Memoriae Lends a Different Angle to Biola’s “Year of the Arts” Theme of Sacred Spaces

"free cable" (2011) created by Elisabeth Mikottos. Photo taken by Heather Tanji.

The human mind is a complex thing, filled with dreams, memories and intuitions. Science tells us why our brains act this way but does little in helping us to visualize the things we see. That is something only the individual can do. Memoriae is photography major Elisabeth Mikottis’ senior thesis depicting interpretations of her own memories.

Her entire exhibit is based on the concept that space—actual locations—are where memories find their roots and serve as a container for those visuals while at the same time acting as a means to bring those memories back to life. Then and now meet in a single photograph and with the help of Photoshop and skillful lighting technique, Mikottis invites viewers into her mind.

A mix of photography and graphic design, Mikottis’ collection is an interesting and colorful display of her personal recollections. She uses the concept of layering—taking two photos and merging them together—to create an illusion of past and present. Although it is difficult to see the purpose of the photos without studying the context first, each visual stands alone as an interesting piece of work. The lines and shadows of one image intersect with the lighting and colors of the second, so that although both images were shot from the exact same angle, they appear to be entirely different.

One piece in particular illustrated the desired effect perfectly. Titled “free cable” (2011), the original shot was taken three years ago in 2007, yet the lighting and colors were tampered in the more recent photo to rein focus on an open door. Although there is no explanation or description of the specific memory, one gets the distinct feeling that they are looking into a room with a story to it; a memory.

What is so jarring about this photo and the rest of the collection is how the first image in the photo is more realistic—clear, defined lines and traditional colors—while the second image is comprised of what looks like a projection of the first image, with serious tampering done to the temperature of it.

The images themselves aren’t particularly interesting. Given that the exhibit is a senior thesis, Mikottis might have thought to showcase more of her creativity regarding angles and originality. Are they good quality shots? Yes. Do they use the rule of thirds and have correct composition? Yes. However, it isn’t the quality of the images but rather what she did with them and the concept she developed that is the point of the gallery.

We Wish You A Merry She & Him Christmas

Album cover of She & Him's new Christmas album.

Imagine a warm crackling fireplace, antique Christmas ornaments and a breathtaking view of the ocean during a California December. That is the essence of She & Him’s newest album: “A Very She & Him Christmas” (2011). Each song presents an easygoing, mellow and altogether enjoyable sound, perfect for a quiet evening at home or a relaxed get-together with friends.

Christmas covers have become quite the trend in the music industry this holiday season. Both pop sensation Justin Bieber and the equally popular crooner Michael Buble released highly anticipated albums featuring a mix of original songs and covers. She & Him, comprised of actress-turned-singer Zooey Deschanel and musician Matthew Ward, offers a more mellow option to throw into the mix.

Staying true to the indie rock genre, Deschanel and Ward transformed twelve Christmas favorites into raw stripped down simplicity. Deschanel’s lilting tones give songs like “Silver Bells” and “The Christmas Song” a new twist, lending hipster holiday magic to the season. The whole album is easily something you would hear in “avant-garde” stores like Urban Outfitters or the more refined Anthropologie, airy and carefree as every track is. Think Ingrid Michaelson meets Jack Johnson. If listeners hope to find anything different from previous albums, they will be disappointed. Deschanel’s voice rings pure and unique and Ward’s instrumental accompaniment leave no room for anything but pure She & Him.

Refreshing and original as the covers are, one can’t help comparing Deschanel’s lighter and undeniably weaker vocal qualities in “Have Yourself A Merry Little Christmas” to Judy Garland’s rich, resonant rendition, featured in the classic film “Meet Me In St. Louis.” The cover is not unpleasant, just a bit anticlimactic in comparison. After all, covering classics from greats like Celine Dion or Barbara Streisand is a risk too. Ward’s acoustic riffs are particularly relaxing and especially prominent in “I’ll Be Home For Christmas,” though his vocals are puzzlingly absent in every song. Past albums featured both artists’ vocal talents. No matter though as Deschanel’s unique voice more than makes up for the lack of male vocals.

Deschanel does a wonderful job of interspersing playful with sentimental, energetic with mellow. “A Very She & Him Christmas” makes for a nice complement to seasonal albums with the richer, traditional tones of Bing Crosby or Nat King Cole and creates variety from jazz holiday favorites like Vince Guaraldi’s “A Charlie Brown Christmas” soundtrack and Kenny G’s Christmas album, but whether it can stand by itself is questionable. Still, there is little doubt that future Christmas movies will hasten to add their songs to their soundtracks.

Photo from Stereogum.com

Christmas At Biola

Biola welcomes students, faculty and other guests to the concert.

Set against a backdrop of snowy white lace (an alternative to the traditional projector), twinkling lights and wreaths of holly, Biola University’s annual Christmas concert showcased the talented school ensembles including the chorale, studio orchestra and the six-man acapella group The King’s Men. Staying true to the university’s Christian roots, the concert did a fantastic job of leading the audience through the festivities of American Christmas traditions to a tribute to the soldiers overseas, (“I’ll Be Home For Christmas” and finally landing on the true reason for the season: Christ.

