First, some disclosures: I may be mildly in love with Joanna Newsom. I know it’s not lust, because our one-sided relationship has been going on for about three years now. I firmly believe that she is the greatest living songwriter. Bob Dylan doesn’t count, because he’s been dead for about a decade now. Don’t believe the lies.

For those who don’t know, Joanna Newsom is a 28-year-old harpist, pianist, and singer-songwriter from California. She’s been around 2004, but her last album was a long four years ago. Over her last three albums, her voice has matured from a nasal whine reminiscent of a pubescent boy to a more mature, chesty, debatably computer-modulated one on her latest album, “Have One On Me.”

As her career progresses, so does her production. Her film album “Milk-Eyed Mender” was just her, a harp and a piano. Her second album “Ys,” is more of the same, but with strings, flute and some backup vocals. Her latest release includes some electric guitar, banjo and more exotic instruments. I’m of the opinion that the increased production takes away from the stark beauty of the woman and her harp, but, against the critics, I’d appear to be wrong.

While “Have One On Me” is a lot longer (two hours) than her last album, it is considerably more conservative and more commercial than “Ys.”

Newsom’s talent lies in her ability to compose 10-plus minute songs that build up, crescendo and return back to their sparse roots, while weaving together fully formed narratives. They are fabulous, beautiful and oftentimes heartbreaking.

Newsom’s unconventional music, however, doesn’t really lend itself to a standing venue like Atlanta’s Variety Playhouse, where she played on March 26. Half of the venue, however, does have seating, but I did not find myself among the lucky ones.

No strangers to concerts and festivals, to me, standing up during a two hour set requires that the performer give the crowd some energy. Newsom’s music, however beautiful, is not the kind of set that makes me want to stand up and dance.

Her two hour set was impeccably performed; most of her new songs sounded exactly like they do on the album. She started out with one of my favorite songs of all time, “Bridges and Balloons,” and continued with some of her best songs, old and new, like “Easy,” “The Book of Right-On” and “Inflammatory Writ.” However, a good live band, to me, needs to either A) change their best-loved songs enough that they become a one-time experience so the audience will love it even more and in a different way or B) rock the house and show off the band’s technical skills.

Newsom’s show really didn’t live up to these requirements. The songs were performed very well, as is expected from such a tightly-composed musician. But they lacked that X factor that makes a live show really blow you away. The band didn’t start straying from the written music found on the album until the show’s last couple songs.

Her last song, “Peach, Plum, Pear” was a completely different orchestration than the one found on the album, and was easily the best song of the night. But it was the last song she played. She followed up with an encore of my favorite song from “Have One On Me,” “Baby Birch,” but, again, it was just as it appears on the album.

Don’t get me wrong, I wasn’t disappointed by this show at all. My expectations of seeing one of my favorite artists live were met. I saw her, she sang songs, played the harp and piano and was cute. My opinion of her as a musician, though, didn’t grow at all. She proved to me that she is a capable musician and is really playing the songs on her CD.

But that’s about it. I still highly recommend and love her CDs and music, but, if given the choice between seeing Joanna Newsom and a band I’ve seen many times that knows how to rock a show, like Wilco, I’d choose Wilco, just for the experience.

By Miles Johnson

On Oct. 25, patrons of the Sentient Bean got more than they bargained for.

Considering the coffee shop venue and the name of the North Carolina based band Holy Ghost Tent Revival, I was expecting some low-key, vaguely Christian music.

Not so.

Their words were smart, their voices were passionate and more than anything they were loud. The first song ended to a hearty applause from an audience already hungry for more.

The energy of the group was infectious. Using a banjo, acoustic guitar, electric bass, keyboard, trombone and drums, the six men comprising Holy Ghost Tent Revival had whipped up a fervor that seemed hardly containable. The band bounced around, gestured heroically and lifted their heads to the ceiling in song, all as an expression of their boundless enthusiasm.

The music itself was difficult to pin down. Theirs was a full sound of tinkering keys, meandering horns and an insistent banjo. The constant shifts in tempo and volume made Holy Ghost Tent Revival impossible to pigeonhole into one genre.

Powerful climaxes would descend into sensitive five-part harmonies. One never knew when a song would end or where it was headed. Of course, that was all part of the fun.

