because art deserves a voice

CD ALLEY CLOUD CULT Spotlight:

OPEN MIC NIGHT QUENCH

EASTERN AFRICA’S SEARCH FOR WATER

Uncharted.

Here to Stay

Through The Lens:

Uncharted.2008-09 Staff

Executive DirectorAllison Young

Editor-in-ChiefJess Shorland

Web DirectorKatie Sternowski

Visual Arts EditorKatie Reich

Performing Arts EditorDillon Erb

Layout EditorJessica Lopez

Marketing & Advertising DirectorJessica Serico

Anika Anand

Stephanie Bullins

Rebecca Collins

Patrick Gehling

Trey Green

Corey Inscoe

Mitch Moste

Neha Patel

Alyxandra Press

Nicole Yang

Kelsey Zyvoloski

Photographer, Cover Image

Writer, Copy Editor, Layout

Writer, Copy Editor, Layout

Photographer

Writer, Copy Editor

Writer

Writer, Marketing & Advertising

Writer

Writer, Photographer

Layout

Photographer, Marketing &

Advertising

letter from the creators

The University of North Carolina at Chapel Hill offers a rich cultural environment for one of the nation’s most competitive universities and, as we are sure you all agree, one of the best all around. From Carolina’s spirit on campus to the rigor of acad-mia, we seem to always reserve an innate warmth for Chapel Hill. And during one of the most transitional periods in our lives, we are constantly searching for new outlets for expres-sion. These offerings of the self are meant to be shared with a community, to reach out to people, to make connections.

Uncharted Magazine provides a medium through which peo-ple can share their expressions of the self -- their art -- with the Chapel Hill community. This magazine is a unique col-lection of virtually unbounded expressions of art. You will find articles relating to music, performance art and visual art, three disciplines that are distinct, yet extremely intertwined.

Uncharted is a publication for the community by the commu-nity, so your input is greatly valued. Readers can register online on Uncharted’s website, create an artist profile and upload arti-cles, art, photos and whatever else you may wish to include. In this way, Uncharted is not only a medium, but a networking tool designed to connect the community through its art. There are no limitations or guidelines, only freedom of expression.

Uncharted is pleased and excited to release its first is-sue to the Carolina community, and just as excited to re-ceive your feedback. Put off those papers and problem sets just a bit longer to enjoy the articles that follow. If you find that you want your artistic voice to be heard, sub-mit your art and articles online at www.uncartmag.com.

And so, it is with great pleasure that we are able to in-troduce to you the first ever issue of Uncharted Maga-zine, where expression is free and the arts are appreciated.

Jess Shorland, Allison Young, Katie Sternowski

CreatorsUncharted Magazine

contentsCloud Cult

CD Alley

Suggestions

Quench: Eastern Africa’s Search For Water

Renaissance Man

Electrical Infrastructure

Open Mic, Open Minds

Graphic Design

Online Features

4812142022242629

Photo by Anika Anand

Uncharted.2008-09 Staff

Executive DirectorAllison Young

Editor-in-ChiefJess Shorland

Web DirectorKatie Sternowski

Visual Arts EditorKatie Reich

Performing Arts EditorDillon Erb

Layout EditorJessica Lopez

Marketing & Advertising DirectorJessica Serico

Anika Anand

Stephanie Bullins

Rebecca Collins

Patrick Gehling

Trey Green

Corey Inscoe

Mitch Moste

Neha Patel

Alyxandra Press

Nicole Yang

Kelsey Zyvoloski

Photographer, Cover Image

Writer, Copy Editor, Layout

Writer, Copy Editor, Layout

Photographer

Writer, Copy Editor

Writer

Writer, Marketing & Advertising

Writer

Writer, Photographer

Layout

Photographer, Marketing &

Advertising

letter from the creators

The University of North Carolina at Chapel Hill offers a rich cultural environment for one of the nation’s most competitive universities and, as we are sure you all agree, one of the best all around. From Carolina’s spirit on campus to the rigor of acad-mia, we seem to always reserve an innate warmth for Chapel Hill. And during one of the most transitional periods in our lives, we are constantly searching for new outlets for expres-sion. These offerings of the self are meant to be shared with a community, to reach out to people, to make connections.

