Some of the fellow characters include Pierce Hawthorne (Chevy Chase), an older man trying to get his degree, Britta (Gillian Jacobs), a mean blonde girl whom Winger befriends and Señor Chang (Ken Jeong), a Chinese man who teaches Spanish at the community college. Some episodes from the first season have covered the topic of hypnosis, debates and psychic reality shows. But the humor found in the show is not the typical in-your-face comedy. It’s subtle, sarcastic and sometimes downright mean, but one can’t help but laugh.

Joel McHale as Jeff Winger is bored, sarcastic and rude — mainly because he thinks he’s better than the other students, even though at one point he has lived out of his car. McHale plays the part perfectly, likely because it’s not too far from his television persona as host of E! Network’s “The Soup.”

“My character in real life would be likeable, he’d turn up the charm,” McHale said in an interview with The Eagle. “In the show, he’s slowly — I mean, glacially — coming to grow and working on things. But if he suddenly had an epiphany, there’d be no show.”

The show’s focal point is the meanness and superiority complex of McHale’s character reflected off the niceness of everyone else.

“[Actually] I’m the only likeable character on the show,” Jeong said in the interview.

“Your character berates people,” McHale retorted. “You’re inappropriately touching the women, and you’re insulting the men’s weakness!”

“Well, in addressing the women, that’s just affectionate,” Jeong said.

For those who may not recognize him by his name, Jeong may be remembered as the tiny gangster Mr. Chow in the summer comedy, “The Hangover.” He’s also done work in “Step Brothers,” “Role Models” and “Knocked Up.” However, the world may never have known his comedic talents, as he used to be a doctor. After working at Kaiser Permanente for 12 years, Jeong moved on to fulfill his destiny as a comedian. On “Community,” he plays Señor Chang, a Chinese-born Spanish teacher at the college who uses his position to abuse and insult the intelligence of his students, much to the humor of the audience.

“There are some times when I think my character thinks he’s Latino-American,” Jeong said. “But I also just do so many British references, like I think I’m Ron Weasley.”

Jeong, although seen much less than McHale’s character, is quite a scene-stealer. While not all of the show is laugh out loud funny, every moment with Jeong is hysterical. In the upcoming episodes, Jeong and McHale’s characters get to know each other and become closer. It’s an episode that the fans and newcomers should watch, if only to see how McHale and Jeong bounce off each other. However, they are not the only fantastic comedians on the show — Chevy Chase once again brings his fine-tuned comedic sensibilities to the small screen since he burst onto the scene with “Saturday Night Live” back in 1975.

“It’s like working with Nolan Ryan,” McHale said of Chase. “He’s older, got better stories and still throws it harder. It’s still hard walking around with this icon.”

Chase’s star power was not lost on Jeong either.

“It’s surreal working with him on set,” he said. “He’s got trademark timing that he’s perfected over the years; this is a high point in my career.”

In addition to working with a comedic legend, both McHale and Jeong love most everything about the show, claiming that the script, the cinematography and the connections between each of the actors makes for an amazing experience.

“In all seriousness, the scripts for the show are the strongest on television,” McHale said. “We love improv, so it’s really the best of both worlds.”

For those who haven’t tuned in yet, it might be time to check it out. “Community” is a fresh change from other comedies on television, one with real characters and a sicker sense of humor.

“Community” airs Thursdays at 8 p.m. on NBC.

You can reach this staff writer at ydesta@theeagleonline.com.

First airing in 2004, the Woodie Awards are a celebration of music that is popular on college campuses. Part awards show, part concert and all party, the Woodies will take place in New York’s Roseland Ballroom and will air on Friday, Dec. 10.

“A lot of award shows focus on giving out accolades to artists that may have gone gold or platinum,” said executive producer Eric Conte in an interview with The Eagle, regarding mtvU’s decision to focus on less mainstream artists. “But the Woodie Awards celebrate artists who have gone wood — meaning you don’t just have to sell a ton of records to make good music.”

With categories like “Breaking Woodie” (best new artist), “Good Woodie” (artist whose music promotes social change) and “College Radio Woodie,” the annual awards ceremony not only commemorates, but also reflects, culture on a college campus.

“We’ve always looked at the college audience as a crystal ball as far as music prediction,” Conte said. “Artists tend to break in college campuses first and pull up bigger and bigger from there.”

Placing their faith in the audience itself, the Woodies are voted on by college students online at mtv.com.

As in the past five years, the Woodies promise to be a non-stop music-fest from beginning to end. This year’s ceremony will feature several live performances from bands including the Dead Weather, Death Cab for Cutie, Matt and Kim and a few additional surprise acts.

Despite not being slated to play the event, Colorado-based pop/electronica group 3OH!3 were nominated in the best performance category, “Performing Woodie.”

In an interview with The Eagle, band member Nathaniel Motte explained what he felt was the appeal of the band’s live shows.

“A lot of our music is kind of party-oriented and pretty overtly fun and crazy, and that atmosphere for some reason seems to be pretty pervasive in a lot of colleges,” he said.

Unsurprisingly, Asher Roth, who is nominated for “Woodie of the Year,” agreed.

“I think we kind of just, you know, love college,” Roth told The Eagle. “It’s really the most innocent [time. You’re] finding yourself; you’re really clueless ... that kind of irresponsibility and innocence in life is really something to enjoy.”

More than just an event for pop music, the Woodies have been turning more and more of their attention to indie bands this year, nominating performers Death Cab for Cutie and Matt and Kim for “Best Video Woodie.” These nominations are a celebration of the unconventional, as Death Cab’s clip for “Grapevine Fires” is a fully-animated clip featuring a brief cameo of the band members, and Matt and Kim’s “Lessons Learned” features the duo running naked through New York’s Times Square.

You can reach this staff writer at kcasino@theeagleonline.com.

Located at The Reef, a restaurant in downtown Adams Morgan, the Big Green Bash is co-sponsored by The Reef and Live Green, a Washington, D.C., company that strives to promote eco-friendly lifestyles and businesses.

Live Green’s Big Green Bash will be held Nov. 19 to celebrate Live Green’s fall membership campaign, the Big Green Boost. The evening is also dedicated to the launch of Live Green Chicago, the Midwest version of D.C.’s branch, according to Live Green’s Web site.

The event will feature a brand new dance floor, deejay booth and a heated roof deck.

“We will also have delicious food, drink specials all night, and a free drink for the first 200 tickets sold!” according to the event’s press release.

The idea for the Live Green organization came together over a meal at Java Green, another local eatery dedicated to healthy living and the environment. The founders of Live Green thought there needed to be an organization to connect consumers and businesses sharing the goal of living green.

Live Green partners with local businesses such as Sticky Fingers, a vegan bakery in Columbia Heights, and Flow Yoga on P Street, to offer members discounts and special coupons to these and other local businesses. Membership to Live Green is only $13 a year.

“We’re dedicated to providing our members with simple, straightforward tips on living green, helping new green businesses flourish and investing in sustainable development projects,” according to the group’s Web site.

