(Left to right) Jennifer Petre, Terran Frye, and Donna Fournier pose with Frye's service dog Hershey at Petre's home in Howell.
War-ravaged veterans return home to find buddies in Stiggy’s Dogs
Terran Frye, 29, a veteran from Westland who served two terms in Iraq, returned home in 2005 with PTSD. He suffered anxiety attacks and was afraid to leave his home. Frye had become dysfunctional.
“I had tried everything,” he said. “The VA tried every drug they could think of.”
Then, in the summer of 2010, Frye met Jennifer Petre of Howell, a friend of a friend, who was training dogs for psychiatric service for veterans with posttraumatic stress disorder (PTSD). Frye was doubtful that a dog could help with his PTSD. Petre, however, was confident.
“You have no idea about the journey you are about to embark on,” she thought to herself. “I can’t wait to see the transformation.”
The catalyst for that transformation was Hershey, a female black lab and beagle mix.
Terran Frye, 29, of Westland pets his psychiatric service dog, Hershey. Frye served four years in Iraq and suffers from PTSD.
Now Petre beams with pride when she sees how far Frye has come.
“Once I got Hershey, it helped a lot more than the treatments I had been getting or even in-patient treatment,” Frye said.
Besides handling life better, he and Hershey have begun helping other veterans both through Stiggy’s Dogs and through the Freedom Center, a welcoming center for veterans at Detroit Metro airport.
As Frye talks, Hershey lies stretched across his left foot pushing up against his leg. Ever vigilant, she calms Frye with her presence, assuring him that everything is OK.
Petre had a heart for dogs, like her husband’s nephew, Benjamin Phillip “Doc Stiggy” Castiglione, a corpsman in the Marines. Doc Stiggy, much loved by fellow soldiers, was killed in Helmand Province, Afghanistan on Sept. 3, 2009. Petre wanted to do something to honor his memory.
In 2010, Petre, together with Donna Fournier of Garden City, founded Stiggy’s Dogs in Howell. Their plan was to select two 5-year-old dogs from shelters, dogs that would otherwise be euthanized, and train them to be service dogs. Their motto became, “Rescuing one to rescue another.”
The dogs used by Stiggy’s can be of almost any breed. So far, their dogs have been mixed breeds with German Shepherd, Pit Bull, Beagle, Catahoola, French Mastiff, Labrador, Rhodesian Ridgeback, Husky, Shiba Inu or Corgi lineage.
“We don’t really discriminate for the breed. It really comes down to temperament and the personality,” said Fournier, who has a degree in psychology and has been a dog trainer since 1999. She is Director of Training at Stiggy’s dogs.
Fourier screens shelter dogs for compassion, eagerness, curiosity, excitability, submission and fears. If they show aggression, they are dismissed as potential service dogs. Selected dogs are trained for Canine Good Citizen (CGC) certification.
Then the dogs are paired with veterans based on interviews which assess the veteran’s needs. The veterans come to Howell to train with their dog for one or two weeks. It is the veterans’ responsibility to take their dog through the CGC exam.
“We want that honor to be the veteran’s honor; that’s their first moment to be proud of their dog,” Fournier said.
In the next phase, the veterans spend one to three months on-site, training their dogs for the Service Dog Public Access Test. After passing this test, the pair goes home together, but Stiggy’s Dogs continues to monitor their progress.
In their first 18 months, Petre and Fourier trained and placed 15 dogs with veterans in at least eight different states. Some veterans have reported that after getting a dog they were able to reduce their anti-anxiety and sleep medications. Like Frye, all have been enabled to lead more normal lives.
Petre has bigger dreams for Stiggy’s Dogs. At their new location on seven acres of rolling wooded land, she hopes to build guest cabins for the veterans, a fishing pond, a Zen pool and gardens. Living and working in this environment during training would contribute to the veteran’s therapy.
Meanwhile, veterans are finding an additional benefit from Petre’s project.
“Stiggy’s Dogs has brought us close to each other as friends and family,” Frye said, “and we’d do anything for each other.”
To learn more about how to contribute or to volunteer at Stiggy’s Dogs, visit stiggysdogs.org orcall (248) 667-8364.
