Questions by Elizabeth Brooks

Interview by Ariella Weintraub

Slope Media caught up backstage with chart-topping rapper, singer, and songwriter, B.o.B. before his performance at Cornell during Homecoming weekend. Listen to what what he had to say about the music industry, his climb to the top, and his pre-show rituals. If there’s one thing we’ve learned, fresh haircuts before shows are often a must – even if it’s 5 minutes before show time…and during an interview. You’re tuning in when Slope had just asked B.o.B. about how his career got started.

B.o.B.: I got signed at seventeen out of high school and from there I’ve just been putting out mix tapes and really, really like a lot of, a lot of my following was built on line, through like, you know I started out on MySpace. And like, and so from there, it’s really been like, I remember like the first mix tape I did. I was handing out my mix tapes in Florida during the Super bowl, and the Super bowl was in Miami. Who, who was playing then? You know who that was? And so uh, I just remember like nobody knowing who I was, just passing out mix tapes on the street.  You know, they’re walking down the street and seeing it on the ground, picking it back up, passing it back out again. You know that whole thing so. You know it’s really just; it’s really just persistence. You know what I mean, everybody. You have the same tools to begin with, to start out with.

Slope: But you need tough skin to keep going.

B.o.B.: Yea, even when I was in high school, you know, just got to stick with it.

Slope: Just gotta keep going

B.o.B.: Stiff upper lip, stiff upper lip

The Sun: How was it debuting at number one? I mean what was that like?

B.o.B.: Honestly that was like the moment where I felt like, the moment where I felt like out of all the moments in my career, the moment where it really started to feel like a dream you know what I mean? And when I say dream I mean like literally like, before you wake up in your dream and it starts to get real crazy and you’re like, this has got to be a dream. It kind of felt like that you know. I never expected it. It kind of showed me. I guess I feel like I was off the radar I guess? I don’t know, you know. I’m the type of person where I never really. I think of myself as the underdog all the time, so.

The Sun: Did you ever imagine debuting at number one or was it just a complete surprise?

B.o.B.: Definitely a surprise, it’s all about the team you have. You know I think a lot of artists they try to do everything themselves you know you gotta understand that it takes a team to do something like debut number one. Granted it’s the music but you know you got to spread the awareness about the music and build it right to where everything happens appropriately, or the best way that it can happen.

Slope: My next question is, you’re playing at Cornell and we all kind of have this allegiance to the song Airplanes because the people who wrote the chorus were Cornell alumni

B.o.B.: Oh wow

Slope: Are you excited to sing that song tonight?

B.o.B.: Oh definitely. It kind of feels like I’m in an airport hanger

Slope: It actually is because this is a military base; they used to hold airplanes here.

The Sun: There have been a lot of great concerts here, really really great concerts here. Grateful dead played here a bunch of times, yea in ’77. ZZ top opened for them.

B.o.B.: ZZ pops?

The Sun: ZZ tops

B.o.B.: That’s cool

Slope: And what would you say you were trying to achieve with your music. Do you have any overarching goals? Where do you see yourself 10 years from now?

B.o.B.: Well I definitely, performing is just ridiculous, so I definitely think I’ll definitely still be performing. Probably getting more, getting my hands dirty in a lot more entertainment. Like different aspects of it like fashion entertainment, music and you know there are so many things you can do. The worlds between like sports and video games and music and fashion and art are so integrated now, you know that there is no telling.

The Sun: Speaking of which, you’re in a comic strip now for A.K.O.O. clothing?

B.o.B.: A.K.O.O.

The Sun: A.K.O.O.

B.o.B.: A King of Oneself. A.K.O.O. And uh I’m sorry go ahead

The Sun: And you’re fighting with like a whack fashion. What’s it like to be in a comic strip?

B.o.B.: Haha. It’s like uh, haha. Apparently I’m like knocking down all the buildings that are where all the whack fashion comes from, haha. I felt very heroic.

Slope: If you could change one thing about the music industry today, what would it be?

B.o.B.: You know I wouldn’t really change anything. I feel like, I feel like everything has its place. I feel like, I feel like any complaint could simply be solved by turning off whatever you’re listening to.

Slope: That’s true.

B.o.B.: But you know what, I also say, if you feel like something could be better, then make it.

Slope: Be the change you wish to see.

B.o.B.: Yes, make the change (high-fives)

Slope: Ghandi said that. I wish I were that smart.

B.o.B.: Hahahaha

The Sun: What’s the coolest place you’ve been or performed? So far?

B.o.B.: Cornell University

Slope: Hahahahah. You’re just flattering us. My last question is do you have any pre-show routine. Do you have like a pre-show ritual? Like maybe getting a fresh cut.

B.o.B.: Hahahaha. [As he is getting his haircut] I think getting a fresh cut is definitely one of them. Probably because I go, I just get so beastly before the show. I get so scruffy. But really man, we just hang out, say a prayer before we go on stage. Pretty much just leave it up to the crowd to give us the engine.

The Sun: and hopefully the crowd…

B.o.B.: Which I’m pretty sure they will.

]]> http://www.slopemedia.org/radio/slope-radio-live/slope-interviews/feed/ 1 9:14 Questions by Elizabeth Brooks Interview by Ariella Weintraub Slope Media caught up backstage with chart-topping rapper, singer, and songwriter, B.o.B. before his performance at Cornell during Homecoming ... Questions by Elizabeth Brooks Interview by Ariella Weintraub Slope Media caught up backstage with chart-topping rapper, singer, and songwriter, B.o.B. before his performance at Cornell during Homecoming weekend. Listen to what what he had to say about the music industry, his climb to the top, and his pre-show rituals. If there’s one thing we’ve learned, fresh haircuts before shows are often a must – even if it’s 5 minutes before show time…and during an interview. You’re tuning in when Slope had just asked B.o.B. about how his career got started. B.o.B.: I got signed at seventeen out of high school and from there I’ve just been putting out mix tapes and really, really like a lot of, a lot of my following was built on line, through like, you know I started out on MySpace. And like, and so from there, it’s really been like, I remember like the first mix tape I did. I was handing out my mix tapes in Florida during the Super bowl, and the Super bowl was in Miami. Who, who was playing then? You know who that was? And so uh, I just remember like nobody knowing who I was, just passing out mix tapes on the street.  You know, they’re walking down the street and seeing it on the ground, picking it back up, passing it back out again. You know that whole thing so. You know it’s really just; it’s really just persistence. You know what I mean, everybody. You have the same tools to begin with, to start out with. Slope: But you need tough skin to keep going. B.o.B.: Yea, even when I was in high school, you know, just got to stick with it. Slope: Just gotta keep going B.o.B.: Stiff upper lip, stiff upper lip The Sun: How was it debuting at number one? I mean what was that like? B.o.B.: Honestly that was like the moment where I felt like, the moment where I felt like out of all the moments in my career, the moment where it really started to feel like a dream you know what I mean? And when I say dream I mean like literally like, before you wake up in your dream and it starts to get real crazy and you’re like, this has got to be a dream. It kind of felt like that you know. I never expected it. It kind of showed me. I guess I feel like I was off the radar I guess? I don’t know, you know. I’m the type of person where I never really. I think of myself as the underdog all the time, so. The Sun: Did you ever imagine debuting at number one or was it just a complete surprise? B.o.B.: Definitely a surprise, it’s all about the team you have. You know I think a lot of artists they try to do everything themselves you know you gotta understand that it takes a team to do something like debut number one. Granted it’s the music but you know you got to spread the awareness about the music and build it right to where everything happens appropriately, or the best way that it can happen. Slope: My next question is, you’re playing at Cornell and we all kind of have this allegiance to the song Airplanes because the people who wrote the chorus were Cornell alumni B.o.B.: Oh wow Slope: Are you excited to sing that song tonight? B.o.B.: Oh definitely. It kind of feels like I’m in an airport hanger Slope: It actually is because this is a military base; they used to hold airplanes here. The Sun: There have been a lot of great concerts here, really really great concerts here. Grateful dead played here a bunch of times, yea in ’77. ZZ top opened for them. B.o.B.: ZZ pops? The Sun: ZZ tops B.o.B.: That’s cool Slope: And what would you say you were trying to achieve with your music. Do you have any overarching goals? Where do you see yourself 10 years from now? B.o.B.: Well I definitely, performing is just ridiculous, so I definitely think I’ll definitely still be performing. Probably getting more, getting my hands dirty in a lot more entertainment. Like different aspects of it like fashion entertainment, music and you know there are so many things you can do. The worlds Slope Radio Live Slope Media no no http://www.slopemedia.org/magazine/tv-addicts-anonymous/ http://www.slopemedia.org/magazine/tv-addicts-anonymous/#comments Tue, 03 May 2011 02:14:54 +0000 Jason.Goldberg http://www.slopemedia.org/?p=16992 A few weeks ago, I purchased the first season of the HBO show, “The Wire” on iTunes. Despite the fact that this particular week I had a prelim, a paper to write, and tons of reading for various classes, I became glued to my computer screen and watched thirteen hours of the show in only three days. I was immersed in a fictionalized Baltimore drug operation, setting aside the rest of my life and what should have been my priorities. Though I am yearning to find out what happens in season two, I am terrified of purchasing the next season because I know I will forget about all of my real responsibilities.