Amidst the raucous jamboree, Holy Ghost Tent Revival proved to be versatile musicians. Members switched instruments, different vocalists were given center stage, and the keyboard player even pulled out an accordion at one point. The metamorphosis only added to the exciting unpredictability of the band’s performance.

The power of Holy Ghost Tent Revival’s performance was matched only by the strength of their lyrics. Songs about lovers lost were cleverly and sincerely written. “My heart is yours honey,” they sang, “But only for a little while.”

With their head shaking and wailing delivery, the group could have sung any words and it would have met a positive response from the audience. They were eating it up.

Holy Ghost Tent Revival rocked in the truest sense of the word, but also in a way that only they could. The Sentient Bean and the listeners present may never be the same.

Contact Miles Johnson

Photo courtesy of Holy Ghost Tent Revival

By Erin Rae Fowler

Based on the award winning picture book written and illustrated by Maurice Sendak, “Where The Wild Things Are” hit the theatres Oct. 16.

Director Spike Jonze took the idea presented in the book of a boy named Max (played by Max Records) living a childhood of misunderstanding and neglect. Max then escapes from the real world in order to find comfort and belonging somewhere else.

In the book, the troubled Max is sent to his room without dinner for bad behavior. Throughout the night, a forest of wild things grows in his imagination.

However, in the movie, Max runs away from a conflict due to his disobedience. He runs a few blocks away from his home and mother (Catherine Keener). As he ventures through the woods, his tale begins with his imaginative journey across sea and to the island of “Where the Wild Things Are.”

The cast of creatures that inhabit the island include the voices of James Gandolini, Paul Dano, Catherine O’Hara, Forest Whitaker, Michael Berry Jr., Chris Cooper and Lauren Ambrose.

Intrigued by the boy, these creatures pronounce him king of their island. Max pronounces, “Let the wild rumpus start!”

Over time, Max builds a strong relationship with the striped creature Carol (Gandolfini) revealing that the two of them have a lot in common. Carol’s behavior later stirs up conflict with the others on the island, which aren’t mentioned in the book.

Through continued conflict and slight resolution, Max begins to reflect on his own feelings and self-struggle.

Based on a children’s book with few words and detailed illustrations, Jonze is able to expand and explore creativity with writer Dave Eggers.

The cinematography by Lance Acord is lighthearted; though dark at times it is alluring and natural.

Though this Warner Brother’s film is based off of a children’s book, it is debatable as to whether the rating matches its tone.

The film is rated PG due to some “mild thematic elements, action and language.”

The consistency of struggles between the characters lead to inappropriate actions, some of which may not be fitted and suitable for young one’s eyes and ears.

Though gloomy at times, “Where The Wild Things Are” is an exciting tale filled with, adventure and imagination. With a playful and alternative soundtrack by Karen O. and the Kids, the movie will be sure to bring out not only the kid but also the wild thing in all of us.

Contact Erin Rae Fowler

By Adeshola Adigun

Sixteen years after the group’s founding in Orlando, Fla., the Backstreet Boys released their seventh U.S. album “This Is Us.”

Now a quartet, after Kevin Richardson’s departure from the group to start a family in 2006, Nick Carter, Howie Dorough, Brian Litrell and A.J. McClean collectively put together a 13-track pop and R&B album with the energy the Backstreet Boys originally brought to the world.

The entire album blends together nicely with several song concepts are easily relatable regardless of gender or race, making the album relevant to all audiences.

“Why another album?” one might ask.

“We still feel like we’re really relevant to pop music,” said Dorough in a recent interview with Transporter about “This Is Us.”

“Bye Bye Love,” a song about a girl that leaves for another guy and comes back when the other guy starts doing her wrong, is ironically one of the album’s bubbliest tracks. The track has an uptempo Eurodance feel, with sounds similar to that of Eiffel 65’s “Blue (Da Ba Dee).”

I’m not sure where you went to high school, but at mine, PDA, or public displays of affection, weren’t permitted. Of course, we all did it anyway, and Backstreet assures their audience, “Public display of affection makes them wish they had it this way,” in their track titled “P.D.A.”

“She’s A Dream,” produced by T-Pain, is about that dream girl who doesn’t know of your past or reputation and wants to be with you for who you are. The line that stands out most is, “Shorty don’t know who I am, but she knows me!”

One doesn’t have to be of celebrity status to relate to the song; high school and college students often find themselves in a similar situation, meeting someone that wants to get to know them regardless of who they’ve dated in the past.