Dogs get higher education at WCC, too
Students who visit the Student Center on a Thursday evening may be in for a surprise. Puppies from Paws (PAWS) with a Cause along with their foster handlers will be there attending classes.
For the dogs, classes involve learning mundane but difficult tasks like sitting quietly at their master’s feet in spite of various distractions. The raisers receive instructions on dog training.
“Dogs aren’t naturally aware of their rear end,” said dog trainer Linda French, 58, of Waterford. “They need practice to carry out more complex tasks while keeping their behinds out of trouble.”
French bases her instruction on 40 years of experience training dogs. She had her own dog-training business for many years and now works for a veterinarian as well as teaching for PAWS.
Thurman, a nine-week old yellow lab/golden retriever mix, is learning to be a helper dog.
French trains foster raisers on how to reinforce desired behaviors. She explained that primary reinforcers for animals are food and sex, but in training, a “bridge” reward is also needed.
A bridge is a signal that comes immediately after the desired behavior, such as the words “good dog.” The dog comes to associate the words both with proper behavior and with the promise of a primary reward. The reward is usually food or petting.
Trainer Dawn Hunter, 32, of Belleville, also teaches raisers at the Student Center. She has only been working with PAWS for a few months. Previously she trained dolphins in Hawaii. Hunter believes that basic training principles are the same for different species.
Dogs are special though. As the trainers say, they desire to please. This is what makes it fun to be a volunteer foster puppy-raiser.
Glen Walborn, 51, of Plymouth, was at the Student Center with a disarmingly cute nine-week-old puppy named Thurman, a Golden Retriever/yellow Lab mix. Thurman had some experience 30 years ago training leader dogs for the blind. More recently, a nephew with a seizure disorder provided the impetus to get back into dog training. Thurman is his first PAWS dog.
Karen Jovanelly, 45, of Dexter, came with a seven-month-old Golden/yellow Lab mix named Nila. Nila is Jovanelly’s first PAWS dog and has been in the family for five months. The nearly full-grown puppy is becoming accustomed to living with Jovanelly’s three busy children. In Jovanelly’s home, puppy raising is a family project.
PAWS breeds service dogs. The trained animals are given to volunteer foster raisers for a year to 18 months for socialization and basic obedience training. Next, the dogs return to PAWS headquarters in Wayland, near Grand Rapids, to receive advanced training.
Ashley Wiseman and Maui, her assistance dog from Paws with a Cause, pose outside a store.
In this second phase of training the dogs learn specific skills they need for the kind of assistance they will provide to their client. This phase usually requires another four to six months.
Finally, the dog is delivered to the client. A field instructor visits the client’s home about twice a week for the first month to guide both dog and client in their new adventure together. The field instructor continues to visit the client’s home, but with diminishing frequency.
French is a field instructor as well as a trainer of puppy raisers. She has two or three clients at a time. One such client was Ashley Wiseman, 23, of Ann Arbor.
Wiseman has a rare genetic disease called Dejerine-Sottas Syndrome. It affects her nerves and causes her to have limited use of her extremities. Her PAWS dog, a Golden Retriever named Maui, helps her do things that are challenging for her, like picking up a dropped telephone.
Wiseman and Maui have been together since October 2008, and she chronicles their experiences in a blog called “Tuesdays with Maui.” Maui enables her to lead an active life. She completed a degree at Grand Valley State University and was recently accepted into a master’s degree program at University of Michigan. In her spare time, Wiseman is a political activist, leading the Ann Arbor chapter of Amnesty International.
PAWS assistance dogs can help with many kinds of disabilities. They help clients with hearing impairment, mobility problems, seizure disorders, and autism. Service dogs for children with autism began in 2009. Dogs can enter an autistic child’s world through being an ever-present nonjudgmental friend.
PAWS only manages to function with the help of volunteers.
“We are always looking for raisers,” French said. In addition, volunteers are needed for fundraising, office work and public relations. Dog lovers who can’t imagine giving up their puppy after a year can host breeding dogs in their homes.
