"Face Off", Syfy, Season 6, 2014

Face Off Review

Down to the final five, this week's episode of Face Off (The Industrial Revolution) is unlike any other challenge they've had before on the show. Testing their skills in fabrication, Daran, Rashaad, Tyler, George, and Niko are creating incredible robots. This challenge is unlike any other because the artists are given an extra day (four instead of three) to assure they have enough time to create these metal titans.

The episode kicks off, like always, with McKenzie Westmore introducing this mammoth challenge. The wrench is thrown in when McKenzie announces that each one of their robots will have a present day profession that has been futurized so there is no need for its human counterpart. The artists are then released to start sketching out a concept.

Niko has been assigned a construction worker, and promptly begins to create a bulky robot that resembles something you'd find on Easter Island. Donning an obnoxious light on top off its head, Niko's man of steel lacks luster and looks like an oaf. It becomes evident that the execution is a struggle for Niko as he glues the joints of his robot together leaving little to no room for his model to move, causing him to nearly start over as Rashaad has to give him basic pointers to piece it back together. Out of the five, Niko seems to have the least amount of skill and has spent much of his time in the bottom two, barely escaping elimination.  Each week another artist is slightly worse, moving him to the next round. This challenge is forcing Niko to bite off more than he can chew, and at this point in the competition, it is paramount to up your game.

George has been given the task of turning a hairdresser into an iron dame of the future. When George begins sketching his concept, he doesn't seem to realize that he's gone for the "lowest hanging fruit" (a mistake that judge, Glenn Hetrick, scolded eliminated competitor, Graham, for). George is seriously considering giving his chrome lady a pair of blow dryers in exchange for a pair of breasts. Not getting the hint that this design choice is tasteless, mentor Michael Westmore (Star Trek), thankfully puts the kibosh on this and suggests that George should sculpt one dryer. After struggling with nerve pain, George is worried about his place in the competition. Fearing his medical issues are a hindrance, he pushes on, determined to finish his robot.  Adding some cosmetic accoutrements, his Fembot of the future is ready for all beauty emergencies any future gal may have.

Tyler creates a medical specialist. Giving his robot a humanesque face to comfort patients while receiving medical attention, he makes the small mistake of fabricating a robot meant for a six foot tall model while his model stands a mere five feet. Consistently well constructed makeups and solid concepts seem to be Tyler’s forte, and he easily corrects his potentially disastrous error. His robot could easily fit in a movie such as Alex Proyas’  “I, Robot” or be an ally in an episode of Dr. Who.  It’s no surprise that Tyler has once again hit the mark for this challenge.

Rashaad makes a firefighter of the future and really knocks it out of the park. His man of steel is well crafted and adorned in scorch marks, a hose for extinguishing flames, and an eagle representing his firefighting squad of the future. Transformers pale in comparison to Rashaad’s veteran flame fighter. It’s almost as if the toy everyone fought over as a child is standing next to Rashaad. “I created a makeup that my son would want to play with as a toy,” Rashaad says easily making everyone else green with envy. The stature, profile, and sheer capability to create this piece leaves audiences and judges alike speechless.

Finally, Daran creates a photographer robot. Having no experience in fabrication whatsoever, Daran takes a crack at creating his unique robot. Normally known for his off-the-wall creations and concepts, Daran attempts to build a robot whose body serves as a camera. Unfortunately, it’s apparent that Daran is not a fabricator, but what is more unfortunate is that he doesn’t seem to want to be one either. Narrowly escaping elimination last week, the judges gave Daran a second wind, interested in what he would come up with next. Sadly, Daran’s metal man is camera shy, and relatively plain sporting minimal camera features and oddly lacking in concept.

Judges, Glenn Hetrick (Optic Nerve Makeup, Hunger Games), Ve Neill (Beetlejuice, Edward Scissorhands), and Neville Page (Creature and Concept Designer) greet the artists as they do every week as last looks grows nearer.  After showing off their labored looks, the judges determine that Rashaad’s tough firefighter is the clear winner of this challenge. Niko is in the bottom two (again!) along with Daran leaving George and Tyler safe to continue on next week. Coming down to Daran’s lack of work compared to Niko’s skill set, the judges struggle to determine who should be eliminated. When it becomes clear to the judges that Daran doesn’t want to learn how to fabricate, the choice becomes easy and Daran is sent home. Niko again barely slips into the next round, surviving another week.