My situation is certainly not an anomaly on the Cornell campus. According to a recent survey with a random sample of Cornell students, 70% admitted that they prefer to watch television online in multiple-episode sittings as opposed to one episode live on a week-to-week basis. While the medium of television was originally designed for people to watch in the manner of the latter case, the popularity of DVD’s, Hulu, iTunes, and for those illegal-users, Megavideo, has changed the way we watch television. Many students admitted to watching up to ten episodes in one sitting. This, in comparison to the average 1-2 hours of live television Cornell students watch in a week, is astonishing.

“Last finals week, I watched about twenty episodes of “Lost,” Rachel Medin ’14 said. “I know that I had so much work to do, but I just couldn’t stop. It was hard because it’s so addicting and it was all in front of me, so I would just watch episode after episode and not study.”

Despite the fact that watching blocks of television can help us to escape our daily lives , some TV critics and even students here at Cornell argue that watching multiple episodes at a time takes away from the television-watching experience.

“I definitely enjoy watching an episode per week,” said Alyssa Leventhal ’14. “I have a “Gossip Girl” column for The Cornell Daily Sun and there is certainly an advantage of absorbing only one episode at a time. You need the break, sometimes.”

Though it might be convenient for us to have everything right in front of us, television writers tailor the stories so that the viewer can reflect each week between shows. I watched “Lost” on live television every week. Yes, it was annoying to wait those long days to find out the answers to those extremely tense cliffhangers, but part of the fun of watching it live was that everyone else was watching it live, too. I would go to school the next day and have great discussions and arguments about what the hell was happening on that damn island. The writers of “Lost” and other shows like it definitely take the communal aspects of television-viewing quite seriously when they are creating the storylines. The ability to watch TV whenever you want and however you want takes away from the watercooler element of the medium.

As the semester comes to an end and the work starts piling up once again, what should we do about our television-watching habits? I have taken a vow to watch only one episode a week of each show. Though this might result in up to three to five hours of online-watching, it is a lot better than my usual habits of watching seven hours of “Arrested Development” straight. So let’s put away our DVD’s of “It’s Always Sunny in Philadelphia” and actually experience some sun for the first time in months. And lastly, we only have a few more weeks. Jack Bauer, Liz Lemon, and Mr. Schuester aren’t going anywhere. So let’s focus on our schoolwork, and save our ten-hour blocks of “South Park” for May 21^st.

Most people have very limited perceptions of France.  They either think of Paris and the Eiffel Tower or of the French Riviera and the gorgeous (gorges?) beaches.  No one really bothers with the rest of the country, and honestly, when Paris and Nice are so great, can you blame them for ignoring the rest?  Not really.  But two weeks ago, thanks to the insanely cheap tickets offered by EasyJet and an open weeken din my busy (haha okay, not really) schedule, my friend and I hopped on a plane to Toulouse.

Located in southwest France, Toulouse is France’s aerospace capital.  While I didn’t actually visit the planetarium (I thought about it, but 22 euros is too rich for my blood), there were definitely a lot of cool sights.  And all the buildings are pink!  Well, not exactly pink, they all had a pinkish tinge because of the bricks that were used to build them.  It’s even referred to as the Pink City in French (la Ville Rose).   Anyway, there were tons of museums (many of them were free or had discounted student fares) but the best were by far Château d’eau and Les Abattoirs.

Château d’eau is a photography museum, originally created to distribute water from the Garonne River that runs through Toulouse.  You can still see some turbines in the tower, which gives the museum a nice ambiance, I think.  The photographs featured are beautiful black and whites, somewhere in between portraits and candid’s.  There is another portion of the exhibit that is joined with their library.  The library includes books in various languages on photography – they had everything from Lisette Model to Robert Capa in English, French, Chinese, and Japanese (among other languages).  My friend and I spent nearly an hour going through the books.

Les Abattoirs is a contemporary art museum, right next to Parc Raymond VI (which has an Awesome carousel, in case you’re ever there).  I love contemporary art, so I’m kind of biased in saying that this was one of my favorite places in Toulouse, but whatever.  There are a couple of interesting sculptures and metal workings outside the museum, but then when you get in, it’s got all kinds of crazy stuff – the type of the thing you’d expect to see at MoMa or MOCA, I would imagine.  Lots of paintings that look like someone just threw oils on a canvas and sculptures that look like someone could have dropped them on their way to getting to the exhibit and just glued them back.  I feel like I just did a really bad job of making this museum sound good… but legit, it’s worth the 3 euro entry.  They even feature one of Picasso’s works!

And since it is Europe… there were of course many churches, chapels, cathedrals, and what have you.  The most famous ones in Toulouse are Probably Saint Sernin, Saint Etienne, and Les Jacobins.  I’d probably scrap les Jacobins but if you have the time, it is free and fairly centrally located.  Saint Etienne has some beautiful grassy spots to sit on when it’s sunny (which it probably usually is since Toulouse has great weather).

Other perks of traveling to Toulouse include the fact that it is insanely clean (especially compared to Paris), has good public transportation (there is an extensive bus system as well as a metro), and the people are SO friendly.  My friend and I lost our hostel key and didn’t realize it till we got back from sight seeing at 7:30.  When we went up to tell the receptionist what had happened, she said that someone had found the key by the side of the rode and had come return it earlier in the day!  Furthermore, when we were taking a taxi to the airport shuttle drop-off point, the cabbie told us it would be cheaper if he took us to a different spot that the shuttle came to… when has a cabbie ever done anything to save you money?  Another cab company we called even told us that their competitor would be cheaper so we should try them – and then they gave us the number.  Not that I’m complaining or anything, but wow.  So here’s to you and your very nice residents, Toulouse!