With the help of volunteers, PAWS dogs are making a difference in the lives of people nationwide. Since its 1979 beginnings in Western Michigan, PAWS now serves 38 states and has initiated 2,400 dog/client teams, according to Deb Davis, national marketing manager. And that’s a lot of love.
To learn more, visit pawswithacause.org. To volunteer, click on “Donate Time,” and fill out the volunteer application.
As Ann Arbor musician Jeremy Malvin entered his home for the first time in March 2011, he was at first taken aback by nude models posing for a drawing class.
Three stories above South State Street in downtown Ann Arbor, the loft that 21-year-old Malvin was looking to inhabit had already been an epicenter for Ann Arbor’s art and music scene for more than 40 years under the name Arbor Vitae.
“When I first walked in, I knew it was going to be an interesting place to live,” Malvin said. “There were like naked people in the living room. I guess it comes with the territory.”
Designed as a dance hall, the loft boasts six inches of sand between the floor and the loft’s nearest downstairs neighbor, Wazoo Records. It was established as an architect firm on Friday, July 13, 1962 by architect Rich Ahern, according to longest-standing resident Ian Felcher, age 42. Ahern allowed art and design students to inhabit the loft first as an art and office space, and later as a residence.
“He was a very prolific artist and architect,” Malvin said. “It’s amazing how he let students live here and do their own thing, even though he was a bit older at that point. Some people have referred to those days as the ‘smart hippie’ crowd.”
The loft soon gained recognition for the artistic endeav- ors within its walls along with a sense of urgency for political and social activism created by Ahern. Known for Ahern’s ties to activist organization Greenpeace and for a rumored stay enjoyed by the Dali Lama in the 1990s, the loft is now known, by word-of-mouth only, as the place to be for Ann Arborites looking to escape the mainstream.
“He (Ahern) has a legacy,” Felcher said. “People have been coming to get Rich’s prints for years. We’ve got them all catalogued and organized. He said this place reminded him of a dream he had of an upsidedown building. It’s one of the things that makes this town great. There are so many avenues of culture. This place was built for it.”
Ann Arbor synth rock band Charlie Slick has performed at Arbor Vitae numerous times over the years. Since his teens, front man Charles Slick has looked to the loft as the hippest stage independent bands can take in the city.
“It’s inevitable to play here,” Slick said. “When I was young, it was the place to be, a dark mystery of coolness. Strangely enough, Ann Arbor is a college town, but there aren’t a lot of options for low-key bands to perform at. If you’re from out of town, and you come by, you’ll be like ‘this is where I belong,’ unless you’re a square.”
Slick appreciates the immense support local bands like his own garner at the loft. He sees Arbor Vitae’s donation-only policy and complete allo- cation of funds to performers a rare generosity in Ann Arbor. “It’s easier to have a good show here if you’re small,” Slick said. “It’s the best place for bands to play because of the support. Unlike most places around here, we’re not wheat in a field for you to harvest.”
These days, residents con- tinue to use the space provided at the Arbor Vitae to hone their artistic and social endeavors. Comprised entirely of local musicians, the group currently dwelling at the loft is mainly focused on music.
“The style of the place has been changing as the people who live here change,” Malvin said. “Lately, some local promoters have been using the space as a venue.”
Malvin has seen the stylistic preference of the musicians at the loft expanding recently. He has been glad to see a wider range of musical acts and genres climb the stairs and cross the threshold into artistic freedom at the loft.
“When I first came here, it was a lot of experimental garage rock, but it has opened up a lot more,” Malvin said. “We had an old soul quartet not too long ago as well as chamber music concerts. Musically it’s been all over the board, which is healthy for the scene.”
Booking the majority of musical performances over the past six months, Malvin, who performs locally as electronic act Chrome Sparks, usually maintains a frequency for shows of twice a month. Felcher enjoys the leisure this policy allows for.
“The reason we veto so much is because we do like to eat our cornflakes in the morning,” Felcher said. “It is first and foremost a home, but I hope it keeps going. Fundraisers and benefits are great, but what about the bands?”
Never planned ahead of time, performances that do occur each month are but two of the many requests the loft receives. Malvin usually expects about 100 attendees at the weekend show, which are approved unanimously by house-mates.
