arizona daily wildcat - jan. 20, 2010 — wildlife

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Student exhibition confronts literary vandalism

‘Defaced’

wednesday, january 20, 2010

Steven KwanArts Editor520•621•[email protected] l ifeWild

What? Like it’s hard getting into Harvard? It wasn’t that hard last night for the opening night of “Legally Blonde The Musical.”

As the crowd gathered at the Tucson Convention Center it was a little less pink than one might have expected, yet occasionally peppered throughout the audience you could easily spot the die-hard fans — clothed from head to toe in pure pink. Ironically enough, the crowd’s signature color was black.

The audience, from men to women and elderly to young, was totally ready to see the show.

The story takes the audience along for the much loved journey of Elle Woods’ life right after her long-time boyfriend Warner Huntington III (Jeff McLean) decided to break it off with her. Determined to get him back, she trades in her sunny West Coast life for the “drab” East.

Along the way, she runs into loads of troubles from discrimination to sexual harassment, but that’s not to say the musical isn’t quirky and lighthearted with some excessive snapping.

If you’ve seen the movie you know the story;

the musical doesn’t stray from the original. But it is interesting to see it done live with some singing and dancing added to the mixture.

The cast was hilarious and made the show fun to watch. Each performer really embodied his or her character and had the audience LOL-ing the entire way.

Becky Gulsvig positively played the pink part. She resembled the original Elle Woods, being quite the Reese Witherspoon lookalike. Although she didn’t command as much power as Elle Woods’ character should, Gulsvig gave quite a performance as the leading lady.

Rhiannon Hansen, one of the girls featured on MTV’s “Legally Blonde The Musical: The Search for Elle Woods,” plays Margot, Elle’s best friend. She took the stereotypical sorority girl character to a new comical level. Although she didn’t win the reality show, Hansen really fit into her character.

Also among the favorite characters were Paulette (Natalie Joy Johnson), Kyle aka the UPS guy (Ven Daniel) and, of course, the dogs, who were all res-cued from humane societies and animal control.

By Emily Moore Arizona Daily Wildcat

Joan Marcus/Courtesy of Broadway in TucsonBecky Gulsvig, above, as Elle Woods and the cast of the National Tour of Legally Blonde the Musical. D.B. Bonds as Emmett Forrest in the National Tour of Legally Blonde the Musical.

To get tickets or for more information check out http://broadwayintucson.com/ or http://tour.legallyblondethemusical.com/ .

The show’s final performance is Sunday.

NOW THRU SUNDAY ONLY!BUY TICKETS: 800-745-3000

www.broadwayintucson.com or in person at the TCC Ticket Offi ce,

STUDENT TICKETS AS LOW AS $20!

❝RIDICULOUSLY ENTERTAINING!❞ —THE HARVARD CRIMSON

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Say what you want about Arizona summers; this time of year in Tucson more than makes up for the 100-degree days to come. Classes for spring semester have barely begun, so your academic obliga-tions are about as undemanding as they’ll get between now and May. There’s no better chance to spend some time explor-ing what the area has to offer. Whether you only have a few hours or a full day, here are some opportunities to enjoy the season before the sweltering heat hits.

Mirror, mirror, along the Mall?That’s right, the UA’s own Steward

Observatory Mirror Laboratory is open for tours. The mirror lab is located right under the football stadium. Mirrors created on this campus have been used in telescopes across the globe. You may have been around for the Phoenix Mars Mission countdown, or maybe you’ve just always wondered about that R2-D2-shaped observatory visible from the UA Mall. Either way, you’ve probably heard about our university’s excellence in optics and as-tronomy. It’s time to go check it out firsthand.

TOUR SCHEDULINGTuesday and Friday, 1 p.m. and 3 p.m.

Tours last approximately 60-90 minutes Reservations required in advance $15 Adults

$8 Students (7 - 22 years old) $13 Groups (10+)

Contact Cathi Duncan: [email protected]

Learn to love a cactusDid you know that Tucson is surrounded

by a national park? Those iconic saguaro cacti populate Saguaro National Park’s two districts, one east and one west. Head east to the Rincon Mountain District, about half an hour outside of town, for an eight-mile drive (or ride, if you’re adventurous enough to bike) on Cactus Forest Loop Drive that offers a stunning perspective on that dry, desolate desert people picture when they think of the Southwest. The mountains are formidable, the cacti are proud and if you head out right around sunset you’ll think you were in a classic Western. Bet you didn’t know Tucson could look this good.

IF YOU PLAN TO GOPark open from 7 a.m. to sunsetVisitor center open 9 a.m. - 5 p.m.Entrance fee: $10 per vehicle, or $5 per indi-

vidual on foot or bicycle (each good for seven days)

Lake Pleasant is pleasantIf you’ve got a day or a weekend to spend,

make your way up north past Phoenix to Lake Pleasant Regional Park. If you grew up in Arizona, you probably have at least one lake or family camping horror story. But have you been back lately? Even the least outdoorsy of us can appreciate the abundance of hiking trails and opportunities for stargazing, fishing, geocaching or relaxing lakeside with your refreshments of choice. The visitor’s center also offers an awe-some view of the New Waddell Dam and plenty of information about the history of the area. Check out the upcoming events, which include the Sixth Annual “Dam Good Run, Walk, Hike” and “Scuba Adventure Day.”

Visit http://maricopa.gov/parks/lake_pleasant/default.aspx for directions and events calendars.

— Marisa D. Fisher

Is there something that you think we should do before graduating?

Send your suggestions to [email protected]. Please include your name, major and year.

Get ready for a new type of dance experience as MOMIX takes the stage Saturday night at Centennial Hall.

Internationally acclaimed for presenting concerts that take audiences into the surreal and fantastic, MOMIX steps beyond the limits of a typical modern dance performance. Integrating theater, acrobatics and dance, company members are often re-ferred to as dancer-illusionists, and founder and artistic director Moses Pendleton is hailed as one of the scene’s most imagina-tive and inventive choreographers.

Although the company is based in Washington, Conn., MOMIX has dazzled audiences around the globe and has even appeared in film and on television. Blending eccentric props, imaginative lighting and energetic choreography, Pendleton’s works ignite the stage and give audiences a multimedia treat.

The company is set to perform “ReMIX,” a collection of MOMIX’s greatest and most beloved works, in honor of the company’s 30th anniversary season.

“The show is like a compilation album,” said Pendleton, who also co-founded the Pilobolus Dance Theater. “It features excerpts from five different programs which highlight the basic MOMIX aesthetic.”

While previous works from such acclaimed shows as “Opus Cactus” and “Passion” will once again grace the stage, MOMIX

will also provide a sneak preview of their newest concert, “Botanica,” which is currently running in Europe.