The school ensembles end with a lively performance of Glory! Glory! Taken by Heather Tanji

The show took off with a lighthearted and fun opening of “Sleigh Bells,” emphasizing the strong unity between the string section and the percussions although the brass section could have been tighter in their synchronization. The overall dynamics of the piece was excellent, not too loud and not too soft, creating an atmosphere of lively yet muted Christmas cheer. The orchestra continued to give a strong performance throughout the show, particularly during a medley of “The Most Wonderful Time of the Year” and a jazz rendition of “Jingle Bells.” If you were to close your eyes you might feel as if you were in the midst of a Disneyland Christmas parade.

Easily the strongest performers in the group, The King’s Men excelled in their harmonies, mesmerizing the audience with soulful stylings of “I’ll Be Home For Christmas” and “Road to Zion.” Senior Arnold Geis stood out in particular with his perfect pitch and stellar tenor range. Soloist Matthew Kellaway was equally impressive as he sang “The Promise.” His vibrato and pitch control created a compelling picture of Old Testament prophecies of the Messiah’s arrival, from his deep bass to a surprisingly beautiful falsetto.

The female soloists didn’t fare so well. Kristin Tucker—another senior singer—put far too many theatrics into her performance of “Grown-Up Christmas List,” creating the wrong tone altogether as she gave more Broadway than subdued sentiment. Her over-the-top vocals contrasted poorly with the lyrics, especially given the war and recent natural disasters of the past year. Lauren Bartels voice was not strong enough to carry her through “O Holy Night.” Her tone was pitchy, lacking the fullness needed to properly accentuate the dynamics the song requires.

The chorale stayed in perfect pitch throughout every song, sounding united as every singing group should be. Unfortunately, their volume was poorly mismatched with the studio orchestra, the brass and strings often overpowering the vocals. Still, the audience seemed to enjoy the program, from the joyful tones of the Christmas carols to the somber harkening of Christ’s birth and the triumphant ending of “Glory, Glory!” ending in satisfied applause and a spurt or two of fake snow.

"Heart Of Manger" taken from Biola University site

Thrice Brings Down The House (of Blues)

Thrice is greeted by an enthusiastic crowd. Taken by Heather Tanji

Days before Thrice announced an official hiatus (duration currently undetermined), fans flocked to the House of Blues in Anaheim to enjoy what could now be a final performance. Orange County locals lead singer Dustin Kensrue, guitarist Teppei Teranishi, bassist Eddie Breckenridge and drummer Riley Breckenridge brought talent, excitement and pure rock into the packed venue.

The best way to describe their performance is undiluted, constant energy. From the strums of the electric guitars to the rumbling bass solos, the clashing of cymbals and thunderous vocals, it never quit. They kicked off the show with “Yellow Belly,” a favorite from “Beggars” (2009), which calmed the audience for a few moments. Breckenridge’s talent on the bass was really showcased, right from the beginning of the song as heads bobbed and fists pumped the air.

The energy really revved up when they started playing “All The World Is Mad,” one of the first tracks from their newest album. Strobe lights flashed into the audience in sync with the rhythm of the song as they raised their voices in unison with Kensrue, screaming out lyrics as they heard the song live for the first time. It’s hard to say what was more infectious, the beat of the drums or the enthusiasm of the audience. Most of the crowd knew the words by heart, sending a fresh wave of chaotic frenzy with each new song.

The band got it's start in the Orange County venue, The Chain Reaction. Taken from ClulbZone.com

Thrice is known for the consistent development of their sound. Their newest album “Major/Minor” (2011) contrasts extremely from past albums such as “Vheissu” (2008) gradually transitioning from punk rock to hard metal to alternative and even acoustic sounds. The quality of each album is the same: excellent, but having such a variety of genres is difficult, given the wide fan base. However, the band didn’t forget their diehard fans—the ones who fell in love with their hard metal songs, the ones who have been with them since the beginning.

They ended with a satisfyingly deafening performance of “Anthology.” Each chord progression could be felt right down to the vibrations on the floor, the strobe lights blinding the audience as they sank into further euphoria, simply enjoying the precise riffs Teranishi brought and the endless roar of Kensrue’s vocals. During the encore they revved up an encore of “Phoenix Ignition” and “To Awake and Avenge the Dead.” Fans cheered frantically, immediately initiating a mosh pit, crowd surfing and a general rampage in appreciation of the throwback.

The House of Blues is an intimate venue, one that doesn’t have space for elaborate light shows or special effects. Thrice didn’t need the help as their talent and energy filled the space all by itself. Fans waited impatiently through the three opening acts (O Brother, Moving Mountains and La Dispute) half-heartedly applauding each band, making it clear that these folks were here to see one band, and one band alone.

Blue Man Group Brings Weird to Orange County

Blue Man Group beats on drums as paint explodes from the surface. Photo by Joshua Sudock, OC Register.