“We don’t have any trouble finding acts,” Malvin said “We already get asked to do more shows than we’re capable of. Everyone has to be cool with it though, you just have to ask the house.”
The house doesn’t only approve music. Partnering with the Ann Arbor Free Skool and Ann Arbor Craft Society, the loft has hosted figure drawing, crochet and other art classes. Teaching crochet at the loft, Christine Barrera, 24, of Brighton, sees the loft as an oasis in the midst of corporate development downtown.
“I like that it’s part of a different area of Ann Arbor,” Barrera said. “This area is all developed and full of businesses, then there’s this housing in the middle of it all. It’s such a nice little niche, a little corner of creativity. It maintains a good level of what everybody wants.”
Harkening back to a town he once loved for its stance against corporate take-over, Trevor Eller, 34, an Ypsilanti resident, has visited the Arbor Vitae sporadically for over ten years. He believes the loft to be small sample of the highly expressive and affluent town that Ann Arbor once was.
“It represents what Ann Arbor used to be, but isn’t anymore: the creative energy. Ann Arbor used to be a real hotbed of activity.” Eller said. “It’s sort of a hold back to when State Street was all independent. No corporations were allowed. I’m happy this place remains though, it’s cool up there.”
Producer and emcee Nick Speed (left) performs on stage with Detroit rapper Guilty Simpson. (Jared Angle/The Washtenaw Voice)
Detroit artists and fans commemorate the life and music of J Dilla
When Detroit resident Michael El stepped out to have a cigarette in a small caged-off area on the side of The Fillmore Detroit, he turned to look at the other smokers, and his mood became spiritual.
“This is where he was born and raised,” said El, 34. “There a lot of reasons to be here tonight – beautiful women, beautiful weed. But it’s about Dilla tonight, and what he meant to this city.”
The other smokers never responded. They, too, were transfixed by the sounds of the DJ’s spinning beats produced by a fallen hometown hero, James Dewitt Yancey, better known to the crowd as the late-producer J Dilla or Jay Dee.
DJ Mr. Nizguy displays the Dilla screenprint on his jacket to the crowd at the Fillmore Detroit. (Jared Angle/The Washtenaw Voice)
Some were less divinely resonant, but reminiscent nonetheless.
“When I had heard it for the first time, I thought the shit was straight bananas,” said Lavaughn Henderson, 37, Detroit. “No matter what he was doing it was like he was reinventing himself on every single track. He was constantly switching styles. I bought every single album.”
Packed tightly by the thousands inside the large Fillmore Theater, Feb 10 marked the 5th annual Dilla Day Detroit tribute concert, an extended musical eulogy to the producer held annually on the week of his birthday.
Having passed away in 2005 at age 32 due to complications from thrombotic thrombocytopenic purpura or TTP, a rare blood disorder, Dilla would have been 38 years old this year.
Promoted as being bigger and badder than the Dilla Day events of the past, the concert was to feature such big name acts like Busta Rhymes, Jay Electronica, Phife from the iconic ’90s rap group A Tribe Called Quest, and other prolific local emcees who either grew up with or collaborated heavily with Yancey while he was alive.
Other performers included Phat Kat with funk band Will Sessions, Guilty Simpson, Asher Roth, Danny Brown, Chuck English from The Cool Kids, and drum machine wizard Amp Fiddler.
The event was also used as a mechanism of support for the J Dilla Foundation, which helps bring music education to local children, manages Dilla’s estate and is producing a brand new album of unreleased Dilla material titled “Rebirth of Detroit.” The rapper’s mother, Maureen “Ma Dukes” Yancey, took over the foundation and control of her son’s legacy a year ago.
Washtenaw student Darius Ajam (left), 19, waits in line with friends in the lobby of the Fillmore Detroit. (Jared Angle/The Washtenaw Voice)
“It was a momentous occasion,” Yancey said. “It was the epitome of what Detroit is and what it can be. It proves that Detroit really is an Emerald City and all of his friends and fans held it up for not just Dilla, but for each other.”
All three headliners scheduled for “Dilla Day” were no-shows, and only Rhymes issued a statement on the foundation’s Facebook page. The fans and local performers didn’t even notice.