So what makes their work a hit? “Well, with MOMIX, audiences should always expect the

unexpected,” Pendleton chuckled. “Just sit back and let MOMIX take you on a little trip.”

And with stunning athletic spectacles, such as a pas de deux on skis, an extraordinary score and vibrant set design, the fast-paced electric concert is sure to deliver nothing short of magic.

“It is about the freedom of the spirit and the mind.” Pendleton noted. “The dances are about making contact with the elements and forces of nature. They are that of our dreams and fantasies, creation and invention.”

After a journey to the surreal and back, UApresents audi-ences should not be surprised if they walk away with a little jump in their step.

By Dallas Williamson Arizona Daily Wildcat

BLONDE, page B7

Fantabulous in pink

‘Legally Blonde’ an exuberant musical romp with a sweet message

BEFORE YOU GRADUATE

MOMIX to spin a ‘remix’ at Centennial Hall

Also be sure to check out:“A Year with Frog and Toad”The fun and beloved Broadway mu-sical hit that follows the delightful characters Frog and Toad as they discover the importance of friend-ship and the value of individuality.

Sunday at 3 p.m.MOMIX: “ReMIX”Saturday at 8 p.m.Centennial Hall1020 E. University Blvd.Call 520-621-3341 or visit www.uapresents.org for ticketsTickets are available for only $15 to all UA students

Photo courtesy of UApresents

B2 • wednesday, january 20, 2010 • arizona daily wildcat

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WEDNESDAY, JAN. 20Sky Bar, 536 N. Fourth Ave., holds an Open

Mic each Wednesday at 6:30 p.m. Performance artists, spoken word and original fi lms are welcome. Sign-up is at 6 p.m. Free.

Viva La Diva Drag Show will be held at IBT, 616 N. Fourth Ave., 9 p.m. Free.

The Women’s Resource Center and Planned Parenthood are teaming up to present “On Hostile Ground” in honor of the 37th anniver-sary of Roe v. Wade. The documentary is the fi rst in their 2010 fi lm series and details the lives of three abortion providers. Gallagher Theater, 7 p.m. Free.

THURSDAY, JAN. 21Laffs Comedy Club, 2900 E. Broadway Blvd. ,

is holding an Open Mic night at 8 p.m. Every Thursday until Jan. 26.

The Women’s Resource Center will be holding a Roe v. Wade anniversary reception complete with cake and the fi lm “I Had an Abortion.” The event will take place at the Gender/Women’s Studies building, 925 N. Tyndall Ave. Free.

FRIDAY, JAN. 22“The Great American Trailer Park Musi-

cal” will be showing at the Temple of Music and Art, 330 S. Scott Ave. The production will have show times on Friday and Saturday at 7:30 p.m. and Sunday at 3 p.m. until Sunday, Jan. 24. General admission is $27.50, and the student price is $25.

UA Farmer’s Market will be held at Main Gate Square, 814 E. University Blvd. Items for sale include organic produce, baked goods, soaps, coffee and tea. 10 a.m. - 2 p.m. Free admission.

SATURDAY, JAN. 23The Dillinger Days Festival marking the

76th anniversary of the capture of legendary gangster John Dillinger, will be held down-town and include re-enactments, exhibits, tours, live music, lectures, food vendors and antique cars. Everyone is encouraged to wear ’30s garb. 9 a.m. - 7:30 p.m. Free.

SUNDAY, JAN. 24Query-ing Queer Sexuality: Educational

Insights for an LGBT-Affi rming Church is a free six-week course expanding on sexual identity and diversity. It is held at 9:45 - 10:45 a.m. every Sunday until Feb. 14 at St. Mark’s Presbyterian Church, 3809 E. Third St.

The Mission Three will be playing at Plush, 340 E. Sixth St. , in the lounge area at 9:30 p.m. 21+. Free.

MONDAY, JAN. 25“Dream Bike,” a documentary about the re-

building of a bike that belonged to a fi refi ghter who was killed when the World Trade Centers collapsed, will be showing at the Himmel Branch of the Pima County Library, 1035 N. Treat Ave. Noon - 1 p.m. Free.

Meet Me at Maynards Social Walk/Run is held every Monday at Maynards Market and Kitchen, 400 N. Toole St. The three-mile course starts and ends at Maynards, and weaves through downtown and historic neighbor-hoods. Check in begins at 5:15 p.m. Starts at 5:50 p.m. Free.

TUESDAY, JAN. 26Tuesday Night Bike Ride meets each week

at 8 p.m. at the fl agpole by Old Main. Bring a bike and friends. Free.

The Charles Darwin Experience, the UA’s own resident improv comedy group, will be performing at 10 p.m., Tuesday at Gallagher Theater and each Tuesday throughout the se-mester. Get there early; seats fi ll up fast. Free.

Charlie Faye will be playing at Plush, 340 E. Sixth St., in the lounge area at 9:30 p.m. 21+. Free.

— compiled by Emily Bowen

The note that introduces Gavin Troy’s “Songs from the Ocean” painting and mul-timedia collection does not set great expec-tations. Though friendly, the photocopied, handwritten note and attached pricelist seem overly informal and the artist’s assertion that the “wrightings” of mystic poets Rumi, Hafi z and Kabir have infl uenced his work feels contrived. The signature “with love” and the smiley face following Troy’s non-capitalized name, however, immediately endear him to his audience. So, having sacrifi ced serious-ness for warm-fuzzies, Troy turns the com-munication over to his paintings and collages themselves.

Displayed along the walls and shelves of the Poetry Center, the wood and canvas pieces almost glow with their emphasis on warm pastels, organic geometric shapes and heavy lines that bind the disparate shapes together.

Wedged between what look like spotlight lines my church’s youth group once called “God-shine,” are faceless fi gures who, like “Wall-E”, manage sophisticated expressions despite obvious gaps in equipment. The pencil sketches are left to worm through the paint

in certain lights, and no attempt is made to disguise the wood grains beneath the pastel smears and swirls. With minimalism and repetition on his side, Troy moves adeptly between mediums, from paint on canvas and wood to multimedia woodblock shadow boxes, impressive in their ability to crudely represent emotionally complex scenes.

With only the occasional symbol taken too far, like the recurring fi sh and sometimes overtly nativity-style scenes, the entire exhibit captures a sense of elemental hope por-trayed through subtle Christian imagery and uncommon unpretentiousness. One particular painting, number 11, has a road swerving up through what looks like a melted geometric village, beautiful in its imperfect repeti-tion, and up to a great balloon of a sky. This balloon, together with the motif of fl owers, moons and stars, creates a nearly nursery-like feel and, more importantly, turns its back on the notion that such sticker-style symbols have no place in the realm of fi ne art.