Uncharted Magazine provides a medium through which peo-ple can share their expressions of the self -- their art -- with the Chapel Hill community. This magazine is a unique col-lection of virtually unbounded expressions of art. You will find articles relating to music, performance art and visual art, three disciplines that are distinct, yet extremely intertwined.

Uncharted is a publication for the community by the commu-nity, so your input is greatly valued. Readers can register online on Uncharted’s website, create an artist profile and upload arti-cles, art, photos and whatever else you may wish to include. In this way, Uncharted is not only a medium, but a networking tool designed to connect the community through its art. There are no limitations or guidelines, only freedom of expression.

Uncharted is pleased and excited to release its first is-sue to the Carolina community, and just as excited to re-ceive your feedback. Put off those papers and problem sets just a bit longer to enjoy the articles that follow. If you find that you want your artistic voice to be heard, sub-mit your art and articles online at www.uncartmag.com.

And so, it is with great pleasure that we are able to in-troduce to you the first ever issue of Uncharted Maga-zine, where expression is free and the arts are appreciated.

Jess Shorland, Allison Young, Katie Sternowski

CreatorsUncharted Magazine

contentsCloud Cult

CD Alley

Suggestions

Quench: Eastern Africa’s Search For Water

Renaissance Man

Electrical Infrastructure

Open Mic, Open Minds

Graphic Design

Online Features

4812142022242629

Photo by Anika Anand

n a time when the rest of the world is “going green,” Cloud Cult has established itself as not only eco-friendly, but as a vibrant band to look out for. The environmentally conscious band records

their albums through lead singer Craig Minowa’s own nonprofit record label, Earthology Records, located on his organic farm in northern Minnesota. Cloud Cult is so dedicated to protecting the environment that they package their albums in recyclable materials, plant 10 trees for every 1000 albums they produce and work to ensure that their tours are as “green” as possible. Cloud Cult’s eccentricities are not confined to their environmental activism, but ultimately stem from their quirky personalities. According to the individual biographies located on their website, each band member has unique traits that combine to make Cloud Cult special.

Cloud Cult performing in Seattle, Washington.

IBy Neha Patel

Phot

o co

urte

sy o

f Clo

ud C

ult

n a time when the rest of the world is “going green,” Cloud Cult has established itself as not only eco-friendly, but as a vibrant band to look out for. The environmentally conscious band records

their albums through lead singer Craig Minowa’s own nonprofit record label, Earthology Records, located on his organic farm in northern Minnesota. Cloud Cult is so dedicated to protecting the environment that they package their albums in recyclable materials, plant 10 trees for every 1000 albums they produce and work to ensure that their tours are as “green” as possible. Cloud Cult’s eccentricities are not confined to their environmental activism, but ultimately stem from their quirky personalities. According to the individual biographies located on their website, each band member has unique traits that combine to make Cloud Cult special.

Cloud Cult performing in Seattle, Washington.

IBy Neha Patel

Phot

o co

urte

sy o

f Clo

ud C

ult

Craig Minowa, lead singer, has had 36 different jobs including shoe shiner, parking lot attendant and water velocity measurer. Craig Minowa’s wife, Connie, and visual artist Scott West paint onstage during performances. After the shows, the one-of-a-kind paintings are auctioned off to the audience. Sarah Young, the cellist and keyboardist, brings her entire family including her two young sons on tour with the band. Shannon Frid, the band’s violinist, joined the band after responding to an ad on Craigslist. The drummer, Arien Peiffer, spent two of his three biography paragraphs on the

