Вы находитесь на странице: 1из 20



Spring 2010

Spring 2010
Everyday, the media bombards us with images, ideas, and artistic creations whose relevance and popularity quickly seem to fade. Art today can be fleeting and sometimes appears to cater to fickle audiences waiting only to be entertained. At any given moment, someone or something competes for our attention, time, and money. It can be overwhelming to make sense of it all and distinguish the kitsch and ephemeral from what truly demonstrates remarkable artistry. Even so, we recognize that we can still find true merit and value in the art of our generation. The Review, a new Lawrenceville School student publication, publishes student-written criticism and analysis of a variety of published media including, but not limited to, music, television, books, theater, and film. The Review seeks to go beneath the surface and print well thought-out analysis and informed commentary written by students. Ultimately, we understand everyone will have his or her own views, opinions, likes, and dislikes. You will not agree with some of the views expressed herein, but we do not expect you to. We hope that when you read our articles, you will appreciate a perspective or idea you would not have otherwise thought of. In this inaugural issue, you will find an array of opinions and subjects - from Nabil Kahnss article on Gossip Girl to Mike McDavids analysis of John Updikes work. We encourage all students interested in The Review to write for us.


Ever Alvarado Trey Zenker Amrita Rao Michael Carter Brandon Karpf Joy Chen Alec Page Dr. Chris Cunningham

The editors of The Review thank Mr. Allegra and Dr. Cunningham for their support in the development of this publication. The editors also express their gratitude for the generous contributions of Lawrenceville School parents who helped to make this publication possible.

Table of Contents
Calvin Harris Transient Music Raditude Arcade Fire Bah, Humbug! 9 for 10 Gossip Girl



11 12-14

The Alchemist Dynamic Updike Dear John An Education My One and Only A Serious Man No Distance Left to Run Hamlet





Calvin Harris: Ready for the Weekend
Let me introduce Calvin Harris to those of you who are new to electronic music. Calvin Harris is a Scottish electronica artist and a record producer. He hit the UK hard with his debut album I Created Disco in 2007 with singles The Girls, Acceptable in the 80s, and Merrymaking at My Place. All of these singles hit the UK Charts top 10. With his impressive background, Harris strikes the music scene again with his sophomore album, Ready For The Weekend, released on 8/19/2009. Already well known, Harris achieved even more global fame with his sophomore singles Ready for The Weekend, Im Not Alone, Flashback, and Dance Wiv Me. The great thing about this album is that it is not filled with just techno that you guys think of. Those upbeat songs may include Im Not Alone, but the album is extremely diverse with something to please every taste. Songs such as Ready for The Weekend, and Yeah Yeah Yeah La La La have a cheerful, light rhythm and melody, ready to cheer you up anytime. On the other hand, the album has moody, calm songs like Relax, 5iliconeator and Worst Day that you may listen to when relaxing. The album is extremely diverse and every single penny spent buying this album is worth it. There is no better way of impressing your friends than showing off your musical knowledge, and Calvin Harris may be the perfect artist to introduce. Even though he is popular, he is still quite underground. So you can look fashionable by introducing this new artist (a really good one, as a matter of fact) that nobody has ever heard before. Since the music trend is moving towards electronic music, it would be wise to get to know Calvin Harris and his music. I personally do not like rating songs and albums, since everybody has a distinct taste in music. I, however, an avid fan of electronic music, enjoyed this album fully and did not regret buying it. Maybe you will love this album as much as I do or you may hate it with passion. But thats what exploring music is all about, right? - John Kim

1. The Rain 2. Ready For The Weekend 3. Stars Come Out 4. You Used To Hold Me 5. Blue 6. I'm Not Alone (Radio Edit) 7. Flashback 8. Worst Day (feat. Izza Kizza) 9. Relax 10. Limits 11. Burns Night 12. Yeah Yeah Yeah La La La 13. 5iliconeator 14. Dance Wiv Me (feat. Dizzie Rascal)

Transient Music
With the technology available these days, everything happens at warp speed life-altering changes can happen in a second. As we enter a new decade, the art form of music is also entering a new era. For sure, we know that the physical media of

music is changing CDs are almost dead, mp3s are in, and vinyl is back from the dead. One wonders, is it still viable to consider music a legitimate art form? Nowadays, music is a commodity, like hot water; pay a monthly bill and its at your fingertips. Maybe music is more of a shared dialog rather than an experience for a select few . Artists create, but fans can recreate, share, remix, and mash-up, earning their own fame. All of these ideas are true, to a varying extent, and also indicative of the time we live in; the new decade is bringing hectic, yet exciting, times. The biggest change, however, lies in the very essence of music the way it is experienced, understood, approached and interacted with. Buying music does not mean walking to the store and getting an album a month. Limewire, iTunes, JamGlue and many other sources have warped our mindset and understanding of music; our perception of music gone into fast forward and swirled around, but who knows if it will all blend. Regardless, our perception and connection to songs that form the soundtrack of our lives have been radically shifted and the transience of music has been set in motion. When speaking of permanence, two types of permanence come to mind the permanence of a song during a given year, and the permanence of specific bands across the years. So far society has all but eliminated the permanence of songs in the short term. Think about how up you were on Chasing Pavements by Adele at this time last year, or the new Beyonc album. And now? Those who previously used to be on repeat-one have been shuffled to the side for newer, shinier songs and bands. Sure, you will revisit them when they come up on shuffle, but they will not soundtrack your entire year the way they might have 40 years ago. And those are just the good songs were talking about here. What about the bad ones? We are flooded with so much music from so many artists that if a song does not catch you on the first listen or the 30-second iTunes sample, its probably off the radar within a week or two. Thousands of tracks are released everyday on the internet, but only a select few get noticed. And tomorrow? Lather, rinse, repeat. Transience. As for the other time frame, the whos on the Oldies from the 00s radio station? permanence, I have dire news/predictions. Back in the day, when my grandparents and parents were growing up, there were and this is completely a ballpark guess with no factual basis maybe 70 or 80 popular music artists at any given time? Big names cranked out records and few little