Indeed, by using mellow colors and rec-ognizable shapes, along with detailing that makes these works appear to glimmer, Troy evokes not just emotion and thought, but easy pleasure also.

This successful incorporation of cliché, however, does not carry over to Troy’s titles. Upon completing the circuit of artwork around the perimeter of the library and returning to the scrawled-out name and price list, titles like “Hold On,” “Flowing with Love”

and “Passage, Into Silence” stand out as fi tting, but also detract from the remarkable series of works just viewed sans names.

In an episode of irony, Troy’s poem-inspired and breathtaking artwork, housed for the mo-ment in the Poetry Center, is watered down only by the words before and after it.

‘Songs from the Ocean’ delves into deep emotions with simple art

To-Do List

Rising poets to visit UA, discuss state of the art If the words “poetry reading” conjure in your mind darkness and

greasy beret- and scarf-wearing types snapping their approval , you’ve never been to a poetry reading at the UA Poetry Center. Tomorrow the Poetry Center presents the fi rst opportunity of the semester for you to watch the stereotypes of poetry readings be disproved.

The “Next Word in Poetry” series is bringing three up-and-coming poets to the UA for one reading and one panel event each year. The poets are chosen specifically for their potential, not for being established.

“The list gets boiled down to three people out of one big list,” said Rodney Phillips, the center’s senior librarian . Noteworthy poets Dan Beachy-Quick, Joshua Marie Wilkinson and Deborah Bernhardt , he said, are all veteran readers of the series.

And this year’s lineup certainly has the potential to add more notable talents to the past performers list.

Philip Jenks , a vegan and drummer for Howling Hex with an

enormous tattoo of Emily Dickinson on his back, will share the stage with Akilah Oliver who, amid an impressive resume of accomplishments, is “co-founder of the avant-garde feminist performance group The Sacred Naked Nature Girls,” according to the Poetry Center Web site. The well-traveled Brandon Shimoda , also known for his drawings and collaborative projects, will join them.

Glimpse three poets set to launch into their careers, then seize your chance to ask them about the state of the art of poetry — the next word of which will be theirs.

IF YOU GO: “Songs from the Ocean: Paintings and

Assemblages by Gavin Troy”

Through Feb. 21 during Poetry Center hours:Monday 9 a.m. to 8 p.m.Tuesday 9 a.m. to 6 p.m.Wednesday 9 a.m. to 6 p.m.Thursday 9 a.m. to 8 p.m.Friday 9 a.m. to 5 p.m.Saturday 10 a.m. to 2 p.m. on the following days: Jan. 23, Feb. 20, Mar. 20 and Apr. 17Sunday Closed

The UA Poetry Center 1508 E. Helen St. Just north of Speedway

Boulevard, just east of Cherry Avenue. For more information visit: http://

poetrycenter.arizona.edu/exhibits/exhibitions_art10spring.shtml Reception

with Gavin Troy, Feb. 11, 5:30 p.m. Reception and exhibit both free.

IF YOU GO: “Next Word in Poetry”

Reading 8 p.m. tomorrowPanel 4 p.m. Friday UA Poetry Center 1508 E. Helen St.

Just north of Speedway Boulevard, just east of Cherry Avenue.

For more information visit http://poetrycenter.arizona.edu/events/

springreadings_10.shtml

By Christy DelehantyArizona Daily Wildcat

Reverb-heavy rock will be shaking up The Hut this Friday. Tucson band The Mission Creeps off er up a punch of twang and a smack of dreadfulness in their interesting mish-mash of rock ’n’ roll style. They are surf goth horror rock at its best.

For $5, not only will you get a night with The Mission Creeps but also Des Roar from New York, The Green Lady Killers from Phoenix and Booze Bombs from Germany. This rock show is sure to scratch that horror rock itch.

The Mission Creeps describe their sound as dark and nightmarish music that is nothing but a scary good time. With inspiration from Joy Division, The Doors and the Cramps , their sound is an unusual blend of rock for Tucson. Sometimes described as horror pop, The Mission Creeps’ music boast a lyrical diversity that spans from political commentary to good ol’ pop. Drop by The Hut to check out a ghoulish blast of rock n’ roll music.

—Ali Freedman

Our Pick

305 N. Fourth Ave.(520) 623-3200

http://www.missioncreeps.com

Courtesy of The Mission Creeps

The Mission Creeps at The Hut9:30 p.m.21+, $5

By Christy DelehantyArizona Daily Wildcat

“‘Paintings and Assemblages’ work best without words.”

B3 arizona daily wildcat • wednesday, january 20, 2010 •

INTERNATIONALAFFAIRS

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Are You Traveling Out of the Country for Spring Break?

Apply now for a U.S. Passport at the International A�airs Passport Application Acceptance Facility!

The International A�airs Passport acceptance Facility provides a vital public service, promotes public relations and is authorized to accept and execute passport application for United States citizens. The facility makes it easy and convenient to obtain and submit passport applications. This service is provided to the University campus community as well as the community-at-large.

On June 1, 2009, the U.S. government implemented the full requirements of the land and sea phase of the Western Hemisphere Travel Initiative. The new rules requires U.S. citizens entering the United States at seas or land ports of entry to have a valid U.S. Passport. Currently, U.S. passport applicants can obtain their U.S. passport between four and six weeks after applying. Take advantage of U.S. Department of State’s fast processing times now and submit your passport application at the International A�airs Passport Application Acceptance Facility.

The International A�airs Passport Application Acceptance Facility is open on a walk in basis. We are located at 1128 E. Mabel St. We o�er a passport photo service on site as well as the International Student Identity Card for students traveling abroad. For current hours of operation, documentation requirements, and passport related fees please visit our web site at www.passport.arizona.edu or call (520) 626-7161.

1128 E. Mabel St | (520) 626-7171 | www.passport.arizona.edu

Kinch is a band that defies genres, to say the least. The Phoenix band’s latest EP, Collars and Sleeves, a collection of songs about love and the struggle to maintain it — or escape it — is hard to pin down stylistically. The EP contains four tracks, each one dramatically different in both style and instrumentation.

The catchy opening track, “John Adams” is a piano-heavy, driving tune, with a sound akin to Ben Folds’. The next track, “Carolina Can-nonball,” keeps heavy rhythmic baselines, but is more musically complicated. The lead singer repeats the chorus “I guess I should have kept my/I guess I should have kept my/I guess I should have kept my eyes closed” as the electric guitar and bass pound in the background, cre-ating a much more mainstream pop sound.

