Every town has a few local legends. Jesco White, a poor, Appalachian entertainer popularized in documentaries and folklore, is definitely legendary. His outlaw persona, flirtation with drug addiction and his brash philosophy lends itself to myth and mystery.
“White Lightnin’” (2009) is a fictionalized bioflick that takes White beyond the moonshine, tap dancing and gas huffing and into a spiritual place.
Director Dominic Murphy understands folklore. That’s why most of the film is so far-fetched. Edward Hogg embodies something greater than White in his performance.
Rather than mimic White’s movements, he attempts to create a man overwhelmed by a violent past. His performance is not a retelling as much as it is a different character altogether. The focal point is the legend, not the man.
And as legends go, White’s life is unusual and dark. A recurring fascination with inhalants, self-mutilation and dancing propel him into a constant search for gratification. Carrie Fisher – yes, Princess Leia of “Star Wars” – plays Cilla, White’s much older wife. Together, they form a Sid-and-Nancy-type duo united by love and bent on self-destruction.
The images are stripped of color but are not entirely black and white. The diluted spectrum hints at a depth that itches to be exposed. Like White himself, the shot selection is quick and angry. The cinematography chains us to him. We experience what he experiences.
There’s little room for interpretation here. The audience is as close to being drunk on whiskey as a film can make them.
The soundtrack is perhaps the best part of the movie. It features regionally and psychologically appropriate artists like Hasil Adkins, who, like White, is from Boone County, West Virginia. His music is stripped down, repetitive, simple rock and roll. The lyrics range from grunting to depictions of decapitation. As the film drags us through the mud, the music makes us all the more uneasy.
Forgive yourself for liking this film. White is not a likable person. But some of the most compelling characters are unlovable. Travis Bickle (Robert DeNiro) in Martin Scorcese’s “Taxi Driver” (1976) is a good example of the iffy protagonist. White pushes your tolerance even further. He’s not just strung out – he’s certifiably psychotic.
Though White is known for his violent tendencies, Murphy hypes the instances of violence. The recurring themes of vengeance and torture take the focus away from White. Even as a child, White thought of ways to kill and torture those he felt wronged him. Most of the violence is fiction and, somehow, we’re okay with that.
It’s not appropriate to ask this film to be accurate to White’s life. For one, he’s still alive. More importantly, the documentaries made on the White family have already laid a claim to the facts.
Murphy, instead, made a film about a region, race and class embodied in a living man. White is deified in “White Lightnin.’” His journey is the story of the supreme hillbilly.
To watch this film is the cinematic equivalent to rubber-necking a five car pile-up on the highway. Sure, you’re not directly involved, but you’re still part of the spectacle.
Emporia State Theatre is presenting Catherine Butterfield’s “Brownstone” at 7:30 p.m. tonight through Saturday in the Frederickson Theatre in Roosevelt Hall. The play was also presented last week from Wednesday through Saturday, as well as last night.
“The amazing thing about ‘Brownstone’ is that it portrays so beautifully significant parts of the lives of the characters,” said Jeannie Harper, junior theater major, who plays Davia. “True to life, the characters are ambitious and driven, and similarly have those plans altered in some way. They have to learn to adapt to new circumstances and move on with their lives, even when it seems difficult.”
“Brownstone” was premiered by the New Laguna Playhouse, Laguna Beach, Calif. in April 2008.
“‘Brownstone’ has been a unique show for me,” said Andrew McCutcheon, senior secondary education major, who plays Stephen. “I’ve really learned how to utilize emotion and portray the words as a true feeling. I couldn’t be happier for the cast that we have. Everyone is professional and great to work with.”
Kylie Geiman, junior theater major, who plays Maureen, said the show is a “beautiful story about hopes, dreams and heartbreaks.”
“Rarely does an actor have an opportunity to work with a script so reliant on the relationships between the characters,” Geiman said.
The show is a bittersweet comedic drama that focuses on the lives of people who lived in the same apartment in three different periods – Stephen and Davia in the 19030s, Deena and Maureen in the 1970s and Jason, Jessica and David in the late 1990s.
“‘Brownstone’ is a story of three couples dealing with disillusionment, and how life goes on,” said Danielle Roberts, junior theater major who plays Deena. “This show has been unique for me because each couple is isolated yet intertwined. I only interact with Kylie (Maureen) but melt into the other stories. This show has been terribly exciting for me.”