The epitome of eccentricity, avant-garde performance group Blue Man Group astounds audiences throughout the world in places as sultry as Las Vegas to as exotic as Berlin. How this weird trio found themselves in the pristine Segerstrom theater in Costa Mesa is anyone’s guess.

The only way to really describe their antics is watching children at play. The trio brings everyday, ordinary objects (drums, paint, marshmallows and even cereal) to the stage and with them creates a playground teeming with imaginative instruments, art displays and other inventions. There isn’t any rhyme or reason nor point or plot to the show and some may find that frustrating and almost bewildering. The only way to enjoy a Blue Man show is to take it in its stride; take it for what it is.

Although the performance is classified as theater, it is more an over-the-top art show above all else. At its heart, a Blue Man Group show is performance art, no more and no less. They come to make a statement, although what that statement is remains unclear but at least they made a big deal out of it, colors, special effects and all. Known more for their whimsical antics than for any talent in particular, the group made use of the audience and the stage, parading around in their brilliantly blue nonsense.

Blue Man Group is all about having fun, drawing fans and newcomers alike into their strange little world, sometimes even onto the stage to participate in their games. Their uniformity and their solemn expressions only enhance the comedic aspects of their performance. At one point, they brought one audience member on stage and lined her up with themselves at a table, placing a Twinkie on each of their plates. What ensued was a hilarious act of the three straight-faced performers grappling with their fluffy Twinkies, attempting to eat them simultaneously and all three glancing over at the audience participant, expecting her to follow suit and shaking their heads when she couldn’t keep up.

A glimpse of the finale. Photograph from Broadway.com


Spoilers withheld, the finale was undeniably spectacular. Loud upbeat music enveloped the audience as the three men splashed paint across the stage, beat drums and pipes to accompany the music and created a happening party right in the theater. Brightly lit lanterns gently descended into the audience, glowing and changing colors as they bounced throughout the crowd. Three large plasma screens bedecked in iPhone attire sparkled and exploded with designs as dancers dressed in neon-lit morph suits moved around them. Confetti floated gaily among the chaos.

What is so entertaining about three blue men spitting paint out of their mouths and banging on empty pipes to make melodies like “Bad Romance” by Lady Gaga come to life? It’s hard to pinpoint what makes the show so great. Well-timed physical comedy, special lighting effects or just an innovative way of looking at things? There is no answer, but whatever it is they do, it works. The audience was on the edge of their seats, waiting to see what would happen next.

It is the Blue Man Group after all. What else are you to expect besides the unexpected?

Citizen Kane Deserves Respect

Dubbed by several critics as the greatest American film of all time, the highly acclaimed 1941 film “Citizen Kane” continues to make an impact 60 years from its initial release. Directed by, produced by and starring world famous filmmaker Orson Welles, the film follows the life of fictional Charles Foster Kane, a newspaper tycoon who begins his career with high ideals and ends in an obsessive pursuit of power and control. The similarities between real-life newspaper industrialist William Hearst and Kane are inescapable and bring the inspiration behind the plotline to reality.

The creative way in which the plot line was executed is reason enough for praise. The basic outline of Kane’s history is shown through newspaper headlines and a few well-chosen words. A reporter investigating the life of Kane conducts several interviews attempting to answer why Kane’s final dying words are “Rosebud.” Journeying from Kane’s childhood until his divorce with his second wife, each stage of his life is told from a different perspective (filmed as flashbacks) giving the film and Kane’s character itself multiple dimensions.

Arguably the most notable aspect of the film is the cinematography itself. Considering that the movie was made in the early 1940s, the angles and scene transitions are extremely progressive for its time. From the very first sequence, when Welles leads his audience from the “No Trespassing” sign, up the hill and eventually into Kane’s palace where he lays dying, the technique lent interesting methods for inviting viewers into the film’s world. The rest of the movie is filmed in the same way, making you notice things you wouldn’t notice: a detail in the set perhaps, or the way characters are facing each other.

Welles proves himself to be not only a pristine filmmaker but an excellent actor as well. His portrayal of Kane is wonderfully, almost scarily believable. As we come to know Kane—an ambitious, talented man lost in the chaos of the business world—we see a character played above and beyond the mere surface of facial expressions and well-delivered lines. Welles captures the heart of Charles Kane. His eyes exude the very soul of this intelligent character, a power-ridden man desperate for peace and resolution in his life. Other actors did a fine job with their parts but it is Welles who stands out above the rest. Perhaps it is because he created the film partially based off his own life experiences, and spent so much time creating the character that he was able to pull it off.

Though not particularly noticeable at first, the music and lighting project a “Twilight Zone” creepiness in the film, creating an unsettling feeling as the audience watches a life gone horribly wrong (death, divorce, scandal) played out on the screen. Set design too was excellently done. Designed after Hearst’s castle, Xanadu—Kane’s abode—accurately represents the struggles of Kane’s life: a continuous building of ornate and exquisite design yet with very little human warmth to fill the space. Welles manages to make even these small details add to the loneliness of Kane’s life.

