The Carrier

Some of the best movies go unseen and unheard of in mainstream culture.  

We’ve all watched the Oscars and been completely lost as the presenter reads the list of nominees that we have never even seen previews for, but those films always seem to win some of the most esteemed awards.

So when Glen Hansard and Markéta Irglová took the stage to perform the Oscar nominated song “Falling Slowly” from the movie “Once” at the 2008 Oscars, most viewers had no idea who this talented pair was.  

But they soon stole the hearts of the nation, including those of the academy, as they walked away with the Oscar for the best music (song) category, beating out songs from films such as “August Rush” and the extremely popular “Enchanted.”   

“Once” may have been released last summer, but it is stronger now than it was at the time of its release thanks to DVD and CD sales. Credit should go to the songwriting talent of the film’s leading characters, Hansard and Irglová, who wrote all but one song on the soundtrack. 

The soundtrack has been on the Billboard Top Independent Album chart for 44 weeks and was still holding strong at number two on the list for the week of April 12.

Clocking in at only about 85 minutes long with the majority of it as music, “Once” will only leave you wanting more of Hansard’s emotional vocals and guitar and Irglová’s soothing piano.  The songs instantly stay with you, haunting you until the next time you can watch it or listen to the soundtrack.

Produced by John Carney, the film was made in a matter of weeks and had a budget of only about $150,000, but these small numbers do not reveal themselves in the final production, which grossed about $16 million internationally while in limited release.

Winner of the Audience Award at the Dublin International and Sundance film festivals, “Once” is unlike any other “musical” released in recent years.  The story does not follow some unrealistic plot that randomly breaks out into song.  Instead, it tracks a week in the lives of two musicians, only referred to as “guy” and “girl” in the credits, on the streets of Dublin, dreaming of simply playing the music they love.  

Filming for the movie was extremely simple.  The picture quality comes across almost as a simple homemade video, but it only adds to the intimacy of the film.

  The crew utilized long lenses, which allowed the music scenes on the streets to be filmed from a far distance.  That way, neither the actors nor the passersbyers would even realize that a movie was being filmed, allowing for improvised dialogue and a high level of comfort for the inexperienced musicians-turned-actors. 

Carney always had Hansard in mind to write the music, but did not originally have him in mind to play the lead role. 

“Though I was initially thinking of using a good actor who could half sing, I quickly realized I should do it the other way around and get a good singer who could half act,” he said in a Chicago interview. 

Hansard then told Carney of a friend of his that would be perfect for the role of “girl,” and Irglová was soon cast for the role once Carney saw the chemistry between the two on screen and within the music.

Besides the Oscar-winning “Falling Slowly,” another standout song is the powerful “When Your Mind’s Made Up,” which appears at the climax of the film.

During her acceptance speech at the Oscars, Irglová spoke of the overall message of the film through the song “Falling Slowly.”

“This song was written from a perspective of hope, and hope at the end of the day connects us all, no matter how different we are,” she said.

Hope certainly does connect the characters as they accomplish their dreams of recording, and even though the ending may leave viewers a bit unsatisfied, “Once” is about the soundtrack of a journey and not the ending of a road. 