Geiman said she has been able to connect with her character through real life experiences.
“The cast has been a joy to work with, and I’ve learned a lot through this process,” Geiman said. “The relationship between Maureen and Deena has been particularly special to me because it is similar to many relationships in my own life. More importantly, Maureen and Deena have taught me to always go with your gut.”
ESU Theatre’s next production is the spring dance show, “La Diner,” on May 3.
It all started when nail art pens, stickers and Pinterest were invented. Wearing an electric bright pink shade is no longer enough to stand out and be different. With these creations, the world of nail polish has become quite abstract and almost verging on the brink of an art form. Nail polish trends are coming and going quickly, just like fashion, and girls enjoy trying out the next big thing from the comfort of their homes (or dorm rooms)!
We are going to highlight two nail trends for you to try. Hopefully, it can help put the “shatter” polish and ring finger alternative color trends to rest.
The first trend is known as “marbling.” This offers a one-of-a-kind design for every nail that can’t be recreated. At first, you may be a bit unsure of how to get a cool design, but if you keep at it, many girls figure out how to make their polish do exactly what they want.
You will need white nail polish, a small cup or plastic bowl, filtered water, a toothpick or sharp pointed object you would be okay with getting messy (we used a bobby pin), nail polish remover and three shades of solid-colored nail polish.
First, you want to paint your nails white. Having white as a base coat makes the colors show up much better than on a plain nail. Next, fill the small container with the filtered water. Take one of the nail polishes and put a drip of it on the water. You will be able to see it start to spread out across the surface of the water. Drip another color into the middle of the color already on the water. This will spread as well. Repeat with the third color.
Take the toothpick (or bobby pin) and gently make any design you want in the colors. Be careful not to break up the colors too much and keep the layers of color at the top of the water.
Dip one or two of your nails on top of the colors, being sure not to wiggle your fingers too much, as it will disrupt the polish and could possibly create bubbles. Be careful when pulling your finger out of the cup as to not smear or run the colors together.
You will definitely have excess color show up on your skin surrounding your nail. Carefully remove it with nail polish remover when you are done with the process. Put a clear top coat on your nails to seal them and make them shiny.
Our nails didn’t turn out exactly how we thought they would, but that’s half the fun of the process. It’s always a surprise.
However, if you want complete control over your manicure, the next trend is perfect for you. This is called “newspaper nails,” and it is exactly what it sounds like. This is a perfect mani to do right before you recycle your last issue of The Bulletin.
You will need an old issue of The Bulletin (or any newspaper), nail polish remover, alcohol solution, cotton buds, a clear bowl, a base and top coat and a very pale-colored nail polish. You could always try a brighter color, but the louder the color underneath the print, the less you will be able to see the design.
First, you will need to apply your base coat and your nail polish color of choice. We used a very pale (almost sheer) pink. While you are waiting for your nails to dry, you can rip up small bits of the newspaper.
After your nails are completely dry, pour a small amount of the alcohol solution into a clear bowl. We recommend a clear Tupperware-like container because it is easy to make sure your entire nail is covered in the alcohol solution when you dip your finger in.
As soon as you take your finger out of the alcohol solution, place one of the strips of newspaper on top of your nail, making sure to apply even pressure to all parts of the surface. If you only press down on the center of the paper that is the only place that the ink will transfer. Repeat this for all of your nails.
We found that too much alcohol solution and too little alcohol solution made the transfer process difficult, so be sure to play around with how much you dry off your finger before applying the newspaper. Be sure to seal your design with a top coat.
We hope that these tips give you some inspiration for unique nail art personalized for you!
It’s that time of year when students start counting down the days until classes are out and summer officially begins. As the weather heats up, our activity levels and nutrition change.
People naturally become more active, replacing those lazy, snowy Sundays bundled up watching movies with a nice morning bike ride or a stroll with their dog. This is obviously favorable to our health.
Some changes in our diet are not so desirable. I’d like to think the summer equals more fruits and vegetables, but I’m a realist and understand it most likely means more hamburgers, hot dogs and adult beverages. There’s nothing wrong with those types of food, but the context of the entire diet must be examined.
I’ve compiled a few quick and easy tips to make good decisions at those epic summer cookouts that seem to be a no-win situation for your beach body. Accept that invitation. Your fitness goals are safe, and, seriously, who passes up a good cookout?