After several light-dimming teases, the show finally began with “Eli Paperboy Reed and The True Loves” as the opening act. The close-knit group entered with a soulful bang that the crowd couldn’t help but tap their feet to. Even though Eli Reed received a separate introduction from his band, there was obvious camaraderie among the group and an equal respect for each member’s contribution. With the ensemble of the tenor and baritone sax, trumpet, keyboard, and electric guitar, the True Loves were able to create a bluesy, gospel type rock that made the audience sway like a choir. Eli spoke like a preacher to the crowd, inviting them to join in on his heartfelt songs about gaining someone’s love and keeping the spark alive. One member in particular, the Alabama-native drummer Attis Clopton, had a constant smile throughout their entire performance. Their overall infectious love for music spread throughout the theatre and provided a perfect opening for Guster.

The True Loves were able to get the crowd going, but Guster ultimately stole the audience’s hearts. A band that began as a group of college students from Tufts University back in 1991, Guster has developed a strong, dedicated, and almost cult-like support over the past 19 years. Immediately after the opening act finished, a herd of people stampeded toward the stage to get as close to the band as possible. The State Theatre’s lack of heavy fences and busty bouncers encouraged a strong interaction between the artists and the fans. Unlike other rowdy rock concerts, Guster hypnotized and soothed the audience with its husky, “jangle-pop” tone and charismatic banter between songs. Instead of shoving one another and fighting to reach the front, everyone enjoyed the show in peaceful cohabitation that night.

Adam Gardner, Guster’s lead vocalist, had a raspy voice from a current cold, but pushed through with a stellar performance despite the illness. He even poked fun at himself by having tea delivered to him on stage. Not only did the band have an incredible stage presence, but they also established an intimate connection with the crowd. While other artists try force audience interaction, Guster embraced their hour and a half with the audience, making them feel like a part of their jam session of self-discovery. The night was a success for everyone…well, except for the couple that missed the encore after getting busted for having sex in the bathroom.

Fast forward to the presidential election of 2008 and health care is once again drawing the Democratic primary candidates into fierce domestic policy debates. “How is it that the wealthiest nation on the earth can’t afford to provide [health care] coverage to all its people” argued Senator Barack Obama during a televised Q&A session. The Democratic frontrunners, Hillary Clinton and Barack Obama, took jabs at each others’ approaches to health care reform, yet the real boxing match would take place once President Obama started pressuring Congress to actually pass a health care bill in January of 2009. Inevitably, partisan tension increased on Capital Hill through the summer, vicious slander directed at health care reform emanated from both Tea Party protesters and U.S. Representatives alike, and the president’s push for unprecedented health care legislation seemed indefinitely stalled. Nevertheless, the president’s tenacious, skilled, and nuanced legislative strategy yielded the passage of a comprehensive health care bill.

How did President Obama triumph legislatively where the Clinton administration had failed? The answer to this question lies in the     President’s relationship with the Congress. In this paper I will focus on the differences between President Obama and President Clinton’s relationship with Congress in proposing health care legislation. I will argue that in order for the president to pass such monumental social legislation the White House must personally work step by step with Congress in formulating legislation, master the bully pulpit, and gain the support of congressional leadership. However, this approach is only as successful as the political context in which it is undertaken. Thus, it is my aim to not only explain the essential ways in which the Obama administration fostered a multilateral policy initiative with Congress, but also to examine the electoral conditions that set the stage for Barack Obama and Bill Clinton’s push for health care in Democratically controlled Congresses.

Firstly, let us examine the executive office personnel that gave Obamacare the edge over Hillarycare. Congress is an institution that relies heavily on personal connections and political insiders. George Edwards, a professor of political science at Texas A&M asserts, that “White House aides of both parties believe that servicing the requests of members in Congress is important for building goodwill towards the [president’s agenda]” (153).  For example, the White House Legislative Liaison Office often assists Senators and Representatives draft speeches relating to the president’s agenda, provides members with summaries of key legislative proposals, data on a particular bill, and personal advice on legislation from White House officials (Huitt 83). Moreover, “presidents who put a strong emphasis on consultation with Congress, communicating often personally or through staff with legislators, will get high marks and succeed in the House and Senate” (Andres and Griffin 108).

How is this important to the congressional health care battles waged by presidents Clinton and Obama? While although President Obama had slightly more personal experience in dealing with Congress, given that he served a term in the U.S. Senate, than former governor Clinton, differences in White House staff truly differentiated the two health care struggles. President Obama understood that for his health care agenda to be successful he needed to pack the White House with congressionally well-connected and well-versed staffers. In many respects President Obama took a page from LBJ’s famously successful legislative playbook when he hired congressional insiders such as Rahm Emmanuel, Pete Rouse, Peter Orzag, and Melanie Barnes, all of whom have tremendous congressional and health care policy experience. As President Johnson’s senior advisor and Professor of political science at the University of Wisconsin Ralph K. Huitt puts it,

Johnson’s staff had the necessary components of a competency to deal with Congress. They were subject-matter people. There was, for health and education, Douglas Carter, a highly intelligent and sensitive man who learned what was on the books, merits and demerits of a proposal, and the nuances of the relationships among individuals and groups interested in his policy area. Most importantly he was accessible to not only Congress and agency people, but also to interest groups, whose legitimacy he recognized (Huitt 74).

Just as White House figures like Douglas Carter were critical in maintaining a strong and cooperative policy relationship with Congress during the Johnson administration, Obama’s health care policy team was as equally as informed and connected. For instance, White House Chief of Staff Rahm Emmanuel watched Hillarycare die in the Congress as a White House staffer in 1994 and was not about to repeat the same mistakes. Furthermore, he had developed important friendships with congressional leadership during his six-year stint in the House of Representatives. Additionally, Melanie Barnes, a pivotal White House domestic policy advisor and former senior aide to Senator Ted Kennedy, used her congressional connections and knowledge of health care policy to facilitate congressional-presidential cooperation (Frontline: Obama’s Deal).

Conversely, the Clinton health care policy team consisted primarily of economists, policy makers and strategists from outside of D.C’s. inner circle. Appointed to head the health care special task force, First Lady Hillary Clinton, although very knowledgeable, congenial, and competent, lacked critical D.C. experience and was viewed as a pesky outsider by Congress. Moreover, assistant to the First Lady on health care reform, Ira Magaziner, a close friend of the Clintons and a successful business consultant, was also a Washington novice with no prior success in governmental affairs (Broder 107). Therefore, ultimately, the Clinton administration ended up with a well-formulated policy proposal without the congressional support to pass it (Hacker 129).

President Obama appreciated the importance of including Capitol Hill veterans, as well as policy experts, in pushing Congress to pass his health care plan. Presidential skill is critical in dealing with Congress and although President Obama lacked LBJ’s Senatorial sagacity, he valued the personal touch that only D.C. insiders could achieve. Yet, more importantly, these very personal lines of communication between Congress and the President served a greater role than simply positively engaging Congress and creating support for Obamacare; they encouraged congressional leadership and other key legislators to collaborate directly with the president on health care reform.

To paraphrase Cornell political scientist Martin Shefter, committee chairs and congressional leaders are key components to building legislative momentum, without which any major piece of legislation is as good as dead on arrival in either house of Congress (Martin Shefter). In analyzing President Obama successful push for health care reform, it is important to highlight the key role congressional leadership played in crafting legislation and legislative strategizing. As I have already shown, President Obama understood the role of congressional relations in terms of staff and friendships, however, more than simply having White House staffers coddle and cajole Congress, President Obama anticipated the critical role congressional leadership would play in health care reform and therefore looked to ally himself with key Senators and the House leadership. Previously in 1993 and 1994 the Clinton administration shunned Congress because top advisors felt that committee chairs and other congressional leaders would not budge in their opposition to Hillarycare. According to health care expert Jacob Hacker, the Clintons therefore believed that “a strategy of accretion” was the only way to achieve congressional support for Hillarycare. In other words, “Clinton would build up the support of the [congressional] leadership and then scale back the proposal to gain the votes of congressional moderates” (132). However, as Hacker explains, this strategy “did not win the support of either [congressional] group” (132). Needless to say, this brazen display of presidential unilateralism turned out to be the wrong approach to health care reform. The president achieves favorable legislative results when he uses “ties to chamber and committee leaders to cement support for important programs” (Spitzer 60). President Obama clearly understood this principle and sought to solidify the support of congressional leaders, even if it meant working with the initial critics of Obamacare.