“Girl, You’re Gonna Learn to Mind” is the slowest track on the EP, with a deconstructed composition. As the lead singer croons about his love’s over-appreciation of him, the guitar

and bass build into an almost unbearable clatter, at which point the track ends. The transi-tion to the last song, “Tie Me Lightly,” is very abrupt and not very logical, though it does seem to combine all the elements of the first three tracks, a mix of lyric piano, pop drums and energetic vocals. This is a fleeting moment of cohesion for the band.

Overall, Collars and Sleeves is worth a listen, especially given the band’s Arizona roots. However, Kinch’s sound is so varied from track to track that the band’s style is difficult to hold on to. The EP sounds more like a collection of tracks than a cohesive album. Still, the album is worth a listen, and Kinch is worth your attention.

Kinch is on tour and will play at Club Congress today. Doors open at 7:30 p.m, with the band scheduled to play at 8 p.m. Tickets are $8 in advance, $10 at the door.

Vampire Weekend wears their preppy im-age as a badge of honor — the album’s cover is an astutely ironic jab at the band’s demo-graphic — and for good reason. Their debut is more divisive than health care reform.

With Contra, they’ve expanded their sonic palette — a dub bridge and sampled drum claps on “Diplomat’s Son,” jazz piano backing on “I Think Ur A Contra” — without betraying their love of Soukous and classical music. While their brand of Afrobeat-influenced, electronic indie pop does not have the immediacy of their debut, Contra suggests greater complexity and reverence. The band no longer sounds like they are simply biting their hooks from King Sunny Adé — the cuts on Contra are wholly authentic.

Singer Ezra Koenig’s vocals are still homely, especially on “White Sky,” but the band’s pen-chant for layered crescendo enables his warbled vocals to be more charming than grating. Koenig has also managed to take the training wheels off his lyrics. He still stumbles through improper attempts at humor, but he also deliv-ers killer lines like, “In the shadow of your first attack / I was questioning and looking back / You said baby we don’t speak of that / Like a real aristocrat” from the song “Taxi Cab.”

On standout track “Giving Up The Gun,” the band’s cross-pollination of genres hits an apex. Start-stop drumming, gentle pop vocals, a chugging guitar riff and soaring choral work plays alongside strings and dance-punk synthesizer. Even lead single “Cousins” refuses

to bend to convention with chaotic guitar work over a warp-speed synth riff and chiming bells.

Experi-mentation has its limits, though. Koenig sounds downright idiotic trying to T-Pain his way through the verses of “California English.” It’s a distracting venture into a tired music genre, something Vampire Weekend has no business doing. They are a band whose bread and butter has been glorifying un-derappreciated world genres, not scraping at the bottom of the American rap barrel.

Oddly enough, it’s this self-presentation that has most detractors irked: Who named these guys ambassadors of world music to the hipster crowd? Vampire Weekend did. Because they’re really damn good at it.

Kinch EP difficult to pin downNew York to Kinshasa in a ‘Weekend’

By Kellie MejdrichArizona Daily Wildcat

By Zachary Smith Arizona Daily Wildcat

KinchCollars and Sleeves EPSelf-ReleasedReleased September 2009

Vampire WeekendContraXLReleased January 12, 2010

B+ B-

What’s the formula for success in the rapidly shifting music business? Roll the dice, then stay put.

That combination put Celine Dion atop the ultimate edition of our annual Ultimate Top 10 list, a ranking that combines artists’ album sales revenue with their take at the box office.

Dion earned the title of Ultimate Top 10 champ for the decade that recently ended, thanks in large part to the money she piled up from her five-year engagement at Cae-sars Palace in Las Vegas, where audiences are used to paying big bucks for big stars. Her gamble to perform in one place for an extended period paid off big for the Cana-dian pop diva.

The Ultimate Top 10 isn’t meant to be the final word on artists’ finances. With merchandising, product endorsements,

song placements in movies and TV shows, ring tones, Web site subscriptions and oth-er income sources, musicians today have seemingly limitless ways to bring in money. But by combining two of the biggest rev-enue sources, the Ultimate Top 10 is a good indicator of which artists fans are spending the most money on.

The overall decade results suggest there’s still considerable long-term value in allow-ing artists time to build extensive catalogs and encouraging them to support those recordings by touring regularly.

The Ultimate Top 10 of the Decade:

1. Celine Dion, $747.9 millionDion pulled in $522.2 million in concert-

ticket sales for the decade. Adding $225.7 million worth of album sales during those same 10 years, she trumped all comers.

2. Kenny Chesney, $742 millionClose behind Dion was this road

warrior, who toured hard and promoted records the old-fashioned way year in and year out. His total includes $455.6 million in concert ticket sales and $286.4 million in album revenue.

3. Dave Matthews Band, $737.4 million

Matthews’ decade concert total of $529.1 million put him first on the list of top North American live music at-tractions of the decade, as calculated by the concert-tracking publication Poll-star. The band posted $208.3 million in album sales.

4. The Beatles, $627.3 millionAlthough the quartet disbanded 30

years before the decade began, the Beatles still managed to generate $392.3 million from sales of 30.2 million albums (using an average of $13 per album). We folded in the individual box office figures racked up by ex-Beatle Paul McCartney ($221.4 million) and Ringo Starr ($13.6 million), given that their concert audiences consist in large part

of Beatles fans. The Fab Four also logged the single best-selling album of the decade, the “1” hits collection, with 11.5 million cop-ies. And counting.

5. U2, $609.7 millionThe Irish quartet brought in $391 mil-

lion at the box office and $218.7 million in album sales.

6. Toby Keith, $591.9 millionThe second of three country acts in the

Top 10, the Oklahoma singer-songwriter logged $273.8 million on the concert trail, $318.1 million from album sales.

7. Bruce Springsteen, $588.3 millionOn the road, both with the E Street Band

and his various non-E Street tours, the Boss brought in $444.3 million. His album take: $144 million.

8. The Rolling Stones, $569.6 millionThe Stones also benefited heavily from

touring, earning $426.9 million at the box office in addition to $142.7 million in album sales.

9. Tim McGraw, $550.7 millionStrictly as a solo act, the country singer-

songwriter ranks No. 14 on the list. But he toured several times with his wife, Faith Hill, during the decade. California being a community property state, we are award-ing him half the revenue those outings generated. So his total includes $322 mil-lion in album sales, $133.7 million from his own tours and $95 million for his half of the McGraw-Hill shows.

10. Britney Spears, $494.3 millionDespite a rocky decade personally and

professionally, Spears pulled in $195.7 mil-lion at the box office and sold $298.6 million worth of albums for the 10-year period.