As the movie comes to a close the reporter is no closer to finding the meaning of “Rosebud” than he was at the beginning. Instead he has bits and pieces of Kane’s life to grapple with: a broken marriage, a newspaper company run amuck, an empty palace… a misunderstood man. I am not one to spoil movies, but it suffices to say that the final scene in the movie reveals more about Kane’s world than the rest of the film ever did. It leaves a haunting image of a childhood lost, a life gone astray, a tragic end to what could have been a better life.

I wouldn’t particularly call this film one of the greatest films of all time, but it certainly has all the elements of a masterpiece film. Believable actors, unique cinematography, a creative plot line, music, lighting and sets that create an atmosphere fitting for the character and most importantly, a means of facilitating discussion after the film. “Citizen Kane” leaves the audience asking questions—about the movie and perhaps about the state of their own lives. It’s not exactly an enjoyable movie, but there is no denying it is a thought-provoking one. If one were to watch the movie several times over, there is still a little more insight to gain every time. In the art of filmmaking, that is a good thing.

Photograph taken from Rotten Tomatoes.

Sample Review: Muse Returns to the U.S. in Style

The Anaheim Honda Center arena was packed with flashing iPhones and fans screaming and shouting, ready for a riotous, talent-packed performance. As the lights dimmed and the first chords of “Resistance” began to play, the noise level exploded as Southern California fans welcomed in the U.K. band Muse. It’s hard to believe the world-famous trio first started playing in small venues like the Viper Room and The Roxy. They have come a long way since then. Standing in front of thousands of fans, it seems that lead singer Matt Bellamy and his band mates have been music royalty for a lifetime.

There is nothing quite like an expectant audience, one who has listened to a band’s albums countless times and is eager to now hear it all live. You could practically taste the anticipation in the air. You could certainly hear it.

Performing on an elaborately built stage of three tall, platforms thoroughly covered in plasma-screen visuals and an equally bright and colorful lighting program to boot, it was hard to focus on the music at first. Muse has the money to make a show a spectacle and that’s what they did.

They played a well-planned set list, mixing singles from their most recent albums “Resistance” and “Black Holes and Revelations” with their older albums, especially “Absolution.” Bellamy altered between playing his electric guitar and releasing beautiful improvisations on a grand piano, singing in his distinct, high-tenor tone. The band’s cover of “Feeling Good” and “United States of Eurasia” highlighted his talents to their peak, especially on the piano.

Guitarist Christopher Wolstenhome, not to be outdone, busted out solos that would satisfy any rocker’s soul. “Hysteria” is a song known for its’ power chords and electric guitar riffs. Wolstenhome capitalized on this as he slid across the stage on his knees and the audience screamed with wild applause and euphoric delight.

Each band member did a good job of interacting with the crowd, letting them take the reigns in hit songs like “Starlight” and “Time Is Running Out,” with Bellamy holding the mic out toward the crowd as they shouted the band’s lyrics back at them.
It’s easy to immerse yourself into a concert with so many die-hard and adoring fans. Even were the talent lacking, the mood is infectious. With every chord progression, with every extended solo whether it be from the guitar, the drums or the piano, Muse gave a show to truly remember.

Although the strobe lights and flashing platforms enhanced the concert, it was obvious that it was the band’s pure talent, unique songs and high performance stamina is what made the show a success. After two hours of pure rock, the audience was still clamoring for more.

Photograph by Heather Tanji

Whittier Community Theatre Presents "A Nice Family Gathering"

The cast of WTC's "A Nice Family Gathering"

Decent acting and bad writing are the main components of the play “A Nice Family Gathering.”

Nov. 4 marked the opening date of Whittier Community Theater’s version of the play. I am still puzzled as to why they chose this particular work but my best guess is someone was attempting to make the theme applicable with Thanksgiving.

Middle son Carl (played by Justin P. Murphy) is being haunted by his dead father (Jerry Marble). Dad only wants to tell his wife he loves her, and Carl just wants Dad to leave him alone. Things get tangled when Mom (Andrea Townsend) brings home a “friend” for dinner. It seems the perfect recipe for a fun, snarky holiday mishap. What unfolds is unresolved and surprisingly dark family conflict—competition between brothers, lesbian daughter is pregnant, daughter-in-law can’t get pregnant, the oldest son is deeply in debt and Mom has Alzheimer’s. Most of the first act is spent discussing the issues of each family member while the second act drags out painfully slow resolutions.

The set design was impressive. There was plenty of detail on the stage, from the family portraits to stockings over the fireplace, making the painted wood and décor appear to be the living room of Carl’s family. Unfortunately, this is the most impressive aspect of the entire show.

Meghan Duran, who played Stacy, stood out for her believability as the sulky little sister of the family. Townsend too, deserves accolades for her believability as Mom. Unfortunately, not all of the actors met this standard. Laura MacDowell (Jill) had trouble making both dialogue and blocking seem natural. Playing a woman supposedly running on an overdose of hormones, she did very little in making her character the comical mess she was supposed to be.

No matter how talented the cast might be, even the best of actors would have a difficult time with the script. There is no getting around the cheesy, poorly written lines. The actors did their best to make the script interesting and tried to bring it to life but most of the show focused on each self-absorbed character wallowing in their own problems. Although the directing, blocking and acting weren’t horrible, there isn’t any way to get around the dull storyline or the badly written dialogue.