America Windows, Marc Chagall, 1977. Art Institute of Chicago

Marc Chagall, The America Windows, 1977 The Art Institute of Chicago

Celebrating religious freedom, opportunity, and diversity, Marc Chagall dedicated The America Windows (Chagall Windows) to the city of Chicago. Known for his fabrication of many famous cathedral windows around the world in countries such as Germany, Switzerland and the United Kingdom, these windows serve as Chagall’s personalized greeting card to America. Luminous, they paint a romantic picture of the American Dream, eternalizing Chagall’s admiration for a vibrant city by capturing the blues music of Chicago, and the concepts of peace and religious freedom immortalizing the idea that we can achieve anything we want in America.

Marc Chagall’s America Windows are famous in their own right, but are perhaps most well known for their brief appearance in the John Hughes’ movie Ferris Bueller’s Day Off. The windows set a tender scene between teenage lovers Ferris Bueller and his girlfriend Sloan Peterson. During an interview with John Hughes, he says that the scene at the Chicago Art Institute is “indulgent” and “used it as an opportunity to go back and show all of his favorite pieces.”  Chagall does something very similar with this piece by visiting three of the concepts of the American Dream.

The first panel dives into Chicago’s rich history as a hub for rhythm and blues music. People playing instruments as well as floating guitars and fiddles are depicted in the blue glowing panes of the first window. The radiant history of the city warms hearts, reminding Chicagoans of their rich background of soulful melodies in the homeland of the blues.  Chicago natives take great pride in their history, and it is perfectly captured here through Chagall’s work.  The music and soul of musicians such as Buddy Guy and Muddy Waters are captured within this panel. The blues is spiritual music. “We’re on a mission from God,” is the mantra for Jake and Elwood Blues to get their band back together to prevent their church from closing. Cathedral style windows are perfect for encompassing the spirituality of blues music, a smart decision made on Chagall’s part.

The second panel illustrates the unity and peace found within the multiple neighborhoods of the city. A giant dove surrounded by olive branches watches over the city day and night. The panel also serves as a prayer for the city. After the passing Chicago mayor, Richard Daley in 1976, the city was left with a large hole and in a state of mourning. The figure on the left side of the pane lights a candle in remembrance of the late great Chicago mayor.

Finally the third panel symbolizes the importance of religious freedom in America. An angel like figure, menorah, and rose window are shown in the final panel. Immigrants of all different backgrounds are celebrating and literally being thrown into “The Great American Melting Pot.” References of Christianity and Judaism are important to note because of Chagall’s Jewish faith and his extensive work in cathedral windows. It’s referential to his experience in America.

These windows are significant because they tell the story of us. They unify not only Chicagoans, but also America.  They continue to glow and exude a rich tapestry that helped make our country what it is today. Created by a Jewish immigrant, they are the quintessence of the American Dream. Nearly every American citizen can relate to coming from a family of immigrants trying to build a life for themselves in the land of opportunity.

“Almost Famous” (Directed by Cameron Crowe, 2000)

“Almost Famous” (Directed by Cameron Crowe, 2000)

“One day, you’ll be cool,” Anita Miller (Zooey Deschanel) informs her alienated brother, William (Patrick Fugit), as she walked off to look for America by becoming a stewardess. She bequeathes her record collection to him and tells him that “it will set you free.” Fast forward a couple of years, William is fifteen and continues to remain an outcast among his peers. He has a passion for music and writing and finding a role model in famed rock critic, Lester Bangs (Philip Seymour Hoffman), William aspires to write about music. “Almost Famous” is a fun and touching film that captures the heart through its taste in music and sense of time.

“Almost Famous” opens the door into the world of music criticism. Being pulled along on crazy adventures and encountering telling situations about the lives of rock stars, William learns the true struggle of being a veritable journalist. Dubbed “The Enemy” he battles with what it takes to be “honest and unmerciful.” William becomes the guy who “you shouldn’t tell your secrets to.”