Live Green has added innovative D.C. spots to their list of sponsors and created incentives to attract new members. After recruiting three new members, current members are awarded a $20 gift certificate to either Sticky Fingers or Java Green.

The possible prizes don’t end there. For recruiting new members, one is automatically entered into a raffle to win other prizes, from a 90-minute Swedish massage from Tranquil Space or a flight anywhere in the continental United States from Green Earth Travel, according to the Web site. 

The Reef, host of the Big Green Bash, is one of the most eco-friendly restaurants in the District. It only serves organic fruits and vegetables, fair-catch seafood and free-range meats and poultry, part of the reason it is part of the event, according to Live Green’s Web site.

“With their rotating menu, The Reef showcases vegetables and fruits of the season, grown without toxic pesticides and fertilizers,” it says.

“Thursday night is going to be great,” said Trish Ward, a sophomore in the School of International Service and member of Live Green. “I think Live Green does an amazing job shining light on new and interesting eco-friendly spots around D.C. I am looking forward to celebrating with them.”

Don’t miss out on getting tickets to the Big Green Bash this coming Thursday at The Reef in Adams Morgan. The event will start at 6 p.m. and run until 8:30 p.m. Tickets are $9 for Live Green members and $13 for non-members. However, if you become a Live Green member beforehand, your ticket is free.

For more information on the Big Green Bash, as well as Live Green in general, visit their Web site at http://www.livegreen.net.

You can reach this writer at

ostitilis@theeagleonline.com.

The franchise has been so successful that the films’ stars — mainly Kristen Stewart, Robert Pattinson and Taylor Lautner — have found themselves catapulted into stardom and wherever they go, they are adored by fans.

With the second film in the series, “The Twilight Saga: New Moon,” coming to theaters on Friday, cast members admit they did not see themselves in this position when they signed up. It was not until the cast’s first appearance to promote “Twilight” at San Diego’s Comic-Con that they began to grasp what they had gotten into.

“I didn’t even really know how big it was at all back then,” cast member Edi Gathegi said in an interview with The Eagle. “At Comic-Con — that was the first time that I understood just how major this could be.”

Gathegi, who plays the vampire Laurent, just finished a five-city Hot Topic tour alongside co-star Jamie Campbell Bower to promote “New Moon.”

“My brain does not allow me to process that it’s actually happening to me,” Gathegi said.

The “Twilight” franchise is a well-oiled machine by now, a year after the first book in Stephenie Meyer’s popular vampire series was adapted to film. The four books in Meyer’s beloved series — “Twilight,” “New Moon,” “Eclipse” and “Breaking Dawn” — remain bestsellers four years after the first book was released.

“Twilight” broke records on its first weekend in theaters, grossing $69 million and giving director Catherine Hardwicke the biggest opening weekend a female director has ever had. “The Twilight Saga: New Moon” has broken records as well, even if it is not in theaters yet: Fandango reports that “New Moon’s” advance ticket sales are the highest ever for any movie.

After “Twilight,” controversy was sparked when Hardwicke was replaced with director Chris Weitz (“The Golden Compass”). Gathegi considers the tone of the films the biggest difference between Hardwicke and Weitz.

“Catherine had a very wonderful, childlike attitude about things,” he said. “She was very excited and ... in your face and she had that kind of energy ... and Chris was very reserved and intellectual. Both [are] very valid approaches; they’re different people.”

Many fans were worried about having a man direct “New Moon,” since the story is told from 18-year-old Bella Swan’s point of view, but Gathegi maintains Weitz has done a good job.

“I think the film is gonna be fantastic,” Gathegi said. “I’ve seen a version of it that I loved, and apparently it’s a million times better.”

Gathegi also spoke about the way his character has changed since the audience first saw him in “Twilight.”

“In the first movie, certain things are going on in [Laurent’s] world and then [by] the second movie different things have happened,” he said. “I think the difference is, he was intrigued by the Cullens’ vegetarian lifestyle; he’s gone to Alaska and tried it, fallen in love with Irina, comes back to Forks and he’s hungry. And he’s not really gonna apologize for it.”

Even though — spoiler alert — Laurent doesn’t survive “New Moon,” Bower is ready to leave Gathegi behind and seems excited to embody his character, Caius, again in “Breaking Dawn” once the film is green-lit.

“I’m really excited about being able to ‘sink my teeth’ into something a little more meaty,” Bower said. “What’s great about ‘New Moon’ is that all these characters are introduced and in ‘Breaking Dawn’ we actually get to go around and show what we’re made of, which is great.”

Gathegi has had a year to get used to the “Twilight” madness, but this is Bower’s first experience dealing with “Twilight” fans. For their first stop on the tour, about 1,000 fans showed up to see them, Bower said.

“Someone threw [a thong] at me yesterday,” he said. “That was pretty cool.”

“Twilight” fans range from the average “Twilighter” to the hardcore “Twihard,” who are famous for their fanaticism. When Pattinson went to San Francisco for last year’s Hot Topic “Twilight” tour, people were trampled, a girl broke her nose and the police intervened.

“I think it’s pretty standard for what happens when you put a lot of 14-year-olds in a room with anything that’s ‘Twilight,’” Gathegi said. “It just will get crazy.”

“It’s nice that people have so much dedication to something,” Bower said. “I don’t think I’ve ever had a dedication to a specific thing in my life like the fans of ‘Twilight’ have, so it’s great.”

Gathegi has a theory on why fans are so passionate about the books and the films.

“It’s their love for each other that people attach to,” he said. “This character, Edward Cullen, who has waited his entire life to meet someone worth falling in love with, and he’s met her, and he doesn’t want to live without her; he’d, quite literally, kill himself without her. And that’s just as romantic as you can get.”

You can reach this staff writer at rgonzalez@theeagleonline.com.

It wasn’t until my sophomore year that I realized AU had its own entertainment outlet, and I began to write for The Scene. Advance movie screenings, CD reviews, phone interviews — I was in my own personal heaven. One month into my writing adventures, I was able to interview part of the cast of “The Secret Life of Bees” in person. I sat next to Queen Latifah, Dakota Fanning and Jennifer Hudson, feeling like I was on my very own E! special.

That began an onslaught of celebrity interviews, both on the phone and in person. I name-dropped as I described my latest adventures to relatives at home. I had a nervous stomach before all the interviews took place, but became calm whenever I began to speak, remembering that these celebrities were just normal people in a unique line of work. (I may have had a repeat of my breakfast on the morning I interviewed Queen Latifah, but still maintain I was getting over a stomach bug.) It was surreal to see my dreams coming true in front of my eyes. It felt strange to interview people on TV, yet I maintained some sense of dignity — until three weeks ago.

As the arts and entertainment editor for The Eagle, I get many e-mails about reviews and interviews. In late October, I got a message about a screening of “Me and Orson Welles.” Despite the fact that I am 20 years old and a somewhat normal junior in college, I am an enormous Zac Efron fan. (My mom doesn’t let me forget it — a “High School Musical” poster, pillow and Christmas ornament, all joking but well-received gifts from her, decorate my room). I was already excited, but I kept reading.