Whittier Community Theater has the ability to produce high-quality shows. Great set design, relatively talented actors and a great venue. There is no need to settle for mediocre, poorly written plays. It is a play with no point, a story with no plot. As the house lights go up and the curtain closes, the only question to ask is, “why?”

“A Nice Family Gathering” continues through Nov 19 at The Center Theater, 7630 Washington Ave. Whittier. More information available at (562) 696-0600 or www.whittiercommunitytheatre.org

Photograph taken from Frances Baum Nicholson, Stage Struck Review

The Mockingbird Still Sings

Atticus reluctantly demonstrates his showmanship in front of the town.

It can’t be easy for a Southern California college student to play Scout Finch, a child living in the racial turmoil of Alabama in the 1930s, yet freshman Julie Ploehn succeeds with flying colors. In fact, the entirety of the cast was able to create believable characters with Southern twangs, not a hint of the collegiate vibe to be found.

Biola University’s To Kill A Mockingbird, directed by associate theater professor Forrest Robinson is an intense drama performed with passion and well-timed flow. The actors truly made the play enjoyable. The three main characters—Scout (Phlehn), Dill (Atticus Shires) and Jem (Cris Cockrell)—are young children and the college freshmen created childlike personas with seeming ease. They were not childish, but rather captured the heart of a child in their facial expressions, the way they moved around the stage and the way in which their dialogue was spoken, all while using very believable Southern accents. “I tell my students the technique of developing the characters… I like them to discover [the characters] on their own,” Robinson said. “I’m trying to lead them where I would like them to go.”

The entire play takes place on one set: three houses, a tire swing and a fence. In a small black box setting, it was easier to focus on the storyline and the actors without being distracted by stagehands moving sets back and forth. It also made the flow of the play move with near perfection. With the exception of intermission there were no breaks in between scenes. Each segment flowed right into the next as naturally as if one was reading the book, demanding the viewer’s attention with every line. Robinson did an excellent job of appropriately mixing comical relief in with an otherwise extremely intense show.

Jem and Scout speculate on a mysterious neighbor.

The entire play was carried out with professional ease. Sound effects, acting, lighting and set design created a world the audience was drawn into. Watching Atticus Finch fight for the right of a condemned black man in the courthouse left palpable suspense in the air. The chemistry of the lead characters sparked interchangeably with tension and loyalty. However, the performance was not without flaws. Some of the scenes had an awkward effect on the audience; lines that weren’t meant to be funny had the audience tittering. A couple of the minor characters stumbled over lines, but equally noticeable is the fact that the leads remained in character the entire time.

“To Kill A Mockingbird” is a literary classic, required reading in high school and made into several film adaptations. Watching the plot play out on stage made the book come to life again, thanks to believable acting under the leadership of Robinson.

To Kill A Mockingbird is playing at Biola University’s Theater 21 from Oct 27-Nov 12.

Photographs by Heather Tanji

Urban Brings Country to the City

Urban opens the night with "Write You In A Song"

Walking into Staples Center, located in the heart of downtown Los Angeles, and seeing cowboy hats, boots and floral dresses abounding on a Saturday night had an ironic “I don’t think we’re in Kansas anymore” twang. The last time I went to a concert arena was to see Muse and before that, Usher. Keith Urban gave an entirely different—given the country genre—but equally well-done performance as any rock or hip-hop concert.

There were some technical flaws. Urban’s voice could barely be distinguished from the music throughout most of the show. Echoes and too much volume on the guitar made it difficult to enjoy his distinct, smooth pop-meets-country vocal quality. Urban himself had a strong stage presence however, and it was easy to enjoy the overall experience.

His set list started strong, including fan favorites like “Put You In A Song” and “Long Hot Summer.” There was a good mix of his upbeat happy-go-lucky tunes (“Better Life,” “Jeans On,”) and his slower heartfelt hits (“Without You,” “Tonight I Wanna Cry.”) During his ballads, especially, Urban was able to croon and woo the audience, as the screams of fans died and the noise of drums and bass came to a halt and all that was left was a guitar and the rawness of a Keith Urban ballad.

Urban really knows how to bring his shows to a personal level. Fans jumped up and down, sat and swayed and clapped their hands in equal measure. “Kiss A Girl” was especially memorable as he brought three fans on stage to sing with him, and then gave them time to sing individually while he clapped and stood in the background.

From beginning to end Urban proved his showmanship, not only singing and interacting with the crowd but also showcasing his prowess on the guitar with several elaborate solos, particularly during “Sweet Thing,” when he grabbed his electric guitar and improvised various riffs during the chorus and bridge, much to the crowd’s delight. “Hot damn,” one audience member said. “Never knew he could play guitar like that.”

Sometimes a concert isn’t meant to show the world the talent an artist possesses. The audience already loves Urban, they know he’s good. Instead of focusing on performing an exact, perfect live rendition of his albums, he deviated a little. He jumped up and down, he talked to the crowd, he brought people on stage and let them take the lead. Jack Black made a guest appearance in the encore. Girls screamed, guys drank their beer and bobbed their heads and Urban catered to it all. He brought a quality, entertainment experience and fans ate it up.

