The Cornell Daily Sun (https://cornellsun.com/2003/10/22/around-the-ivy-league-3/)
Around the Ivy League
By wpengine | October 22, 2003
Last weekend saw Ivy squads Harvard and Penn remain undefeated and primed for another showdown ala the 2002 meeting between the two teams. It also saw another team, Yale, fall for the first time this season, while Princeton picked up its first win of the year on the strength of a 99-yard pass play, the longest in Ivy history
Penn 31, Columbia 7
In the week leading up to the game, Columbia head coach Bob Shoop guaranteed a victry against the heavily favored Penn Quakers. In front of a home record crowd of 13,785 at Wien Stadium, the Lions made Shoop look like a genius after their first drive, as quarterback Jeff Otis connected with Travis Chmelka for a 41-yard scoring strike for a 7-0 lead. Unfortunately for Columbia, that would be all the scoring it would do on Saturday, as the Penn defense shut down the Lions for the final 56 minutes of the game, while the offense racked up 31 points.
Penn quarterback Mike Mitchell returned from a high-ankle sprain to throw for three touchdowns. Meanwhile, running back Sam Matthews racked up 190 yards on the ground and two touichdowns, including one on the ground and one through the air. With the win, Penn, the defending Ivy League champions, extended its Ivy League winning streak to 10 games.
Princeton 34, Brown 14
In a battle of the two cellar dwellars in the Ivy League, Princeton used one play to jumpstart its season. Down 7-6 and pinned at its own one-yard line, Princeton quarterback Matt Verbit found receiver Clinton Wu on a short slant pattern. Wu broke several tackles, and within seconds, he was in both the Brown endzone and the record books. The 99-yard play from Verbit to Wu was the longest play from scrimmage in Ivy League history, breaking the previous mark of 98 yards, most recently accomplished by Dartmouth in 1986.
Brown's Nick Hartigan, the Ivy League's leading rusher continued his bruising season, rushing for 156 yards on 40 carries. However, the Bears could not overcome the Tigers, who were led by Branden Benson's 128 yards rushing and two scores.
Harvard 34, Lafayette 27
No Ryan Fitzpatrick, no problem for the Crimson machine. Missing their leader, quarterback Ryan Fitzpatrick, who was out with a broken hand, Harvard looked to freshman running back Clifton Dawson. Dawson obliged, running wild against the Leopards for 218 yards on 26 carries. On four of those runs, he ended up in the endzone.
Lafayette led throughout, extending its lead to as much as 13 points midway through the third quarter. However, led by Dawson and quarterback Garret Schires, who threw for 201 yards and a touchdown, the No. 22 Crimson remained undefeated for the 2003 season.
Dartmouth 24, Holy Cross 20
The Green used two fourth-quarter touchdowns to overcome a late 11-point deficit in winning its first game of the season. Down by double-digits in the final quarter, Chris Little scored on a nine-yard run and Casey Cramer caught a two-point conversion to cut the Holy Cross lead to three.
After holding the Holy Cross offense, Dartmouth used an 88-yard drive to seal the victory, with quarterback Charlie Rittgers scoring on a one-yard sneak. In the win, Rittgers completed 23 of his 40 pass attempts for 260 yards. Pat Risha and Little combined for 177 yards on the ground.
Colgate 52, Yale 40
The Raiders extended Division I-AA's longest winning streak, defeating Yale in an offensive fireworks show. The Bulldogs, losing for the first time this season, was led by quarterback Alvin Cowan's team-record 466 yards of toal offense. 421 of those yards and three touchdowns came through the air. Tight end Nate Lawrie and receiver Ralph Plumb were Cowan's targets of choice, as Plumb hauled in all three passing touchdowns while Lawrie caught 16 balls for 167 yards.
Colgate's Jamaal Branch, one of the nation's leading rushers, added to his gaudy season totals with 143 yards.
Archived article by Alex Ip
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The New Face of Pop
By wpengine October 23, 2003
The classification of experimental-pop seems somewhat contradictory, but it is the term that best explains the phenomenon of Broken Social Scene. On the band's sophomore release, You Forgot It in People, they reveal an acute pop sensibility mixed with an experimental edge, as beautifully rich melodies swirl in a storm of densely layered orchestration and electro-effects. Though songs rise and fall in fuzz-doused explosions of drums and lashing guitars or gradually stroll through bittersweet composition, we never lose sight of the central musical theme, which always seems to come bubbling up through the mayhem. This Saturday, October 25th, Broken Social Scene will play Cornell, 7 p.m. at the Noyes Community Center, along with an epic line-up arranged by the Fanclub Collective. Before Broken Social Scene, Southern California's Irving, K Records's Bobby Birdman, Badger King Jona Bechtolt's Y.A.C.H.T., and local group Picture Slide will play. Tickets, $5 for students and $6 for non-students, will be available at the door. daze had an opportunity to speak over the phone with Brendan Canning, one of the founding members of Broken Social Scene. The conversation follows. daze: How many people would you say currently constitute Broken Social Scene? Brendan: Well, do you want the answer when we get to Ithaca? I think, shit, you know what? I don't who's going to be coming to Ithaca with us, because we have the CMJ that weekend and I think it will probably be six of us going. Right now we're on tour with a group called Metric, so some of the Metric gang play with us. At this point, actually, they all play with us, so we're sort of at maximum, we're a nine piece on stage. And the smallest would be a five piece I guess. daze: Who would you say those five are? Brendan: It's Jason Collett, Andrew Whiteman, Justin Peroff, myself [Brendan Canning], and Kevin Drew. daze: How does the band change with the different compositions? Brendan: Well, you know, it's just different players in on different things. It changes, obviously, but it's still the core of the band and the affiliated members help decorate. daze: Where are you now, by the way? Brendan: We're