“Actors Zac Efron, Claire Danes and director Richard Linklater will be in Washington, D.C. on November 10 for press interviews.”

What followed can only be referred to as a complete breakdown of sanity. I literally leapt out of my seat, screaming and shaking.

Reality set in and I realized that, despite my calmness in the past, I wasn’t sure if I could maintain my composure around a man I have so fervently obsessed over. It soon went from excitement to dread. My friends joked that I should be careful not to vomit on him; I laughed, but I honestly didn’t know how I’d get through it without upchucking on his shoes.

The day arrived, and I couldn’t eat. I sat, waiting to be escorted upstairs, when I saw him — a laughing, chatting Efron. As he passed me on his way upstairs to the interview suite where I would soon join him, I realized I was staring — and those bright, blue eyes and a smile were meeting me back.

“Hello!” Efron greeted me as he passed, not knowing I was about to interview him, but just that I was a young woman sitting, staring and beaming.

Twenty minutes after that, the interview began. The usual calm came over me as I began the interview, but my excitement never left. This was the type of interview I had been waiting my whole life to do. Though the celebrities I’ve interviewed in the past have been amazing and admirable, it is a different beast to interview someone you flat-out adore. I maintained normality, though couldn’t help but confess the fact that I was a huge fan and snagged a picture at the end.

But this story is not an opportunity for me to brag. It is a chance to show that, even for a media junkie from Delaware, anything is possible. I never thought I would meet a celebrity to interview, let alone one whose image adorned my wall.

If there’s a lesson I learned in my Efron adventure, it’s that you should send that extra e-mail, join that other club, ignore the naysayers and let your work be your passion. As my friend from home posted on my Facebook a day after the event, “I’m going to get your profile pic blown up and made into a poster with ‘dreams do come true.’ You know, my version of the ‘hang in there’ kitty poster.”

Though my career choice once seemed impractical to people, they now know that I’m already doing what I dreamed of for so long. That a girl like me can interview Zac Efron is proof that you really can do anything you set your mind to. (And yes — he is actually that beautiful in person).

You can reach this staff writer at cmoore@theeagleonline.com.

The way we live now, there are two ways to react to pop culture: consume it or scorn it. Consumers are traditionally regarded as low-brow, mindless zombies who follow trends without question, allowing the synthesized rhythms of Top 40 music to flow through their iPods, which are probably contained in varying forms of tacky cases. The scorners hold themselves above this, criticizing or ignoring the mainstream and mourning the loss of quality entertainment.

But in these reactions, there is a third option missing: the academic response. See, pop culture is more than just a money-making machine — although it certainly is that as well. It is the formation of culture around us, and whether or not the result is low-quality trash, what we’re observing is living anthropology. We are more than just consumers subject to advertisement, we’re the subjects of developing culture, and the interesting part is figuring out just what that means.

In a recent media studies class, when discussing the current state of the music industry, my professor asked the class if we believed Britney Spears is the death of democracy. Although the notion seemed absurd at first (wrapping oneself in a snake doesn’t traditionally make for a radical deconstruction of the two-party system), it became clear that my professor had a point: Spears is more than just a pop star, she is a symbol. And more than just a symbol of what our modern culture is, she is representative of everything that previous generations were not.

Sure, people may criticize the state of music, but is that really due to a lack of talented musicians or a lack of true alternative voices? Or is it due to industry control of what can and cannot be released, what will or will not make record companies money? Critics can complain that there is no quality music being made right now, nothing with a message, but this isn’t true. That kind of music is being made, but companies are not picking it up. And why should it be? Why should record companies, which are essentially giant corporations, encourage voices of dissent?

So yes, in this way, Britney Spears kind of is the death of democracy. Not because she’s promoting promiscuity in young girls or because she sexualizes herself as an object. Not even simply because she puts out bad music. It’s because said bad music is a straw man for the actual problems within the music industry. Yeah, we’ll complain about low quality, but eventually we’ll either absorb it or write it off, and, in the end, enough of us will consume it so that the industry can keep chugging. And churning out meaningless pop music is a lot more lucrative and a LOT safer than taking on an artist who’s going to question this system.

Instead of criticizing the immediate result of popular trends, we have to consider the societal factors that lead up to their creation. Our generation has depth; our struggles, but our ideas aren’t being adequately reflected by our culture because our culture is based on revenue.

But we can’t blame it all on “the man” or “the machine.” As a generation, we’ve become complacent, and we’ve come to expect less. Because the creators of our culture are industries, their policies are built off of supply and demand. The creation of culture is in our hands, and we just need to realize it and create it for ourselves. We are a generation that deserves a higher quality of legacy, but we need to demand it first.

You can reach this staff writer at

kcasino@theeagleonline.com.

“I’ve read a great number of vampire stories over the course of a long reading life,” Penzler said in a press release. “[I] knew there was a deliciously large trove of first-rate stories from which to choose.”

This boastfully titled collection draws in readers by featuring famous horror and vampire writers Anne Rice, Stephen King, H.P. Lovecraft and Harlan Ellison. Any vampire fan worth his or her blood will pick up this rather large book in anticipation of such writers. The haunting volume continually impresses, also including less familiar authors like Roger Zelazny and M.R. James.

However, don’t open this phone book-sized volume expecting to see the longer works of such authors. No, Rice’s famous “Vampire Chronicles” cannot be found; instead there is one of her lesser-known short stories.  The same can be said for the talented King. None of his horror novels are featured in the book. Fans looking for a cheap way to gather such works are out of luck. While disappointing, look at this as a way to expand your knowledge of all that is lurking in the night.

“The Vampire Archives” shows readers how the image of the vampire has changed since the first legends were written.

“The image of the vampire underwent a major shift with Anne Rice, and a still greater image makeover with the ‘Twilight’ books,” Penzler said in the press release. “Vampires are seen, more than ever, as handsome, romantic and loving.”

Readers will find the anthology explores a wide range of genres, including the gothic vampire tale, the amusing vampire story and the hunt for immortal love. There is even a section for “true” stories, as well as a poetic section.

The most notable aspect of “The Vampire Archives” is the 110-page bibliography compiled by Daniel Seitler. While it does not include things like comics, games, movies, plays or television involving vampires, it is a very impressive list of vampire novels and short stories.

If you have an interest in the original vampire lore, take a look at Penzler’s introduction. While slightly repetitive, he provides background on the original vampire legends told by the Egyptians, the Indians and other cultures. There is also a fascinating section discussing various “humans” whose blood loving behavior furthered the vampire legend.

Whether you are a dark, cape-wearing, fang-bearing fan of Dracula or crushing on the sparkly Edward Cullen, “The Vampire Archives” is a book you can really sink your teeth into.

You can reach this writer at thescene@theeagleonline.com.

Grade: C+

Beginning with “Heartbreak Warfare,” John Mayer’s latest record has a slow, dark sound that defines most of the album. As a whole, the songs are covered in more background sound than John Mayer fans may be used to; the time and energy it took to make each song are evident, but it takes away almost any catchy quality they might have had.