Obama and Clinton’s respective relationships with the Chair of the Senate Finance Committee perfectly represent the essential difference between the two president’s legislative approaches in dealing with congressional leadership. Senator Max Baucus of Montana chaired the powerful Senate Finance Committee in 2009 as President Obama introduced his health care agenda. The president called on Baucus to work simultaneously with White House staff to reach a compromise on health care reform that would benefit both the interests of the Congress and the Oval Office and stressed united Democratic leadership in order to rally the rest of the chamber (Pear and Herszenhorn). This collaborative strategy increased support for health care at all levels of the congressional hierarchy and ensured Baucus’ crucial support as the bill got closer to a final vote. On the other hand, President Clinton’s rapport with then Chair of the Finance Committee Senator Daniel Patrick Moynihan was virtually non-existent throughout the Hillarycare debate. In fact, Moynihan felt so snubbed by the president that when he received the thousand-page Hillarycare proposal he told his staff that he wasn’t even going to read it (Frontline: Obama’s Deal). These immensely different presidential relationships with the Senate Finance Chair illuminate the importance of President Obama’s strong ties with congressional leadership. In the words of political scientists Gary Andres and Patrick Griffin,

Working with congressional leadership emerges as one of the key tasks of White House staff in any review of process and tactics. It is an important ingredient to any legislative strategy. Strong relations with the congressional leadership make every other aspect of relating with the House and the Senate operate more smoothly and efficiently (110).

A final critical attribute of President’s Obama’s successful push for health care reform in Congress regards his ability to effectively rally constituent support. The president’s “bully pulpit” is critical because it can frame an initiative in a positive light and therefore garners national public support for a proposal, forcing members of Congress to listen to their constituents. President Obama became the leading spokesperson for health care reform in an attempt to avoid Hillarycare’s communications debacle. Failing to address the public early on and consistently regarding health care reform, President Clinton was left with minimal public support for his proposal. Meanwhile, the health insurance lobby spent  $10.5 million disparaging Hillarycare with it’s infamous “Harry and Louise” advertising campaign (Hacker 145). This public relations nightmare for the White House inevitably meant that “President Clinton could not expect members of Congress to seriously pursue legislative compromise in the absence of strong public support” (Hacker 144). In 2009, however, President Obama set out across the country on an Obamacare campaign to leverage congressional support for his proposal. In an example of this kind of bully pulpit politicking, speaking in front of an impassioned pro-health care reform audience at a rally in Ohio, Mr. Obama explicitly goaded Democratic Representative Dennis Kucinich to vote yes on Obamacare (Gay-Stolberg). This brash message not only secured the vote of wavering Kucinich, it reinforced the president’s ability to rally public opinion and signaled to other representatives that the president was willing to go straight to their home districts to swing their vote. This carefully orchestrated public relations campaign eventually triumphed when health care passed in late March 2010. Yet, more importantly, Obama’s powerful media campaign demonstrates another fundamental component of legislative success that the Clinton administration utterly failed to utilize when interacting with Congress in 1994.

Regardless of the intricacies of presidential-congressional relations, the political climates in which Clinton and Obama took on health care reform were fundamentally different. And although the critical differences in presidential-congressional relations I have cited in earlier paragraphs undoubtedly influenced the fates of Obamacare and Hillarycare, there is a significant possibility that these presidential nuances only marginally affected the bills’ final outcome. Most notably, the presidential election results of 1992 led a Democratic Congress to believe that perhaps the American electorate was not as progressive as it might seem. Texas millionaire and deficit-hawk Ross Perot received nineteen million popular votes. Why is this important to the Hillarycare debate? An astonishing 18% of liberals and 21% of moderates cast their votes for Ross Perot in 1992 (Roper Center Public Opinion Archives). Subsequently, I believe many House and Senate Democrats that depended on moderate voters to maintain their seats in Congress feared that by supporting Clinton’s big government health care bill they would drive deficit-hawk Ross Perot voters to vote Republican in the 1994 mid-term elections. Stated differently, I surmise that Democrats on the Hill read the political tea leafs and concluded that the moderate voting block was on the verge of shifting dramatically in favor of the GOP.  Without a doubt the moderate votes that went to Ross Perot in 1992 deprived George H. Bush the chance to seriously challenge Bill Clinton for the presidency. More importantly for my hypothesis, from this electoral phenomenon Democrats in Congress grew uneasy about anything that would cause their moderate base to defect to the Republicans, effectively limiting Democratic congressional support for Hillarycare. However, fourteen years later in the presidential elections of 2008 Barack Obama secured the moderate vote comfortably and going into the health care debate there was significantly less apprehension on the part of congressional members from moderate constituencies. Therefore increased electorate stability allowed support for Obamacare to flourish in a Democratic Congress.

As we have seen, factors ranging from White House personnel to Ross Perot influenced the outcomes of Hillarycare and Obamacare. In the political circus that is Washington D.C. it is important to remember that the Congress predominates the legislative scuffle. External and intra-institutional disagreements define presidential-congressional relations. Therefore, it is the case regarding Hillarycare that swaying national political sentiment among moderates only compounded President Clinton’s mismanaged and naïve legislative strategy. On the other hand, the tremendous political momentum behind President Obama in 2008 assured a Democratic Congress that it was politically safe to support the president’s health care bill. Nevertheless, a thoughtful multilateral legislative approach to health care reform also helped President Obama squeak his reform package through Congress with the help of reconciliation. In the end, Press Secretary Robert Gibbs summed it up best. “Change is never easy; that change takes time; that change has to go through Congress.”

On their fourth album, and first since 2005, Broken Social Scene composed another diverse collection of expansive, orchestral jams on the 63 minute “Forgiveness Rock Record.” The Toronto-based indie rock collective features members from other prominent Canadian groups such as Do Make Say Think, Stars, Metric and Feist.

The chart-topping album features their most accessible material yet, combining post-rock roots with elements of classical, shoegaze and more experimental atmospheric pop.

On the first half of the album, the Kevin Drew-led collective focus their efforts on appealing to the masses with catchy guitar lines and classically-inspired pop.

The opening track, “World Sick,” features a jazzy guitar line and catchy, poetic lyrics about love — a theme, coinciding with trust, responsibility and forgiveness, that crops up again and again on the album.

Yet, even this chart-friendly song will never be a radio pleaser as the latter part of the song diverts into a aurally pleasing, expansive interlude of Explosions in the Sky-esque crescendos and crashing cymbals.

“Texico Bitches,” on the other hand, features jangly pop, melodic sounds and implied commentary on the BP oil spill. Synth-heavy “All to All” features newcomer Lisa Lobsinger on a soothing bedtime song sacrificing for love and calling for forgiveness.

The high point comes on “Art House Director,” a fast-paced shoegazy song that mixes modern garage rock with melodic jazz.

From there on out, the Canadian indie rock giants revert to their style of the past with a mixture of classically-based rock and atmospheric pop. This tried-and-true style is successful on tracks such as minimalist “Highway Slipper Jam” and Metric’s Emily Haines-dominated “Sentimental X’s,” but monotonous on jammier tracks like “Meet Me in the Basement.”