The decade’s top album seller was Eminem, the rapper who posted $419 million from sales of 32.2 million albums, according to Nielsen SoundScan. But be-cause he toured sporadically, he was able to add only $40.8 million to his Ultimate Top 10 total, which places him at No. 14; he is the sole hip-hop artist in the Top 20.

Dion tops Top 10 album, concert sales for decadeBy Randy Lewis Los AngeLes Times

Image courtesy of Vampire Weekend

Image courtesy of Kinch

cd reviews

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Assassin’s Creed II: A bloody good time In a world fi lled with betrayal, revenge, corruption and evil, one might

ask to whom you can turn for advice or a helping hand. Why, Leonardo da Vinci , of course! Welcome to “Assassin’s Creed II,” where this kind of creativity and balance runs on an even keel with the relative absurdity of certain devices.

In “Assassin’s Creed II,” you follow the life of a young Italian named Ezio Auditore da Firenze . You start your tale well before you become the bad-ass assassin you’re destined to be, and, after a signifi cant event, you begin to learn the art of the kill. For those unfamiliar with the series, Assassin’s Creed is an open-world third-person action game in which you can choose your own missions, much like the Grand Theft Auto series. Meant to be a trilogy, the story continues where it left off; however, it is superbly executed so a newcomer will not be lost.

The combat revolves around timing and is an absolute joy this time around. The only downside is that the game is not very challenging until the end, but fortunately the mission structure keeps things interesting and vastly improves over the last outing. Gone are the boring eavesdrop-ping missions. Now there is a wild assortment of tasks.

The Italian Renaissance cities are done impressively and the character models are defi nitely up to par. Sound design is simple and effective; the two-tone music sets the mood perfectly. An economy has been added as well, and managing the villa is fun and engaging as you can see the results of your upgrades immediately.

The best thing I can say for “Assassin’s Creed II” is that I never once got bored while playing. The missions never get repetitive, and having the ever-bright da Vinci as your best friend makes things interesting every step of the way. Unfortunately, the game does feature a few technical problems: texture pop-in and some slight screen tearing happen, but it’s nothing too noticeable and doesn’t hamper the experience. Altogether, if you want a long, entertaining title that can amuse just about anyone, be sure to check out this game. Rent it, buy it — just play it.

Avatar: An exercise in frustration Fact: poking a beehive with a stick is more fun than playing “James

Cameron’s Avatar: The Game.” If you can get past the barely-functional control scheme, broken camera system, ugly character designs and nonexistent plot, you may have a chance at enjoying this game. Me? Not so much.

“Avatar: The Game” gives you a choice of which side you’d like to play on, but both campaigns are so thoroughly terrible you’d be doing your-self a disservice to spend $60 on either of them. The Na’vi are controlled like your typical third-person action game, but the melee of controls hurt you more than help you. The human campaign plays like a third-person shooter, and is only marginally better than the Na’vi campaign. This is un-fortunate, as the Na’vi had so much potential on paper (as anyone who’s seen the movie could attest). But the developers fail to execute on nearly every single good idea. The entire campaign suffers from severe camera problems as well, in some instances inducing slight motion sickness.

The only positive thing the game offers is the beautifully realized world of Pandora faithfully recreated from the movie, but to see most of it you will have to suffer through well over 10 hours of horrid gameplay.

The game includes a multiplayer mode, but the same issues that affect the campaign also plague this section. Forget about playing it for very long, because you will get bored, you will die a lot and you will fail to do anything impressive. In fact, the only impressive thing happening will be the amount of people you manage to verbally abuse while being given a crash course in how to hate your own life.

“Avatar: The Game” is perhaps the greatest waste of your well-earned cash so far this year. If you have any interest in spending your money well and enjoying a well-made product, do yourself a favor: don’t play this game and see the movie instead.

— reviews by Joe Dusbabek

Virtually everyone has at some time encountered a public object that has been defaced. Chances are you have probably seen something that made you angry, or at least surprised. Coriana Close’s exhibition “Defaced: A Found Archive” treats these defacements in a unique way — empowering not the vandals, but rather the onlookers .

“It’s interesting that a person would spend so much time writing in a book, then close it up, and then put it back in the stacks,” said Close, an MFA student in photography .

Close has found thousands of defaced pages in books at the UA Main Library and has compiled drawings and comments from one supposed individual for her exhibition at the Student Union Gallery. The collection features scanned images from pages of defaced books, whose original con-tent mainly focuses on black history and the Civil Rights Movement. The exhibition also features defacedart books, portrait studies and other texts.

The defacements on display often involve de-rogatory remarks about black people, particularly women, but range from misogyny to homophobia to anti-Semitism. The graphic and offensive nature of these comments is shocking but the exhibit is intended to transform such hate speech.

In the library, readers “have to confront it on their own, alone in the stacks,” Close said. “They

fi nd this thing that’s just threatening; it’s scary, it’s intimidating. … I think that when you put it up and put it out in the open and have a whole group of people looking at it together, then it loses that power of intimidation.”

Close has succeeded in changing this power-fully threatening work by one individual into a refl ection of society as a whole for her audience.

“I think in general, issues of racism and misogyny are still very much alive,” said Holly Brown , the curator of the Union Galleries. “This is a way to bring it out in the open and have a conversation, and deal with it in a more public and uplifting manner.”

Close has created a guest comment section where viewers can comment on the exhibitand write their own responses on select copied pages of the exhibition in response to the defacing. These writings from visitors will eventually be-come part of the permanent archive.

Close said she wants the exhibit to start a con-versation and to encourage people to question their own values.

“I want to start a dialogue in the community about our community values, and what our reaction to this kind of hate speech should be,” Close said.

“Defaced: A Found Archive” is on display at the Union Gallery , on the third fl oor of the Student Union Memorial Center . The exhibit is running until Feb. 12, 2010 . Coriana Close will be giving an artist talk Feb. 4 at 6 p.m. in the gallery.

JANUARY“A Serious Man” Re-opens: Friday, The Loft Cinema onlyStarring: Michael Stuhlbarg, Richard Kind Directed by: Joel and Ethan Coen The gist: When a morass of marital problems, workplace pitfalls and general human

uncertainty enters the suburban life of Larry Gopnik (Stuhlbarg) and his 1967 Jewish/Minnesotan community, his very faith in the ordered universe is rocked with tragicomic mayhem that only the Coens could deliver.

Why you should go: The deranged force of genius we call Coen strikes home yet again with a picture of humanity as piercing as “No Country for Old Men,” populated by players as unforgettable as “The Big Lebowski.” See it immediately if you’re Jewish, an existentialist or someone who just missed the wide release in October.