We all have choices we’ve made that we would probably change if given the chance. “If I Knew Then” takes the cliché of wanting to go back in time and do things different and makes it original and catchy.

“There ain’t no handbook. You’re on your own,” the group sings. “Got no instructions when it comes to love.”

Sure, we all know that, but hearing them sing it adds a new flavor to that knowledge.

“Bigger” is one of the album’s most touching songs. Often in relationships, things become one-sided, leaving the other to put forth more effort to keep things together. This song is well written and the group does a great job sounding sincere in admitting to flaws in lines like, “all the messed up things I do, I swear I’ll make them up to you!”

“’Bigger’ is a love song,” Carter said. “What the song is talking about is that that person’s bigger than you because they can out their pride aside, they can out their feelings aside and do what’s best for the relationship.”
The track “This Is Us” grabs hold of the listener’s ears by taking the pain of past relationships and relaxing the soul.

“Forget what he has done to you, I’m here now!” they sing. I’ve met girls I wanted to pursue but had a hard time because they were “trying to get over” a recent ex, or “trying to recover” from an unhealthy relationship.

The Backstreet Boys not only use this common scenario, but also serenade their female audience during the chorus using repetition to soothe the listener, reminiscent of Drake’s “So Far Gone” track “Uptown.”

There aren’t any songs like previous Backstreet Boys hit “Everybody (Backstreet’s Back),” which was sort of a let down, because I feel that it’s one of their best songs.

“This Is Us” is a fun listen, whether you’re cruising around with your friends, spending time with your significant other or alone in your room writing an album review of the new Backstreet Boys album.

Contact Adeshola Adigun

By MYRRIAH GOSSETT

Two coffee shops downtown offer an escape from the normal Starbucks experience that anyone can get. The two shops, Gallery Espresso (simply called Gallery by most customers) on Bull and Perry Streets and The Sentient Bean (also abbreviated as the Bean by customers) on 13 Park St. charge $1.25 for a regular cup of coffee, but they differ on the kinds of coffee they offer.

The Bean offers Fair Trade and more organic options for their beverages. They also have more vegan and vegetarian options as well.

Gallery offers a larger tea selection along with more traditional coffee house drinks such as the Breve, Macchiato and Turkish coffees.

The roast at each shop differs, as well as their House Blends. You can always request your preference at Gallery, while at the Bean you get to choose your roast.

Food

Gallery has more to offer in the dessert area of the menu, but they do offer a variety of salads and sandwiches as well. The Bean, just like their beverages, has a wide variety of vegan and vegetarian options and boasts a large organic menu.

The Bean also has a full kitchen with more items prepared to order rather then the ready-made options found at Gallery Espresso.

Gallery, however, does offer wine which they can serve with a cheese board made for two.

Atmosphere

The two shops offer somewhat similar atmosphere and décor. Gallery’s walls, adorned with local artwork, tends to change more often. Overstuffed couches and worn-in tables and chairs both offer cozy places to hang out or do work.

The Bean offers more community activities that include Open Mic Nights, stand up comedy and film screenings.

The locations for both shops are equally picturesque. Both have scenic views of Savannah, with Gallery Espresso located on Chippewa Square and the Bean at the end of Forsyth Park

The two coffee houses both have free Wi-Fi available.

Wrap up

While the two coffee houses have their differences both offer great service and great coffee. The choice is really made on the other options available at each shop and one’s personal preference. It should be noted that the Bean is cash only but they do have an ATM inside. Gallery has a $5 minimum on charge cards, so cash is preferred when only purchasing a cup of coffee.

For more information about each of these coffee houses you can check out their websites at:

Gallery Espresso

The Sentient Bean

Contact Myrriah Gossett

J.J. Abrams may be in all the headlines right now for his reboot of the “Star Trek” movies, but back in the medium he’s most famous for, his creative team has been cranking out more down-to-earth fiction over the last seven months. Seven years after “The X Files” TV series ended, Abrams has graced us with that show’s spiritual successor. On its surface, FOX’s “Fringe” deals in crime-fighting and the paranormal. But the show, just ending its first season, has evolved into more of a serial mythology about the dark side of science.