“All We Ever Do Is Say Goodbye” reminds the listener of Mayer’s “Continuum”  — a man and his guitar — but the fuller quality of the music creeps back in during the chorus — the backup vocals are reminiscent of those on Jason Mraz’s latest, “We Sing. We Dance. We Steal Things.”

“Half Of My Heart” features the same underlying tones as the previous tracks, but with a secret weapon: Taylor Swift. Swift’s vocals, however, are barely audible, hidden under Mayer’s deeper voice during the chorus and only soloing briefly towards the end of the track.

His single, “Who Says,” features the line “Who says I can’t get stoned?” and sounds as though Mayer was stoned while writing; it sits on the cusp of saying something while never actually doing so. Mayer returns to his strengths on “Perfectly Lonely” — a more optimistic song that highlights his vocal range and guitar playing skills. “Assassin” sounds very similar to some of John Legend’s newest CD, “Evolver,” with a chorus leaning closer towards traditional rock ‘n’ roll than most of the album.

On the other hand, Mayer seems to channel the blues on “Crossroads” (a Robert Johnson cover). Despite its content, “War Of My Life” actually has a lighter sound than most of the album. It is more pure and not weighed down with layers and layers of instrumentals.

The moodiness continues with “Edge of Desire,” with John Mayer declaring, “I’m about to set fire to everything I see.” First-time listeners, please, start with this song. Slowing things down even more, “Do You Know Me” is just sort of blah, which makes the final track “Friends, Lovers Or Nothing” so much more startling.

The last song is befitting: it mixes the old John Mayer with the new, and it has just the right end-of-an-album sound. A smart ending, however, does not make up for the fact that this CD is less than an hour of uninspiring, depressing music. Someone get this guy a puppy, STAT!

— MAGGIE HOLLANDER

Jaguar Love

Grade: B -

“Up All Night” is the kind of song that one might love if it were performed by an electroclash-y, riot grrrl punk band, which is something that listeners may be tricked into thinking after listening to the first minute of the song. Soon after that, though, it is revealed that Jaguar Love is mostly just one of those scream-y, lo-fi, two-boy bands from Colorado, a la 3OH!3. It’s not bad, though, if you’re into that kind of thing.

None of this is to say that the band’s sound isn’t interesting. In fact, the song’s opening consists of a buildup of sounds, layering slowly — though not subtly featuring cowbells, synths and what appears to be some sort of animal call. Despite the fact that the song drags on a little longer than any sort of high-powered electronica single should (four minutes 11 seconds), one has to give the boys (Johnny Whitney and Coldy Votolato) credit for their DIY indie style.

The video for the single was made for them compliments of a friend at Nylon Magazine. The clip reflects the absolute absurdity of the song, with various animated neon objects falling through a paper collage sky onto the black-and-white heads of Whitney and Votolato.

Jaguar Love may not be terribly original, but anyone looking for a scream-along party song won’t have to look that much farther than “Up All Night.”

Them Crooked Vultures

Grade: A-

Leave it to a supergroup to bring back good old rock ‘n’ roll. Them Crooked Vultures are more than just another Velvet Revolver, with each member competing for attention or trying to restore his former glory. Consisting of Dave Grohl (Foo Fighters), Josh Homme (Queens of the Stone Age) and John Paul Jones (Led Zeppelin — that’s right, Led Zeppelin), Them Crooked Vultures are a band that acknowledge and celebrate the awesome talent of each individual member while remaining a cohesive group, mixing the sounds of the old and the new.

“New Fang” is the single off their self-titled debut album, and, while it certainly has that signature QOTSA bounce, the track is more than just a Josh Homme solo project. Grohl’s return to drumming allows him the strut, flare and ultimate abandon only accessible to a percussionist, but surprisingly, it is Jones who seems to fade into the background.

In true rock ‘n’ roll fashion, the song’s vibe is sexy and ostentatious, with fuzzy rhythm guitars comfortably clashing with Queen-like riffs in the background. With Homme venturing into his falsetto every once in a while (which is also featured on the album’s “Scumbag Blues”), the vocals on the track remain gritty without getting boring. “New Fang” doesn’t claim to be artful or complicated or deep. It knows what it is — a swaggering, smirking collaboration between three monster talents. All at once homage and invention, “New Fang” is reminiscent of old-school, rowdy boys-will-be-boys fun — it’s a little dirty, but it’s irresistible.

— K.C.

— KATRINA CASINO

In an interview with The Eagle, bassist/guitarist/pianist/back-up singer Joe Ginsberg talked about the album, breakfast and why audiences should listen.

What sets Single File apart from other bands, according to Ginsberg, is their refusal to give in to fads.

“We’re just kinda doing our own thing,” Ginsberg said. “We wanted to write music that we wanted to listen to and not really pay attention to the trends and sounds of the moment that just come in and come out. It’s fun pop music that you can kinda just jam out to, but there’s a lot to say in the lyrics; it’s not just light shows and tight neon pants, you know?”

Single File has a unique indie vibe despite their mainstream appeal. Their first single off of “Common Struggles,” “Girlfriends,” begins with the guys whistling the tune and ends the same way, with back-up vocals that add a nice dimension to the song.

Despite traditional “downer” content, the songs have a more upbeat and hopeful sound than their current competition on the airwaves and come off as less whiny than most bands of the same genre.

Perhaps their greatest strength is their amateur status: the CD has no hint of overproduction and simply presents the band as exactly what they claim to be. Their harmonies are pure, and the instrumental music does not overpower the listener.

The best way to describe their sound is peppy and full of a fresh, youthful quality evidenced by song titles such as “Miss Cherry Lipgloss” and “Zombies Ate My Neighbors” and, despite the typical angst-ridden lyrics, many of the album’s songs are a welcome change from most alternative rock out there right now. The songs have an unexpected depth to them regardless of their immature titles, and on the whole the album is quite catchy.

If listeners are looking for one song off the CD that really sums up the band, there isn’t one.

“Our sound has always been a lot of different places because we have a lot of different influences, and that’s always been part of our band,” Ginsberg explained. “Part of this record was we want it to sound cohesive ‘cause our song writing is kinda everywhere; I mean, it’s our style, but it kinda bridges a lot of gaps.”

In describing the album as a thematic whole, Ginsberg picked “Mannequin Loveseat,” saying it sets the tone of the record.

To get the attention of new fans, the band uses popular sites such as Twitter and Facebook, although Ginsberg misses Myspace’s popularity.

“It’s kind of a bummer that Myspace isn’t as big anymore because it’s just such a great place for music and that’s what we used forever,” he said.

They also offer more online content, including webisodes on Kite and a breakfast blog, something the bandmembers enjoy.

“Well, I like breakfast, and J.D. Perry [guitarist for the band Valencia] did a toothbrush blog last year… I thought it was kinda cool,” Ginsberg said. “I thought ‘I wanna do a blog everyday, but I need a reason to.’ And so I came up with breakfast blog. You gotta eat breakfast; it’s good for you.”

Although they’ve opened for big names such as the Fray, Single File really want to play with Weezer.