1. Eat something beforehand. If you want to avoid pigging out, don’t show up on an empty stomach. About an hour before heading to the cookout, have something light, generally about 100-300 calories, predominantly coming from protein and carbohydrates. Protein provides the greatest satiety of all macronutrients, and the carbohydrates will cause increases in blood glucose and insulin, which will increase short-term fullness. This way you don’t eat the entire rack of ribs. Some Greek yogurt and an apple would be perfect.
2.Cheeseburger vs. Hot Dog. The American battle, fighting for mouths at every cookout. So which is the better choice? When it comes to calories, hot dogs win, packing a deceptive 300 calories, while a fourth pound of cheeseburger will hover around 500 calories. You can easily save yourself 100 calories by passing on the cheese.
Keep in mind these are averages without the bun and condiments. Also, if you happen to know the host, don’t be afraid to suggest some healthier options, such as leaner cuts of beef and lower fat hot dogs. Many alternatives can drastically reduce calories without sacrificing taste, such as Oscar Mayer’s extra-lean hot dogs with only 50 calories apiece. If possible, always opt for whole-wheat buns over white – the additional fiber will promote satiety.
3. Best Brew. What’s a hot summer day without a cold one? Well, at least that’s what my friends say. The discrepancy between beer choices is noticeable. Some of the higher calorie options include Guinness Extra Stout, Sam Adams Winter Lager and Budweiser American Ale with 176, 200 and 182 calories, respectively. Their thinner counterparts include Guinness Draught, Sam Adams light and Budweiser Select slicing calories to126, 119 and 99, respectively.
These differences may seem minuscule for a single beer, but how many people only have one? Cheers to you if you do. At the end of the day, this switch could easily save you a couple hundred calories.
Hopefully, these tips have provided you with more insight on how your diet need not be chicken and broccoli on repeat. Food avoidance leads to anxiety and, eventually, over indulgence. It’s about smart choices, not tough ones.
Compiled by Bulletin Staff
“Even the teacher is waiting for you to shut the hell up…” #takeahint
1 day ago
“I’m the baby of my siblings, I’m all the baby ill ever need in my life” #NoBabysHere
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“I would never in my life say something so awful about someone. Go f**k yourself.”
1 day ago
“I pee way too much”
1 day ago
“Girl you keep wearing those Sandals you ain’t never gotta worry about getting pregnant!”
2 days ago
“This dude is riding around campus without holding the handlebars… Watch out y’all we got a badass on campus.”
3 days ago
“I know he knows that I know, an I know he know. But it don’t even matter, it just work like that.”
4 days ago
“Old guy at bar asking me if I wanna buy some cattle… What the f**k do you think” #smh
6 days ago
The third annual Icebox live R&B music and spoken word poetry event will be held on campus this year in Webb Hall in the Memorial Union. Last year’s Icebox was held at Wheat State Pizza, and the overwhelming success of the event filled the pizza parlor nearly to maximum capacity, so a larger venue was needed for this year, said Jason Brooks, director of Multicultural Affairs.
The event is hosted by the Office of Multicultural Affairs and the Diversity Education Committee at 7 p.m. April 12.
Brooks said Icebox’s name came from Emporia State communication alumni LaToya Williams-Green.
“Your grandparents would ask you to go grab something from the icebox,” Williams-Green said. “Whatever you took out of the icebox may not have looked that great, but you knew after a while it would turn into something magical.”
The Icebox will feature vocalist Wanda Jae from Kansas City, Kan., and Lee Langston of neo-soul band Prototype from Kansas City, Mo.
Jae and Langston performed at last year’s Icebox. Langston said they “enjoyed performing here in Emporia.” In an interview with The Bulletin last year, both artists said they “would gladly perform here again.”
Jae, a veteran of the Kansas City music scene, has worked with local artists O’Dell Talley of Groove Agency, Jason Betts and the Esquire Band. Jae said her musical influences include Whitney Houston, Fantasia, Ledisi, Patti LaBelle, Marian Anderson and Ella Fitzgerald. Her energetic vocal style blends classic soul with rhythm and blues and neo-soul.
Langston, born in Tulsa, Okla. but raised in Kansas City, Mo., is the founder and lead singer of the neo-soul and R&B band Prototype. The band frequently performs at several historical Kansas City venues, such as the Juke House and the Blue Room on 18th and Vine in the Kansas City jazz district. Langston has facilitated numerous themed shows and tributes in the Kansas City metropolitan area.