Continuing his penchant for one-named series, “Fringe” concerns the work of a branch of the FBI — the aptly named “fringe division” — in solving a rash of mysterious crimes in and around New England. Among the oddities: biological mutations, combustible people, and crazy, half-human beasts. In the wake of such catastrophes, Agent Olivia Dunham, the show’s heroine, is forced to team up with bad boy Peter Bishop and his mad-scientist father Walter to solve the mystery each week. Read More »

With a fan base that dates back to our parents’ generation, the most recent installment in the “Star Trek” saga actually takes us back a few steps in the story line.

Going back to the origins of Captain James T. Kirk (Chris Pine), the movie begins with an action packed emotional rollercoaster, which within the first 10 minutes has even the most Vulcan (stoic for the non-Trekkies out there) of fans shedding a few tears.

The birth of the famous Captain Kirk certainly was the entrance a character such as Kirk would need.

In this portion of the Star Trek saga, after learning the tragic history of James Kirk, we are reintroduced to Kirk as a young man who tries to live life on the edge knowing he has the capabilities to do more.

After an encounter with a few Federation students, he is convinced by Captain Christopher Pike (Bruce Greenwood) to join the Starfleet Academy.

At the Academy we meet other key players that will make up the USS Enterprise crew, including Spock, played by Zachary Quinto who can be recognized from the NBC show “Heroes.”

There are many young familiar faces with quite the break out cast that includes John Cho, from the “Harold and Kumar” movies, playing Kikaru Sulu, along with Zoe Saldana, from “Vantage Point” and “After Sex” as Uhura.

The plot line is easy to follow for the non “Star Trek” fans out there, but it also has moments where loyal fans get to laugh about the inside jokes.

The movie still has plenty for those who might be having their first “Star Trek” experience.

As someone who grew up watching the television series from Captain Kirk all the way to Captain Janeway, I loved every minute of it. There was action, comedy and a little bit of romance, just like the old series.

Visually, the film was beautiful, with special effects the creators wish they had at the beginning of the “Star Trek” saga.  J.J. Abrams has directed a truly stunning movie, which any Trekkie will be happy to see.

From those who have been loyal to the series since William Shatner played Captain Kirk, to even the casual Trekkie the movie pays homage to the one of the greatest science fiction series ever created.

The new movie brings hope that maybe a new installment to the series may come as the last scene of the film plays out with the famous motto from the original television series: “Space… the final frontier, these are the voyages of the Starship Enterprise. Its ongoing mission: to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no one has gone before.”

Ribald was the word my mother used at dinner the night after I took her and my father to see the Art in the Raw exhibition held April 24.

According to dictionary.com, ribald is defined as, “vulgar or indecent in speech, language, etc: coarsely mocking, abusive or irreverent; scurrilous.”

After walking up the stairs to the gallery, housed in a small hidden building partitioned off from B. Matthew’s, a Bay Street pub, the first things to meet my eyes were phallic suggestive balloons dangling awkwardly from the ceiling. They practically tickled the hairs on the heads of the gawkers in attendance.

Then I ran into a clothesline of sagging, oversized women’s underwear with provocative innuendos sown into the latex. Reflecting on that first impression, I can see how my Jewish mother could arrive at this conclusion.

When viewed next to most of the traditional painting and photography on display, those details of atmospheric decor were about as tame as a jack-o-lantern in the walkway leading up to Marilyn Manson’s house.

My eyes fell on a painting of the Pope stripped down, with a large ghostlike visage of Jesus hanging over him, in a myriad of disorderly color.

The next things to stand out in the overwhelming space are were a series marked by its sheer simplicity. It consisted of two adjacent photographs hanging in the hallway that connects the two rooms of the gallery. The first is a male nude, the second, a female. In both, the heads are cropped out. The female is flabby and doesn’t attempt to hide her private area which she doesn’t seem interested in keeping well groomed.

She looks at the viewed head on, as she hunches in a squatting position. She is titled “Juliet.” The feebly endowed male is in no great shape himself. We see his gelatinous, unattractively hairy form in profile. He stands more upright then his female counterpart. He’s titled “Romeo.”

Most of the rest of the exhibition was a blur of fornicating, discolored demons with twisted faces that resemble old-world carnival masks. They proudly flaunted iridescent orifices and sometimes enormous, sometimes miniscule, genitalia.