“We love their band,” gushed Ginsberg, “And I think that out there right now it’s the closest thing to what we’re trying to do — as far as pop music that’s a little snotty and still is saying a whole lot.”

Single File will be in town performing at Jammin’ Java on Nov. 24. And for those wondering if they whistle when they play “Girlfriends,” have no fear.

“You’re damn right we do,” Ginsberg said. “We’ve gotten pretty good at whistling. It’s not easy — we’ve had a lot of practice.”

You can reach this writer at thescene@theeagleonline.com.

When Troy Duffy first wrote the script for “The Boondock Saints” back in 1996, he probably had no idea that girls and boys across America would come to idolize the cult film for years to come. After its minimal indie theater release in 1999, its popularity surged through word of mouth. Now, in 2009, the Saints are back with a new movie, a new mission and a new sidekick. But don’t worry, they still go on the same relentless killing streaks and recite the same classic family prayer.

In “Boondock Saints II: All Saints Day,” fraternal twins Connor and Murphy MacManus, (Sean Patrick Flanery and Norman Reedus) are hidden deep in Ireland with their father (Billy Connolly), having narrowly escaped capture in the last movie. But when a murderer in Boston kills a priest and frames the Saints, they cut their hair and beards and leave the sheep farm to clear their name in Boston. On the way they meet Romeo (Clifton Collins Jr.), who seems like a dangerous fighter with a flowing black mohawk, huge, crazy eyes and a deep pride in his Mexican heritage. But after the Saints take him on as their new sidekick, he has to earn his stripes, proving that he’s more than just a foolhardy tagalong.

As the Saints go on their search to find out who is framing them, they pile up bodies on the way and meet their new FBI opponent, Special Agent Eunice Bloom, played by a ginger-haired Julie Benz. Bloom is a genius, trained specially by Agent Paul Smecker (portrayed by the fantastic Willem Dafoe from the first “Boondock Saints”). With her brains and body, she gets exactly what she wants and is soon hot on the trails of the Saints. She is accompanied by three foolish detectives, Greenly, Duffy and Dolly — some fans may recognize them from the first film as the detectives who helped the Saints in the courtroom scene.

“Boondock Saints II” takes a closer look at their father’s past. How did he become a killing machine? Many questions that fans had and many that they didn’t think of are answered in this film. In this way, it adds a depth to the storyline that the first film did not have.

In comparison to the first, “Boondock Saints II: All Saints Day” is bigger, badder and certainly funnier. With Romeo cracking jokes and often being the butt of the majority of them, the film had the audience rolling with laughter. Bob Marley is hilarious as the dimwitted but ever-persistent Detective Greenley. One of the funnier scenes involves Romeo trying to come up with his own catchphrase after being a tad jealous of the Saints and their family prayer. “Maybe, who ordered the whoop-ass fajitas!” shouts Romeo, with an ever-present crazy glint in his eyes.

But it’s not just Romeo; everyone has a moment of perfect comedy. Often, even the Saints crack jokes, from making fun of Romeo to messing around with Doc, the McGinty’s bartender with Tourette Syndrome, another familiar face from the first film. But be warned — if you don’t have a dirty sense of humor, you might not find the film all that funny.

In “Boondock Saints” fashion, despite humorous undertones, the film is dark and dangerous all the way through. With the killer on the loose and the Yakavetta mob on high alert for the return of the Saints, there are twists, turns and surprises throughout the film. There is, as Murphy puts it, “a gratuitous amount of violence” in this movie. There are the classic slow motion gun scenes and vomit-inducing puddles of blood. One of the more heart racing gun fights in the film is a chilling game of Russian roulette that had the audience holding their breath.

If you haven’t seen the first film, you might not get the a few parts of the new one. However, the film has many flashbacks to the first film to help freshen the audience’s memory.

This film is certainly not the dark indie flick that the first one was, but it still has the spirit, violence and storyline that the fans love. If you like action, comedy or drama, this film presents each of these attributes in spades.

“Boondock Saints II: All Saints Day” is out now in select theaters.

You can reach this staff writer at ydesta@theeagleonline.com.

All of “Shear Madness’” action takes place in a Georgetown hair salon, owned by predictably flamboyant Tony Whitcomb (Brad Letson), who is assisted by Barbara DeMarco (Tiernan Madorno), his flirty shampoo girl. Also in the mix are the customers: Nick Rossetti (Aaron Shields), Eddie Lawrence (Rahmein Mostafavi), Mike Thomas (Matthew R. Wilson) and Mrs. Schubert (Brigid Cleary).

The play runs in the Kennedy Center’s tiny Theatre Lab cabaret, where most of the seats are long benches, and one is close enough to see every little detail on stage — which, as one later finds out, is for a good reason. The premise is rather simple: the hair salon goes about a typical day of tending to customers, when all of the sudden they discover that the upstairs neighbor, a famous piano player, has been murdered.

After it is revealed that two of the customers are actually secret detectives, the audience is then asked to help interrogate the remaining customers as they re-enact everything that went on during the first 15 minutes of the play. As each character goes through their actions, audience members shout out their mistakes or inaccuracies.

Many tidbits in the play get updated year by year. During Thursday night’s performance, you could catch references to Paris Hilton, Joe Biden, Sarah Palin and an Avril Lavigne song. Also, if groups attend, the play will incorporate their names somehow. That night, students from an all-boys school, a group from a high school in Miami and students from Trinity Washington University were all in attendance.

Whether “Shear Madness” is a good show or not tends to really depend on the type of crowd that is attendance that night because much of the show is dependent on audience participation. The actors feed off the energy and humor of the participants. If attending on a slow Thursday night with a large percentage of the seats unoccupied or occupied by older people, don’t be surprised if the show feels a bit forced and dry. While some of the jokes definitely cause one to crack a smile, most of the humor borders on cringe-worthy.

A certain mood is required to truly enjoy “Shear Madness.” The show is corny, and definitely not anything worth seeing more than once, but as a D.C. institution, “Shear Madness” is truly a must-see. Much like wandering through the Natural History Museum or peering over C&O Canal for the hundredth time, it’s only something one would do if they were showing their visitors the necessary stops of the city. “Shear Madness” is one of those shows that truly display a unique side of the District to outsiders. 

You can reach this writer at thescene@theeagleonline.com.

During a recent party, we had lesbian sex described to us. It’s like a Jell-O shot: first, you get your finger in to loosen it up, then place your mouth around it to get at the goods.

But lesbians are more than just Jell-O shots at parties. We have all heard about the myths surrounding lesbians, so we are here to separate fact from fiction. One such myth surrounding lesbians is the common assumption of their relationships.

First date: discuss marriage — where, when, how? Second date: children’s names, raise gender-neutral or not? By the third date, they may as well be on their third anniversary. The next step is when one gets a U-Haul to bring all of their processions over to live with the other, generally around the fifth date.

But to be serious for once, on a small campus like AU, stereotyping is abundant — from the halls of Anderson to the classrooms in Ward. But, while the stereotypes may be funny, they are rarely 100 percent true.

In our last article for the semester, we will impart our wisdom of what we have learned. Rule number one: don’t piss off a lesbian. They are naturally born with the ability to kick your ass.