Every moment seniors Shannon Douglas and Stephanie Kipfer have experienced has been inspiration for this very moment.  After years of hard work and creativity, these two seniors are combining efforts for their first official gallery showings with the exhibition of their senior art theses, displayed in the Moon Gallery April 11-18. Douglas and Kipfer each contributed seven original pieces and transformed the gallery walls into an impressive display of art for the opening on Friday.“I wasn’t sure how everything would turn out, but once it went in the gallery with the lighting, it really came together,” Kipfer said.  The themes of the exhibit focus on the life and inspiration of the artists, illustrated in each work of art.For Douglas, the theme “Remember This” is a reflection on every experience she has encountered.  “There are moments in which one is aware of its significance as it transpires,” Douglas said. “I catalogued a particular image to remember that moment and showed the significance of it with the medium.”  Through the use of mixed mediums, Douglas was able to add entirely new dimensions and emotions to the paintings.  “It’s about playing with the boundaries of drawing and painting, creating a hybrid,” Douglas said.  “Conceived in Autumn” exemplifies this new approach to art.“[It] combines both drawing and painting to enable both internal and external realities to co-exist in the picture plane,” Douglas said in her artist’s statement. “They Were Here First” also plays with the complexity of reality, depicting a couple embracing yet invisible in each other’s arms.At the student symposium, Douglas presented “Standing in the Ashes and the End of the World” to show how the use of specific colors is essential to inducing the same feelings and emotions Douglas experienced at the time.  By showing the image without the dominant green overtones, the sensations depicted by the painting are drastically changed, leaving behind a heinous color that evokes anxiety and even nausea.  The addition of the green shades is essential to the purpose and message.The approach and techniques Douglas utilized lend themselves to a radiance that is apparent to all viewers.  “The way she presents her work allows for art to be more than just art and beauty,” said senior Lyndsey Johnson.  “The art has a purpose.” The exhibit would easily survive on its own if each piece were displayed individually, but what truly sets this gallery apart is the addition of Kipfer’s art and the interaction between the two styles.“When I make a painting, I have an image in my mind, like a tiny dream,” Kipfer said.  “It is a cross section of the artists’ mind – a manifestation.”This theme, “Tiny Dreams,” occurs in each painting, but stems from one in particular.  “Homage to ‘Grey,’” a tribute to a song by Ani Difranco, combines the technique of paneling, dividing the entire work into smaller sections, and the addition of text to create a tangible image of the song.A lyric from the song, “I smoke and I drink and every time I blink, I have a tiny dream,” is written on the painting and stands as the basis for Kipfer’s inspiration.“Procrastinating” is another unforgettable work from Kipfer that creates a depth unmatched by the other paintings, achieved through the use of spray paint.  “I wanted to create an image of what procrastination looks like in my head,” Kipfer said.  Within the painting, time is literally being eaten away as the distance looms on in the background.  Ironically, Kipfer said it “took forever to finish it.”With Kipfer’s eagerness to discuss each painting and its story, it is apparent that a true passion exists.“I wouldn’t be in school for anything else,” Kipfer said.The works of Douglas and Kipfer combine all elements of distinctive art, but the element of human experience is what truly brings them to life.

After months of waiting and restless anticipation, tonight will be the first night back to work at “The Office.” The cult classic returns tonight at 9 p.m. on NBC, for its first episode after the writers’ strike.

Due to the long hiatus, it’s almost as if a new season is beginning.  For those of you who forgot the events of the first half of season four, here’s a quick recap.

The first episode of the season saw everyone’s favorite drunk, Meredith (Kate Palmer), bounce off the hood of the car of self-proclaimed “world’s best boss,” Michael Scott (Steve Carell). Shortly after that unfortunate auto encounter, Angela’s (Angela Kinsey) cat, Sprinkles, was the victim of a mercy killing at the hands of Dwight K. Schrute (Rainn Wilson).  The one positive point in the episode came when Jim, (John Krasinki) and Pam (Jenna Fischer) finally confirmed their office relationship.  I nearly cried. “They’re like PB & J. Pam Beesley and Jim.” said Kevin (Brian Baumgartner).

Michael subsequently blamed the unfortunate events on a “curse,” but was relieved upon hearing that Meridith’s stay in the hospital led to the discovery of her acquisition of rabies. Naturally, Michael instituted a “Fun Run” to raise money and awareness of this terrible disease. “Myth: rabies kills three people every year. Fact: rabies kills four people every year.” said Dwight.

After the dust had settled on the “Fun Run,” Ryan Howard (B.J. Novak), former temp and newly appointed corporate supervisor, instituted a new Web site: Dunder Mifflin Infinity. The new, young look of the company forced Michael to learn PowerPoint and Creed (Creed Bratton) to dyed his hair from gray to black

Michael found a second job as a weight-loss supplement telemarketer to support girlfriend Jan Levinson’s (Melora Hardin) expensive tastes, then realized he could make a living on one job if he cut out his expenditures on magic kits.

Dwight and Angela eventually split, and Andy Bernard (Ed Helms) steped in to fill the Schrute-sized void in Angela’s life.  Dwight became Andy’s confidant in “Operation Fallen Angel,” but continued his slide into an Angela-less depression while outselling the company’s new Web site in one day.

Michael attempted to recreate the danger of “Survivorman,” Dunder Mifflin Utica a fake mustache in the branch wars against Utica and eventually must testify in Jan’s lawsuit against the company.  The last episode before the strike saw Michael siding with Dunder Mifflin over Jan after she stole his personal diary for evidence. “You expect to get screwed by your company, but you never expect to get screwed by your girlfriend,” said Michael.