Web site simply describing his love for camping. Collectively, it seems that it is the various life experiences of each band member that make Cloud Cult’s music so captivating and personal. Cloud Cult strives to produce music that does not fit into any one musical genre. Instead, they pride themselves on creating dynamic songs that incorporate many instruments such as cello, violin, bass, trumpet, glockenspiel, guitars, trombone and drums. Craig Minowa’s vocals are so distinct that it’s hard to imagine any other voice working with the songs. He

has a way of subtly changing his tone depending on the nature and type of song. Some of the songs are so heavily lyrical that they almost feel like conversations or speeches. A large portion use anecdotal, humorous lyrics to spread messages of hope for the future. Although many of the songs do have deeper meanings, the band seems to realize that preaching is not the best way to convey their messages. They seem to genuinely enjoy creating uplifting, interesting and fun songs that are as appealing on the surface as they are on a more profound level. Their last two albums, The Meaning of 8 (2007) and Feel Good Ghosts (Tea Partying Through Tornadoes) (2008), succeed in reaching Cloud Cult’s goal of creating fresh unconventional music. The songs from these albums are unpredictable and often break conventional song formats opting for a more creative approach. The Meaning of 8 is a concept album (an album with a pervasive theme) that focuses on the number eight. The writing found on the environmentally sustainable album case outlines the significance of the number eight within many religions and cultures. Some of the song titles include “Your 8th Birthday,” “The Shape of 8” and “2x2x2”. Either through lyrical details, references or allusions, the number eight is incorporated into every song on the album. Most of the songs on this album use loud, edgy sounds to create powerful, catchy beats. At times these songs can be overwhelming, but eventually they can be appreciated for their satiated sounds. For instance, “A Good God” is full of various beats and sounds layered together creating a full, rich quality. “Chemicals Collide,” however, has a softer, more melodic tone, making it a lighter and more upbeat while still original with an instrumental portion in the middle that deserves multiple listens.

Although The Meaning of 8 and Feel Good Ghosts were made within a year of each other, they have distinguishable styles. Feel Good Ghosts seems to have a brighter and more optimistic sound than The Meaning of 8. Like The Meaning of 8, each song on Feel Good Ghosts is distinct, yet the album is coherent, as each track seems to be placed with purpose and reason. The first track on the album, “No One Said It Would Be Easy,” starts with about a minute of animated instrumentation that complements the song’s hopeful, resilient attitude toward life and its troubles. “Journey of the Featherless” is a feel-good

song about a man who is on a mission to find heaven.

“I made friends with the clouds/ I made

friends with the birds/ If you ask a goose a question/ He never shuts up” and “…But

my heart’s still beating/ Guess I’m

pretty lucky…” are some of the lyrics that

make the song spirited with a positive message of

perseverance. Not all of the songs on the album are as upbeat and

multifaceted. “The Ghost Inside Our House” allows Minowa’s vocals to outshine the simple violin and guitar that accompany it. The song is beautiful in its simplicity and shows the full range the group’s abilities. Cloud Cult is a band with modern sensibilities. They are constantly innovating to keep up with the needs of the environment and their fans. It is obvious that they appreciate their talents and abilities, and hopefully they will continue to create original music that can both inspire and entertain. Get more information about this band at: www.cloudcult.com

“Cloud Cult is constantly

innovating to keep up with the needs of the

environment.”

Phot

o co

urte

sy o

f Clo

ud C

ult

Craig Minowa, lead singer, has had 36 different jobs including shoe shiner, parking lot attendant and water velocity measurer. Craig Minowa’s wife, Connie, and visual artist Scott West paint onstage during performances. After the shows, the one-of-a-kind paintings are auctioned off to the audience. Sarah Young, the cellist and keyboardist, brings her entire family including her two young sons on tour with the band. Shannon Frid, the band’s violinist, joined the band after responding to an ad on Craigslist. The drummer, Arien Peiffer, spent two of his three biography paragraphs on the