“I don’t really have a feeling about it,” said Detroit musician and longtime Dilla friend DJ Dez. “We all know that people like to talk shit, but there are no ill feelings. At the end of the day it’s about us and Dilla.”
Dez knew Yancey from their early days as beat makers, when the two would visit Fiddler’s house to get an education in production.
“Amp was the kind of guy that would open his door to you and let you use his equipment,” he said. “We would kind of work in shifts and Jay Dee would be there putting in his time, and then I’d take over.”
Dez still felt that it was unfortunate for the others to drop out.
“Dilla is someone who should be celebrated,” Dez said. “His music crosses generations. My kids fall asleep to his music at night.”
For Washtenaw Community College student, Darius Ajam, 19, the Dilla event was a night that he will never forget.
“I haven’t been to a show this interesting since ‘Rock the Be1ls,’” said Ajam, of Ann Arbor. “All these people here tonight were affiliated with him and he was cool with all of them.”
J-Dilla had been a household name for fans of hip-hop for some time before his meteoric rise and death in the early 2000s. He produced hits for Janet Jackson, A Tribe Called Quest and The Pharcyde as early as the mid-’90s, according Will Sessions Band guitarist Ryan Gimpert and bassist Tim Shallaberger.
Accolades abounded during the presentation from non-fans as well, with kind words about Dilla and the state of black men and women in Detroit given on stage from former Martin Luther King lawyer Clarence B. Jones. Even Michigan State Senator Bert Johnson attended to present Dilla’s mother with an award.
But out of all the memories Yancey had with her son, her fondest moment was hearing him recording a mix-tape fusing classical concertos with heavy hip-hop beats.
“I studied classical and opera performance, and when I had heard that, it touched my heart,” she said. “He made so much music that meant everything to different people, but I knew when I heard that tape that it was made for me.”
It all came down to being inspired by greatness, according to producer and friend Nick Speed, who performed onstage with an orchestra to bring a different feel to Dilla’s music. It was an inspiration that was not lost on the crowd of cheering fans.
“Tonight they are serving ‘Donuts’ in heaven,” El said, upon hearing the orchestral arrangements, referring to the last instrumental album Dilla created while on his deathbed. “That was his dedication and tonight this is his.”
The ‘force’ is now even stronger – in 3D
On desert planet Tatooine, a long time ago in a galaxy far away, a young Anakin Skywalker is hard at work fixing up the engines of his pod racer, preparing to blast off into a race for his freedom. Meanwhile, Jedi Master Qui-Gon Jin and his apprentice Obi Wan Kenobi, are stranded on the barren planet and in search of parts to repair their ship.
As the two parties meet again now in 2012 on the silver-screen and in state-of-the-art, three dimensions, “Star Wars” has begun anew. The epic saga that is responsible for virtually every American’s imagination – admitted or not – since the release of “A New Hope” in 1977, is back in stunning, cinematically cutting-edge 3D glory.
Audiences are now absorbed into the action like never before as “Star Wars Episode One: The Phantom Menace” takes ahold of viewers back in theaters for the 3D update. It is the beginning of an ambitious project to convert every installment in the series into 3D starting controversially with the prequel trilogy.
Often panned by fans as the weakest in the epic space opera series, “The Phantom Menace” was given all new life in what threatened to be an obvious re-milking. What ensued turned out to be a truly updated cinematic experience for the underrated first film of the 90s prequels.
Comparable to the immersion effects of James Cameron’s “Avatar,” “The Phantom Menace” looked sharper and more refined than past releases, bringing audiences into the scenes rather than attempting to breech the fourth wall itself. The best “Real-D” lets your mind do the walking.
Fans felt as if they were sitting alongside each of the many pilots in the Galactic Republic’s fleet during a final dogfight at the film’s climax. Transfixed as they rapidly sucked in air from their breathing tubes, they begged to get out of the battle unscathed by airborne blaster cannons.
The classic scores by John Williams sounded updated as well with more resonance and clarity to the strings and horns of Williams’ orchestra. Sound effects also had more detail added, taking full advantage of the cutting-edge speakers and amplifiers in today’s theaters.