FEBRUARY“The Wolfman ”Opens: 2/12/10Starring: Benicio Del Toro, Anthony

Hopkins, Emily Blunt, Hugo Weaving Directed by: Joe Johnston The gist: Boy meets girl. Boy gets

bitten by werewolf. Boy tries to eat girl. Anthony Hopkins frowns with wizened disapproval.

Why you should go: It’s an age-old story you’ve all heard that probably won’t throw any narrative surprises your way, but “Jumanji” and “October Sky” director Johnston knows how to use a big-name cast. Come for the violence, stay for the accents.

“Percy Jackson & The Olympians: the Lightning Thief”

Opens: 2/12/10Starring: Pierce Brosnan, Uma Thurman,

Rosario Dawson Directed by: Chris Columbus The gist: An average student named

Percy Potter — sorry, Jackson — discovers he is the son of mythological Greek gods. Naturally, this doesn’t sit well with the forces of darkness.

Why you should go: “Sorcerer’s Stone” and “Chamber of Secrets” director Columbus reprises his supernatural-youth-in-peril routine, only this time with starlets like Thurman and Dawson to keep those of us who aren’t pre-pubescent occupied. Take the kids (unless you are one).

“Shutter Island” Opens: 2/19/10Starring: Leonardo DiCaprio,

Ben Kingsley, Michelle Williams Directed by: Martin Scorsese The gist: A U.S. marshall

(DiCaprio) investigates the escape of a murderess from a secluded community for the criminally insane on Shutter Island. Conspiracies, obscenities unfold.

Why you should go: Marty and his golden boy have failed to disappoint in recent years (“The Departed,” “The Aviator,” “Gangs of New York”) and the creep-out capers of this new “ Island ” should be no exception.

MARCH

“Greenberg” Opens: 3/12/10Starring: Ben Stiller, Jennifer Jason Leigh Directed by: Noah Baumbach The gist: Stiller plays a New York boy transplanted to Los Angeles, where he

aims to reshape his stagnant life.Why you should go: If you liked Baumbach’s awkward divorce comedy “The

Squid and the Whale” or his writing collaborations with indie superhero Wes Anderson, this dry character piece is likely to please.

FEBRUARY 5 AND 6, 10 P.M.“Let The Right One In” (Only at The Loft Cinema)Plot: Oscar, an unnoticed and bullied boy,

fi nds love and revenge when he meets Eli, a beautiful but unusual girl who happens to be a vampire.

Why you should go: Forget “Twilight,” this is the greatest vampire love story. Haunting, beautiful and deeply affecting, this will be the best date movie of February. Do not miss the opportunity to see this on a big screen.

FEBRUARY 12“Valentine’s Day”Stars: Bradley Cooper, Anne

Hathaway, Topher Grace Directed by: Garry Marshall Plot: An array of couples and

singles in Los Angeles fall in and out of love based on the pressures and expectations of Valentine’s Day.

Why you should go: You probably shouldn’t. “Love Actually” worked because it was written by an Oscar nominee, whereas writer Katherine Fugate has written episodes of “Xena” and Lifetime’s “Army Wives.” However, Joe Jonas is voicing a dog, so there is that.

FEBRUARY 26“Cop Out”

Stars: Bruce Willis, Tracy MorganDirected by: Kevin SmithPlot: Two cops try to track down a

stolen vintage baseball card.Why you should go: Kevin Smith’s

fi rst fi lm he didn’t write stars Willis, Morgan, Seann William Scott, Adam Brody and Rashida Jones. Even if the trailer was horrible, it is a fantastic comedic cast. Brody proved he could be hilarious in “Jennifer’s Body” and Morgan is on fi re as of late.

“The White Ribbon” (Playing only at The Loft Cinema)Plot: Strange events happen in a small village in the north

of Germany during the years just before World War I, which seem to be ritual punishment.

Why you should go: Because it won the Palme d’Or at Cannes and a Golden Globe for Best Foreign Language Film. Director Michael Haneke puts out deeply provocative movies and this should be no different, with Haneke calling it a fi lm about “the origin of every type of terrorism.”

MARCH 5: “Alice in Wonderland”Stars: Johnny Depp, Mia WasikowskaDirected by: Tim BurtonPlot: 19-year-old Alice returns to Wonderland, where she

reunites with her old friends and learns of her true destiny: to end the Red Queen’s reign of terror.

Why you should go: Tim Burton hasn’t knocked one out of the park since 1994’s “Ed Wood.” While this probably won’t change that, a huge budget and a cast that includes Depp, Anne Hathaway, Michael Sheen, Alan Rickman and Crispin Glover has me cautiously intrigued.

MARCH 12: “Green Zone”Stars: Matt DamonDirected by: Paul GreengrassPlot: U.S. Army offi cer Roy Miller

decides to go rogue after he discovers faulty and corrupt intelligence

concerning his hunt for weapons of mass destruction in the International Zone of Iraq.

Why you should go: Because Damon and director Paul Greengrass worked together on the immensely enjoyable “Bourne Supremacy” and “Ultimatum.” Now they’re tackling Iraq with a script by “L.A. Confi dential” scribe Brian Helgeland. We know Greengrass can do drama (“United 93”) and action (“Bourne”). Let’s see if he can put the pieces together.

new & upcomingGame on!

By Brandon SpecktorArizona Daily Wildcat

By Zachary SmithArizona Daily Wildcat

Photo courtesy of 1up.com

‘Defaced’ allows artist, viewers to talk back

Lisa Beth Earle/Arizona Daily WildcatEmily Weirich and Christine Quinn, art history master’s students, and Jessie Huh, an art history doctoral student, read the mutilated book pages of the ‘Defaced: A Found Archive’ exhibition during the opening reception at the Union Gallery on Friday. The artist Coriana Close carefully scanned specifi c pages from vandalized UA library books to display.

By Kellie MejdrichArizona Daily Wildcat

Photo courtesy of allmoviephoto.com

Photo courtesy of Universal Pictures

Photo courtesy of Warner Bros. Pictures

Photo courtesy of Filmofi lia.com Photo courtesy of Warner Bros. Pictures

Photo courtesy of Paramount Pictures

Photo courtesy of Walt Disney Pictures


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Enter a landscape devoid of rational life: ash falls from the sky, roving rape gangs prowl dusty highways and semis full of battered beer cans lie wrecked and pillaged on the crumbling roadside. It’s either the aftermath of a Hells Angels mixer or the apocalypse, and either way, times are hard.