names did much else. Consequently, earlier generations all had some musically shared experience everyone listened to Sinatra, Elvis, The Beatles or The Beach Boys, Bob Dylan, The Rolling Stones, etc. Even our generation has shared in this experience through our parents; many childhood soundtracks might include Dylan, James Taylor, Springsteen or U2. So who do we have? Who is our Bob Dylan? Coldplay? Green Day? Eminem? Kanye? Weezy!?! The thought of any/all of those names representing our generations popular music to future generations is disconcerting. I grew up on Dylan, Springsteen, the Stones and the Beatles; the thought of my children having their childhood hood soundtrack include Kanye is extremely disconcerting. An article from the Philadelphia Inquirer commenting on the 2009 Philly summer concert scene described an odd scene: The slate of bands stopping in Philadelphia, Camden, and Atlantic City this year looks mostly the same as it did 25 years ago. Jimmy Buffett. Jackson Browne. Chicago. The Allman Brothers. Def Leppard is touring with Poison and Cheap Trick. Bruce Springsteen and the E Street Band. Eric Clapton is out with Steve Winwood. The Doobie Brothers. Peter Frampton. REO Speedwagon. Fleetwood Mac. Aerosmith. Are our current stars not better than old bands backup/replacement players? MJ, the King of Pop, is already gone. What happens when Mick Jagger goes to the great Castle in the Sky? When The Boss cannot dance in the dark anymore? When the Edge cannot play the guitar? 25 years from now will I be able to see Lady GaGa and Katy Perry at Bonnaroo? Will the Jonas Brothers be having a reunion/comeback tour? Will Coldplay be crooning to middleaged people in 2040? Will we still be doing the jerk to the New Boyz? Weve taken our grandparents original hundred artists and squared them. In a given decade, even year, thousands of artists launch, fail, find success, fade into oblivion, continue stardom, and achieve their 15-minutes of fame. Right now, it all seems okay, because for now we can listen to exactly what we want to listen to, whenever we want. But in the next decade when digital music transforms into a joyless service and live shows are the only source of good music from our time, The Lowest Common Denominator will perform on stage. - Shivani Chanillo

Raditude: Weezers Latest Album

Pop-rock legends Weezer have returned with a new album entitled Raditude, released November 3rd, 2009. Weezer has not lost any of their energy with their latest record- driving distorted guitar riffs, characteristic of lead singer and guitarist Rivers Cuomos song writing, lead the way once more. And, Raditude marks a return to Make Believe (their critically-acclaimed 2005 album) style lyrics; Cuomo gripes about the party life and how unsuccessful he is with the ladies. Raditude is the essence of Weezers pop-rock side. Each of the albums ten songs has catchy rhythms and lyrics, and each song comes together well. No doubt this album will grace many dance, energy and party-themed playlists, but this energy has come with a sacrifice of the bands more artistic creativity and lyrical depth. This albums predecessor, The Red Album (released in 2008), contained intricately crafted and melodically beautiful compositions such as Heart Songs and The Greatest Man That Ever Lived (Variations On A Shaker Hymn). The new album gives off an almost hastily constructed air with its simple (but not bad) guitar lines and somewhat clich song titles and constructions: Cant Stop Partying, and Im Your Daddy make the album feel like Miley Cyrus and Britney Spears records. Here is a song by song breakdown of the album, with rating beside the title:

Trippin Down The Freeway(3/5): Wee(If Youre Wondering If I Want You To) 6. I Want You To (4/5): Raditudes lead-off single zer attempts to join their distorted guitar tracks
1. displays many of the aforementioned qualities, like catchiness and driving guitar riffs. But to its credit, it does not seem tacky and quickly produced. A contender for the albums best song. with a synthesizer, and the effect is about par. It is high energy, but the chord progression and lyrics are overused and almost sound recycled. But, Weezer has a knack for creating songs that do not sound disjointed and this one is no different. 7. Love Is The Answer (3/5): Weezer forsakes the driving guitar for a second time, with a track heavily influenced by Cuomos childhood on an ashram (a center of Indian and Hindi cultural activity). It also makes use of Hindi vocals, but the lyrics seem too predictable. 8. Let It All Hang Out (4/5): Opening to a classic screaming guitar that Cuomo loves to use, this song makes use of the distorted guitar that he is also fond of. A more typical song in terms of how Weezer sounds, the songs parts mesh together well.

2. Im Your Daddy (3/5): Singer Rivers Cuomo pledges his hand to yet another fair maiden in this fast-paced song. It features a very fuzzy guitar riff, but is constructed in a slightly predictable pattern: verse, chorus, verse, chorus, bridge, and chorus. Nonetheless, it comes together well. 3. The Girl Got Hot (4/5): Opening to an abrasive and high-energy guitar riff, this high-tempo song is heavier on the guitar than most other songs, hearkening back to earlier Weezer. The bridge is even reminiscent of one of the bands earlier songs, El Scorcho. Second, or maybe even better, to (If Youre Wondering If I Want You To) I Want You To.

9. In The Mall (3/5): Written by drummer Patrick Wilson, the guitar in this track sounds a bit 4. Cant Stop Partying (3/5): Shockingly too overdriven and distorted. And the various segenough, this track has very little guitar in it. Synthe- ments of the song fail to connect well, surprisingly. sizer lines and electronically produced sounds domI Dont Want To Let You Go (3/5): In inate it, and even Lil Wayne is featured. The song is 10. not very artistic; it sounds unoriginal and lyrically this track, the band goes for the joint guitar-andsynthesizer sound once more. And once again, the shallow, to be frank. effect is not genius. The two parts complement each 5. Put Me Back Together (4/5): This song other well, but lyrically the song lacks depth and is slower than the rest, but it sounds much more ar- sophistication. tistic and original. The melodies and nuances in this song fit perfectly together. The lyrics are more serious than the other songs, too.