This re-release marks a chance for “Star Wars” fans to swallow their pride and give “The Phantom Menace” another shot. The excitement and beauty of “Star Wars’” first chapter is now fully realized on screen.
Genre Science-Fiction
Rated PG
Runtime 136 minutes
QUALITY 16 $7
‘Chronicle’ is a case study in human rage
If we’ve learned anything from the most modern incarnations of psychologically dark super-hero films, it’s that not all our beloved childhood supermen are as fun loving and altruistic as they seem.
Most importantly, we’ve realized that the dastardly traits inherent to all men are compounded 10-fold when high-tech gadgets and special powers are added to the equation.
That lust for power, control, dominance and superiority is at the heart of many ordinary men’s motivations, and such is the same with the main characters in the new film “Chronicle.”
The latest in the line of serious takes on people with extra normal abilities, “Chronicle” logs the exploits of three very different high school students who suddenly find themselves a step ahead from the rest of humanity.
They can fly, control matter, crush physical objects with their thoughts and even make their sex and social lives more fulfilling in the process.
While two of the three are having a blast exercising their burgeoning sixth sense, the same cannot be said for the disaffected Andrew Detmer (Dane DeHaan).
Not even meta-human strength and focus can quell the rage boiling up inside of this angry young man. He is the psychological lynchpin of the film. Andrew’s story is not new or even that original, as he is the product of every element associated with the classic tale of a quiet-kid-gone-crazed thrill-killer.
Although his actions go from misguided to murderous in nearly a blink of a shocked eye, any audience member viewing the film can’t help but feel pitiful or even proud of the vengeance that Andrew takes out on his family and peers. Viewers will feel physiologically frightened when his climactic freak-out occurs near the end.
If the mental breakdown of a super-powered and deeply troubled teen isn’t enough to sell you, the experimental cinematography will help seal the deal for more intelligent movie buffs. Shot entirely in first person from the perspective of various camcorders, the movie switches seamlessly between a found-footage style gore flick and an action-soaked Hollywood romp.
Don’t be deterred by the slow start and almost visibly predictable middle section, the last hour of the film is worth more than the price of admission.
Genre Sci-fi/Drama
RatED PG-13
Runtime 84 minutes
QUALITY 16$7
The Fray comes to life in ‘Scars and Stories’
After spending thousands of dollars on trips abroad, alternative pop-rock foursome The Fray has brought its travels and observations into their newest effort “Scars and Stories.”
For the most part, the album appeals perfectly like a picture book.
Upgrading to Brendan O’Brien, the producer known for his work with Stone Temple Pilots and Pearl Jam, the catchy Coldplay-reminiscent piano ballads have been turned down a bit in “Scars and Stories” and have been replaced with optimistic guitar ballads and down-beat piano tracks, creating a more dramatic tour through the album.
They’ve never sounded better on a record. While they’re still relying on a chilled, atmospheric blend of Coldplay’s blaring and Rob Thomas’s grunge-rock voice, agitated with a little bit of Three Days Grace influence, O’Brien helps The Fray spin its ideas into a coherent album that gives definition, muscle and depth to the recording.
The second track on the album, “The Fighter,” speaks of a woman begging her lover not to go off to fight. Adorning the chorus with, “Maybe we were meant to be lonely, lonely/Maybe we were meant to be on our own/Loneliness has always been with me/But maybe we don’t have to be alone.”
It’s been said several times to write what you know and what sets this album apart from The Fray’s previous work is the songwriting. It’s purely observational and arranged in a world tour set to capture the soul – and not written only about what they know.
While fans of the Fray may be a little shocked to see this maturity within the group, this album requires a certain amount of contemplation to truly understand the music and lyrics.
Finally, the Fray has experimented with something different and this time, it’s not about “How to save a life” but rather the similar experiences that other cultures go through.
Album Scars and Stories
Artist The Fray
Label Columbia
GENRE ALT. ROCK
Spies will be spies in ‘Safe House’
Intelligence agencies around the world, such as the CIA and MI6 are shadowy, dirty organizations willing to do anything to safeguard the security of their home nation. These agencies recruit the best individuals they can find who will put duty before all else. Sometimes an agent turns against his government and must be hunted down.