After a deep, thoughtful album, the collective pulls a fast one with their aptly-titled closer “Me & My Hand.” The ode to masturbation, while musically solemn, makes one wonder how serious the veteran act wanted “Forgiveness” to be.

“Forgiveness Rock Record” does succeed on providing a thought-provoking soundtrack pleading forgiveness, but Drew and co. should squeeze ‘art rock’ into the title of the allbum.

You’re listening to Earth, Wind, and Fire’s  “September.”  Next Thelma Houston’s “Don’t Leave Me This Way” comes on. Why did this song just come on, you ask?  Well, based on what you’ve told Pandora so far, they’re playing this song because it features funk and disco influences, heavy use of vocal harmonies and acoustic rhythm piano. Oh, awesome.

Recently the entirety of consumer media has migrated from hard copies to the World Wide Web. With the rise in popularity of sites such as Hulu, Megavideo, YouTube, and Pandora, with a few clicks of our mouse we can easily enter the world of entertainment

What’s so enticing about Pandora is its accurate ability to pinpoint our musical desires and match our requested artist or song with something that shares similar qualities. Employees categorize about 700,000 songs according to 400 music qualities, for example, whether a voice is ‘breathy’ or if it has punk-rock aspects.

Pandora made $50 million in annual revenue last year and makes its money solely from advertisements and the few subscribers it has. Although its ads aren’t as intrusive as those on other stations, some consumers would rather pay a monthly rate than listen to a two-minute commercial. Furthermore, once a user reaches 40 hours of listening in a month, they will be required to pay 99 cents to get unlimited listening for the remainder of the month. Consider this for a moment. 99 cents can buy you only one song on iTunes, and only if that song is pretty outdated. But now, 99 cents allots you unlimited hours of online streaming with songs tailored to your likes and dislikes. Score!

And let’s not forget about video streaming, a media phenomena that has infiltrated our culture, especially on college campuses where students don’t have the freedom to watch their favorite shows live on television. Whether it’s on Hulu, which relies solely on sponsorship and advertisement much like Pandora, or MegaVideo, which is commercial-free and often infringes on copyrights, millions have decided to utilize their computer screens over their televisions.

Will websites like Pandora and Hulu alter the music and television industry as we know it? I think not. For those who listen to online radio streaming, most still have some kind of personal music library.  “When you listen to Pandora you don’t know what’s going to come on next, and when you crave a song, you want to listen to that specific song, not something that sounds like it,” Klosk noted.   And in terms of television, for the most part people usually prefer to watch television or movies on an actual screen. Even so, these novel websites are growing speedily…and who knows? We may be entering a new frontier.

The diversity at Cornell University is endless; however, it is unfortunately rare to hear about fashion groups around the campus. Thus, I am bringing you the details of one of Cornell’s best-kept fashion secrets: Feedbak.

The summer of 2008 brought together two Applied Economics and Management (AEM) students, Mac Bishop ’11 and Jeff Aziakou ‘10, a duo who shared an interest in fashion. Both wanted to transfer what they were learning in the classroom into real world experiences in the fashion industry, but they did not know where to start. So, they reached out to the faculty of Cornell’s Fiber Science & Apparel Design (FSAD) department for advice on how to kick off their fashion business. Professors Anita Racine, Susan Ashdown, and Van Dyk Lewis  were very receptive to the project and helped recruit the group’s original members. Five design students, who ranged from freshman to seniors, were selected.

Feedbak’s initial focus was to partner with apparel companies and industry professionals to offer market research and design insight focused on the collegiate market. The organization’s first partner was Pendleton Woolen Mills. They received samples from Pendledton’s upcoming collections and preliminary concept ideas that they provided feedback on. Feedbak organized focus groups and product testing sessions, gathering opinions from various members of the student body. The student designers also recommended technical modifications. A report was then sent to Pendleton, who implemented a portion of the recommended changes into their new S/S ’10 collection.

Inspired by their work on the Pendleton samples, the team began to originate their own innovative design concepts. The aspect of working in a team setting was particularly important to Mac and Jeff because in college designers seldom work with others on their own collections. Their group would serve as a way to gain experience solving problems while interacting with others.

Today, Feedbak boasts eleven enthusiastic members comprised of AEM students and student designers who have moved their attention away from providing clothing advice to companies, and have turned their focus on the design process.

In past runway shows, Feedbak has featured twelve models sporting different versions of the Pendleton plaid fabrics. Other years, the models sported only one item of the Feedbak collection while wearing one article of their own clothing. Mac and Jeff explain that this year, one can look at the runway to see four complete head-to-toe menswear looks. The inspiration for the Untitled line was described by Jeff as “aviators, explorers, and the military”. He furthered explained that their entire collection uses a mix of technical fabrics and Pendleton wool materials.

The group was extremely excited to showcase their new Untitled line at the annual Cornell Design League (CDL) Fashion Show this spring. Mac and Jeff send a special thanks out to all the professors that have guided and helped them with the process as well as their two production students, Katie Elks and Jesse Ruoff, because according to Mac: “They turn the entire group’s designs and vision into a reality.”

Jeff and Mac stressed the importance of Feedbak’s long-term sustainability even after they graduate. They are currently working on some scholarship ideas with Pendleton Woolen Mills. Whatever the future holds for Feedbak, this group has exhibited talent that cannot be ignored.

While there have already been several articles dealing with the event itself, I had the exclusive pleasure of going behind the scenes and interviewing Chi Chi LaRue herself. For those of you who are unaware of who this amazing person is, Chi Chi (born Larry Paciotti) is a porn director, entrepreneur, and drag queen. This is the second year she has DJed at Filthy Gorgeous, and she has loved every minute of it.

My friend Stephan and I met her in the Commons at Starbucks and since Chi Chi was going to be out of character, we did not know what to expect.  When I first saw him, I was a little surprised. He was tall with blonde hair, an impeccable sense of fashion, chic glasses, and just like any other businessman, he was standing their playing with his iPhone. As soon as he saw us, he gave us the biggest smile, shook our hands and proceeded to follow us into the coffee shop.

Larry told us he was from a little town called Hibbing, Minnesota, which is known for turning out stars as it is also the home of Bob Dylan. After high school, he completed two years of college before moving to Minneapolis where he started doing “hag drag,” as he called it. He and his friends called themselves the “Weather Gals.” He confided in us that he grew up as an overweight, shy, gay kid whose only escape was drag. When he dressed up he became an outgoing fierce woman who made fun of herself to get some laughs. While he did drag for fun, he worked in an adult book store where he discovered his (healthy) obsession for the sexually obscene.

In 1987, a friend of his convinced him to move to L.A where his career in porn began. Upon arriving in sunny L.A, Larry soon found himself back in the adult business. He originally had no intentions of working with porn, but he was familiar with adult products and started out selling them. When they saw how much he knew about the industry, they quickly moved him on up. He told us that at first he was mesmerized by porn because he was so “fascinated that these people were so open and free with their bodies.” Before he knew it, he was working on porn sets. However, the company he was working for would not let him direct, so he quit and took his business to Vivid where he started directing all types of porn. He is a self-taught director and claims that he initially had absolutely horrible movies and it took him time to acquire a knack for it.

Larry then told us of the first porn scene he ever worked on. It was a girl on girl movie and he was completely embarrassed. At the time he was 24 years old and had never seen a naked girl before. He laughed as he told us he couldn’t even look at them and that while he was holding the mic and looking away, he accidentally let it fall right in their faces. “I’ve come a long way since then,” he said.