There you have it: a comprehensive review of Weezers new album Raditude. The final grade for this album: 3 out of 5. Weezer has produced an inartistic album, disappointing by their high standards. But do not be put off by the rating that has been given; the album is not that bad. Despite lacking lyrically and creatively, the album has catchy tunes and festive lyrics. If you like musics energy and do not bother with lyrics, go ahead and buy this album. It is not so terrible on the ears; and perhaps it will get your feet moving. Raditude, released by DCG/Interscope, is available from most record and music stores for under twenty dollars. - Gustavo Berrizbeitia

Arcade Fire: Funeral

You could write a celebratory and somewhat detached review of The Arcade Fires Funeral - a review that lists the esoteric connections to other bands The Arcade Fire sounds like; a review that only skims the surface of what this band is truly trying to get across. You could give them the hype of the next big thing that they most definitely deserve, but that would not be fitting. That would not capture the mysterious beauty of the simple set of words they string together to create the impenetrable integrity of this album. The Arcade Fire deserves more than empty words. No, The Arcade Fires songs represent everything pure about the human soul. It dips into the most authentic essence, the inner child of even the most vacuous crevices of every human being. It gives hope a new name; it gives hope a fresh start. And,

for that, they should be given much, much more. This album redefines elegance and authenticity. They speak the truth - the truths every person wants to say but never will because it might be a tad unsatisfactory or even childish and stupid: They say a

about water boiling, then think again. It is about not knowing. Its about that feeling of being unsatisfied and the want for more. What will be the next thing to come? Will the soft miseries of life, gnawing at ones heart, ever change? Will the fire be extinguished?

watched pot wont ever boil, well I closed my eyes and nothin changed, just some water getting hotter in the flames. Maybe this is just about water boiling, but even if it is, its the sort of thing everyone thinks, but will never say. This song goes on to talk about a lover and wanting more, needing more, pining for more. So, if you thought that this was just a ridiculous, meaningless song

Will what one is really looking for grab him by the back and shake him, give him the passion everyone is searching for? Or will some spirit he used to know be drowned out by the radio? Everyone fears becoming obsolete, being forgotten, being drowned out. Very few people are able to admit it but, The Arcade Fire can.

Everything about the album rings with a deep sentiment and fervor and an almost obsession - an obsession that reeks of a want and need to be heard. Passion lingers in every pore of every note. It envelops the sound. It engulfs the listener. The freedom in every stanza is majestic. They do not sound like an everyday band. They sound like a group of people who want to let the truth ring out. They want to let people know what love and relationships actually look like. Its about wanting to be heard. The music is not there for the money or the fame. It is there for the message, the art of the sound, the profound meaning behind the surface of just words. They are a story of life, not just words put to music. So, to sum up this look at the reality of what music is, what Funeral portrays, I will say The Arcade Fires album Funeral cannot be heard as anything short of hauntingly beautiful. - Leah Annitto

Bah Humbug!
On August 25th, 2009, the Arctic Monkeys released their third album, titled Humbug, right as the summer came to a close. The album has been highly anticipated by both fans and critics alike after the great success and praise achieved by both of the groups previous albums. Their debut, Whatever People Say I am Thats What Im Not, released in 2006, broke ground on many levels and quickly became the fastest selling debut album in UK history, selling over 360,000 albums in the first week. In the US, the album became the 2nd fastest selling album in the indie album history. In 2007, the Arctic Monkeys did it again with Favourite Worst Nightmare, which went straight to number one and would see all twelve of its tracks make the top 200. Known worldwide since 2006 for his witty and keen observations on life and society, the 23 year old Alex Turner, worried for the longest time about the Arctic Monkeys being too hyped up, reflected through the initial title of their debut, Dont Believe the Hype. Perhaps Dont Believe the Hype would be a more fitting title for Humbug which, for the most part, lacks memorable songs. This is not to say that Humbug is not a strong album. The lyrics are still well written and the observations made by Turner are still as interesting as on albums past; however, the witty and young feel that makes the Arctic Monkeys unlike other bands seems to have been drowned by words too dark and cynical. Humbugs single, Cry-

ing Lightning, is truly the strongest song on the album, constructed with the perfect mix of witty phrases amongst dark lyrics. Secret Door, is another one of the albums strongest tunes, reminiscent, especially in the chorus, of the old Arctic Monkeys less heavy and less angry style. Cornerstone, is another of Humbugs best in which the music, the tone of Alex Turners voice, and the lyrics all compliment and build off of each other. The only other notable song on the album is called Dance Little Liar, which successfully mixes fairly soft-spoken lyrics with heavy instrumentals. Humbug is a great album filled with strong songs and powerful lyrics but it does not pose many examples of why the Arctic Monkeys have become so highly regarded. While I highly recommend Humbug, it is made for those familiar with the Arctic Monkeys and is not an album many may like on a first listen but more of an acquired taste. To those new to or unfamiliar with the Arctic Monkeys, Whatever People Say I am Thats What Im Not would be my suggestion because of its witty lyrics, catchy melodies, and young feel. - Trey Zenker

9 for 10: Nine Musicians to Look Out For in 2010

Sky Ferreira
Sounds Like: BoA, Kylie Minogue, Britney Spears The It Girl from the OC. Lolita from LA. This incredible 16-year old model, promoter, singer, and lyricist is an art-glam-trash-pop teen who makes Lady Gaga look old and crappy according to Paul Lester of The Guardian. Ferreira has performed with the New York based The Virgins, been featured in a Justice video, and is currently recording her debut album with Swedish production gods, Bloodshy & Avant. To top it all of, Ferreira is half of what is being called the mother of all generational team ups. Britney Spears and Ferreira are collaborating on a 90s electro song called Age is Just a Number. The most amazing fact as that Lolita from LA hasn't even released a single yet; her buzz stems from her numerous song covers. Most notably is her cover of Stevie Nick's Stand Back. The song gives Sky the room to demonstrate her excellent qualities: effortless, powerful vocals, unmistakable charisma, fierce maturity and the best production. Ferreira is also quite the character. Her blog posts sport titles like No My Titties Grew and Making Sweet Love to Pete Doherty on a Friday Night. Her Myspace tag line recently read I open books, not my legs. When she was 11 she apparently sang for Michael Jackson and made the King of Pop shed tears of joy. The 17-year old recently Ferreira signed with EMI Records based in UK in what was reportedly the biggest contract of the year. Expect her debut album in Spring 2010. Tracks to Listen To: Happy Dre, Animal (Miike Snow Cover), Stand Back (Stevie Nicks Cover)

Erik Hassle

Sounds Like: Keane, Snow Patrol, The Fray Three years is a while during an age when overnight success is the norm, but Swedish soul pop singer Erik Hassle believes in taking things slow. Finally, at age 20, Hassle is starting to appear on the radar as new, notable talent. Part of it is his gravity-defying hairdo, a curly red afro, and partly his memorable songs and powerful vocals. Hurtful is the song that's grabbing attention; it topped the Swedish charts three years ago, but it just recently hit the UK charts. The rock ballad about growing apart from friends is perfect to show off the Stockholm wonderkid's strong, flexible voice, a quality many singers use Auto-Tune to achieve. His debut album Hassle is an enjoyable electro-pop experience but the lyrics show glimpses of an understanding of life that is hard to come by in many young singers. Don't bring flowers, save your givings for the living instead, croons Hassle on Don't Bring Flowers, a story of how he attended a funeral for an acquaintance who hadn't made much of a mark in his lifetime. Currently, Hassle is on tour in England with MIKA, but not before he signed a deal with Island Records. Island is repackaging Hassle to distribute to international audiences. The new and improved album, called Pieces, will be out February 23rd, 2010. Tracks to Listen To: Hurtful, Don't Bring Flowers