Web site simply describing his love for camping. Collectively, it seems that it is the various life experiences of each band member that make Cloud Cult’s music so captivating and personal. Cloud Cult strives to produce music that does not fit into any one musical genre. Instead, they pride themselves on creating dynamic songs that incorporate many instruments such as cello, violin, bass, trumpet, glockenspiel, guitars, trombone and drums. Craig Minowa’s vocals are so distinct that it’s hard to imagine any other voice working with the songs. He

has a way of subtly changing his tone depending on the nature and type of song. Some of the songs are so heavily lyrical that they almost feel like conversations or speeches. A large portion use anecdotal, humorous lyrics to spread messages of hope for the future. Although many of the songs do have deeper meanings, the band seems to realize that preaching is not the best way to convey their messages. They seem to genuinely enjoy creating uplifting, interesting and fun songs that are as appealing on the surface as they are on a more profound level. Their last two albums, The Meaning of 8 (2007) and Feel Good Ghosts (Tea Partying Through Tornadoes) (2008), succeed in reaching Cloud Cult’s goal of creating fresh unconventional music. The songs from these albums are unpredictable and often break conventional song formats opting for a more creative approach. The Meaning of 8 is a concept album (an album with a pervasive theme) that focuses on the number eight. The writing found on the environmentally sustainable album case outlines the significance of the number eight within many religions and cultures. Some of the song titles include “Your 8th Birthday,” “The Shape of 8” and “2x2x2”. Either through lyrical details, references or allusions, the number eight is incorporated into every song on the album. Most of the songs on this album use loud, edgy sounds to create powerful, catchy beats. At times these songs can be overwhelming, but eventually they can be appreciated for their satiated sounds. For instance, “A Good God” is full of various beats and sounds layered together creating a full, rich quality. “Chemicals Collide,” however, has a softer, more melodic tone, making it a lighter and more upbeat while still original with an instrumental portion in the middle that deserves multiple listens.

Although The Meaning of 8 and Feel Good Ghosts were made within a year of each other, they have distinguishable styles. Feel Good Ghosts seems to have a brighter and more optimistic sound than The Meaning of 8. Like The Meaning of 8, each song on Feel Good Ghosts is distinct, yet the album is coherent, as each track seems to be placed with purpose and reason. The first track on the album, “No One Said It Would Be Easy,” starts with about a minute of animated instrumentation that complements the song’s hopeful, resilient attitude toward life and its troubles. “Journey of the Featherless” is a feel-good

song about a man who is on a mission to find heaven.

“I made friends with the clouds/ I made

friends with the birds/ If you ask a goose a question/ He never shuts up” and “…But

my heart’s still beating/ Guess I’m

pretty lucky…” are some of the lyrics that

make the song spirited with a positive message of

perseverance. Not all of the songs on the album are as upbeat and

multifaceted. “The Ghost Inside Our House” allows Minowa’s vocals to outshine the simple violin and guitar that accompany it. The song is beautiful in its simplicity and shows the full range the group’s abilities. Cloud Cult is a band with modern sensibilities. They are constantly innovating to keep up with the needs of the environment and their fans. It is obvious that they appreciate their talents and abilities, and hopefully they will continue to create original music that can both inspire and entertain. Get more information about this band at: www.cloudcult.com

“Cloud Cult is constantly

innovating to keep up with the needs of the

environment.”

Phot

o co

urte

sy o

f Clo

ud C

ult

orget the coffee bars and high-tech in-store venues. Forget the fancy gizmos and memorabilia and surly clerks and unso-licited criticism. A record store isn’t about the bells and whistles. It’s really just about the music.” According to CD Alley’s website, this is more than your ordinary CD shopping experience, and I’d say it accurately sums up what Franklin Street’s last remaining authentic CD store is all about. Even while facing changes in the music industry and changes on Franklin Street, CD Alley remains a place that is dedicated to getting albums and records into the hands of music lovers of all types.