So what happened to Jan and Michael after Michael ruined any chance Jan had of winning her suit? We could find out tonight, when Michael hosts a dinner party for his employees.  According to the summary on NBC.com, Angela and Andy are invited as a couple, pushing Dwight’s jealousy to an all-time high.

Hilarity is bound to ensue in the six remaining episodes of the season. It is disappointing that so few episodes will be produced, given the fact that these guys had several months off for the strike.  How could they possibly need a break?  Oh well, we’ll just have to enjoy what little time we have left in season four.

If you need to catch up on the first half of season four,  check out every episode online at NBC.com. Now you can watch these masterpieces guilt-free, knowing the writers are receiving their just compensation.

Clocking in at just short of 35 minutes, “Accelerate,” R.E.M.’s 14th studio album and their first in nearly four years, also happens to be their shortest album in their 25- year career. 

Originally based out of Athens, Ga., the band helped to popularize college rock in the ‘80s and pioneered the emerging sound of alternative rock in the early ‘90s. After their original drummer left in 1997, R.E.M released a string of poorly received albums,and many began to wonder if the band was still relevant. 

With lead singer Michael Stipe suggesting the band would split up if they were to release another bad album, the band spent only three weeks in the studio preparing “Accelerate.” The quick recording schedule reflects the album’s fast and fresh feel, something they’ve lacked on their albums for quite some time. 

Compared to their previous albums, “Accelerate” contains a loud production quality, mirroring their guitar-based 1994 album, “Monster” (“What’s the Frequency, Kenneth?”); except for the haunting track, “Houston,” which echoes some of the experimentation on their landmark album, “Automatic for the People.” 

Despite its short length, “Accelerate” is not a throwback to their work in the ‘80s, but it is something fresh.

The first three songs provide an energetic push to get you into the album, starting out at breakneck speed and reaching the high point with the third track, the catchy single “Supernatural Superserious,” serving as a nice radio-friendly update to R.E.M.’s peachy sound. 

The fourth track, “Hollow Man,” starts off slowly with just a piano and Stipe’s vocals, quickly building into another flowing and rocking R.E.M. track, the song contains some possibly introspective lyrics into the personal dilemma of R.E.M. and their fall out with their critics and fans: “I’m overwhelmed, I’m on repeat, I’m emptied out, I’m incomplete.” The next track, “Houston,” is full of a weird and almost hypnotic rhythm, with even more ambiguous lyrics from either the perspective of a Katrina survivor, or, as the last few lines suggest, a perspective on R.E.M.’s once faltering career: “And some things they fall to the wayside, their memories yet to be stilled, belief has not failed me, and so I am put to the test.”

R.E.M. may have passed the test, but “Accelerate” still has the feeling of a band in transition. Within every track, you can sense that the band is having a good time for a change, trying to feel out what it was that got them together in the first place. The lyrics are layered with political undertones, but most of it can be left up to the listener. 

While a song like “Until the Day is Done” is obviously about the current state of the union, the song “Mr. Richards” could either be a politically motivated song on troubled times, or a humorous evaluation of Michael Richards (Kramer from Seinfeld) and the racial comments he made during a standup act two years ago. But it is with the title track that the band clearly displays their motivation behind the album: “No time to question the choices I make, I’ve got to fall in another direction.”

“Accelerate” stylistically is R.E.M. in the fast lane, both with the album’s length and the composition of the songs. However, their destination is unknown even to them. With the quality behind “Accelerate,” it could go either way for R.E.M. But just like the opening track, “Living Well is the Best Revenge,” the band seems to be happy living well with their newfound sound.

Joe Satriani has been on the music scene for more than 20 years, storming the spotlight with his groundbreaking album, “Surfing With the Alien,” which changed the instrumental guitar album forever. Known not only for his wizardry on the guitar, but for teaching other great guitarists, such as Steve Vai, Kirk Hammett and Alex Skolnick, Satriani, or “Satch” as he is referred to by his fans, is still putting out fantastic material. On April 1, his 13th solo album, “Professor Satchifunkilus and the Musterion of Rock,” hit the shelves.