B.O.B. Aka Bobby Ray

Sounds Like: Gnarls Barkley, Outkast Heralding from Atlanta, GA, Bobby Ray is not just another Southern rapper. Over the span of one year, B.O.B. released three mixtapes all sporting a different sound ranging from classic Southern rap to sing along pop rock jams. He has guested on tracks by Pitbull, Ludacris and even Cobra Starship. T.I., the king of Southern rap, called him 'phenomenally talented' and expected Bobby Ray to 'be around for a while'. B.O.B. Aka Bobby Ray can be compared to Outkast, channeling both the hybrid funk-rap of Big Boi and the eclectic, trippy musicality of Andre 3000. Though Bobby Ray isn't quite the lyricist Andre 3000 is, his lyrics transcend those of most other 20-year old lyricists as well as some who are older. What makes B.O.B. stand out from the crowd is his ability to effortlessly cross music genres. His rap tunes sample country, rock, funk, blues, R&B, electronica, jazz and soul. His debut album, The Adventures of B.O.B., is rumored to include collaborations with Coldplay as well as T.I.. Most notably, Ray mixes up Sam Cooke's A Change is Gonna Come with his fellow rookies Charles Hamilton and Asher Roth. Bobby Ray released his debut album single Nothin' On You (feat. Bruno Mars) on iTunes a month ago. His debut album is set to releaset in April 2010. Tracks to Listen To: Nothin' On You (feat. Bruno Mars), I'll Be in the Sky

Daisy Dares You

Sounds Like: Avril Lavigne, Demi Lovato, Lily Allen At age 16, Daisy Coburn as accomplished something most artists only dream of doing: become the subject of a full-scale record bidding war. Daisy Coburn aka Daisy Dares You sent out a demo track during Christmas '08 and two months later she signed on to Empire management, who has represented Natasha Bedingfield and Estelle. An Empire spokeswomen was quoted as saying,Usually there's some momentum first before it explodes. But this is faster than anything weve seen before. People are going mental. In Spring '09, the British teen was receiving offers from Sony, EMI, Universal and many other record companies and it's not hard to see why. Mixing musicality with mainstream upbeat pop, DDY's two released songs, Daisy Dares You and Number One Enemy, are hyperactive, electro-pop rushes that spin around massive hooks and great choruses. The blogosphere has dubbed her the British Avril Lavigne, but DDY makes Lavigne look like your elderly aunt who likes sewing. She sings, writes her own songs and music and directs her own music videos. The video for Number One Enemy features Daisy's real friends, clothes and backyard; an idea she thought up after the hearing the one Sony pitched her. Her goals as of now (listed on her Myspace): I'm not aiming too high. But a global smash hit would be nice. Daisy Dares You is releasing her yet unnamed debut album in May 2010. Tracks To Listen To: Number One Enemy, Daisy Dares You


Sounds Like: Pet Shop Boys, The Human League, Tears for Fears Not too much is known about the Manchester pop duo Hurts, maybe because the band name is irritatingly hard to google and because their Myspace is completely blank. All aside, Hurts' song Wonderful Life took the internet by storm in April and promptly landed the duo a record deal with Sony records. Hurts consists of Theo Hutchcraft and Adam Anderson, two friends who started creating music after journeying to Italy and discovering disco-lento (slow disco). Hutchcraft and Anderson molded Italian disco-lento into a more austere and elegant English style and out of this fusion came a melancholy, eighties, electro-pop band. Hurts' Wonderful Life is paired with a black and white music video that complements the mood and retro qualities of the song. The song itself is ironic as it's poignant, dark crescendo-ing synths are paired with optimistic lyrics: Don't let go, it's a wonderful life. Despite having minimal buzz, Hurts made BBC's Sound of 2010 long list, a list known for predicting future music stars. Hurts is currently working on their debut album in Sweden and look to release it later this year. Tracks to Listen To: Wonderful Life, Blood Tears and Gold

Mike Posner

Sounds Like: Kid Cudi, Justin Timberlake Due to Swine '09, Lville kids missed the spring term finals, but in truth, we also missed the chance to witness the beginnings of a star. Mike Posner was scheduled to appear at our year-end concert along with Chiddy Bang. Since then, Posner's popularity has sky-rocketed following the release of his second mixtape and a major record deal and it's not hard to see why. Posner is an amazing entertainer; he regularly performs stage dives, constantly talks to the crowd, keeping everyone attentive and excited. Utilizing hard beats, heavy melodic ornamentation and funk, Posner has created a brand of music that cannot be defined by one genre. His music is a mixture of pop, hip-hop, R&B, and electronica giving him room to be innovative with his beats and melodies as well as his sampling. On his second mixtape, One Foot Out the Door Posner samples John Mayer and 3OH!3 and his internet singles have touched on Beyonce, Jeremih, The Fray and the Electric Light Orchestra. Speed of Sound (feat. Big Sean), one of the best tracks on his latest mixtape, sports a soothing, deep sound that is perfect for Posner's angsty feelings. Posner croons about his educational and musical commitments as well as feelings of confusion and emptiness in a world of ultimate publicity. Already, Posner is making his mark in the business; he has worked with big name producers like Don Cannon (who produced Asher Roth's debut mixtape) and DJ Benzi. Posner even had a sit down chat with Jay-Z before signing on to J Records. Mike's debut album is expected sometime in 2010 and will feature guest appearances from Wale, Kid Cudi, and 3OH!3. Posner's first single, Drug Dealer Girl, and accompanying music video are both available on iTunes.