Five ESU students will also perform spoken word poetry on Friday night. Shalyssa Mitchell, senior integrated studies major; James Jones III, senior health and recreation major; Cameron Gee, graduate health and recreation student; Taylor Bullock, senior sociology major and Elijah Smith, political science major and columnist for The Bulletin, will recite original poetry.
The cost of admission is $10 for students and community members, which includes a meal, and the event is also taking donations. The event is open to students and community members.
Brooks said that all remaining proceeds of this event will go toward the Office of Multicultural Affairs Diversity Scholarship that is open to all under-represented racial groups recognized by the federal government, regardless of citizenship status.
“Our job as the office of Multicultural Affairs and ESU is to provide a high quality education to any person who is seeking one,” Brooks said. “My job is to make sure the students have the resources they need to be able to attend.”
If purgatory is the place between brilliance and banality, inspired and insipid, and poignant and putrid, then “This Must Be the Place” (2011). Director Paolo Sorrentino redefines limbo with this film. How low can he go?
Sean Penn follows his fantastic, gender-bending performance in “Milk” (2008) with “This Must Be the Place,” a quirky and sporadically dramatic film about Cheyenne, an aging, androgynous rock star bent on locating the Nazi war criminal who humiliated and dehumanized his now deceased father at an Aushwitz concentration camp during World War II. Unfortunately, despite the weighty subject matter that is often illuminated by Penn, this film is a swing-and-a-miss for the Academy Award winning actor.
This movie seems like a character piece masquerading as something larger. It takes on several subplots, develops and then haphazardly disposes all of them. One particular tangent involves Mary (Eve Hewson), a young, angry woman who is the object of Desmond’s (Sam Keeley) affection. By the end of the film, you’d be hard-pressed to say what happens between these two, despite the intrigue Sorrentino evokes in the beginning.
Cheyenne is affable. He appears shy, yet confident. He loves the people in his life, and they adore him as well. His journey across America lands him in interesting but irrelevant situations. As a result, he dispenses nuggets of wisdom on any and every soul he encounters. If you’re not a fan of quippy one-liners, avoid this film. The dialogue detracts from Cheyenne’s character development and functions only to elevate the philosophical perspective of the film. It’s kind of like reading a book of Confucius quotes for 118 minutes.
The title of the film is taken from a Talking Heads song and reminds the audience of how ambitious this movie is. The score is done by the Talking Head’s David Byrne, who makes a small and pointless cameo, and Will Oldham of Bonnie ‘Prince’ Billy fame. Both are accomplished and acclaimed musicians and songwriters.
But we learn the hard way in “This Must Be the Place” that soundtracks and albums are two very different worlds. The music comes off as intrusive and misplaced. The melodies themselves are beautiful, and if someone were to listen to the soundtrack without any visual accompaniment, it might be enjoyable. But those of us with functioning eyes can’t help but blend the optical and aural stimuli into one giant mess.
“This Must Be the Place” is an example of a movie that invests so much in its protagonist that it loses sight of the rest of the film. Our desire for Penn to emotionally affect us as he has so many other times, like in “Mystic River” (2003) or “Dead Man Walking” (1995), is not enough to sustain our interest. There’s more to interesting characters than their costumes and mannerisms. Stories have to relate to the audience in some way.
It’s obvious that this film didn’t intend on being surrealist, but our reaction is as if it were one. We cock our heads to the side, puzzled, as if we were trying to extract concrete meaning from a Salvador Dali painting – a fool’s errand.
Many students have spent at least a little bit of time in one of the two freshmen dormitories on camps – Towers and Singular. Despite being so close together, the two complexes have many differences between them. Some of these differences are good in the eyes of their residents, and some of them aren’t so good. But these differences give rise to the question, which of them is the better dorm?
The competition begins with their history, as told by Wade Redeker, director of Residential Life. He said Singular was constructed in 1959, while Towers was built in 1971. In addition, Towers has had recent renovations, with work being completed in 2006 and 2007.
Brian Mosier, freshman mathematics major, said this is a point in Towers’ favor.
“I’d say Towers is a little bit nicer,” Mosier said. “They’ve got sinks (in their rooms) and they’ve been renovated more recently.”