Based on director Cameron Crowe’s life, “Almost Famous” is a wonderful story of youth. We meet characters such as Penny Lane (Kate Hudson) and her team of “Band Aides,” whose purpose is much greater than the standard groupie (“‘Groupies’ sleep with rock stars because they want to be near someone famous. We are here because of the music”).They follow the up-and-coming band, Stillwater, featuring dueling leaders Russell Hammond (Billy Crudup) and Jeff Bebe (Jason Lee).

William meets Stillwater after given an assignment by Lester Bangs to write about Black Sabbath. By luck,  he eventually gets to follow the touring band after being invited to write a piece about Stillwater for Rolling Stone Magazine. (Both of which are unaware of William’s actual age). Much to his stern mother’s dismay(Frances McDormand), she allows him to go along as long as he promises to check in frequently and promises to stay on top of his schoolwork.

The film is filled with moments of tension, love, and passion. Egos clash between Russell and Jeff with band affairs. William’s affections for Penny conflict with her feelings for Russell. The passion for living reaches its high point in the haunting plane scene (cue “Peggy Sue”) where the entire band confesses dark secrets in a moment of tumultuous and crippling  fear of death.

“Almost Famous” captures the essence of what it’s like to be a teenager. It reminds us of the woes of unrequited love, the fears of growing up, and relation to the feeling of “blindly loving some silly piece of music... or some band so much that it hurts.”  No matter what the time period, we can all remember a connection to music. “Almost Famous” is a movie that lights the way for a generation of music lovers and critics alike.

Third Eye Blind, "Third Eye Blind" (Elektra 1997)

Third Eye Blind, “Third Eye Blind,” (Elektra 1997)

Imagine stumbling across Pandora’s box filled with all the heartache and evils of the world. Pandora couldn’t resist opening it, and Third Eye Blind’s eponymous album has that same appeal. The album is filled with pain, despair, and even hope. It also comes wrapped in an attractive yet deceiving shell that would fool anyone into releasing the harsh realities inside. “Third Eye Blind” is filled with heart-breaking accounts where we find pieces of ourselves scattered throughout. Its catchy songs cloak the darkness that lies beneath, and we are taken on a torment-ridden experience.

Songs of one-sided relationships and romantic half-truths are abundant throughout the album. “Losing A Whole Year” and “Good For You” recount stories of old flames being blown out. The fear of unrequited love haunts the listener as Stephan Jenkins sings “I kind of get the feeling like I'm being used” in “Losing A Whole Year.” “Good For You” bubbles with the pain from a relationship growing apart, “Everything is fine/but I'm lonely all the time.” Neither lover is happy in the condemned relationship, but they don’t have the strength to break it off.

Complete with horrifying stories of narcoleptic episodes, the pleasures of oral sex, and the anxiety of the uncertainties of the future, Jenkins demonstrates that likeable guitar rifts and catchy choruses can distract even an ardent listener. “Semi-Charmed Life” is a head-bopping tune that is reminiscent of Hanson’s “MmmBop,” and to the casual listener it feels like a song you can roll down you car windows and let your kids sing along to. When in all truth, “She comes round and she goes down on me/ Slide up around the belly face down on the mattress” is all about our favorite pastime.  

“Jumper” is a particularly interesting track because of its dark yet hopeful message. The tension is unbearable in the anti-suicide anthem, not knowing whether or not he or she may jump. The melody tells the story of friend pleading to friend to “step back from that ledge” understanding that ties my have to be cut to save a life.

The only small qualm with the album is that it ends on a sour note. After an uplifting song like “Motorcycle Drive By” where “I’ve never been so alone/I’ve never been so alive” proclaims that you can find true happiness inside yourself. “God of Wine” feels like a bit of a relapse from the strength found in the previous song. Screaming, “I know I can’t keep it all together” and finding refuge in alcohol it is truly painful because it’s like watching a close pal fall back into destructive habits.

From living on the edge and feeling alive, to feeling dejected and unloved “Third Eye Blind” has something to offer everyone. It’s tempting to get sucked into the stories the album paints for us. This album is conversational and it feels like you’re catching up with an old friend over a couple of beers. So even though Pandora’s box contains some hellish elements, there is also hope. These are substances that make up the good and the bad in life.