Tracks to Listen To: You Don't Have To Leave, Red Button, Speed of Sound (feat. Big Sean)

The Drums

Sounds Like: The Smiths, The Tough Alliance, Peter, Bjorn and John Is it possible to write a hit song about surfing if you've never been surfing? Yes, and The Drums are living proof. Their indie pop debut single, Let's Go Surfing, has taken the NYC underground music scene by storm. The Rolling Stone raves that The Drums are one of the best indie pop bands of the year while NME magazine calls them the most energetic New York band in the past 10 years. Led by Jonathan Pierce, these four Florida natives have joined together to create a medley of doo wop, surf pop, garage rock and late-50s and early 60s American music. Let's Go Surfing is carried by trebly, melodic bass, guitar reminiscent of the Ventures, and the catchiest whistling line since Peter, Bjorn and John's Young Folks. When performing live, the Drums make it seem as though rainy New York City has suddenly been transformed into sunny California. The Drums have also been named to BBC's Sound of 2010 longlist. They are currently signed to the indie label Moshi Moshi and have released an EP, Summertime!, on iTunes. Tracks to Listen To: Let's Go Surfing, Down By the Water

Ellie Goulding

Sounds Like: Kate Nash, Lykke Li, Imogen Heap, Stevie Nicks Let's be honest; you need to hear Ellie Goulding. Not just so you can tell your friends the you liked her wayyyyy before she got big, dude, but because Ellie Goulding is extremely talented. Goulding represents a new brand of music, a mix of introspective acoustic troubadour and electronica, that has begun emerging in the last year or so. Goulding calls her style folk-dubstep, almost an oxymoron. But despite her clashing mixture of styles, Ellie Goulding is the new sweetheart of British pop. Her single, Under the Sheets debuted at #3 on UK radio charts and she recently won the 2010 BRITs Critics Choice Award, an honor that goes to a new British act that critics believe will be the sound of 2010. Goulding, when singing, has an almost child-like voice, but it is unique and adds another dimension to her songs when utilized by Starsmith, her producer. Starsmith, responsible for Rihanna's recent album, has layered subdued electronica synths and dance beats as well as hints of acoustic instruments. On Starry Eyed Starsmith also uses Goulding's voice as an electronic instrument itself, punctuating rhythms and phrases to emphasize the dubstep side of Ellie's folk-dubstep. Goulding is releasing Starry Eyed as a single in February 2010 and her debut album on March 3rd, 2010. Tracks to Listen To: Wish I Stayed (feat. Frankmusik), Starry Eyed, Fighter Plane

Daniel Merriweather

Sounds Like: Stevie Wonder, James Morrison, Amy Winehouse Daniel Merriweather may not be a household name, but it's only a matter of time. First showcased by Mark Ronson's Stop Me, Merriweather's talent and popularity has progressed in leaps and bounds. Merriweather is the latest young singer to back Amy Winehouse's retro revival, but he is the only one to have been backed by Mark Ronson, the producer for Winehouse's Back to Black album. His debut album Love & War, released everywhere except in the US, gives off a distinct pop/rock vibe, yet some tracks wander towards a Motown sound, unusual for an Australian native. Merriweather's biggest radio hit, Red, for example features Sean Lennon (John Lennon's son) and Harper Simon (Paul Simon's son) on guitar and has a mainstream pop sound. But songs like Cigarettes and Change (feat. Wale) set Merriweather apart from the crowds. Both feature thought-provoking, original lyrics put to funky, catchy music. There is something for everyone though as Mark Ronson has thrown in gritty hiphop beats, movie-worthy string arrangements, acoustic and electric guitar and soul keyboards and horns. Love & War is set to release in the US on January 19th, 2010. Tracks To Listen To: Red, Change (feat. Wale) Honorable Mentions: Free Energy, Marina & the Diamonds, The Sound of Arrows, Alex Roots. - Shivani Chanillo


Gossip Girl
You see a group of Cleve guys sitting in the common room, intensely quiet and concentrated on the TV; there can only be one logical conclusion: Gossip Girl. During the season, every Tuesday night, after recording the show the previous day, the Cleve House gathers in the common room to witness the mouth-watering show. This is a guilty pleasure that even some guys look forward to. Yes, including me. However, the mediocre acting and sometimes ludicrous succession of the plot are not what intrigues viewers the most, it is the idea and concept behind Gossip Girl. Gossip Girl has become a bonafide cultural phenomenon. From the discussion of last nights episode at the Harkness table to the quoting of one of the most well-known catch phrases on campus: You know you love me, XOXO Gossip Girl, it is clear that there is something in the show that appeals to the audience. Secretly, everyone who watches the show wishes that their life was somewhat like the elite Upper East Side. Some may obsess and fantasize over Chuck and Blairs relationship, while others may wish they could simply be in the presence of Serena Van Der Woodsen, let alone be her political love affair. Here at Lawrenceville, Gossip Girl is not just another distraction or another guilty pleasure. It is an outlet with real value. Getting a look at how this social elite group lives and the adventures of their lives can be a good channel away from our Lawrenceville Experience. Some people dive deep into this social hierarchical world and fantasize over the lives they could have if they lived like Chuck, Serena, and Blair. The parties, the foreign escapades and all, while also enjoying the fruits of an Ivy League education; well, most of them, is what every kid wants. They experience a freedom foreign to most of us. That is what appeals to the audience so much. Gossip Girl embodies the lives that we wish we had. The wild and free lives the characters live in the wondrous city of New York echoes the dream of many Lawrenceville students.

Gossip Girl has become more than just a pop culture TV show on the CW. It now encompasses a nation-wide idea that teenagers all over dream about and want their lives to be like. For better or for worse, Gossip Girl has shaped the perspective Upper East Side in most peoples minds. The validity of this TV show still remains dubious, however. While becoming a cultural phenomenon, Gossip Girl has also become an inaccurate description of NYC and its lifestyle. Even though a select few do experience lives like those of Chuck and Serena on a daily basis, the majority of NYC-goers do not have the luxurious life of the Upper East Side and live more like the Humphreys in their humble abode in Brooklyn. In all, Gossip Girl is like a piece of candy. One should enjoy the sweet and savory taste of Nate and Serenas backroom fiascos and Jenny Humphreys rebellious spirit, but be aware of the cavities that may arise from ones overindulgence in the picture it depicts and instills in its viewers minds of the NYC lifestyle. -Nabil Khan