Advocating safe-sex is one of Larry’s biggest priorities. He is a huge proponent of condoms and spreading safe-sex awareness, and has even issued several public service announcements (“Safe Sex is Hot Sex”). He referred to himself as the “catalyst for condom usage” because when he started in porn, condoms were rare. When Vivid told him that he wasn’t allowed to use condoms anymore in his movies, he refused to work there and quit straight porn and went out on his own. Despite quitting at Vivid, his porn directing is still thriving and he even divulged us his ideas for his next movie (which I won’t spoil, but trust me, it’s hot!). He started DJing 5 years ago and since then has worked in famous clubs all over L.A. working with various celebrities. He says that “being a DJ is narcissistic” so instead he calls himself a “Drag Queen Juke Box.” “I love to put on a show.”  Another addition to his growing resume is the opening of his own store in L.A., “Chi Chi LaRue’s,” where he sells all types of adult items including drag clothes.

This past year has been especially rough for Larry.  Since last year’s Filthy Gorgeous he has lost 130 pounds after undergoing gastric bypass surgery. He was afraid that his rapid weight loss would ruin Chi Chi’s personality (which centered a lot on being a fat drag queen) and that he would lose his fan base. However, fortunately neither has happened, and Chi Chi is hotter and more fabulous than ever.

We were both surprised to learn that Chi Chi has appeared on screen on several occasions. Most notably she was in Prince’s movie “Purple Rain” and made an appearance in a Madonna video. Her celebrity contacts don’t end there; she is close friends with the likes of Boy George and has worked with Jenna Jameson on several occasions. In 2007, Out magazine listed her as one of the top 50 most powerful gay men and women in America along with the likes of Anderson Cooper and Perez Hilton. Needless to say, Chi Chi is a pretty big deal.

Larry told us that he doesn’t believe in marriage and he finds a lot of straight porn to be very misogynistic. “It can be so degrading to women,” he admits, “A lot of straight porn has become like a Jackass video. It’s like whatever crazy things they can do to a girl, they do it.” He prefers directing gay porn, and many porn stars are requesting to be directed exclusively by him.

Once Stephan and I arrived at Filthy Gorgeous that night, we barely even recognized the tall blonde man with the scruffy beard we had interviewed only hours before. Standing before us working the stage was the fiercest drag queen I had ever seen. The event would not have been nearly as amazing as it was if it wasn’t for Ms. Chi Chi LaRue. She is, in every aspect, chic, fabulous, and gorgeously filthy.

• Fall 2009 – Issue #6
  • Click here to download the PDF
  • Click here to view the magazine online

One area that MILRSO is passionate about is the recruitment and retention of diverse students at Cornell. Every year our organization celebrates multi-cultural heritages and international arts by producing the largest fashion event at Cornell during our Diversity Hosting Weekend. The show is estimated to cost over $20,000 and attracts thousands of viewers. Because it is one of the most popular show on campus, it also allows designers, performers, and models from all types of backgrounds to have the opportunity to gain exposure.

This year’s show was even bigger. The theme was called Sensual Revolution. “Revolution” in light of the changes our country will embark with the arrival of a new biracial president (economically, politically, and socially).”Sensual”because we ask for glamour, fun, sexy yet tasteful, very creative, and unique pieces. But most of all we encourage designers that are truly passionate about fashion.

This year we had the following designers:

Bomopregha Julius

Mayra Elizabeth Alatorre

Lauren Elliott

Laquana Bramble

China

Rachel Young

and numerous designers that contributed as a group representing County College of Morris (CCM), a community college in Randolph, NJ.

Performers:

Glowsticking Club

Phenomenon Step Team

Teszia Belly Dancing Troupe

CCSADE

Sabor Latino

Urban Blaze

There is something about the macabre that is unusually fascinating to people of this generation. As surely as we, the youth of today, become desensitized to the sex and violence, so too do we become less and less susceptible to the blood and gore found so easily on primetime TV. Just as shows such as Gossip Girl, 90210, the O.C., and One Tree Hill ride on their portrayal of sexual escapades, so do shows such as Bones, Fringe, C.S.I., House, and Heroes ride on their take on explicit content.

Take for example, Heroes who in its first season commanded a consistent audience of millions. Of course, the show gained popularity with its portrayal of the special powers we all wished we had, but Heroes had a charm about it that made it enjoyable. The characters were fresh, the plot felt driven, and the twists and turns, unpredictable. I mean, Clare only tried to kill herself one or two times before the infamous scene where Clare, “dead” on an autopsy table, wakes up with her chest split open, ribs and innards exposed, and pushes her skin together as her muscles and tendons reattach before the viewer’s eyes. Then again, who can forget the infamous Sylar scenes that end with cut open heads, missing brains, and blood stains on the ground. Yes it is disgusting, but at the same time, these scenes are what make Heroes well…Heroes. If every time a character dies the camera pans away to some obscure corner and we hear but never see, what fun would the show be? Sure at times the plot is enough, but the blood and gore made the show more lifelike; as powerful as these heroes may be, these explicit scenes made them human again.

Heroes being one of the only shows on NBC that is not devoted to humor represents NBC’s take on this growing trend. FOX however, is of course the media tycoon of blood and gore. Fox prefaces just about every show with a warning of DSLV (drugs, sex. language and violence) and a stern reminder that viewer discretion is advised. I don’t know about you, but bring on the letters, the more the better. For some reason, the best episodes are always the episodes with more graphic content; perhaps it has to do with writers not being afraid of limitations and the subsequent creative freedom allowed their vision to be brought to life. Take the pilot episode of Fringe which allegedly set back the network a whopping $10 million. Was it worth it? I certainly think so. Every scene seemed a keg in a machine with the combination of special effects, never overpowering. Sure watching an entire airplane full of people have their faces melted off is disgusting, but isn’t it exciting to see such an emphasis on visual entertainment? Perhaps only the superficial in me was excited, but Fringe has continued to excite and delight this dark side of me. Fringe, being unafraid to have exploding heads, spontaneous combustion, and parasites, oh the parasites everywhere, manages to get me to the edge of my seat. I know for a fact, I am not the only one who finds these scenes enjoyable. The hugely popular House for example has scenes with eyeballs popping out, maggots crawling over burned flesh, and fecal matter dripping out from a patient’s mouth; once again these scenes leap into the realm of explicit content but the alluring factor remains. These scenes are certainly not instrumental to the overarching plot of the show but they add that spice that keeps the episodes interesting.  Similarly, Bones, which never fails in its ingenious portrayal of human remains, manages to make the show less about the blood and gore, and much more about the characters. These explicit scenes continue to add to shows giving them each a uniqueness but at the same time, a certain predictability that has maintained viewers like myself.

Of course, in many cases these explicit scenes may seem unnecessary and in some ways I agree. If the show itself does not possess that spark of ingenuity, then the explicit scenes can do little to augment. I tried my hardest to continue to enjoy Heroes, telling myself, each episode would get better, but I am not afraid to admit that Heroes sucks balls now. While the explicit scenes still abound in Heroes (please, Sylar’s little point and slash routine is so 2006) the show has lost its charm, its originality, and now seems nothing but contrived, over dramaticized, and boring. Indeed, this shows that the scenes do not the show maketh, but instead, only in place to augment the already in place creativity that is necessary for the show to be enjoyable. I will argue that these explicit scenes are overall positive, somehow paradoxically making the grotesque into something that is beautiful. These scenes add freshness and excitement, but only if the shows themselves reciprocate. A good example of this is Bones, now entering its 5^th season. While Bones has not become as hugely popular as other media giants such as House, it continues to delight viewers with its quirks, charms, and its dead bodies. Fringe too, with its scenes of mass murder, has every potential to become a media giant and staple. I hope that like me, you will be able to find the beauty behind the gore.