So what do you do when you actually encounter a lesbian? Many try and divulge the deep mystery that is lesbian sex. However, this is often met with much difficulty. Lesbians, being quite secretive, rarely give out the methods they use for sex, but we have done the research for you and found out some interesting facts.

Everyone inevitably thinks of scissoring when they think of lesbians. However, from what we have heard, lesbians do not actually do this. Number one reason: they don’t want their lover’s feet in their faces.  This is assuming that the lesbians we are speaking to do not share in the world’s most popular fetish, the foot and shoe fetish.

One of the hardest choices for a lesbian to make is which kind of protection to use. While dental dams seem like an obvious choice, they present serious impediments — namely a bad taste and choking hazard.

For people who want to be safe while having good sex, contact the Wellness Center, the Student Health Center, Women’s Initiative or the GLBTA Resource Center. They can help you find your way to sexual health, but we are students who are assuming our audience is educated enough to make a good choice regarding their bodies. As another resource, The Eagle does have a health column where you can send questions!

The one thing that the AU Threesome wishes to impart on its readers is to maintain an aspect of individualism. Don’t make sexual choices because they are pushed on you or because your friends are doing it. You don’t have to fit yourself into a category chosen by others. No matter your shape, size, gender, race, ethnicity or orientation, sex is better when you do it for yourself. You’re in college, and breaking rules is what our age group is best at.

So instead of going with the same old stereotypes, step out of your comfort zone, learn what turns you on and talk with your partners. Whether this is your first semester or your last at AU, you all have a chance to be better sexual beings. Don’t blow it (or do).

You can reach these columnists at authreesome@theeagleonline.com.

*EDITORS NOTE: In an attempt to prevent misinterpretation, we would like to acknowledge our sex columnists are of varying sexual orientations and genders.

GRADE: B

You’re young, politically-inspired, electronically-savvy tweeters ready to change the world. According to Jayan Kalathil and Melissa Bolton-Klinger, the authors of “Generation Change: 150 Ways We Can Change Ourselves, Our Country and Our World,” you are “Generation Change.”

The authors joined forces while working together at VH1,Kalathil in public affairs and Bolton-Klinger, a writer-director with a film background, on the creative side.

“We were both inspired by President Obama’s election, but more so we were inspired by the movement that it created with young people,” Kalathil said. “Watching him connect with younger voters and young Americans in general and watching them get involved in the political process — it showed that with the right message and technology, people can really be galvanized and get on board with a political campaign and causes in general.”

Bolton-Klinger was hoping that the book could jump off of the “change” platform that was touted during the campaign.

“We were bombarded with change, change, change […] We’re hearing this message but when he gets elected — well, now what?” Bolton-Klinger said. “Maybe we can pick up the baton and not make change become another slogan, but write something so it can feel tangible.”

The book reads like a guide of 100 tips — its very own SparkNotes.

“The way we write it is very casual; the ideas are pretty universal to everyone,” Kalathil said. 

The book is broken into categories including mind, body and soul; neighborhood issues; the nation; fighting poverty; human rights and the environment. The book reads like a conversation, suggesting places for information dealing with whatever issue one may be interested in.

The book is littered with quotes from President Barack Obama. The authors explain their inclusion that “peppered throughout we’ve added quotes from the president to keep you inspired.” Some tips cross the line between helping to change the world and becoming an Obama follower. While tips like learning how to cook, knowing what’s going on in the government and laughing and smiling more are tips we can all agree with, numbers 23, “Obamify Yourself,” and 85, “Send President Obama a Thank-You Note” seem preachy. Though this may alienate some conservative or apolitical readers, the goal of the book is bipartisanship. The authors wanted the book to be something everyone can take away from.

“Granted we use the president a lot, but I think the ideas and issues we bring up don’t really fall under political partisanship,” Kalathil said.

Bolton-Klinger noted that the tips are mostly accessible to everyone.

“You should still read our book because [advice like] flossing is definitely bipartisan and we should be doing more of that,” she said. “I think change is something for everybody, not just liberals.”

The best tip for college students is using their voice, according to Bolton-Klinger.

“You have something you need to say more than anyone because this is a time in your life when you’re exposed to new things and have new thoughts and you can take advantage of that voice, and they should do that as much as they can,” she said.

“Generation Change” outlines some great ways on how to become sustainable and how to research things one has always wanted to do. The boasting of President Obama can be overbearing, but if one can get past it, the tips and resources will help one achieve goals and connect with others on issues they care about.

“We’re at a place in history where we can connect to each other and it has never been easier to get involved in a cause that interests you,” Kalathil said.

You can reach this staff writer at thescene@theeagleonline.com.

Rather than dealing with the lengthy and tedious recording process and the constant demands of record companies, Palmer is doing it all her own way, traveling the country and spreading her art.

With the rise of digital downloads, both legal and illegal, the CD release is beginning to become anachronistic. Why wait to process and package all her work, asks Palmer, when she can release it as she goes?

“I don’t believe in releases anymore,” Palmer told The Eagle. “My theory is that I make art, and I put it out and I wander around and tell people about it. I really like the idea of creating art, making it available and then capitalizing in creative ways.”

The singer, whose latest release is the Ben Folds-produced 2008 album “Who Killed Amanda Palmer?” has spent the greater part of her career smirking in the face of industry standards of operation and relying on the support of her fans to keep her music successful. Often relying on highly interactive stage tactics, Palmer never fails to engage her fans. Whether it be through an “Ask Amanda” portion of her show or sitting in a bathroom stall before the show taking confessions from strangers, Palmer has strived to create an intimately close connection with her audience.

While this tour will still have a personal feel, Palmer excitedly stated that this set would be headed in a different direction from the one-woman show that marked her last tour.

“The band is pretty much on stage with me for the whole show, so it’s a really loud, raucous party tour,” she said. “We’re going to be having a lot of fun. It’s going to be the opposite of the long, introspective, Amanda-talks-to-the-audience-for-half-an-hour.”

And yes, she will be taking bathroom confessionals on selected nights, but fans will have to subscribe to her Twitter (@amandapalmer) to find out when and where.

Palmer’s unconventional and raucous nature extends past the stage. The songwriter, whose tour motto is “Do it ‘til you get caught,” has been wreaking havoc upon New York, where she and the band have been practicing. After recounting stories of singing Tegan and Sara songs to New York’s Finest and paying people in Union Square to accompany her to bodegas, Palmer admitted her motto is one she practices.

“We try to be respectful of some boundaries, but mostly we just do shit ‘til we get caught,” Palmer said. “Then we stop.”

Although her on-stage persona may be rowdy and boisterous, Palmer’s work itself tends to take on a darker edge. “Runs in the Family” — a track off “Who Killed Amanda Palmer?” — is a swelling and receding, manically bouncing song tying the modern-day addictions and depressions of her friends to the family that has come before them, proving that mania is inescapable. Despite the dissonance among her real-life personality, her on-stage persona and the content of her lyrics, Palmer insists that her almost-macabre style of songwriting is to the benefit of her well-being.