The Alchemist, Paulo Coelho Dynamic Updike
It might be surprising to know that this book has sold 20 million copies more than the last Harry Potter book. The Alchemist is found in 67 different languages, which just goes to show its popularity. A straight-forward fable, The Alchemist is appropriate for all ages, although it does require a deeper reading for its hidden lessons to surface. The story tells of Santiago, a shepherd boy in Spain who one night is gifted a dream about treasure in the distant Egyptian pyramids. He then leaves his whole life and world, as he knows it, behind, and embarks on a journey to find his personal "treasure". Literally following his dream, he encounters various people on the way, one of whom is an alchemist. The alchemist advises him, "When you really want something to happen, the whole universe conspires so that your wish comes true." The Alchemist is full of symbolism and promise, and is so full of optimism it may be the new cure for depression. Whenever Santiago is hindered by a problem, he does not despair but rather looks for new methods to get around the obstacle and continue his journey to his treasure. In the end, he does find his gold, but obtains a much greater treasure, the knowledge and the "language of the world". Surprisingly, all the hidden messages within the story do not make it a heavy read. The plot and characters will have you gripped, right from the beginning. The twist at the conclusion, which I will not reveal, is more than enough of a reason to pick up this book. An inspiring story with countless morals woven into the plot, The Alchemist is a perfect representation of hope in the course of life, and will motivate readers to stay true to their dreams. As students of English literature we often think of the great writers of history as unchanging, constant entities. We read Jane Eyre, and this is Bronte, moral and reserved. We read The Scarlet Letter and Young Goodman Brown and this is Hawthorne, symbolic and psychological. These are their static identities, and they do not change. In reality, however, every great writer was a contemporary once and developed over the years. Looking back it is easy to characterize all his or her work in a few simple words, a blanket statement, but it cannot be done. I am not proposing that in this short space I shall attempt to provide a more in depth study of such an author, but rather that I shall demonstrate this complexity by examining two works by one of the foremost American writers of the 20th century, the late John Updike. The short story collection The Same Door, published in 1959 by Random House, was one of Updikes first published works. Another story collection Trust Me, published in 1987 by the same company, juxtaposes it. Updike, the author of such beloved works as Rabbit, Run and The Witches of Eastwick, enjoyed regular publication in The New Yorker up until his death in 2009. These earlier and later works share much, including understated prose and carefully crafted pacing, but also demonstrate much difference between the younger and the elder Updike. Take the first collection. In the initial story, Friends from Philadelphia, the reader is shown to a situation first merely through the eyes of an uncomfortable young man. The narrator seems a socially unsure and timid young man thrust into the home of his attractive peer on an embarrassing domestic errand. But as one keep reading Updike begin to peel back the layers for us, with carefully placed words and phrases that fail to fit exactly into the place that the story thus far has set for them. The reader begins to see the situation in all of its grand socioeconomic meaning and guilt and anxiety, stepping out from the boys singular perspective. This peeling continues until the very end of the story when the story twists and peels back all the remaining layers at once. Updikes


talent, however, allows him to do so without turning the story on its head but instead letting it flow naturally, if unexpectedly, from the scene he has set. Most of the stories follow this design in slowly leaking out a greater and more complete picture, timed perfectly. Updike sporadically makes use of that classic short story technique, O. Henrys twist ending, just enough to let us know he can do it. Without it, however, some stories leave the reader with a torpid mind, already made up about what the story says and why. The prose is palatable, but what really sells the stories are the plots and a necessary will to get into the just barely visible minds of the characters. As one keep reading, however, it becomes apparent that this book is more than just scattered stories brought together for sale. Instead, with each story a connection between the stories grows stronger. Each story deals,

in some way the things that make us uncomfortable. From the questioning of a mans intelligence to the questioning of his courage, to the realization of school age social politics to incestuous dreams, the stories aim to evoke in us a common experience. It is a bold and noble goal. The stories all connect with each other, but the problem is that some of them fail to connect with the reader. In more than a few cases, the situations are too inaccessible. Door is at its best when it stays simple and concrete, as in Ace in the Holes disgruntled lower middle class father and mother-in-law, and stays away from the academic and intangible, like His Finest Hours stuffy and grumpy Arabic-studying old man and derisive cop. Trust Me echoes in so many ways the finest qualities of the first work. The stories again share a common connection. This time they each deal with the question of trust. In the nineteen

year gap, however, it would seem that Updike has moved away somewhat from slow eking out of information towards simpler storytelling, where the element of time rules all. This indeed is a welcome change. It seems to be a more natural method for Updike, and it allows him to end the stories more firmly. The twist endings are now much more selective, and much more effective. Another tool in the elder Updikes belt is the more graceful prose. In this volume the language is more artful and for the most part this is good. The increased artistry of the words complements a more concrete subject matter. Updike moves away from the ethereal, untouchable subjects and focuses more on the conversational realities of his characters. The stories consider more carefully the observable and more easily understandable aspects of characters lives, without sacrificing in scope and depth. This change, most importantly, makes the stories simpler and more accessible. Perhaps this is because Updike appears to have a more liberal interpretation of the books theme. Trust is here represented as trust in friends, trust in self, trust in God, even trust in nothing. Trust in marriage and trust in society are vanguards of the stories. This will to slide around and even nearly abandon themes serves Updike well. In this second volume he is much more agile and free, and we are treated to a story telling marvel that knocks on our door calling us to keep reading. In Updikes development we can more readily understand that writers, even the most revered writers, are dynamic artists, changing and adapting their art as time goes by. Updikes


progress in prose, focus, willingness to differentiate his work stands as a testament to the effects of time on artists. - Mike McDavid

Dear John Dj Vu
Dear John, by #1 New York Times Bestselling Author Nicholas Sparks, is a short novel about what it means to love someone. I was excited when I first picked up this book. Though it was published a few years ago, I never got the chance to read it. At the time, the movie adaptation was set to come out in theaters. Nicholas Sparks is well known for writing A Walk to Remember and The Notebook, both later adapted into popular films. I probably should have remembered that I had

time all of the characters had been introduced. Every plot twist was no more than an about time moment for me. To an extent, I can support suspension of disbelief, but I simply cannot see two people admitting they love each other on their second date. Sure, opposites attract and all that, but just what are the chances that a tattooed army grunt and former rebel will magically fall in love with an innocent sorority girl building houses for the homeless on the beach outside of a sappy romance novel, that is? Perhaps I simply have difficulty enjoying a pleasant story, but I really was shocked by how unreadable this was from beginning to end. Every moment dragged on like a bad movie I was watching for the umpteenth time, and there were points in the book when characters said exactly what I predicted they would. I would like to think I am just that good, but Dear John described an obvious story from start to finish. It was the basic essence of thousands of other clich love stories, all compiled and condensed into one unbearable book. Maybe this is what readers like, but after reading Dear John, I certainly did not plan on showing up at the ticket booth with my female peers for fear that it even so much as resembled its abysmal paper predecessor. ~Annie Tao

not been particularly fond of those movies (an opinion I have no doubt his large fan base will not endorse), because I must say that Sparks has been a great disappointment to me. Im not the type who cant stand love stories or even clichs in fact, I admit to enjoying some of the biggest perpetrators in this genre -but this one overwhelmed even me. Dear John surpassed all of my self-set limits on cheesiness, and was predictable to the point that I knew the entire story by the