touring just outside Memphis. trying to make it so we can go see a movie in Nashville. daze: What movie are you trying to catch? Brendan: Oh, I don't know. Either Lost in Translation or School of Rock, whichever one is playing closest. daze: Two pretty different films, right? Brendan: For sure, but both would fill the entertainment quotient. daze: Thinking about the My Bloody Valentine track on the Lost in Translation soundtrack, what would you guys cite as your musical influences? Brendan: Could be anything, we just came from Graceland, and we were listening to reggae. We were listening to My Morning Jacket yesterday, maybe we'll put on the Constantines's record later, or, maybe I'll get my Roy Orbison tape on. Sometimes Ten City and Company B, you know '80s electro, more like pop music in the '80s. It kind of goes all over the place. The guys from Low were at our show last night, so I know that's an influence on some of us, and obviously My Bloody Valentine, yes, that's one. Just about everything you could think of. daze: Do you guys each have your own favorite songs you like to play? Brendan: Yea, I guess it depends on the night. As far as favorites, I don't know — anything newish is always good. We've got this one Grateful Dead-ish kind of track. Well, it's like how when the Grateful Dead slow down the bpm [beats per minute] to a large degree, and had a trumpet going through some effects — that one has been pretty good lately. daze: I know your album is just being released around the world and you're touring plenty, but do you guys have plans to record more material soon or are you happy with what you've got? Brendan: No, we're ready to record in January, maybe even December once we finish this tour. It's … difficult to tell what we expect. We're all hoping for the best. daze: How do you think Toronto has influenced your music? Is there a particularly supportive artistic community there? Brendan: Yea, it's a pretty strong community. There's Do Make Say Think, and Charles from our group plays with them, and the label Three Rut Records that puts out Royal City and the Constantines. We're all at it for the same reasons ultimately; we all are striving to make a living and make honest music. There's enough musicians in Toronto and they've been doing it for long enough that suddenly the right combinations are happening within a few different groups. And, it's supportive for sure. daze: You guys combine pop sensibility with experimental edges really well. Brendan: Like any good pop record should be. None of us had any intention of trying to make an ordinary record because we do have a lot of eclectic influences. There's just this desire to find sounds that aren't heard as often, and hopefully, we've got some original sounds on the record that you haven't heard on any other record. Or if you have, hopefully, we're approaching it with our own type of thing going on
Critics have referred to Quentin Tarantino's Kill Bill as "a labor of love" ever since the script was written over five years ago. They are severely understating the facts: Kill Bill is Quentin Tarantino's 111 minute orgasm. The only question is: will it be as good for the audience as it was for the director? Tarantino's triumph is that, even while he fails to make a movie that approaches the effortless genius of Reservoir Dogs or Pulp Fiction, he communicates his passion for the material in action sequences that are genuinely thrilling. The seams on his much copied technique are showing a bit, but Kill Bill still provides the sort of giddy, shocked "I can't believe he just pulled that off" experience that I've always looked for in his films. Unexpectedly, the plot isn't the complicated puzzle of his earlier films. Its sole purpose is to give his heroine, The Bride (Uma Thurman), a cause equal to her abilities and the excuse to show them off. Code-named Black Mamba, The Bride was once a member of the Deadly Viper Assassination Squad (D.iV.A.S. — Tarantino is so much fun when he's camp), the other members of which murdered everyone at her wedding. The massacre was executed under the order of Bill, the squad's boss and The Bride's former lover. Actually, as the film unwinds, it becomes apparent that Bill has had a relationship with nearly every member of the squad except Michael Madsen's Bud, which raises the question as to how in the hell someone who looks like David Carradine ever ended up with so many hot chicks. My guess is that it's the voice. The Bride, of course, survives a beating and a bullet to the brain, and wakes up from a coma four years later to extract her revenge, which she does while shedding more blood in more inventive ways than anyone besides Tarantino ever would have thought possible. The movie whirs past in a series of brilliantly shot and choreographed vignettes, with Thurman taking on an underhanded Mom, a truly psycho (even for this movie) schoolgirl, and the icily poised head of the Japanese crime world (Lucy Liu). The movie is saved from being a mere exercise in technique with perfectly applied grace notes, underplayed scenes, and Tarantino's fractured timeline. Rather than make The Bride's opponents cardboard cutouts, Tarantino gave Liu's O-ren Ishii a ravishingly shot, traumatic childhood. Her background sequence is shot in traditional Anime style, and his choice has the effect of burning the events indelibly on the minds of the audience, the brightly colored animation and surreal, vicious beauty making the scene almost hyper-real. It remains with us throughout the movie, just as it remains with O-ren throughout her life. The showdown with O-ren, when it finally comes, has all the courtliness of a joust between knights, and Thurman and Liu find exactly the right hushed, sincere tone for the climax of the film, even following one of the most bravura fight scenes ever shot. The delayed gratification does more than build tension, it allows Tarantino to build character. Mid-way through her journey, Tarantino pauses and returns to the Bride's awakening, where her inconsolable sobs remind us that she was once human. With that one scene, Tarantino engages the audience firmly on The Bride's side, and the result is that we have, instead of an empty spectacle, a story. Archived article by Erica Stein