“If you’re not willing to let yourself go through dark, scary, fucked-up places and deal with those things through your art, you won’t need to do it in real life,” she said.

When it comes to her future with the Dresden Dolls, Palmer is uncertain. With band mate Brian Viglione (formerly of World/Inferno Friendship Society) now drumming for the Cliks and Palmer touring solo, she admits that playing with Viglione is one of the things she misses most.

As of now, though, Palmer’s got her priorities straight. Always adventurous and never afraid to speak her mind, she’s not touring to promote an album or an agenda. Her message is much simpler than just that.

“I am touring to promote Amanda fucking Palmer,” she said.

You can reach this writer at kcasino@theeagleonline.com.

Still, “Ten9Eight: Shoot for the Moon” missed the mark and ended up “too good to be true.” What could have been a glimpse into the lives of these courageous, smart and interestingly dynamic youths was formed into a “one-size-fits-all” glorification of the program.

For six months, director Mary Mazzio documented the lives of a handful of money-minded youths from around the country as they prepared for a business entrepreneurship program. From Chicago to Atlanta, Los Angeles to Boston and locations in between, these students revealed their ingenious small business ideas and the adversity they overcame to get to where they are. 

The program featured is the annual Network for Teaching Entrepreneurship’s (NTFE) business plan competition, which is meant to inspire young men and women to create a product or service along with a full business plan and presentation. The students had to present their product or service as if they were vying for investors. Individuals had to employ various skills including math, critical thinking and clear and effective writing in answering tough questions after their presentations from a panel of judges. 

The film begins with staggering nationwide high school dropout rates and segues into the NTFE program that keeps potential dropouts in school, while engaging them in an opportunity that can push them toward success later in life. 

Throughout the film, various youths who have won their regional competitions and are preparing to move onto the national level are introduced. Their ideas ranged from original guitars to organic body products to custom cheerleading uniforms.  

Each business venture seems to be completely different from the next, yet all the interviews seem vaguely familiar. Most of the contestants and their parents are answering the same questions, which may have made editing easier, but doesn’t help to make the final product any more interesting. 

In what seems like an effort to create inspirational, “can-do” advertising for free enterprise, Mazzio neglects to highlight the differences between contenders. The young man who ingeniously incorporated technology used for polarized sunglasses into football helmets was beat out by the vegetarian doggie treats, yet Mazzio still presents it as “everyone wins” — but this is not the case.

This film would’ve been great had Mazzio carried over the truthful and dynamic qualities that were such a big part of each youth’s background story. Anne — the young woman who was molested by her grandfather — created a dance company; Robbie Martin — the hysterical young deaf boy — created a program for teaching sign language; and Shan Shan — an immigrant’s daughter whose father passed away — brilliantly developed a three-minute cell phone battery charger. 

Mazzio did highlight an important similarity: that these young people overcame obstacles in their past and have achieved greatness. Even if they didn’t win the competition, these youths are heroic and are continuing to prove certain people (and statistics) wrong. 

“Ten9Eight” ends by concluding that everyone is a winner. While not every contestant was able to take home $10,000, they did manage to take away a few valuable life lessons — not to mention their business is now spotlighted in a feature-length film. With that going for them, what reason would they have not to continue living their dreams?

You can reach this writer at thescene@theeagleonline.com.

In its fourth volume, the festival contains 16 different segments, each approximately four minutes long. The curators announce each segment and then provide snark and commentary, similar to “Mystery Science Theater 3000.”

Many of the videos speak for themselves, full of people and situations and products so strange they are very nearly inconceivable — which probably means they are real.

The festival is very much a trip through time to the pit of strangeness that the segments make the ‘80s out to be. It is a glimpse into the mindscape of people who put out dating videos, produce homemade exercise tapes that consist largely of jumping up and down and even make instructional videos for male and female masturbation machines.

The tapes are absurd and at times funny in their stupidity, but others push the limits of reason enough that the booze at the Drafthouse definitely facilitates laughter and a stable psyche.

The 90-minute show is like a long collage of stupid human tricks, despite the fact that the people from across the country who made them intended for them to be taken completely seriously.

The fact that such people exist — let alone the fact that they had the audacity or thickness to ever envision that the videos they made could ever possibly be a good idea — is the driving force behind the festival’s comedy.

Not for the more conservative of thought, as the segments often push the boundaries of sanity and rarely evoke anything resembling normalcy. When the videos are genuinely funny, it is nearly entirely based on how strange and absurd they are.

There is nothing wrong with the festival. It is strange, amusing and funny at times, but rarely is it uproarious. It is instead a reminder of the people who inhabit the world, the videos they make and the things they do under the influence of stupidity, alcohol or mind-altering substances — including their own egos.

You can reach this staff writer at bkoenig@theeagleonline.com.

The sauce:

1 large Vidalia onion

4 cloves garlic

1 carrot

3 tbsp. vegetable or olive oil

1 tsp. dried oregano

1/2 tsp. red chile flakes

1/2 tsp. salt

1/2 cz. red wine (optional)

1 28 oz. can diced tomatoes

Slice the onion in half, peel it and grate it on the largest side of a box grater. Peel the carrot and grate it on the next smallest side. Grate the garlic on the same side.

Heat the oil in a medium saucepan on high heat. When it’s good and hot, add all of the other ingredients — except the red wine and tomatoes — and turn the heat down to low. You want to cook the onions all the way through without browning them. You’ll have to keep stirring them and it’s going to take about 15 to 20 minutes. There should be little or no crunch left in the vegetables; you want the mixture to almost melt in your mouth. Add a little bit of water if it starts to dry out.

Once the vegetables are “sweated,” add the red wine and simmer for about five minutes. Add the tomatoes, turn the heat up to bring the sauce to a boil then and then turn it down to let it simmer.

Keep simmering for at least an hour, stirring every 10 to 15 minutes. After an hour, season the sauce with salt and pepper to taste. Simmer for another hour or so. You can use this sauce right away, but I find that it’s much better after it refrigerates overnight. Personally, I like my tomato sauce chunky, but you can also puree it in a blender if you prefer a smoother consistency.

Like I said, the sauce is great on its own, but here are a few of my favorite variations:

Spinach and Ricotta

When you’re boiling the pasta, add a few handfuls of frozen spinach to the water about 1 1/2 minutes before it’s done. Drain the pasta and spinach together and add about a cup of sauce, a bunch of red chili flakes and 1/2 cup ricotta cheese.

Sausage and Peppers

Preheat the oven to 350 degrees. Heat a teaspoon of oil in a cast iron skillet. Brown two or three Italian sausages, slice up a quarter of a large onion and a large bell pepper, add them to the skillet and roast the whole thing in the oven for about 20 minutes, stirring the peppers and turning the sausages every five minutes or so. When the peppers and onions are soft and tender, slice the sausages and put them back in the pan with about a cup of sauce. When the mixture comes to a boil, mix it with your favorite pasta or refrigerate it. This sauce will also be just as good or better the next day.