The 10-year-old store is a hole in the wall. It’s jam-packed with CDs, vinyl records, movies, music DVDs, posters, magazines and of course, the couch, which instead of being utilized for its comfort is currently being used to display record players. Brian Burns, one of the store’s five employees, summed it up beautifully: “The disorganization and cramped space is all part of the charm of CD Alley.” The store itself has not changed much over the years, but most everything else around it has, including Franklin Street. Burns made the point that East Franklin Street has now become more corporate and franchised, whereas West Franklin Street is now the cool end of Franklin Street. Like CD Alley, the stores nearby are all independently owned, which gives the whole area a local friendly feel. Many people would assume that the closing of Schoolkids Records on East Franklin

CD ALLEY:Here to Stay

FBy Neha Patel

Photos by Anika Anand“

orget the coffee bars and high-tech in-store venues. Forget the fancy gizmos and memorabilia and surly clerks and unso-licited criticism. A record store isn’t about the bells and whistles. It’s really just about the music.” According to CD Alley’s website, this is more than your ordinary CD shopping experience, and I’d say it accurately sums up what Franklin Street’s last remaining authentic CD store is all about. Even while facing changes in the music industry and changes on Franklin Street, CD Alley remains a place that is dedicated to getting albums and records into the hands of music lovers of all types.

The 10-year-old store is a hole in the wall. It’s jam-packed with CDs, vinyl records, movies, music DVDs, posters, magazines and of course, the couch, which instead of being utilized for its comfort is currently being used to display record players. Brian Burns, one of the store’s five employees, summed it up beautifully: “The disorganization and cramped space is all part of the charm of CD Alley.” The store itself has not changed much over the years, but most everything else around it has, including Franklin Street. Burns made the point that East Franklin Street has now become more corporate and franchised, whereas West Franklin Street is now the cool end of Franklin Street. Like CD Alley, the stores nearby are all independently owned, which gives the whole area a local friendly feel. Many people would assume that the closing of Schoolkids Records on East Franklin

CD ALLEY:Here to Stay

FBy Neha Patel

Photos by Anika Anand“

requests. If they have a few customers asking for the same CD, they will order a few copies and see how it sells. Ultimately, they use past sales to determine what should be ordered and after that, it’s all up to the customer.

As for the future of CD Alley, it doesn’t look like anything will be changing anytime soon. Burns doesn’t see many aspects of the business changing, but he did suggest that the store might relocate to accommodate expansion. He said that currently there is more stuff than space, and sometimes the store has been known to flood after heavy rainfall. Even with all of these problems Brian said that moving always comes with mixed feelings. He said that CD Alley will, “...keep doing what we’re doing as long as we can.”

When I posed the same question to Ryan Richardson, CD Alley’s owner who casually walked in at the end of the interview, he replied with an honest “Your guess is as good as mine. Technology is developing so quickly and you never know what is around the corner. At the same time, people are embracing old technology such as vinyl.” As far as I can tell, change will come when CD Alley’s loyal customers want it.

When you walk into CD Alley not much else exists besides the music and the music lovers around you. Even with pervasive declines in album sales and changes in local scenery, nothing really seems to bother the employees or customers of CD Alley because ultimately, when you’re in the store, it really is just about the music.

Street would have affected CD Alley, but according to Burns, the closing of School-kids did not have a big impact on CD Al-ley. Schoolkids catered more to college kids, whereas CD Alley’s biggest customers are locals, some of whom are collectors looking for specific rare finds. In fact, many students do not even know about CD Alley. Since advertising is so expensive and unpredictable, the store relies on locals and word of mouth to survive. Though the store does have a website, it is rarely updated since only five employees handle every aspect of the business. Yet, over the years, CD Alley has developed a reputa-tion as one of the last authentic music stores in the area, and as a result, people from all over have been known to drop by.