In fact, it was the dorms’ ages that kept Jackie Blackwell, freshman elementary major and a resident of Towers, out of Singular.
“I liked the Towers because they’re newer,” Blackwell said.
While Towers may one-up Singular in the age department, Singular does have something that Towers does not. That is, according to Mosier, a lower price for living. The rooms, too, he said, are a little bit bigger.
The two buildings also differ greatly in terms of the layout and condition of their bathrooms – more specifically, their showers.
Mosier lives in Singular and said that the one thing he’d change about the building as a whole is the size of the showers, as they are, he said, “tiny.”
Laura Braun, freshman undecided major and a resident of Towers, confirmed their showers are superior to Singular’s.
“We have a door on our showers rather than the curtain,” Braun said, although the size difference is not vast.
The two buildings differ the most in the state of their hallways and leisure areas. Braun and Mosier both said Singular does not have a lobby for students to gather.
“We have learned that residents would like lounges on each floor of Central Morse and Singular Hall,” Redeker said. “These spaces were not developed when the buildings were originally constructed.”
When these spaces will be developed is not clear just yet, but the desires of students are not going ignored.
“We are currently considering options which might address this concern on some floors within those facilities,” Redeker said.
There are other small improvements students would like to see. Blackwell, for example, said she would like to see renovations so that two adjacent rooms could share a bathroom. However, there was unanimous appreciation for the closeness encouraged by both Towers and Singular alike.
“You’re close to everyone,” Blackwell said. “If you have friends, you can just go hang out with them.”
In fact, Mosier doesn’t even mind very much that Singular lacks a lobby, as students from both buildings gather in the Towers lobby.
“It brings everybody together,” Mosier said.
And that, regardless of architecture or pros and cons, is a point in all students’ favor.
Documentaries often pretend to tell an objective story. “Manhattan, Kansas” (2006) is an example of documentary that adapts to its subject. Director Tara Wray doesn’t force the audience to accept any particular truth. She understands the complexities involved in making amends with estranged family members, even if she lacks movie-making savvy. Wray shows maturity and vision as she lays bare an earnest attempt at personal closure.
Unlike the familiar marquee documentaries from directors like Ken Burns (“Baseball,” “The Civil War”), Wray doesn’t tackle a mammoth subject matter. She grew up in Manhattan, Kan. but the film begins with an introduction to Wray’s life in Manhattan, N.Y. Her departure from Kansas was abrupt and turbulent. She was raised by her mother, Evie Wray, an eccentric and free spirited woman who Wray blames for much of her emotional and psychological baggage. The film chronicles Wray’s attempt to confront her mother about their rocky past.
The film is Wray’s directorial debut, and she enlists the help of experienced film makers in telling a story in the most appropriate way she could imagine. The confessional, narrative and first-hand footage are chunky and the low resolution video quality detracts from the otherwise exceptional shot selection. Film editor Cindy Lee did her absolute best with the grainy imagery.
But it is precisely the grain of the images that creates a sense of desperation in the film. The backdrop of rural Hunter, Kan. and Evie Wray’s dilapidated dwelling are not elevated above the subject matter. If we were given a pristine picture, literally or figuratively, it would seem dishonest.
Wray is front and center throughout the film. There is rarely a moment where she is not in-frame or commenting on what is happening. It’s obvious from the outset that Wray is invested in rectifying her own problems through the making of this film. Her intentions clearly aren’t to sell DVDs.
The very personal nature of the film raises questions to its situational appropriateness. Several scenes feature Wray’s therapy sessions leading up to her trip back to Kansas. It’s an uneasy viewing for the audience, since we are entirely at the whim of the director’s vision. But Wray’s manages to show us more than herself, even if we see very little outside of her.
Evie doesn’t seem as crazy as Wray makes her out to be. Sure, she’s irresponsible and aloof. She’s unemployed and often speaks about getting rich without any conceivable plan for doing so. She even indirectly admits that she was negligent with her daughter. But by the end of the film, we want to believe in Evie because perhaps we aren’t as far removed from her as the director hopes.
It’s clear that both Wray and Evie are lost. What’s not clear is that this film rectified any of the underlying problems that lead them astray in the first place. Wray understandably couldn’t let the film end without some sort of resolution and does a decent job of portraying the first baby-steps of personal growth. But we are no closer to understanding either character than we were an hour ago.