As great as Cornell is, there is something that I find irking beyond all end: the internet. Sure it fast and accessible, but with the 15GB billing threshold, things are quite frankly, horrendous. Currently, for every MB over the threshold, I am to be charged $0.0015. While this may seem like a resonalby small amount, my tirade has become less about the money and more about the very idea. Compared to my peeps over at UC Berkeley who have a threshold limit of 12 GB per week, Cornell’s internet policy leaves much to be desired. Sure College is foremost, a place to learn; there is little time for the plentiful distractions the internet has to offer. While I do not play online games or download insane amounts of music, I do watch my TV show online. Thank God for Hulu; of course, this cuts into my usage, consuming what little money I have in my pockets. I can understand setting the limit to deter massive file sharing and pirating of music and movies, but for those of us who indulge in a little internet television here and there, the internet threshold is like a deathwish. Especially with the onslaught of returning shows and premieres, I fear I will continue to lose money ever month. Just how much TV do I watch? Enough to nearly pass the monthly threshold the 4 days of August that I spent here at Cornell.

Of course, I have heard that the old threshold billing level was 5 gb, and perhaps the new implementation of 15 gb is a big step for the university. However, with the recent advent in legal sites for TV shows online, 15 gb becomes too much of a hassle, especially with the sporadically updated Internet Usage Tracker. Indeed, I was informed that I had reached 95% of my allowed limit after I had already gone over. Thanks for nothing.

15 GB would surely be enough as people insist and I agree; of course this would only be possible if nothing other than homework was done on the computer. Raise your hand if you do that. Oh no takers? Just as I suspected; who nowadays actually does that? It is ridiculous to in a sense, to charge for the free time one should be able to enjoy just sitting there, vegged out to your favorite shows. While I do agree that file sharing and other illegal activities should be monitored, it should not be at the expense of perfectly legal activities. If however, individuals  As a result, I propose two changes. First and foremost, the GB allowance should be set at 40 GB/month, about 10 GB per week. Secondly, a new updated tracker that is not only more user friendly, but also, more accurate. While it is undeniable that money exchanges hands somewhere along the line, I believe it will most certainly be money well spent.

Welcome to the Bubble

I stare blankly at my computer screen. www.facebook.com. I continue to refresh the page, as minute-by-minute, new statuses are updated and my key to the outside world is revealed. “Kanye, what are you doing to Taylor? Lady Gaga is bleeding on stage!” It has come down to this pathetic action of my relying on friends’ statuses to keep myself updated on life outside the bubble that we call Cornell. All time low, right here.

Welcome to Cornell University, where students are transported to a secluded community, full of vibrant culture and and develop an immunity to the outside world (with the exception of swine flu.) Yet, when over 13,000 students are kept inside this tight-knit bubble, how can we possibly manage to remain aware of what is occurring in the outside world?

Little did I know that the day I left my comfy abode in New York City I also lost my connection to current news updates, Hollywood gossip, or even new hit singles.  No longer can I turn on the radio while I drive to school, nor is it rare that I have the time to turn on VHI or CBS News. Without these outlets we once utilized every day, how can we stay tuned?

This is where I step in. I, like thousands of other incoming freshmen, entered this institution searching for a warm and welcoming community, where I could escape into a world of independence and education. I am here to inform you, the student body, of what escapes us on a daily basis—the minor changes in the plot of a cheesy TV drama as well as the major catastrophes taking place around the world.

Sure, many students bookmark Perez Hilton’s site or the New York Times online edition, but multiple others sink deep into a sea of ignorance, incredibly surprised by each and every bit of breaking news they seldom hear. Did you know that Ellen Degeneres was appointed Paula Abdul’s replacement on American Idol? Are you aware of health care debate that has been heating up over the past month? The answer for most of you is probably ‘Negative.’

We are definitely preoccupied with the world on Cornell’s campus—working hard and playing hard, but this isn’t summer camp. It is still vital for us supposedly well-educated students to keep ourselves informed.

I’ll try to inform you all about the happenings of the outside universe, whether it’s the latest trend in fashion or assassination. We are Cornellians, yes, but that should in now way prevent us from being informed and cultured adults.

By Lindsay Rothfeld

Turn on VHI for a few hours, and I promise you will recognize at least one former child star on the screen.  Fame meant great things for actors in the 80’s, yet many of those young hopefuls have now been diminished to nothing more than struggling reality stars.

We all remember Saved by the Bell’s star Dustin Diamond (Screech) and Home Alone’s Macaulay Culkin (Kevin); yet, where have these actors gone? Both of these actors have suffered the fate that many child stars are subjected to—the categorization and recognition for that one amazing role they played. Who could ever picture Culkin as anything more than a child mastermind left alone over Christmas, or Screech as a character cooler than a goofy geek? We can’t, we won’t, and we simply don’t want to- and for this reason, most child stars struggle to remain stable as they age.

Yes, there are the occasional outstanding actors, such as Neil Patrick Harris or Sarah Jessica Parker, who surpass the obstacles others face, but many others like Danny Bonaduce (The Partridge Family) fall vulnerable to risky lifestyles.

Just recently, Bonaduce created a new reality show I Know My Kid’s a Star, its premise being a competition for young entertainers desiring child stardom. This ridiculous show displays Bonaduce’s humongous struggle, and the depths that parents and children will go through to gain so called fame is unbelievable and sickening.

Dustin Diamond, who also was publicized for sex tape scandals and extreme debt, has found his place on reality television. In that way he as succeeded in destroying any warm or fuzzy feelings of nostalgia we have towards him. In fact, he has joined multiple other child stars on shows such as Celebrity Fit Club and The Surreal Life, which literally throw a handful of burnt out celebs into the same environment. Entertaining? Pathetic? Insane?

This new celebrity reality genre, coined “celebreality,” has invaded VHI, and continues to display the inescapable future many child stars are forced to accept. Whether they begin to sell their own possessions, start invading the party scene, or join the latest cast of a VHI reality show, these actors starve for the attention that was once offered to them so easily. Anything to keep their names in the press, right?

According to the Slope Radio show “Sex and the Slope,” guys and girls on this campus are at war.  The guys argue that the girls are over-rated sluts that think they’re hotter than they are–the girls argue that the guys are scumbags that were losers in high school, but think they’re cool now because they joined a frat.

Instead of picking sides in this battle of the sexes, I opted to offer some insight into what we can all do to make the Cornell social scene less of a warzone.

To the Girls:

Let’s face it: Cornell has an exceptionally high skank to not-skank ratio.  What bothers me is when girls do skanky things and are later surprised to find out that people think of them as skanks.  We can all agree on certain actions that seem somewhat skankish—shortage of clothing, table dancing, hooking up with multiple guys over the course of a weekend/night/few hours (this list is not exhaustive, but it’s a good place to start).

Now let me be very clear: it is not the skankiness that I am criticizing.  If that’s your idea of a good time, rock the table like it’s your stage and blame your lack of clothing on the oh-so-warm Ithaca weather.

But, as the night winds down and the buzz wears off, don’t get offended when people call you a skank.  Embrace your skankiness.  You earned your title—wear it proud.

To the Guys:

The guys I meet at Cornell can be very easily separated into two distinct groups: the typical “Animal House”-esque frat boy or the emotional wreck.  I’m not sure which is worse.  While I certainly don’t care how sick you did in your beer pong tournament this past weekend or how many beers you shotgunned with your bros, I care even less about how madly in love you were with your ex or how you “just weren’t good for each other.”  These conversations kill my buzz and lead, quite frankly, to the female equivalent of “going limp.”