Unlike some musicians who have been around for a while and peaked years ago, Satriani continues to mature and to produce music of excellent quality. “Professor Satchifunkilus” is an excellent testimony to that fact, exploring a number of epic themes, and is one of Satriani’s most interesting journeys yet. He said in an interview with the Web site Myplay that he whittled the list for the album down from 30 or 40 songs, as per usual, saying that he wanted the songs on the album to be ones that he could continue to explore night after night, and that he wanted to find something new inside of him.

The album begins with the track “Musterion,” which refers to a slight mistranslation in the Bible from Greek to English, in which the word “musterion” was translated to mean mystery when the meaning is closer to secret. Satriani said he found two chords and a melody that came to him one day, and he couldn’t figure out exactly how they were connected, thus resulting in the title. The track itself sounds very secretive, giving off the aura of something locked away somewhere.

The album then goes to the track “Overdriver,” a more straightforward hard rock song about a car with a mind of its own, and then to the album’s big single, “I Just Wanna Rock.” This track explores Satriani’s interest in science fiction and the human facets of robots by telling the story of a robot’s experience of finding a purpose in life. The song is another upbeat hard rock track, and a great display of Satriani’s technical mastery. The album’s title track, (featuring Satriani’s son ZZ on the tenor saxophone) is next. This track, as its title suggests, is a funky style song about a cartoonish mack daddy, according to the Myplay biography.

The next two songs are great examples of Satriani’s ability to convey lyrical ideas without using words, but simply through the expressiveness of the guitar. The next song, “Revelation,” is a personal ballad about the recent passing of his father. The song has a reflective sound to it in the harmony and melody, with more than just a hint of sadness. The song comes to an emotional climax during the solo of the song in which Satriani pours out his feeling into every note he plays. It is the third song he has written for his father, the last two being “Cryin’” and “Into the Light.” 

The next track is a love note to his wife Rubina, titled “Come On Baby.” This is another fantastic example of Satriani’s ability to express emotion. The song ranges from a quiet intro to an more expressive middle section in which he captures his affection for his wife perfectly. It fits in well with the songs he has already written for her, most notably “Always With Me, Always With You” on “Surfing With the Alien.”

The next track, “Out of the Sunrise,” demonstrates Satriani’s skill not only as a musician but as a storyteller and as an artist who paints pictures with music. The song’s introduction paints a perfect picture of what the title suggests. The song is about a man who has been up all night, looks at the sunrise and, in that moment, realizes all the evil things he’s done; at the same time he realizes that it’s a new day and that he has a chance to change. It’s a track that almost anyone can identify with and makes for a very good touch.

“Diddle-Y-A-Doo-Dat” is the next track, and is more of groove song in which the guitar line introduction mimics the title and continues through a mad dash of swing. The last two tracks are a tribute to Turkish saz (a four-stringed instrument) player Asik Veysel. The first of these two, called “Asik Veysel,” is a song in which Satriani celebrates hearing Veysel’s music for the first time. Satriani uses a slightly different guitar technique where he plays more lightly to achieve a more saz-like sound. The album’s closing track, “Andalusia,” is written in memory of Asik Veysel and is also inspired by the beauty of Spain’s countryside, where Satriani paints vivid pictures of the country’s natural beauty.

All in all, the album is a project of truly epic proportions: deep, personal and heavy despite being only ten tracks long. Satriani pays close attention to every aspect of this album, tightening up every loose end and making sure that it is a great experience all the way through, and he succeeds brilliantly. His virtuosic playing and brilliant use of word-painting and melodic themes to express lyrical ideas, though instrumental, make this album another great achievement for him.

Rome has an impressive array of unique restaurants. Newly added to the list is the Santa Fe restaurant on Turner McCall between 5th Avenue and Riverside Parkway.

This restaurant has a little bit for everyone from the steak lover to the vegetarian. I love this restaurant so much, I have already been twice. 

Santa Fe has just about everything, including steaks, ribs, burgers, pasta and sandwiches, all with a southwestern flair. 

A unique dish is the death burger, which is smothered in queso and jalepenos—perfect for those who love spicy food. A more common option is the Santa Fe chicken. It is a large chicken breast topped with barbecue sauce and cheese. It comes with two sides. Whatever you choose, make sure you choose the fries; they are the best in town. Another great choice is the Cajun chicken. Penne pasta in alfredo sauce is topped with slices of chicken and a piece of Texas toast. 

