about something, be it theatre or anything else, you’re more likely to educate yourself about it. That’s the sign of someone who’ll truly be a good critic. It’s hard to write passionate, meaningful articles about something you hate. Fellow critic Anne Holub backs Hall by saying, “You have to have passion for it; otherwise, you’re simply not going to bother.”
Along with passion and knowledge of the subject, Hall says, it’s important to be aware of any prejudices a critic may hold. This is key because the more aware someone is of their biases and prejudices, the better they’ll be able to, either, (a) put them temporarily aside, or (b) back them up with a strong argument.
“You should be as sharp and precise as what you’re slamming,” says Hall. This reverts back to the idea that having strong knowledge of your subject will make you a much more effective writer. Also, it suggests that a critic shouldn’t bite off more than they can chew. If, say, a writer doesn’t like a book or movie, but they can’t pin down exactly why, then they should either (a) move on to a different topic, or (b) reexamine the piece to try and get a better understanding of it so they can form a stronger, more substantive point of view.
This ties into a later point that he brings up. When asked if it takes courage to be a critic, Hall says, “Only if you’re criticizing the powerful.” This only applies to critics who are in the public eye, however. Anonymous bloggers rarely have to own up to any comments they make. But published writers are much more available to the public and far easier to get in touch with, so if they make a negative comment or write a less than flattering review about a restaurant or theatrical performance, they have to keep in mind that their info is out there.
Overall, Hall stresses the importance of sticking to your guns and building strong arguments, two qualities of a successful critic.
Reviewing the Arts
The critic I chose was Don Hall, a theatre blogger who writes for An Angry White Guy in Chicago.
Hall brings up a few different points throughout the roundtable discussion.
The first being the old saying that, “Opinions are like assholes, everybody has one.” Hall and the rest of the roundtable go on to further dissect this statement by talking about the differences between opinions that are worth reading and the many more that aren’t.
Hall stresses the importance of having knowledge of what one is criticizing. By having a strong understanding of what one is discussing, they’ll be able to provoke more thought from the audience.
Along with education, Hall says, comes passion. He says that if someone is passionate about something, be it theatre or anything else, you’re more likely to educate yourself about it. That’s the sign of someone who’ll truly be a good critic. It’s hard to write passionate, meaningful articles about something you hate. Fellow critic Anne Holub backs Hall by saying, “You have to have passion for it; otherwise, you’re simply not going to bother.”
Along with passion and knowledge of the subject, Hall says, it’s important to be aware of any prejudices a critic may hold. This is key because the more aware someone is of their biases and prejudices, the better they’ll be able to, either, (a) put them temporarily aside, or (b) back them up with a strong argument.
“You should be as sharp and precise as what you’re slamming,” says Hall. This reverts back to the idea that having strong knowledge of your subject will make you a much more effective writer. Also, it suggests that a critic shouldn’t bite off more than they can chew. If, say, a writer doesn’t like a book or movie, but they can’t pin down exactly why, then they should either (a) move on to a different topic, or (b) reexamine the piece to try and get a better understanding of it so they can form a stronger, more substantive point of view.
This ties into a later point that he brings up. When asked if it takes courage to be a critic, Hall says, “Only if you’re criticizing the powerful.” This only applies to critics who are in the public eye, however. Anonymous bloggers rarely have to own up to any comments they make. But published writers are much more available to the public and far easier to get in touch with, so if they make a negative comment or write a less than flattering review about a restaurant or theatrical performance, they have to keep in mind that their info is out there.
Overall, Hall stresses the importance of sticking to your guns and building strong arguments, two qualities of a successful critic.
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