Nobody in the post-apocalyptic world of “The Book of Eli” cares to comment on how society effectively ended, least of all the laconic wanderer Eli, played by a grim Denzel Washington channeling his rampaging role from “Man on Fire,” minus the human affection. Equipped with token Matrix-style, bad-ass sunglasses, a knife the size of a small child and a battered sawed-off shotgun that has no doubt been instrumental in some unseen tour of duty, Eli is exactly the sort of person you don’t want to meet should rape and robbery be

your hobbies.Eli’s mission, however, is about as

peaceful as any doomsday agenda can get. Carrying the last known copy of the King James Bible in his satchel, this reverent road warrior travels West to ensure its safety in a world where a few convincing words can be devastating in the wrong hands. Said hands belong to Carnegie, the scummy founder of a small refuge in the eternal desert played a bit too enthusiasti-cally by a scheming Gary Oldman (a.k.a. Commissioner Gordon, Sirius Black). In the fashion of any lustful landowner from a Clint Eastwood Western, Carnegie tries to pry the book from Eli fi rst through bribery (the pristinely out-of-place Mila Kunis serving as bait), then intimidation and fi nally a straight-up manhunt across the wastes, inciting all the typical execu-tions and explosions we anticipate from a Warner Brothers action fl ick.

This familiar plot escalates to an anticlimactic ending, leaving the fi lm’s engrossing visuals with the weighty burden of redeeming an unsatisfying story, and in this task they are somewhat successful. The fi rst 20 minutes of “The Book of Eli” are easily the best, shot in beautiful high-defi nition that makes

both sweeping panoramas of deserted America and uncomfortable close-ups of Washington’s dirt-encrusted face oddly irresistible. Eli’s fi rst round of fi sticuffs on the road is shot entirely in silhou-ette, offering a clever reprieve from the graphic violence that directors Albert and Allen Hughes became synonymous with in their gory Jack the Ripper thriller “From Hell.” The novelty of the imagery, unfortunately, quickly degenerates along with the moratorium on violence, forc-ing the shaky plot to carry the audience’s attention.

With apocalyptic paranoia so in-grained in the Zeitgeist, it doesn’t take much to sell an end-of-times story these days. “Book of Eli” stands as evidence in its borrowed use of typical conventions like the scorched American deserts from “Terminator Salvation” and rapacious redneck scavengers from “The Road” (neither of which would be quite the same without “Mad Max” ), unable to fully capture either the electrifying spec-tacle of the former or the psychological shock of the latter. Coupled with a plot that becomes more questionable as it progresses, “Eli” is one doomsday for which you need not set your clock.

We’ve come to expect a lot from Peter Jackson. Thou-sands of Tolkien fans salivated over his “The Lord of the Rings” trilogy, while “District 9” made

audiences everywhere hate being human. Once again, Jackson has turned to his bookshelf for inspiration.

In “The Lovely Bones,” Saoirse Ronan plays Susie Salmon , a 14-year-old girl in the early 1970s living in moments between light-hearted crushes and typical teenage sarcasm in a time before missing children appeared on the backs of milk cartons. Within the fi rst 15 minutes the audience knows the story: she will be murdered by a man in her neighborhood. From there the fi lm weaves a story of duality in which Susie examines the lives of the people around her from Heaven while they search for her body on Earth.

If only the middle could be fast-forwarded. The computer-generat-ed imagery, while often visually striking, is deliberately heavy-handed. Susie’s transition out of life is characterized by intense white light and the smoke machine straight form a middle school play. Heaven is no better: a fantastical mix of impressionist art and mountainous scenes probably cut from ”The Lord of the Rings” extra footage make you want to smack your forehead. The montages of Lisa Frank-esque gig-gling scenes or blatantly sinister ghostly portals draw attention away from the real confl icts.

Thankfully, the cast of “The Lovely Bones” and each character’s struggle to make sense of tragedy keep the movie from becoming a total fl op. With every chuckled “mmm” and uncanny stare, Stanley Tucci’s interpretation of the murderer reeks with creepiness and sup-pressed insanity that make him fascinating to watch. Mark Wahlberg gives a surprisingly accurate depiction of optimistic denial and fatherly love. Ronan proves herself a talented young actress after an Oscar nomination from “Atonement.” Her ethereal blue eyes and wavy blonde hair fi t naturally into both realistic and fantastical locations, while her perceptive narration adds clarity to the clumsier scenes.

Those of you who have read Alice Sebold’s book from which the movie was adapted should prepare for some frustration. Jackson captures many of the delicious foreshadowing details, yet often completely misses the point. The novel is not a thriller or horror story, but an examination of the relationships that grow even in the worst circumstances. The fi lm lacks this singular theme, instead rushing headlong between the desire for revenge and the overly sentimental interactions of a family in grief. Of course the movie could not capture all the beautiful nuances, but Jackson could have better honored The New York Times bestseller by steering away from CGI and violence to focus on the interconnectivity of human emotions.

While transforming a novel into a movie is a challenge for any direc-tor, an adaptation of “The Lovely Bones” is nigh-impossible. Though the movie will be more disappointing for readers, the fi lm is still an interest-ing take on the meaning of death and grief management. For all its fl aws, the mix of grounded reality and innovative vision in “The Lovely Bones” is on the whole more delightful than it is unsatisfactory.

During the creation of “The Imaginarium of Doctor Parnassus,” director/writer Terry Gilliam’s life seemed to be shaped by risk-taking: it fl owed through the screenplay and out into the shocking weeks following the death of Heath Ledger (playing Tony in the fi lm). It left Gilliam scrambling to pull together a cast talented enough to fi nish a role begun by the fallen, multifaceted actor.

Madly in love at 1,000 years old, Dr. Parnassus (Christopher Plummer) offers Mr. Nick (Tom Waits) — a character who, though he piques the viewer’s interest, doesn’t quite embody evil — his future child in exchange for his youth. But when his daughter Valentina (Lily Cole) nears the fated date of her 16th birthday, Parnassus

grapples for a way out, and a third bet is made. With the help of an unlikely companion

found hanging beneath a bridge (Ledger), Parnassus and his traveling theatre troupe, composed of Valentina, Anton (Andrew Garfi eld) and Percy (Verne Troyer) strive to win over fi ve souls before the Devil has a chance to possess

Valentina forever.Smears of residual theater

make-up and grandiose garments appear against a backdrop of poverty in the 21st century — the remains of a world both beautiful and misunderstood. Gilliam un-derscores the vital role imagination plays in shaping what makes us human and what we might be without it.

Camera shots hint at Gilliam’s small budget, but his graphical conception of the other side of the mirror, Parnassus’s Imaginarium, proves nothing short of spectacular. Gilliam’s journey through others’ desires twists and contorts in images of dodgy motel vacancies, giant

Russian mothers and ladders ascending past clouds and into one’s dreams.