The food is not the only thing with flair. The décor inside Santa Fe will leave you in awe. The centerpiece is a huge fan that could fill up four dorm rooms. The floor is covered in peanut shells, and there is not a bare space on the walls. You will undoubtedly see something new on each visit. 

The service is also great. On my first visit, the waitress gave a run through of the menu; she knew it like the back of her hand. She was extremely helpful and knowledgeable. If there is a wait, a large barrel of peanuts at the entrance will keep you entertained.

If you leave any room for desert, try the mud pie. A flowerpot is filled with chocolate pudding, peanut butter pie and Oreo crumbs topped with a silk flower. 

Don’t expect to get all this great food for free. Santa Fe is moderately priced. A dinner will cost about $10-$15. However, it is also open for lunch.

Robert Arnett is a photographer by trade but in essence, he is much more. After capturing the rich culture, religion and history abundant in India within his photographs, Arnett spent some time at Berry this week to share his experiences and wisdom.  

Raised in Columbus, Ga., Arnett said he knew that it was his calling to bring the beauty of India to America.  Since 1988, he has traveled to India five times and witnessed the daily cultural mecca that is India, which Arnett describes as a continent within a country.  

He has documented it all in a book of photography, “India Unveiled.”

Arnett said he knew that in order to capture authentic scenes of daily life in India, he would have to place himself in a vulnerable position.  

“Getting out on a limb is not sufficient.  You have to saw off the limb and let some higher power in the world take control,” he said.

While in India, Arnett traveled in crowded buses and stayed in homes of families with various backgrounds in order to experience the true Indian lifestyle, one that is vastly different from what Americans know. 

This mindset led to incredible stories and travels for Arnett.  One of the main cultural differences Arnett said he witnessed was the faithfulness and loyalty present in Indian culture.

In India, giving your word is a far more sincere gesture than here in America. He told a story of a young girl he met who asked him for an American pen pal.  

When Arnett was confused as to why she would not give him her address, the next day she replied that she honestly did not want to commit to writing to another person for the rest of her life.  

He also told accounts of how hospitality and honesty are abundant in the culture of India, and all of this is evident in his photographs.

In “India Unveiled,” the photos range from moments of everyday life to religious scenes.  Arnett captured images of ancient cave paintings, beautifully carved marble statues and dense fog in the Himalayan Mountains during the monsoon season, but his focus was on the religious aspects of Indian culture. 

India is a very diverse country in regards to religion.  There are 4 indigenous religions (Hinduism, Jainism, Sikhism and Buddhism) in addition to Christianity and Judaism.  

In any other country, one would see this diversity as a source of conflict; however, Arnett depicts India as a divine country of peace focused on religion and not in conflict.

“Religion did not come to the earth to separate the people of the world, but to unite the people.  Fire and flame in every religion represents the God that cannot be extinguished,” Arnett said. 

One day at the beach, Arnett saw a priest emerging from the water and said he knew that it was a prime opportunity.  The man was performing his daily ritual and with a gesture to bless the priest’s soul and Arnett gained permission to capture the moment in time. 

The result is the latest cover image of “India Unveiled,” the pristine image of the man rising out of the calm waters.  

After traveling to India numerous times, Arnett has finally determined his favorite sites to visit.  India draws nearly 27 million people to religious festivals. 

“The pilgrims had such devotion.  It was just inspiring to see the devotion of those who were there” Arnett said in reaction to his experiences.

More pilgrims visit these Indian religious festivals each year than those who make the Muslim pilgrimage to Mecca or to the Vatican.  In fact, Arnett said one can now buy tickets online to the festival or even watch it on television.  

After experiencing the wisdom and photographs of  Arnett, it is clear that he has a passion for India that shines through in his photographs.  But Arnett’s purpose runs deeper than that.  His hope is for the entire world to live in the harmony that his photographs have captured.  

“I am very disturbed today how religions are separating people instead of uniting them,” Arnett said.  “But once we go deep within and seek our happiness in serving others, then we know, like Shiva, Jesus, Buddha, Mohammad, we then know that dancing to the heavenly music, doing God’s will, is the only dance there is.”