Even with all of its charm and authenticity, it seems that it must be a constant struggle to survive in a world where Internet downloading is the quick-est, easiest way to get music. Internet downloading was largely responsible for the closing of Schoolkids. When I asked Burns if digital music sales have affected CD Alley, he casu-ally replied, “Not enough that we’re worried.” Even though the music industry is experiencing dramatic changes, it hasn’t really affected this local store because it relies on local custom-ers who prefer tangible albums. People who have been coming to CD Alley aren’t going to stop anytime soon, especially when it has become a part of their musical experiences. As proof, Burns admitted to noticing what people buy. He said, “It sticks in your head...” Especially since they hand write pur-

chases to keep up with inventory. In the past, the employees have been known to pre-order music for regular customers even before they are asked to do so. They even give people recommendations based on what other people with similar tastes are buying. It’s hard to get more personal than knowing the music taste of individual customers.

When deciding what to stock, CD Alley chooses based on quality. “We’re not good about paying attention to what is hip, said Burns. Instead, they usually use a catalog to guide them in stocking music that is highly recommended. Other than the catalog, they rely almost solely on their customers

When you walk into CD Alley, not much

else exists besides the music and

the music lovers around you.

requests. If they have a few customers asking for the same CD, they will order a few copies and see how it sells. Ultimately, they use past sales to determine what should be ordered and after that, it’s all up to the customer.

As for the future of CD Alley, it doesn’t look like anything will be changing anytime soon. Burns doesn’t see many aspects of the business changing, but he did suggest that the store might relocate to accommodate expansion. He said that currently there is more stuff than space, and sometimes the store has been known to flood after heavy rainfall. Even with all of these problems Brian said that moving always comes with mixed feelings. He said that CD Alley will, “...keep doing what we’re doing as long as we can.”

When I posed the same question to Ryan Richardson, CD Alley’s owner who casually walked in at the end of the interview, he replied with an honest “Your guess is as good as mine. Technology is developing so quickly and you never know what is around the corner. At the same time, people are embracing old technology such as vinyl.” As far as I can tell, change will come when CD Alley’s loyal customers want it.

When you walk into CD Alley not much else exists besides the music and the music lovers around you. Even with pervasive declines in album sales and changes in local scenery, nothing really seems to bother the employees or customers of CD Alley because ultimately, when you’re in the store, it really is just about the music.

Street would have affected CD Alley, but according to Burns, the closing of School-kids did not have a big impact on CD Al-ley. Schoolkids catered more to college kids, whereas CD Alley’s biggest customers are locals, some of whom are collectors looking for specific rare finds. In fact, many students do not even know about CD Alley. Since advertising is so expensive and unpredictable, the store relies on locals and word of mouth to survive. Though the store does have a website, it is rarely updated since only five employees handle every aspect of the business. Yet, over the years, CD Alley has developed a reputa-tion as one of the last authentic music stores in the area, and as a result, people from all over have been known to drop by.

Even with all of its charm and authenticity, it seems that it must be a constant struggle to survive in a world where Internet downloading is the quick-est, easiest way to get music. Internet downloading was largely responsible for the closing of Schoolkids. When I asked Burns if digital music sales have affected CD Alley, he casu-ally replied, “Not enough that we’re worried.” Even though the music industry is experiencing dramatic changes, it hasn’t really affected this local store because it relies on local custom-ers who prefer tangible albums. People who have been coming to CD Alley aren’t going to stop anytime soon, especially when it has become a part of their musical experiences. As proof, Burns admitted to noticing what people buy. He said, “It sticks in your head...” Especially since they hand write pur-

chases to keep up with inventory. In the past, the employees have been known to pre-order music for regular customers even before they are asked to do so. They even give people recommendations based on what other people with similar tastes are buying. It’s hard to get more personal than knowing the music taste of individual customers.

When deciding what to stock, CD Alley chooses based on quality. “We’re not good about paying attention to what is hip, said Burns. Instead, they usually use a catalog to guide them in stocking music that is highly recommended. Other than the catalog, they rely almost solely on their customers

When you walk into CD Alley, not much

else exists besides the music and

the music lovers around you.