An Education
Carey Mulligans breakthrough performance in An Education releases a breath of fresh air. Since her first role as Kitty Bennet in Pride and Prejudice in 2005, everything Mulligan seems to touch turns to gold. At a mere twenty-four years of age, she is thrilling the entertainment industry with both her unique wit and impeccable grace. Costarring along other acclaimed actors such as Peter Sarsgaard, Emma Thompson, and Rosamund Pike in An Education, her character, Jenny, tackles the difficult decisions of coming of age in the 1960s and being forced to choose between continuing her lifetime dream of going to Oxford and her seemingly perfect, yet much older boyfriend David. As she tastes the lifestyle David has to offer, the audience truly feels connected to Mulligan, as her pale blue eyes portray her transformation from simple schoolgirl to glamorous, mature woman in a stark 95 minutes. Mulligans superb performance would even earn her an Oscar nomination for Best Actress. The director, a Danish woman named Lone Scherfig, took a chance with many new artists by casting them in her movie, yet each and every feeling is clearly evoked by all despite their role size. Scherfig is known for her commitment to subtly yet affectively exposing real life situations. Rolling Stone is correct in stating, An Education is remarkable for the traps it doesn't fall into. Unlike most stereotypical Hollywood productions, this movie steers away from predictable and happy ends, concluding the movie with reality rather obnoxious fiction. In a sense, An Education is like a modern day version of George Bernard Shaws 1913 play, Pygmalion. Though both deal with the universal issues of innocence and maturity, the movie adds a level of subtly the play never had. An Education has already won the Audience Choice award and the Cinematography award at the 2009 Sundance Film Festival, yet somehow I feel certain this movie has not finished garnering the recognition it deserves. As for Carey Mulligan, shes not letting the limelight interfere with her personal life by keeping busy surrounding herself in work. Her latest piece, This Beautiful Fantastic, is still in pre-production, yet shes just about to wrap up filming Wall Street 2: Money Never Sleeps and Brighton Rock. Due to hit theatres next year is Never Let Me Go and Brothers, which are sure to cause a stir. If any of those movies even come close to her exceptional performance as in An Education, Carey Mulligan is sure to become the next biggest Hollywood sensation.

My One and Only

Never ever look in the rearview mirror darling, it makes no difference whats behind you.- Ann Devereaux

My One and Only, a dramatic comedy loosely based on the life of actor George Hamilton, is a classic American roadtrip movie. Set in the 1950s, we join a mother and her two sons on a journey across the country that rolls into an odyssey of selfdiscovery. Directed by Richard Loncraine, the movie begins with Ann Devereauxs (Rene Zellweger) futile search for a new husband after leaving her suave and philandering bandleader husband Dan Devereaux (Kevin Bacon), back in NYC. A self absorbed, Southern belle, Devereaux squeezes the last bit of success from the wilting flower of her youth as she stumbles upon a variety of characters who might make suitable spouses. As everyone knows, the course of true love never runs smoothly. Not only is she arrested for solicitation, but Anns suitors include violent, pretentious, and mentally unstable men. Chris Noth, best known as Mr. Big from Sex and the City, plays an abusive veteran, Anchormans very own David Koechner plays a mentally ill, yet sweet suitor, and Will and Graces Eric McCormack plays a - Kylie Loeffler pretentious cradle robber. Amidst the chaos, Ann Devereaux finally manages to find the importance of her sons and herself. Along for the ride are Anns two teenage sons, George (Logan Ler-


man) and Robbie (Mark Renall). George narrates the entire adventure with compassion and humor. He does, however, experience many emotional struggles of his own; from disappointment when he discovers his fathers true colors, to devastation when he encounters his mothers own shortcomings. That being said, My One and Only shows that even though loved ones can be disappointing, in the end, they will make things right. The film chronicles not only Anns journey of self discovery and Georges struggle to achieve maturity, but also portrays Robbie as an innocent, shy, and effeminate boy with his eyes set on Hollywood in pursuit of his dreams. Even though I am not Zellwegers biggest fan and am inclined to find her nothing but annoying, in this film, she embodies the multifaceted essence of a fading 1950s southern beauty. The 17-year old Lerman also gives a compelling and varied performance, emerging as a new tween heartthrob as is evidenced by the large number of fan videos already circulating on youtube. The movie contains many twists, and the music is a compilation of jazzy and catchy 1950s swing. When leaving the theater, ones heart fills with a warm satisfaction and assurance about the love of family and the rewards of growth and self-sufficiency. My One and Only, is rated PG-13 for mild sexual situations. - Gussie Powell

A Serious Man
A Serious Man, the new movie by the Coen Brothers, surely lives up to its name. Its not that the movie isnt enjoyable or enter-

taining (the movie definitely fits both descriptions), it just has a certain atmospheric, melancholy feel throughout the movie. As I was preparing to go see this movie, I felt like I needed to touch up on The Book of Job (for which A Serious Man is an allegory), and after viewing the movie, I realized the necessity of my trip to the Book of Jobs Wikipedia page. The movie wouldnt make much sense and would lose much of its philosophical value without any background knowledge. A Serious Man starts with an elderly Jewish couple in an eerie, old fashioned shack, sitting around the fireplace. The husband (who we soon realize to be Russian), tells his wife of his trouble on the snow covered roads back to the house, and how he was helped by a distant relative. As the husband states who helped him, the wife freezes, and says the man had already died, and was a dybbuk. As she says this, a loud knock is heard at the door. The husband apparently invited the dybbuk home for dinner. The man says that they should accept him anyway, due to the fact that he helped him get home safely, while his wife disagrees, and stabs the dybbuk after a short accusation. The man was not a dybbuk and dies from the stab wound. As we see this couples shock from the murder, Jefferson Airplanes Somebody to Love begins to play, and we are taken to 1967, where we remain for the rest of the movie. The main character of A Serious Man, Larry Gopnick (played by an outstanding Michael Stuhlbarg), is an unfortunate Midwestern professor of physics, who feels like the car-