The first artist I spoke to is Lindsey Johnson, a recent SCAD graduate in illustration. She calls her painting “The Death of Eros.” It’s a surreal mixed-media painting done in oils and spray paint. Two hands inject a pomegranate with a frightening looking syringe. Next to this is an accompanying image of the same pomegranate giving birth to many much smaller pomegranates, each attached to what looks like dancing pairs of human legs.

She said the theme of her piece is artificial insemination, which she calls a “very unnatural process. It’s disgusting and I wanted to show it in a disgusting way.”

Johnson said the original translation of the Hebrew text of the Book of Genesis, the forbidden fruit was actually a pomegranate. It’s also symbol of fertility across different cultures, which is why she opted to use it. The spray paint manifests itself in the silver background. It is there to look metallic and emphasize the process’s unnatural nature.

The second artist I interviewed was Andrew Arrasmith who graduated from SCAD with a painting degree. He describes the event as a “humble mad house.” He looks over my shoulder as I scribble notes about his piece.

“Woah, is that ancient Aramaic?” he asked in all seriousness.

“No, that’s just my handwriting.”

“Oh.”

His painting is called “A Moment Longer.” It’s a large, elaborately detailed oil painting of a family of three vibrant neon-green skeletons. Every muscle and striation is visible. A father, mother and child are locked in a tight embrace and float like ghosts over a giant inferno under the watchful eye of the moon.

Arrasmith says he originally painted the piece for his sister, who was pregnant at the time and asked for a green field under the moon. However, as he was working on the piece, his sister was in a terrible car accident and nearly lost the child. When Arrasmith heard, he began painting over everything he had done so far, changing it into what its current form. The concept revolved around the struggle to “cling to life, and push through,” he said.

The baby ended up fine, but after seeing what the piece had metamorphosed into, his sister didn’t want it anymore.

“Look, the moon is still there,” he said indignantly.

Denielle Nigretto and Antonio Ramon, the two SCAD alumni who put the event together, had a different take than my traumatized mother and don’t view the exhibition as ribald. Nigretto, originally from Albuquerque, and Ramon, from New York, had a bit of a culture shock upon arriving in the South, finding it too conservative for their liking. They felt the same way about SCAD which, Nigretto says, won’t publish nudes and is guilty of a fair share of censorship when it comes to controversial sexual subjects. She wishes SCAD would “try and think outside the box more.”

“Sex is an intimate thing, yet it is something that people try to avoid. It’s like going to the bathroom. People want you to think that they don’t go to the bathroom. Everybody goes to the bathroom. So why not make a show of it?” Nigretto said.

In addition to making a statement, Nigretto and Ramon hoped that Art in the Raw would serve as a great way to get local artists in touch with one another and to facilitate future collaborations like this.

“We wanted to get people from all walks of life to come outside of themselves,” Nigretto added. They hope this multimedia project will give the 25 artists who participated public exposure. This includes musicians as well, as there was live music at the event. The performers on scene were By Monthly Minute who Ramon described as a mix between Pearl Jam and Phish and Zachariah Jones, who plays acoustic.

Ramon said they had 100 plus people turn out for the event.

“It’s phenomenal. This far surpasses our expectations,” he said.

Nigretto is the artist responsible for the “Romeo” and “Juliet.” She’s also responsible for other photographed nudes, some cartoons resembling images from the Kama Sutra– taking the traditional Hindu depictions and presenting them in a contemporary Western setting. In addition, she also has oil paintings where she juxtaposed her face onto the bodies of porn stars in the midst of their performance.

I don’t know if I’d call the event ribald. I’d call it interesting—especially when the parents are in town.

I drive a 1992 Oldsmobile Cutlass Ciera. This car is older than some freshmen. It is gray, usually dirty, has 175,000 miles, is missing a hubcap and has a God-awful rattle that can be heard for blocks as I approach. The fastest I have ever driven was 95 miles per hour and my car began to shake a la “Back to the Future,” so I slowed down.

I’ve never really understood the obsession about cars. I prefer mine to run relatively well and start with a reliable frequency. I sort of knew what I was getting into as I settled into my seat for “Fast & Furious,” the fourth (Fourth? Really?) film in the franchise, sharing a name with the first film, minus some articles. This film reunites the four principal characters from the first film, sort of.

The tagline, “New model. Original parts,” gives an inkling of what the movie is, but no words can describe the actual result. It begins with a 20-minute prologue in the Dominican Republic, seen over and over in the trailers because it’s really the only scene with the foursome in the movie.