Local BandsLakeland: profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=34588865 Lafcadio: www.myspace.com/lafcadiorocks Nathan Oliver: profile.myspace.com/index.cfm?fuseaction=user. viewprofile&friendid=38961415

Suggestions Music Websites

AlbumsThe Go Find Miami (Indie Electronica)

Jeremy Fisher Goodbye Blue Monday (Indie Rock)

Gavin Rossdale Wanderlust (Alternative)

The National Boxer (Indie Rock)

Pleasant Awkward as a Beehive (Local)

The Rosebuds Life Like (Indie Rock)

Teitur Poetry and Airplanes (Adult Alternative)

Babasonicos Mucho (Latin Pop)

Mieka Pauley Elijah Drop Your Gun(Alternative Punk)

Concert VenuesCats Cradle: www.catscradle.com/schedule.html

Usually gets fairly well known bands, high energy crowds; ticket prices are usually between 10-20 dollars.

Local 506: www.local506.comLesser known and local bands, smaller often you can meet the performer; tickets are usually no more than 10 dollars.

Open Mic Night at Jack Sprat: www.jackspratcafe.com

Memorial Hall: www.carolinaperformingarts.org/aboutus/memorial.aspx

Lincoln Theater: www.lincolntheatre.com/

MagazinesPaste Magazine

(“Signs of Life in Music, Film, and Culture”- each issue comes with a full-length CD

sampler, focuses on indie music and culture outside the mainstream)

Spin Magazine

(“Music for Life”- this magazine focuses on bands you’ve probably heard of, but don’t

know much about.)

On the Beat by David Menconi:

blog.newsobserver.com/beat/home

The News & Observer music critic’s opinions on everyone from Lil Wayne to the Rosebuds to REM.

Pandora:

www.pandora.com

Type in your favorite artist or song and have an entire playlist with music you probably haven’t heard of, but that matches your own personal taste.

Pure Volume:

www.purevolume.com

Yes, it’s still around. You can use it to sample music, watch videos or read a biography.

Rolling Stones online reviews:

www.rollingstone.com/reviews

All Music:

allmusic.com

Type in the name of virtually any artists and get a short and sweet biography as well as links to music videos and similar artists.

Local BandsLakeland: profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=34588865 Lafcadio: www.myspace.com/lafcadiorocks Nathan Oliver: profile.myspace.com/index.cfm?fuseaction=user. viewprofile&friendid=38961415

Suggestions Music Websites

AlbumsThe Go Find Miami (Indie Electronica)

Jeremy Fisher Goodbye Blue Monday (Indie Rock)

Gavin Rossdale Wanderlust (Alternative)

The National Boxer (Indie Rock)

Pleasant Awkward as a Beehive (Local)

The Rosebuds Life Like (Indie Rock)

Teitur Poetry and Airplanes (Adult Alternative)

Babasonicos Mucho (Latin Pop)

Mieka Pauley Elijah Drop Your Gun(Alternative Punk)

Concert VenuesCats Cradle: www.catscradle.com/schedule.html

Usually gets fairly well known bands, high energy crowds; ticket prices are usually between 10-20 dollars.

Local 506: www.local506.comLesser known and local bands, smaller often you can meet the performer; tickets are usually no more than 10 dollars.

Open Mic Night at Jack Sprat: www.jackspratcafe.com

Memorial Hall: www.carolinaperformingarts.org/aboutus/memorial.aspx

Lincoln Theater: www.lincolntheatre.com/

MagazinesPaste Magazine

(“Signs of Life in Music, Film, and Culture”- each issue comes with a full-length CD

sampler, focuses on indie music and culture outside the mainstream)

Spin Magazine

(“Music for Life”- this magazine focuses on bands you’ve probably heard of, but don’t

know much about.)

On the Beat by David Menconi:

blog.newsobserver.com/beat/home

The News & Observer music critic’s opinions on everyone from Lil Wayne to the Rosebuds to REM.