To Girls & Guys:

I want to know who developed all these rules about playing hard to get and not looking too desperate.  People swear by these hook-up guidelines that say they have to wait until the other person texts them first or flirt with someone else to make the other person jealous.

What is the point?  All of this just leads to both parties getting pissed off and not getting any action.  Let’s just agree to stop beating around the bush and start being straightforward.

Moral of the story:  If you want to roll around in the sheets with someone, just text the time and place instead of trying to feign indifference.  Everyone involved will be happier and will burn more calories.

Until next time: Let the battle of the sexes rage on!

Author: Buttercup Baby

The Connection

Aphrodisiac  – $19.99

821 Danby Road

Now I know Valentine’s Day passed but an aphrodisiac is the perfect thing to share with your loved one, or even the ones you love! This mix of a ten-inch heart shaped brownie, ben and jerry’s vanilla ice cream, whipped cream, and a chocolate rose will have you happy that The Connection specializes in delivery. Especially when you call back the third time asking for another.

Jack’s Grill

Grilled chicken dinner – $10.99

120 Dryden Road

Though they like to be known for their burgers, another item on the menu you should check out are Jack’s grilled chicken dinner. A nice alternative to burgers and a healthy alternative to breaded chicken tenders for we all seem to be health conscious these days.

That Burrito Place

Chicken burrito – $6.48

319 College Ave

From the mouths of babes, well actually, the mouths of the guys behind the counter, the chicken burrito is the best thing off the menu. If you don’t have time to go all the way to the one in the commons just stop by the one in collegetown for a quick burrito fix.

Taste of Thai

Pad See Eew – $9.95

216 E. State Street

Up for a night in the commons, or tired from a long day of shopping? Stop by at Taste of Thai right in the middle of the commons and have some yummy Pad Thai! I recommend the Pad See Eew. It’s a little different from your traditional pad thai, but just as delish! Especially when you get it with chicken. Even add some fried rice to your order to make it the best meal it can be!

Author: Ariella Weintraub

Since most of Second City shows are based off archival material, the cast has to work together through collective experiences and interests to develop new standpoints on past material. Richardson believes that “if all you do is recite what other funny people have said, then you can just find that funny person’s routine, so you have to bring your own perspective, tell what you find funny about the world”. When asked about their processes of finding new material, Miller explained that inspiration is found everywhere. “You will find it watching people on the train, commuting on the bus, standing in line at Borders—one sentence someone says will turn into a scene the next day, you just have to be constantly open and ready to develop it”. Bagnall clarified that “the thing about making something funny is finding that universal truth for everybody, finding something everybody can relate to but also telling your personal story”.

Since Second City is firstly a sketch comedy theatre, most of the shows are rehearsed scripts, but improvisation is used throughout all the shows to keep both the scenes fresh and the actors vibrant. “We always want to make it feel like it is improvised because then we feel like we are making discoveries in the moment which keeps each of us on our toes”, says Weitberg. Since improv is largely dependent on quick wit and adaptability, there is also an aspect of letting go. “It’s about not censoring yourself; you have to be willing to say anything, knowing that some stuff just isn’t going to be funny, and then you will learn from falling down a few times,” says Miller.

Many believe that comedians knew what they wanted to do from the start, but the reality is that many comedians started as bankers, secretaries, cashiers, and teachers. “I was supposed to go into arts management, where I probably would be making a lot more money, but I wouldn’t be nearly as happy and creatively satisfied as I am now,” says Miller. The life of a comedian is one that is always changing and requires an open mindset. “It is a matter of making small choices in the moment and keeping a number of options in mind, but none of us would be doing this job if it weren’t for following what really inspires and excites us,” says Weitberg.

Second City allows artists today to expand their love for comedy. Miller believes that being a part of Second City is like a larger family. “You hope that someday someone will read a script with your name on it, and it makes you feel like you are a part of something greater.”

It’s less than a month until Halloween, and like the rest of the world, you probably haven’t thought of what to wear that day. The day that reminds you so much of your beloved childhood…ah, those glorious days without stressing over prelims and life in general…

To make it worse, you’ve most likely received an invite to a popular frat party on campus that weekend. Don’t be one of those last minute dressers and end up dressing up as a discombobulated “cat lady” by creating the tackiest outfit possible from the depths of your closet. It’s important that you read up on this year’s popular Halloween fashions (that’s why I’m here) before you go and embarrass yourself in front of a bunch of flirtatious college students who will most likely be approach you sometime during the night.

Every year, someone makes the headlines, whether it’s a famous politician, like Barack Obama, or the recently deceased Michael Jackson; you can never go wrong dressing up as someone whose pictures are all over the papers. In addition, you can make some wacky statements and keep your friends in good humor throughout the night by pretending to be someone everyone knows. When The King of Pop died earlier this year, his crazy fans showed their love to the world, so don’t be surprised if you see people wearing red thriller jackets, hobo gloves, or tight black leather pants. Politicians are also easy to dress up as, because students normally have at least one business suit somewhere, or if you don’t, borrow from a Hotelie! Rubber or plastic masks for famous people can be found in the nearby costume shops located in Ithaca Mall or in Collegetown.

However, if you like to go with the more classic costumes: Star Wars, pirates, comic book heroes/villains (especially the Joker), are always back by popular demand. It seems like there is never a proper Halloween party without the appearance of a pirate. Not to mention, TV classics, such as (surprisingly) Sesame Street, will be a big hit because it is their 40th Anniversary this year. Mascot costumes are a great choice for entertaining others as long as you don’t mind sweating in it (but the good thing is, Ithaca weather, will make it less stuffy in the suit, giving you more time to do whatever kinds of embarrassing things you can do as a mascot without having others judge you for it). Despite running around as a gigantic fuzzy animal, respect other’s personal bubbles and do not get accused as being a molester by touching others (weirdly!) without their permission. The lines between privacy and friendliness sometimes get very thin when it comes to mascotting. Star Trek also happens to be a popular costume choice this year; due to JJ Abrams success at the box office. Officially licensed Star Trek costumes are flying off the shelves even as I speak.

If you want to scare your friends, the most popular trend this year is zombies. From Pride and Prejudice and Zombies, to I Am Legend, zombies are all over the entertainment industry, making it a popular choice to dress up as. Makeup may be a bit tedious, but it will pay off when your friends stare in horror at that bloody eyeball you have glued to your forehead while you laugh maniacally before them. Basic makeup for zombie costumes can be purchased online, from large supermarkets, , and the costume shops in Ithaca Mall.

When you think about your costume, it is not a bad idea to plan a budget instead of splurging on something you will wear for one night. Fashions are meant to come and go: you don’t want to be the unfashionable person, who wears the same thing every year now, do you? Basic parts of costumes, such as leggings for girls, and dark colored pants for guys, might not need to be purchased. Instead, dig through your closet and wear those pants you never had a chance to wear during the school year because they looked a bit funny in the light. Most of those parties will be too dark for anyone to see anything anyways.

College is a place for freedom of expression, but there are “virtuous”  guidelines one should follow. Please don’t show anything that other people might feel uncomfortable seeing, because if you were in their spot, how awkward would YOU feel? At Berkeley one year, one of the students decided to go to class stark naked every day. Surprisingly, the professor did not say a word, but his peers decided to voice their opinions against his action because by that time, they were already scarred for life. Therefore, three months later (what took so long…), the professor told him to put some clothes on to protect what was left of his classmates’  non-scarred mind.

Once you’ve picked out your costume, whether it’s funny, scary, cute, smoking hot, or absolutely silly, remember to go out there and strut your stuff. Confidence is the key – don’t be afraid to take risks. Go out there, don’t worry too much about what others think, and remember to have fun!

By Lisa Yang