By now, I am sure anyone who is reading this article has heard, and probably has an opinion, about the Ben Folds controversy pertaining to his contractual obligation not to sing his cover of Dr. Dre’s song. I could easily go into my own rant about what I feel is right and wrong regarding musical license and freedom, however, I think it would be more useful to take our little Berry kaleidoscope lenses of morality and place them aside for a second to understand and analyze what Dr. Dre and Ben Folds are portraying in each of their versions of the song “B****es Ain’t S**t.” Yet, before we can accurately describe what this song is about, let’s take a brief look at the background of each of these artists.
Dr. Dre (a.k.a. André Romelle Young) has had an extremely successful life. Born to a 16-year-old mother in Compton, Calif., he has progressed through hard work and without the luxuries of an upper class upbringing. He is a four-time Grammy Award winner and is a producer, rapper, actor and CEO of Aftermath Entertainment. I would say that whoever decides Grammy Award winners probably has at least some insight into musical quality. According to Wikipedia, he has been credited as a main figure in the popularization of “West Coast G-funk,” which was ubiquitous in the ‘90s. I could go on, but really, anyone who has such a track record and can claim having co-owned the record label “Death Row Records,” probably has some deep insight into the human condition.
Moving on, we have Ben Folds who hails from North Carolina. Instead of having experience socializing as a child, he was attached to his piano due to the frequent relocations of his father, who was a carpenter and barter/trader. Although Ben Folds has had a fairly long career, which began in the ‘80s, he has been much less notable than Dr. Dre. In fact, much of his music can be seen as alternative piano rock with many humorous allusions to depression. Some of his humor can be seen in his early days when he was part of Majosha. According to www.sing365.com, the band released an EP entitled “Party Night: Five Songs About Jesus.”
Unfortunately, for all you Berry kids who are tightly clutching onto your cross necklaces hoping to purchase the EP, it is only four songs that have nothing to do with Jesus. Of course, this bard of Beelzebub has given into the temptation of divorce three times. However, I suppose such a worldly character does have a place in the echelons of excellent and heavenly musicianship such as that of Dr. Dre and his cohorts.
Honestly, I would look at the song as more of an attempt to sanctify his abilities through someone of a more popular status. Sure, there is humorous irony in the harmonization of the musical phrases:
“Peep that s**t got deep and it was on
Number one song after number one song
Long as my muthaf****n’ pockets was fat
I didn’t give a f**k where the b***h was at
But she was hangin’ with a white b***h doin’ the s**t
she do.”
However, I may contend that if you take the time to listen to it, you will see that he is attempting to commune with the spirit of those before him. It is as if he is a disciple of the wisdom and understanding of West Coast G-funk. So, although the faculty is wary of explicit lyrics and things of that nature, realize that sometimes others must give in to the temptation of worldly ways to come to the spiritual clarity found in the successes of Dr. Dre’s life.
Of course, do not forget that you, the students, have made the splendid decision to come to a Christian school in which you may follow the ideas of others, and these ideas are always better than yours.  Although Folds has found his way on his own, albeit the wrong way, you must uphold the magnanimous value judgments that the Berry faculty has so graciously bestowed upon us. We must value and come to the side of those who cannot conceive of those principles that are so big and great. You know, Folds has a lot to say about the world, and maybe we should listen with sympathetic ears and give praise to the lessons we may take from him.
Also, Folds is eliciting devices in his cover through which we can understand a lifestyle that we have lost touch with: that of violence and fear. Sure the South is less violent and doesn’t allow beatings, and anti-communist rallies, and is probably going to end up becoming more secular. But we must always remember the glorious religious oppressiveness of our forefathers. We must remember the depressingly close-minded lives they lived and the value judgments they have made for us so we do not take chances down the road of temptation. Perhaps when that last patriotic tear rolls down my cheek after Ben Folds sings the National Anthem (and he better because I am an Ameri-can and not an Ameri-can’t), I will then hold my hands up in the air so that I may commune with the spirit of something more than myself. My ears will be sanctified because I know that someone out there is watching out for me.  Always watching me.