Photograph by Heather Tanji

How PR and God come together.

I just came home from an amazing conference for public relations students (a blog re-cap coming soon.) It was inspiring, motivating and above all, eye-opening. I truly feel I can make a career out of what I have learned, and I feel it is what I am supposed to be doing for the next few years.

One thing I have learned: PR is a crazy busy, fast-paced career. You go-go-go all the time. There’s a reason your phone is never off. There isn’t a guaranteed off time. You are always on call. And I enjoy that.

However, I am a child of God. I have a relationship with Him (however faulty on my end) and it’s important that I spend time quieting down and making a space for Him to work and move in my life. I need Jesus. I need His guidance and strength.

And sometimes, between work, interning, school, working out, friends, PRSSA, family and my TV/food/shopping vices I forget to make that space. I don’t take the time to spend with my Savior.

I know that once I start working in PR full-time it’s going to be crazier and harder for me to make time for Him. PR is my passion and I love it… but what if it cancels out Jesus? What if I get so involved with working—campaigning, planning, creating and being a PR pro that I forget to center my life around Him?

Today I was re-reading a chapter on spiritual meditation from “Celebration of Discipline” by Richard J. Foster. Basically, he said this:

“If we are constantly being swept off our feet with frantic activity, we will be unable to be attentive at the moment of inward silence… [have] a sense of balance in the life, an ability to BE AT PEACE through the activities of the day, an ability to rest and take time to enjoy beauty… holy leisure.”

I’m a busy girl; I thrive on crazy. But I really want to try and make sure I have a sense of peace as I go through each day. I need to make sure that GOD is constantly a part of my actions and my life and that no matter how fast I’m moving, He’s there. I want to be at peace because I have made space for Him in each and every aspect of my life and I’m LISTENING and DWELLING in His teachings and love. His presence.

Easier said than done right? All my PR people know that our phones are connected to our very beings and that we don’t rest often. On top of that I’m still working through some things and attempting to be walking in God’s light and path and stop dancing with the world. I still dance with it quite a bit. Always a struggle.

But I’m learning and trying to quiet down, slow down, allow God to speak and to apply what He shows me to my fast-paced life. PR calls me to work with authenticity and to work for something I love and feel passionate about.

God calls me to LIVE with authenticity and to LIVE for something I love and feel passionate about. Career and calling… let’s merge.

Yes I am a PR student soon-to-be professional, yes I’m a college kid, yes I love living my life and trying new things and going crazy but I am first and foremost a child of God.

How often I forget that.

But to integrate my initial identity with the rest of my life is essential to living this life how God wants me to live it.

To live as God designed us to… it’s an endeavor worth pursuing.

Individual Project #3: Freshman Project

Freshman Project from Heather Tanji on Vimeo.

The Chili Peppers Are Still Spicy (Non-Biola Art Review 1)

Variety is the spice of life and the Red Hot Chili Peppers seem to agree. Their newest album “I’m With You” (2011) mixes unique sounds of funk, blues and rock from each of their albums and creates a hybrid of them all.

Marking their eighth best-selling album, the Grammy-award winning band manages to maintain the upbeat vibe from their first album mixed with the instrumental ease of
“Stadium Arcadium.” Gone are the days of continuously rapped out lyrics and repetitive chorus lines that gave them initial success with “Blood Sugar Sex Magic” (1985). Their new album presents a variety of ska, funk and alternative rock, easy on the ears of any surf or skate fan; a compilation of the best of their style.

The 14-track album gives proof that the band is slowly but surely refining their sound. Anthony Kiedis vocals have decidedly improved since the debut of their first album and the band has amped their instruments into rock machines.

Holding consistent with the sound of their last album, “Stadium Arcadium” (2006), the band continues with alternative rock chords but bring back fun-loving side of the past. There is no hint of the obnoxiousness of “Sir Psycho Sexy” (Blood Sugar Sex Magic) or the dull monotony of “The Other Side” (Californication.) What remains are the catchy beats and funky lyrics the fans fell in love with; a wonderful mixture of slow and fast songs, great riffs courtesy of guitarist Josh Klinghoffer and even some saxophone and piano thrown in, thanks to the many talents of bassist Michael “Flea” Balzary.

“Happiness Loves Company” and “Monarchy of Roses” are good for bobbing your head around as you get through the day. “Did I Let You Know” throws in some brass instruments, while “Ethiopia” brings back a taste of the hit single “Californication” (Californication) and that’s not a bad thing. The style is the same, the melody sounds the same, but it doesn’t make the song boring. “Even You Brutus?” is similar to the band Cold War Kids but there is no mistaking whose voice is on the track. Kiedis carries an undeniably unique sound. A new element to the artist’s style is the smoother, softer side of alternative rock, most apparent in “Dance Dance Dance” and “Meet Me At The Corner.” Think The Killers meet 311. It’s a welcome addition to their repertoire.