pet has been yanked out from under him. Gopnicks wife leaves him for an appropriately named friend, Sy Ableman, his troubled, stoner sons Bar Mitzvah quickly approaches, his daughter steals money from his wallet for a nose job, his tenure application seems to be going down the drain as one of his students tries to sue him for defamation and bribe him for a better grade, and his unemployed brother, Arthur, is in constant trouble with the law. Gopnick visits three different Rabbis to sort out the difficulties in his life, why God punishes him, and what he needs to do to become a serious man. The first two Rabbis give their opinion that he cant interpret any meaning from what God is trying to tell him, and that it is his perspective that needs to change. Gopnik tries desperately then to talk to Rabbi Marshak, who, although never talking to Gopnik himself, gives some surprising advice for his son. Richard Kind delivers one of the best performances in the movie as Gopniks brother, and mixes a certain pity with hilarity. The cinematography seems to dull the color, and provide a boring, dreary looking atmosphere. The Coen Brothers take their time in this movie, and use body dialogue to a full effect. They also use symbolism with every little detail, and constantly refer to pieces of biblical lore. The Coen Brothers use every second of A Serious Man to effectively solidify their themes, and provide a stirring allegory comparing The Book of Job to suburban, Jewish family life. - Eben Blake


Does Blur Really Have No Distance Left To Run?

In 1989, Damon Albarn, Graham Coxon, Alex James, and Dave Rowntree came together in London to form Seymour: a band that incorporated the sound of Manchesters Madchester scene with the increasingly popular shoegazing style employed by bands such as Nirvana. Little did the London threepiece know that they would eventually foster a generation of Englishmen disillusioned with modern life and American dominance of popular culture. And, in five years time, become preeminent figures in Englands Cool Britannia movement, entangled with the politics of New Labor, the art of Damien Hirst, and a bitter rivalry with Oasis. This is the story of Blur. From 1991 to 2003, Blurs music evolved as the band experienced the bittersweet nature of stardom. With influences ranging from The Beatles to Pavement, The Kinks to Dinosaur Jr., Blurs diverse musical interests would lead their compositions to span from the British guitar pop of the 60s to American grunge and lo-fi, along with practically every genre in between. Yet, their growing and broadening interest in music would ultimately lead to Coxons departure in 2002 and Blurs disbandment in 2003. Graham Coxon went on to have a fruitful solo career and participate as a guest artist on many records throughout the decade, most recently Pete Dohertys Grace/Wastelands. Damon Albarn proceeded to team up with artist Jamie Hewlett and create the international sensation Gorillaz which has sold over 17 million albums to date. In early 2008, the former members of Blur began talking about a reunion and in December of that year, Damon announced that the band would reunite and tour England in the summer of 2009. That summer, Blur played bigger concerts then they could have imagined at the height of their initial success in the nine-

ties, headlining the Glastonbury Festival and selling out two consecutive Hyde Park dates within the first two minutes of their announcement last year. In No Distance Left To Run, the viewer is taken along with the band on their 2009 reunion tour ultimately ending with their Glastonbury show. No Distance Left To Run recounts Blurs rise and fall as seen by members of the band and several interviews with Albarn, Coxon, James, and Roundtree scattered about the film provide for a smooth narration of their exciting career and their causes for reuniting. When asked why Blur was able to reunite Damon Albarn responded, All the rubbish, on both sides, was over. And we [Blur] were like, Lets get the band back together, one more time! Along with extensive interviews with every member of the band, No Distance Left To Run features stunning live footage from their 2009 tour of a quality arguably unmatched by most documentaries. As the film concludes, Blur is unsure yet optimistic concerning the future and what it holds in store for the band. The famously critical music review website, Pitchfork Media, stated Blurs superiority over practically all other bands around is a secret waiting to be discovered by thousands of music fans and, with any luck, the attractive and delightful No Distance Left To Run will do just that. -Trey Zenker


Jude Law as Hamlet
The end of 2009 has seen a star-studded season on Broadway, with the likes of Hugh Jackman, Sienna Miller and Daniel Craig performing on stage for eager audiences to breathe the same air as they all within a few blocks of each other. One of the events in the spotlight was the arrival in New York of William Shakespeares Hamlet, starring Jude Law as the melancholy Danish prince. This particular production of the famous work originated in London at the Donmar Warehouse and was transferred to the States this fall. The show opened on Tuesday, October 6, at the Broadhurst Theatre and ran until Sunday, December 6. The set - free of what one might expect in Shakespearean scenery - had a cold, forbidding feel induced by high stone walls and shades of black and blue; there were no men in tights, golden thrones, or red velvet drapes to be found. The costumes mimicked this minimalism: nothing too ostentatious, presumably to allow the focus to fall on the acting. One need not always appreciate the entirety of a work, but rather, appreciate the aspects of it that merited applause and refrain from dwelling on the rest. Law brought exceptional energy to his performance as Hamlet, albeit through an abundance of grandiose gestures and eye-bulging emotions. One must take into account, however, that much of the audience perhaps even its majority were not Shakespeare connoisseurs, in which case Laws near-lyrical body language served as a facilitator to these audience members understanding of the complex Shakespearean language. In much the same way, Laws strength of voice and engaging presence kept the attention of the audience for the entirety of a few hours; no other Hamlet could have kept spectators so attentive had he sacrificed high-pulsed entertainment in favor of bouts of slow, serious introspection. In the Shakespeare connoisseurs defense, whether Hamlet was feigning his antic disposition or actually going insane a choice to be made by each Hamlet and his director was made unclear by Law as his expressions of violent emotions walked the thin line between desperate sincerity and mental illness. There can be no denying that had the cast lacked a celebrity name in its midst, I would not have made the trip to see Hamlet on Broadway; and Im sure many of my fellow audience members could say the same. This fact does not serve as food for criticism; on the contrary, the production allowed Shakespeare to reach audiences he might never have touched without a celebrity as his vehicle. With their audience in mind, the director and cast managed to bring humor to parts of the play that would have lacked it otherwise, largely through fresh, clever interpretations of the text portrayed through voice inflections and body language. So what if sparkly-eyed teenage girls or swooning moms attended the performance to stargaze? They found themselves laughing at Shakespearean wordplay and feeling the pain of each monologue just as much as the more theatre-savvy and more critical members of the audience. - Monica Hannush




Spring 2010