Letty (Michelle Rodriguez) departs fairly soon and the rest of the film focuses on the odd “bromance” between criminal mastermind-slash-good-guy-slash-best-racer-ever-slash-pathological-brooder Dom (Vin Diesel) and the equally wooden and laughably conflicted F.B.I. agent Brian (Paul Walker).

“Fast & Furious” takes place in a weird alternate universe where everyone’s actions are thudded with bass beats; where Los Angeles looks like a favela in some scenes and ultra sleek metropolis in others; where the Feds have technology that allows them to track individual cars via satellites and sexy touch screens and the Border Patrol is one of the most technologically advanced law enforcement agencies, but neither can catch groups of hundreds of people racing through the streets nor an armada of cars racing across the desert with millions of dollars worth of heroin.

The whole film is a predictable slideshow of vrooming and then brooding and then girls making out and then a chase scene in which Diesel ingeniously cheats life, death and physics.

If a woman is seen in the film, she is either making out with another woman or worshipping Diesel’s body and brooding sexuality.

Unfortunately, Diesel can’t brood very well so his frowns and gruff lines give the appearance of confusion, rather than a tortured soul motivated by revenge. Surprise, surprise.

The majority of the movie is visual pornography, with hot cars speeding and fast jerky shots interspersed with scantily clad women cheering the men on and forming harems around racers.

Diesel and Walker remain unaffected by the three women left with speaking roles (and erect nipples) who worship them. Their only function is to help the men out or make out with them.

Instead, the two male leads spend a lot of time coyly talking to each other, avoiding the elephants in the room and not making eye contact. It’s all very bizarre and vaguely homo-erotic.

Ridiculous plot, unbelievable characters, wooden acting and just general stupidity aside, this movie has even more to offer with its derisible product placement. Whenever characters drink on camera they throw back their heads and hold a can of Nos energy drink or Corona beer (label out!) and take cool, refreshing swigs over and over.

These characters are criminals, drug runners and kingpins smashing into cars on the streets of L.A. and almost running down pedestrians—all because they’re hopped up on Nos energy drink.

Nos banners are splashed over the sides of buildings and are plastered on the tanks of nitro. Walker slowly pours Castrol GTX into his car (for peak performance) before running heroin across the border.

Truly, Nos gives anyone the stamina to outrun the cops and Border Patrol. After a long, hard day of felonies it’s great to lay back with a Corona and let some chick grind on your leg before you walk away to flirt with your bros.

Speaking of ridiculous plot points, the racers follow a HAL-9000-esque female GPS, which outlines the race trajectory and looks oddly like a video game. Interesting.

When I try to consider whether this film is worth it, I can only say that if someone put a gun to my head and told me to buy another ticket and see this film again, I would close my eyes and welcome the sweet, sweet release of death.

Universal is developing a fifth “The Fast and the Furious” movie scheduled for release in 2012. Coinciding with the Mayan calendar running out, the Apocalypse is guaranteed.

KATELAN CUNNINGHAM

A rainbow pyramid of Peeps, wine and the aroma of coffee made for a unique opening reception for the Pompous Twitter exhibition by third-year painting major Jose Ray April 3 at The Sentient Bean.

Despite the recent popularity of the social networking site Twitter, Ray says the name of the exhibition does not have any correlation.

“I like to play with language,” he said.

Ray’s images are staggered around the walls of The Sentient Bean from eye level to inches away from the ceiling creating an installation-like feel. Ray started planning the exhibition at The Bean six months ago and took into account the setup of the building’s projector screen, speakers and door frames. The arrangement of the series leads you around the room.

Ray’s images are primarily done in marker and watercolor. Ray’s work explodes from the canvases from white backgrounds. He creates distorted faces and body parts in swirls and dashes of color. He hung the canvases with careful attention to the way the pieces fit together and the impact of the negative space, making the gallery wall as integral to the exhibit as the art itself.

The smallest canvases are smaller than one square foot and are more abstract with simple splashes of watercolor, and in some instances continuations from the design of its neighboring canvas.

Whether you’re stopping by The Bean for a vanilla latte or biking to a class at Arnold Hall, the Pompous Twitter exhibition is certainly worth a look.

The exhibition goes through April 30.

Editor’s Note:

April 21, 2009
The article was revised in order to remove information found to be incorrect.