Although there are some tracks that don’t necessarily seem pure Peppers, Kiedis’ voice leaves no doubt that the band will always stay true to themselves. Change can be a positive thing. The Red Hot Chili Peppers have managed to stay true to their style while upgrading their music to a new level. It’s fun, it’s nice to listen to, it’s laidback. It’s them.

Hyatt Moore at Biola University

Moore's mural "Feeding the Three Thousand" on display at Biola University

The “Year of the Arts” has invaded Biola and the university library is not exempt. Dotted with sculptures, paintings and photographs, a building usually confined to the silver color of Macs and brown pages of books is splashed with color from top to bottom. Paintings by famous artist Thomas Kinkade line the stairwells and the Thomas Macklin Bible—the largest English Bible in the world—is displayed on the main level. Upon entering the upper level of the library, several large paintings grasp your attention. These are the work of painter Hyatt Moore.

Moore’s paintings focus on people of all races, backgrounds and time periods. Several of his paintings line the walls of the library, portraits and still life especially. His paintings are not intricate or particularly detailed. His art is not noticed because of its realism or minute brushstrokes, but for the bold colors and the vivid vision in each of his pieces. There is life in his work.

Moore's paintings can be seen on all levels of the library

One mural in particular stands out from the rest, titled “Feeding the Three Thousand.” Drawing from the Biblical account of Jesus feeding His many followers, the painting shows missionaries of many races giving Scripture rolls to the thousands. The “three-thousand” aspect of the mural is the number of peoples in the world who are without written words. The expressions on the faces of the people are vague, the details of location and time unknown, but Moore makes his message clear: those with the written word must venture to those who do not. The colors of his art grab your attention but it is the concept and symbolism of the art that make you appreciate the mural itself.

Another such art piece available in the library is “The Last Supper with Twelve Tribes.” Deriving off Leonardo DaVinci’s beautiful masterpiece, Moore’s interpretation replaces the 12 disciples with 12 nationalities with Jesus Christ as the center. Moore enhances the differences between races with detail to clothing, skin tone and facial features. The acrylic painting is a tribute to the diversity of the world, with no one man standing out above the rest, all eyes focused on Christ, the only figure in bold red. It is a mural that makes you look twice. It is a familiar scene with a different meaning. His art makes you ask why.

Moore’s murals and paintings aren’t just pretty things to admire. They make you pause, stare into the eyes of a portrait or stop and find the meaning in a mural. Though the humans in his portraits aren’t realistic they are lifelike. The eyes of the woman in “Happy Mother” draws you in, the bold brushstrokes of “Two Writers” gives one a sense of appreciation for the simplistic picture of learning. Moore’s artwork is beautiful because it captures the essence of a human soul: life.

How To Be A Sitcom: A Review of "How To Be A Gentleman"

A funny cast does not a hilarious sitcom make. The new CBS comedy (now airing on Saturdays, 8:30 p.m.) created by and starring David Hornsby (“It’s Always Sunny In Philadelphia”) consists of a cheesy script, an outdated laugh track and not much else. “How To Be A Gentleman” revolves around the concept that courtesy and chivalry are outdated and tiresome. Ironically, the show itself mirrors slightly old and tiresome jokes and plotlines. The title is derived from the 1998 book by the same name, although unlike the sitcom, the non-fiction work genuinely strives to help men with their manners and attitudes.

Hornsby plays Andrew Carlson, an etiquette columnist who rigidly lives and breathes the advice he gives. As Carlson emphatically states at the beginning of the show, “I am a gentleman.” Berated by his sister Janet (Mary Lynn Rajskub, “24”) for his uptight behavior and pressured to re-work his column for a younger, hipper audience, Carlson seeks the help of former high school bully-turned-gym-owner Bert Lansing, played by Kevin Dillon (“Entourage”). What unfolds in the next 30 minutes is the beginning of a new, typically ironic friendship between Carlson and Lansing, supported by words of wisdom by the reckless one and a willingness to loosen up from other.

Hornsby and Dillon work well together, bantering and bickering the whole time. Mimicking the chemistry of Oscar and Felix in “The Odd Couple,” the pair makes good use of body language and facial expressions to compensate for the script. Unfortunately, despite the notoriously funny cast, the acting doesn’t completely hide the lack of originality in the rest of the show. A sitcom is a sitcom, but with shows like “Modern Family” and “The New Girl,”—programs rich with original lines and great actors—new television comedies can’t afford weak jokes and cliché plot lines. As it stands, a brother-in-law with a New Zealand accent and an apparent lack of individuality and a boss rocking a toupee just doesn’t cut it for humor. How often has the more daring of a duo coerced the other to ask the hot girl out on a date or push him into a comical dilemma? Too many times.

In an era where “The Office” and “Big Bang Theory” are spitting out new joke after new joke, “How To Be A Gentleman” doesn’t quite make the cut. There were too few laughs and too many weak lines to capture interest. As Kevin Dillon’s character points out, “Life’s a jerk, and you gotta fight back or it’ll knock you out.” The writers should take their own advice and punch up the originality and cut back on the standard sitcom batch of jokes if they hope to stay in the fighting ring.