If there was a map to happiness, a simple formula that could guarantee pure bliss, would you travel the world in search of it?  Is such a thing even possible?  Eric Weiner believes so.
Weiner, a National Public Radio correspondent, spent a decade covering stories of catastrophe and despair in more than 30 countries.  After living a life surrounded by sorrow, he decided it was time to take control and seek out the world’s happiest places—not just read about them, but experience it all firsthand.
Weiner recorded every moment of his travels around the world in search of happiness in his most recent book, “The Geography of Bliss.”
“Typically, foreign correspondents like myself travel to the world’s least happy countries (think Iraq, Afghanistan, etc.) and seek out the least happy people there (refugees, war orphans),” Weiner wrote on his Web site.  “On one level, this is rewarding work.  It can also be a real bummer.”
So where does one start to find the world’s happiest places?  The world database of happiness, of course.
The reader finds Weiner beginning his quest in a surprisingly scientific manner.  Unknown to most individuals, happiness is systematically studied.
Research papers, scientific journals and conferences all cater to the study of happiness.
From this point, Weiner was able to pick and choose his points of interest.  Some are the happiest places on earth; others are ranked as the least.  But no matter where the countries are located on the list, Weiner traveled to each with an open mind and a willingness to submerge himself in the culture.
In “Geography,” described as “One Grump’s Search for the Happiest Places in the World,” by Weiner, he recounts his travels to 10 completely different countries, both culturally and geographically.
From the Netherlands, the birthplace of the scientific studies of happiness, to Iceland, one of the coldest and happiest locations, and from Moldova, the least happy, to Bhutan, where gross national happiness replaces gross national product, Weiner searches high and low for answers.
Readers will enjoy every excursion Weiner relates in this New York Times bestseller.  The conversational style does not distance the reader from the writing, like many books often do, but rather, it engages the reader.
It seems as if Weiner simply published his personal journal. With insightful passages into the countries’ deepest problems and hysterical moments of literally being lost in translation, he will leave you laughing out loud and relating with those he encounters during the space between each page turn.
“By turns hilarious and profound, this is the kind of book that could change your life,” author Henry Alford said in regards to the hardback.
And he is right, for this book is a map of happiness itself, filling its readers with the bliss for which Weiner searched.
Very few will ever have the opportunity to travel the entire world in search of such an elusive part of life, but Weiner has made it possible for everyone to truly experience the ultimate road trip.

The happy-go-lucky sounds of Vampire Weekend may not change your life, but they will surely cheer you up.
The four men who make up this band met at Columbia University in New York City and said they “are specialists in the following styles: ‘Cape Cod Kwassa Kwassa,’ ’Campus,’ and ‘Oxford Comma Riddim.’” Their peculiar name derives from the title of a film they made in which Vampires attacked Cape Cod. There is more to these men than their ridiculous name.
According to an interview they did with National Public Radio, their music is heavily influenced by African popular music and Western classical music. NPR described their sound as “collegiate in the best possible way.” No offense to the skinny white boys of this band, but they look like they’ve been sitting in the library studying entirely too long. With their blue button down shirts and preppy clothes, they even appear “collegiate.” Of course, this is merely convention, and they have a kind, easy-going look about them that translates to their music.
I would say that, for the most part, their music harkens back to the heyday of the late ‘70s, early ‘80s punk sounds, such as The Clash or Elvis Costello. Perhaps I’ll even argue that there are inherent Simon & Garfunkel influences. Whatever the case may be, their music has the qualities of contentment and happiness. This is not to say that you will necessarily feel similarly when hearing them. Their songs tend to have the same sound and even get repetitive at points with the guitar sounds.
Perhaps it would be best as background music for driving or a party, but after about four or five songs, I felt like I could easily take a break from them. One song in particular, “One (Blake’s Got a New Face),” is probably in the top 10 most annoying songs I have heard this year despite the fact that Rolling Stone Magazine dubbed Vampire Weekend the best band of 2008. Yeah, they are worth a listen, but come on Rolling Stone, that was an early call. Also, according to music Web site Pitchfork Media, Vampire Weekend was the first band to grace the cover of Spin Magazine before releasing their debut album. So, perhaps I am the only one who is not particularly thrilled with their debut album. I think it’s worth checking out, but I don’t know if they’ll be anyone’s favorite band. Who knows? The media seems to like them.
If you want to check them out without purchasing their tunes, you can always go to the ever astounding www.youtube.com. If you do, check out “Mansford Roof.” “Oxford Comma” and “A-punk” are fun songs as well. If you are interested, but you don’t happen to get around to looking for them because you’re too slammed with tests, they will also be featured on Saturday Night Live this Saturday.