Bolognese

Cook a pound of ground meat (any combination of beef, pork, lamb or veal) in a large, heavy bottomed saucepan until it’s dark brown. Add half of a large onion (finely diced) and two or three cloves of chopped garlic. Sautée for about five minutes, add a good splash of red wine, simmer for five minutes and add a quart of sauce. Simmer like the original sauce and then serve or refrigerate overnight. This sauce also freezes well.

You can reach this columnist at thescene@theeagleonline.com.

Fellow Swedish comrade El Perro del Mar, or “the Dog of the Sea,” was the opener of the night, a name the crowd clearly wasn’t familiar with, but was quick to embrace as they received the spunky musician with open arms.

Once taking the stage, PB&J gave listeners in D.C. 90 minutes worth of quirky pop/indie music, showing how 10 years has done them well with each motion on stage. This will be the last time they tour before going into the studio for their next record.

The crowd went crazy when they played hits like “Paris 2004” and “Young Folks,” but also managed to bring in songs from their last full-length record, “Living Thing,” with songs like “It Don’t Move Me,” “Lay It Off” and “I’m Losing You.”

Although the Swedish trio put on a decent set of music, the crowd was not receptive — at times even yawning. There was not much banter in between songs, a quality that engages the crowd and allows for comic relief, which is hard to do in a venue that fits 1,200 people. One of the few times they spoke is when Peter Moren (guitars/vocals) admitted to the crowd that he used to take guitar lessons but stopped, explaining why he still has problems playing, something one wouldn’t really want to admit to a full house of over a thousand people.

It seems like the crowd was expecting a more pop/indie feel, the sort of songs you’d hear in an Old Navy commercial, but PB&J instead went for a more experimental/new wave feel, at one point even playing with Connecticut folk band the Hat City Intuitive during an interlude halfway through the set entitled “Needles and Pins.” This clearly pushed away many of the avid listeners, even though this was the first time they had played material from their 2008 album “Seaside Rock.” “Nothing to Worry About” and “Lay It Off” got a good reaction from the crowd, who even sang along to the lines “Hey shut the fuck up boy/You’re starting to piss me off/Take your hands off that girl/You’ve already had enough.”

The “ehh”-ness that ensued during the set quickly turned around when they asked the crowd to sing “Happy Birthday” while they tuned and then went on to amaze the crowd with the powerful “Objects of my Affection” and “Paris 2004,” a song that wasn’t even on their set list but a fan had called out for — and which they were up for playing.

It was clear, however, that they really did love playing in D.C. and loved their fans, explaining how this was the first town they played in America, and even at one point exclaiming that “the District of Columbia is the best place in the world!” After finishing the encore, they proved their loyalty by literally jumping off stage and causing a ruckus while they hustled toward the merch table to go greet fans.

Overall, it seems that Peter Bjorn and John had great intentions of having an absolutely amazing show, but were not able to bring all that energy and flavor out to the crowd, who at many times seemed like they wanted to be somewhere else. Had this exact same setlist been played somewhere in Europe where experimental music is more progressive, the reaction would have been different. Next time, if they take into more consideration that D.C. is not Sweden, the show will be a more pleasant experience.

You can reach this writer at thescene@theeagleonline.com.

“If I thought the war was going to bring freedom and equality to 22 million of my people, they wouldn’t have to draft me, I’d join tomorrow ... I have nothing to lose by standing up for my beliefs. So I’ll go to jail. We’ve been in jail for 400 years.”

The words fall heavy onto a room in captivated silence. The figure steps back, removes the cap shielding his eyes, to reveal what isn’t the 6-foot-4 1966 Heavy Weight Champion. Instead it’s 5’8” Lupe Fiasco dawning thick-rimmed black glasses and a plaid brown shirt. But as the words of Muhammad Ali resonate throughout the room, it is clear that history isn’t just being heard, but made.

As Fiasco exited the stage he was met by a roar of applause from the over 200 students who had crammed into George Washington University’s Jack Morton Auditorium to watch history come to life. This wasn’t the rapper and three-time Grammy nominee’s typical concert tour. Instead, Nov. 9 marked the second stop on the College Tour to promote the new film “The People Speak,” in which he co-stars. Along with filmmaker Chris Moore, Fiasco sought to endorse a film that takes a unique look at the intersection of America’s past, present and future.

“The People Speak” is a documentary featuring readings of historical documents, letters and diaries of those both famous and forgotten whose actions shaped the face of the nation. From the letters of Eugene Debbs or the speeches made by Malcolm X, to the haunting lyrics of Billie Holiday or the angry pleas of Cindy Sheehan — these stories and many more are reawakened through performances by celebrities like Matt Damon, Marisa Tomei, Bob Dylan, Morgan Freeman and numerous others, including Fiasco’s performance of Ali’s speech.

The film was inspired by historian and executive producer Howard Zinn’s book, “A People’s History of the United States.” A response to the self-proclaimed classically one-sided presentation of American history, Zinn sought to provide a narrative for voices often marginalized and ignored. Since its release in 1980, the book has sold over one million copies and spawned a collection of photographic essays, a graphic novel and a textual version adopted for younger readers. Well-known throughout the academic world, Zinn, a professor himself, has found his book appearing on syllabi across the nation.

However, Zinn’s constant support for the importance of dissent has certainly made him and his writings the target for its undertaking. The organization Accuracy in Media called “A People’s History” a “hate-America book,” while Rick Shenkman stated that Zinn’s ideas made him a “danger” to the American people. The film could not escape unscathed from such controversy, something Moore addresses quite openly. Yet, while the film faced hesitant and precarious sponsors, it was not the absence of support that most challenged Moore, but rather the absence of explanation.

“One of the saddest things is that people don’t talk about the things they care about because they are afraid it will offend someone,” Moore said. “Political correctness has taken over the situation ... The thing that is dangerous and insidious about this is that you can’t fight it if they don’t say it.”

Yet, any fear of censorship befalling the night’s event was dispelled within the first few minutes. When questions arose about a possible liberal bias throughout the film, Fiasco calmly raised his hand and said, “I don’t support Obama.” It would not be the last comment to stir emotion within the audience. Fiasco further explained, “The biggest budget is the defense budget, the military budget. The biggest budget we have isn’t the life budget. It’s the death budget — which I just can’t agree with.”

As the night wore on, the event continued to manifest the film’s tagline, “Democracy is not a spectator sport,” by involving and even challenging members of the audience. “Is there a problem?” Fiasco asked a student. “Yes? What are you doing about it?” Moore, while vowing to help youth empowerment, reverberated the same call for individual action. “What is the last thing anyone in this room did where in their mind they were like, ‘I’m not going to accomplish this in my lifetime? This thing isn’t going to be fixed while I’m alive, yet I’m still going to get arrested today because someday someone will [benefit].’”

“The People Speak” will air Dec. 13 at 8 p.m. on the History Channel, but this isn’t a case of tuning in and tuning out.

“You have a voice,” Fiasco said. “This is it, this is your history. And it goes beyond history. History is a limited title, because it’s right now. History is being made in this moment.”

You can reach this writer at thescene@theeagleonline.com.