Conv Prod: "You First" Opens at the OCCCA

Hidden in a corner of downtown Santa Ana is a neighborhood called the “Artist Village.” Galleries and street art abound and visitors spend quite a bit of time exploring the passageways and staircases of the various buildings. On the corner of 2nd Street and Sycamore Ave sits OCCCA—The Orange County Center of Contemporary Art. A new exhibition entitled “You First” debuted this Saturday with over 50 attractions on display.



Based on the concept of “Relational Aesthetics,” many art pieces are designed to be interactive. One display titled “Identity Tapestry” by Mary March fills an entire wall with over 150 statements such as “I am creative” or “I can’t trust people” tacked onto the wall. Viewers pick up a ball of yarn from a basket and loop the string around statements they identify with. Although there are over fifty yarns to choose from, no color is exactly the same. The result is a colorful mish-mash of links between statements, each piece of yarn unique in itself, yet united. “I wanted to take little parts of people’s lives and string them together,” March said.

A lyrical dance show, a disc jockey and the steady clinking of wine glasses promises an artsy, upbeat and casual evening. Artwork ranges from paintings to film documentaries, photojournalism to sculptures; diversity is not a problem. Like the pieces themselves, the artists come from around the world, expanding from local Orange County to London and other parts of the United Kingdom. An artist from the Ukraine demonstrates his artistry through a musical interactive piece. Still another man exhibits his love of dance and music through a Soul Train display.

A family friendly event, free to the public and right in the middle of quaint restaurants and other unique galleries, the OCCCA gallery is a great place to take a date, a group of friends or hit up for an art assignment.
More information on “You First” can be found on the OCCCA website www.occca.org.

Review of A Review: "Just Can’t Say Goodbye to Gotham by Claudia La Rocco"

Claudia La Rocco’s review of “The Love Letter You’ve Been Meaning To Write To New York” summarizes her opinion of the performance within the first three sentences of the article. Having spent the past four days reading scientific literature that takes at least five paragraphs to summarize a point, it was refreshing to read a piece so concise.

The first paragraph summarizes the quality of the show, the second is a brief description of what the show is about, or rather what makes the show unique. The play takes place outside the theater, while the audience sits inside the building watching the performance take place, literally, on the streets of New York. I understand a review needs to be about evaluation and analysis but given the set-up of the show, La Rocco could have used a bit more description in her article.

After her initial analysis at the beginning of the review, La Rocco fails to explain why she wrote what she did. She didn’t say why actors seemed “amateur” and failed to give examples of how the script was “hackneyed,” leaving her audience of art patrons feeling a bit vague on what made the show bad or if it was even bad at all.

Despite the lack of clarity in her statements, La Rocco’s voice is easy to read, mixing colorful descriptions with short and concise sentences. A little more insight would have been helpful but overall the review was well written. She made certain scenes come alive to the reader. The descriptions she gave sparked interest but the evaluation aspect was lacking detail.

In comparison to other theater reviews, such as New York Times writer Andrew Dinwiddle’s take on “Get Mad At Sin!” her details fall short. Dinwiddle writes a thorough analysis, giving just enough background and description before diving into his analysis of the actors and the director. That being said, La Rocco’s article is more alive than other articles I read. For example, Jason Zinoman’s review of “The Bilbao Effect” lacked some of the personality La Rocco has to offer. His voice isn’t as distinct and some of his wording seems to be passive. He doesn’t stand out as much as La Rocco did to me.

It is also important to note that La Rocco is a dance critic. Scripted theater isn’t what she reviews on a weekly basis. Many of her reviews are of tap shows, ballet numbers or contemporary dance. Her writing is consistent there too. Her style is personable, her thoughts well articulated and she explains herself better. While I didn’t enjoy her review of “The Love Letter I’ve Been Meaning To Write To New York,” I thoroughly enjoyed many of her dance reviews.

http://theater.nytimes.com/2011/10/01/theater/reviews/jonathan-solaris-love-letter-on-a-sidewalk-stage-review.html?ref=theater

To Kill A Mockingbird

I created a podcast interviewing stage manager (and Biola alum!) Tracy McDaniel on Biola's fall production of "To Kill A Mockingbird." Check it out to learn more about why they chose this particular play and where they are on their production process!

Simplified.

After multiple affairs with Blogger, Tumblr, Livejournal and Wordpress I have settled down and brought all my musings into one place. Enter Pure Tanjerine.

While I will continue my fling with Tumblr, blogging and re-blogging to my heart's content, Pure Tanjerine is where I plan to set up shop. Career-wise it will be a reference to my writing, photos and other various endeavors into journalism and PR. I also plan to write, post photos, and just start to truly blog again.

It is time for simplicity. One location, one me.

A 20-year-old college student, aspiring to be many things: a journalist, a creator, slim, fashionable, hardworking, justice seeking and a good friend among other things.

The world is big and my thoughts are scattered. Hopefully this blog will suffice to bring my thoughts into one place.

Ciao!