Is it just me, or does this sound like every spy movie ever made?
“Safe House,” staring Ryan Reynolds and Denzel Washington, attempts to spice up the spy movie genera by throwing in an anti-hero who does bad things but for good reason. But even that has been done before.
Reynolds stars as Matt Weston, an underrated CIA agent in charge of maintaining a secret interrogation room, known as a safe house, in Cape Town, South Africa. For months, Weston’s only guest is boredom until Tobin Frost (Washington), the world’s most notorious spy and traitor, idly walks into the U.S. embassy and turns himself in.
Weston, shocked to have such a high-profile criminal in his safe house, follows his assigned orders until he is attacked by a large group of heavily armed men. Unsure how the bunker was found, why it was under attack and knowing that Frost is too valuable to lose, Weston grabs Frost and abandons the safe house.
“Safe House” contains all of the predictable elements found in every spy movie: illegal operations, war in the shadows, double-crossers and a hidden truth that would make a conspiracy theorist drool.
The visuals are passable and there is enough fighting and chase scenes to keep viewers interested in the action without distracting from the main plot.
This film is by no means terrible; it’s just not original at all.
Unless you’re a big fan of spy movies, or Denzel Washington, “Safe House” is a film only worth seeing at the matinee discount. For spy fans, Safe House is entertaining and provides a decent amount of satisfaction while they wait for “The Bourne Legacy” to hit theaters this summer.
Genre THRILLER
Rated R
Runtime 115 min
QUALITY 16 $7
Dawes, a self-described ‘American rock and roll band,’ brings a classic rock edge to the evening.
An eclectic mix of performers gathered at the Hill Auditorium and delighted the sellout crowd at the 35th Annual Ann Arbor Folk Festival.
The evening’s line-up included bands like Elephant Revival, a five-piece neo acoustic quintet and a folk girl with a guitar, Sunny War. Headliner Ryan Adams closed the Jan. 27 show with a very intimate, all-acoustic solo performance, playing some of his most popular songs and bringing a satisfying finale to a night of amazing music.
Devotchka showcases their blend of Eastern European gypsy punk.
Heywood Banks, the Ann Arbor Folk Fest MC for the night, entertains the crowd in between sets with a variety act of musical comedy and one-liners.
Last-minute touches are put on lighting and sound before the show.
No disappointments from the dividing line
After two decades of crusading for social awareness and change, Ani DiFranco has retained the universal appeal to continue her musical message of equality and justice for people of all ages and walks of life.
While the singer-songwriter continues to put out quality, thought-provoking music – as evidenced on her latest release “¿Which Side Are you On?” the groundbreaking artist has sadly not given herself much room to grow.
But the same old sound does not deter listeners from enjoying the overall brilliance of her newer work.
Still Relying on intricate acoustic guitar work, with added flourishes of fuzzed-out guitars and studio tricks, Difranco’s words are still the focus. While she may not be tackling the common thread themes of rape, abortion and human rights, her strong push for a wider understanding of a contemporary feminist dialogue is still intact. For old fans of DiFranco, the disc is a welcome addition to her catalog. New fans will find joy in a modern classic.
However, the disc still draws a dividing line. Listeners looking for the angry rallying cry of early Alanis Morrisette and DiFranco’s first few albums may not be able to comprehend the overly positive lyrical and sonic compositions on “¿Which Side Are you On?” The music requires a certain amount of introspection and prior exposure to the strong subjects displayed on the album, which could make newer listeners uncomfortable.
This is not a negative reflection on her output itself, but rather on a society that still exudes the same patriarchal and cultural stereotypes that prevent women like Difranco from being fully accepted by a wider audience.
But these pressures hardly affect her state of mind, and a wider appeal would only hurt DiFranco’s hard-fought struggle for her social status as folk’s most “righteous babe.” If you are willing to take the time to explore a new way of thinking, all you have to do is buy this disc, and ask: Which side are you on?
GENRE FOLK ROCK
LABEL righteous babe records
ITUNES $11.99
AMAZON $11.99
|
|
Recent comments