With little-to-no acting experience, Cole and Garfi eld are the perfect oddities for the cast and a pleasant surprise for the profession. Johnny Depp, Jude Law and Colin Farrell showcase their talent by seamlessly blending into a role they never should have had to fi ll, though the many facets of Tony are only another layer of “Parnassus” to relish. Ledger was beautiful; Tony as a character will not be remembered as the highlight of Ledger’s career, but the many nuances he uses to bring him to life will.

A ‘Lovely’ muddleBy Kathleen Roosa


‘Imaginarium’ a haunting sendoff for Ledger

Denzel’s doomsday better on paper

The Lovely BonesWingNut FilmsReleased January 15, 2010 Final Grade: B

The Imaginarium of Doctor ParnassusDavis FilmsReleased January 8, 2010 Final Grade: A-

By Kim KotelArizona Daily Wildcat

By Brandon SpecktorArizona Daily Wildcat

The Book of EliAlcon EntertainmentReleased January 15, 2010 Final Grade: C

movie reviews


Photo courtesy of Schema Magazine

Photo courtesy of Paramount Pictures

Photo courtesy of Warner Bros. Pictures

B7 arizona daily wildcat • wednesday, january 20, 2010 •

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You also might find some familiar faces among the stage, maybe from MTV or a few movies you’ve seen.

Throughout the show you will find your-self rooting for Elle — she’s totally been dealt a bad hand. She takes her “Legally Blonde” nickname and transforms it into something positive that embodies who she is as a person.

The cast worked great together, the voices shone with talent, and the dancing was enjoyable to watch. There’s no doubt

this cast is an extremely talented bunch.But from the beginning the show

reinforces stereotypes. They play up the stereotypes: “gay,” “lesbian, “strong black woman,” and — dare I say — “clueless sorority girl.” Not all the stereotypes were negative, but received much laughter from the audience. For a show that is trying to break stereotypes by showing that “being true to yourself never goes out of style,” it sure does play them up.

That aside, the journey is more fun

than most. This story wouldn’t be com-plete without its amusing quirks like the studly Kyle to the sorority girls “shaking their junk.”

Warning: Once you see the show the songs engrave themselves into your brain with their simplicity and repeti-tion. Don’t be shocked if they randomly pop out from time to time, like the white clad “Greek chorus.”

Will everything Elle touches turn to pink? You’ll have to see for yourself.

Cast, performance a joy to watchBLONDEcontinued from page B1


dailywildcat.comdailywArizona Daily Wildcat

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We are in the midst of the winter fashion season and there are many items that UA students trump others when it comes to the essentials for their wardrobe. Take for example dance sophomores Shaun Repetto and Katie Halajian. Both show an excellent sense of style and they know what they should be wearing this season.

That is why Repetto and Halajian are Fashion Forward.

By Bryan Ponton Arizona Daily Wildcat

Flannel is one of the many styles that both guys and girls can wear. This season has been all about different colors, and Repetto’s wear proves that earth-toned flannel can go with anything. It is an easy shirt to wear whether you are going to class or going out to dinner. Flannel is versatile because it can be dressed up with a nice pair of jeans or dressed down with some cut-off jean shorts. Many stores have a huge amount of flannel, but some suggestions are American Eagle, Urban Outfitters and Tilly’s, which all have an awesome range of different colored shirts at great prices. With the season nearing its end, these flannel shirts are sure to be on sale!

Every guy should have a great bag for school or for traveling. Messenger bags can be found literally anywhere, but you want to make sure you find a quality bag. I have found that the more durable the bag, the less noticeable the wear and tear is from bringing it everywhere. Repetto’s bag is a Ben Sherman canvas bag with a leather flap. The bag was on sale, which anyone can appreciate, at $45 when it was originally $89. It can be found online at bensherman.com or at Nordstrom.com.

A good pair of jeans is something that everyone should spend a little extra money on. A darker wash has been the most popular this season. Jeans are obviously a necessity to own, but finding a good pair can be hard. I have always had the best luck with Levi jeans, which are great because they come in such a varying style and color that it is extremely easy to find a good pair that fits you. Levi’s are available at Urban Outfitters and also at Levi.com, which is currently having a sale for 30 percent off all of their latest pairs of jeans, plus free shipping on all orders. With all of us trying to find the most bang for our buck, why not splurge now while this great deal is still in effect? My recommenda-tion, since the style lately is slim jeans, is to try Levi 511 Skinny Jeans or Levi 514 Slim Straight Jeans.

An accessory that every guy should have is a good hat. My recommendation is Forever 21’s men’s section at either Tucson Mall or Park Place Mall. They have a great selection of hats that can literally go with anything. Forever 21 is awesome for their cheap prices and varying sizes and styles of hats they have. Lately, they have had fedora-style hats, as well as “newsie” style hats. Check online for more styles and colors, because hats are the perfect accessories for guys this season.

The great Arizona weather allows more versatile pieces to be worn because, although it’s winter, it can sometimes feel like the beginning of summer! Girls need a top that can be worn with multiple combinations so you can keep your wardrobe looking fresh. Halajian is sporting a jersey black turtleneck that can easily be dressed up or dressed down depending on the oc-casion. The jersey material is a lot more breathable so it can be worn during the day or late at night. You can dress it down by wearing some skinny jeans and heels — great for a party — or change it up with a skirt, like Halajian, and be ready for a date.

Good quality jewelry is also hard to come by. You can either buy cheap jew-elry, expecting it to break, or expensive jewelry, which usually ends up breaking anyway. Forever 21’s jewelry section is enormous, and if you are looking to not spend too much on a new necklace or earrings, this is the place to go. Urban Outfitters’ sale section online is another great place to find inexpensive jewelry, but does not tend to be the best quality. Halajian is wearing some bangles, which can literally be worn with anything, and usually last for a good amount of time. Silver and gold bangles can be easily added to any outfit to give it that extra edge.

High-waisted skirts are one of the most popular pieces to have this winter season. Like the turtleneck, it can be dressed down by simply wearing a tank top or tunic tucked into the skirt. Halajian’s skirt is dressier, great for a night on the town. It is easy to find a cheap, good quality skirt at any of your favorite stores. The skirt is easy to pair with any top, so go for a busier skirt with a simple solid color shirt. There are many options and styles for the skirt, all of which can be found at Forever 21, Urban Outfitters and H&M.

Heels are an obvious necessity for any girl’s wardrobe, but finding a sensible, cheap, good quality heel is a different story. Halajian is wearing a black snakeskin heel she found on sale at DSW. It is simple, but has enough char-acter that it does not need much dressing up to make a statement. DSW.com has an enormous variety of heels and other shoes that can work with anyone’s budget.

fashion forward Wrapping up for winter

Photos by Lisa Beth Earle/Arizona Daily Wildcat

arizona daily wildcat - jan. 20, 2010 — wildlife

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