Pandora:

www.pandora.com

Type in your favorite artist or song and have an entire playlist with music you probably haven’t heard of, but that matches your own personal taste.

Pure Volume:

www.purevolume.com

Yes, it’s still around. You can use it to sample music, watch videos or read a biography.

Rolling Stones online reviews:

www.rollingstone.com/reviews

All Music:

allmusic.com

Type in the name of virtually any artists and get a short and sweet biography as well as links to music videos and similar artists.

Quench:Eastern Africa’s Search for Water

In Kayanga, a rural village in Western Tanzania, access to water involves miles of walking, often on rough terrain. The “water walks” are time con-suming and physically exhausting, but must be done five to six times per day.

Photo Story by Jess Shorland

Quench:Eastern Africa’s Search for Water

In Kayanga, a rural village in Western Tanzania, access to water involves miles of walking, often on rough terrain. The “water walks” are time con-suming and physically exhausting, but must be done five to six times per day.

Photo Story by Jess Shorland

Synthetic water tanks that hold about 20,000 gallons of water are a more affordable op-tion for water storage. Here, a water tank is being installed along with gutters to capture rain water. These tanks can provide enough water for one family through the dry season.

Larger water tanks constructed by masons hold around 40,000 gallons of water. These

are more expensive to build, but often more durable.

Joesph Sekiku studies the water tanks built in Ruhirra, Uganda,

one of the UN’s Millennium Villages

Synthetic water tanks that hold about 20,000 gallons of water are a more affordable op-tion for water storage. Here, a water tank is being installed along with gutters to capture rain water. These tanks can provide enough water for one family through the dry season.

Larger water tanks constructed by masons hold around 40,000 gallons of water. These

are more expensive to build, but often more durable.

Joesph Sekiku studies the water tanks built in Ruhirra, Uganda,

one of the UN’s Millennium Villages

During the summer of 2008, I traveled to Eastern Africa with Amizade, a non-profit organization devoted to promoting intercultural exchange and community development. The group – nine students, a facilitator and a professor – traveled from New York to Dubai, to Uganda, past the equator, into Karagwe, Tanzania, to the beaches of Zanzibar and into the streets of Dar-Es-Salaam. But beyond the trip itself, this group of 11 people accomplished something more than remarkable.

We partnered with WOMEDA and FADECO, two community driven non-profit organizations. WOMEDA, headed by Juma Masisi, works for women’s and children’s rights through community outreach and legal services. We conducted qualitative research for WOMEDA through interviewing women and men within the community. The concrete research will hopefully help WOMEDA ap-ply for grants and other funding, as well as help to edu-cate more members of the community about social rights.

Joseph Sekiku, founder of FADECO and native of Karagwe, helped the small village of Kayanga prog-ress in development. He started the first radio station,

which is now the main source of mass communica-tion for many in Kayanga. He also created the Eden Center, a school for sustainable agricultural develop-ment and teaching. Through this center, he has devel-oped and taught new methods of farming, including a drying system for fruits and vegetables. We helped to build water-harvesting systems for three women, mak-ing water easily accessible for them and their families. These are only a few of the achievements of Sekiku that have introduced sustainable development to Kayanga. The following pictures document only a few aspects of an unbelievable, life-altering trip. Access to water in rural vil-lages is extremely limited. Women and children walk miles each day, several times a day, in order to obtain water for daily needs. It is still not enough for a healthy, clean lifestyle.

We, as a global community, are not as different or divided as expected. This experience destroyed many of the stereotypes I chose to assume. But we as individu-als can make simple decisions about our daily decisions, our consumption and our actions that can make a glob-al impact. Buying locally produced products and fair-trade goods, for instance, encourages fair wages and labor

practices. Simply being aware and making conscious, informed deci-sions empowers you as a consumer and global citizen.

If you have an interest in getting involved in com-munity develop-ment or any other aspect of global af-fairs, you can visit www.amizade.org to get more infor-mation on how you can help in the fight against extreme poverty.

During the summer of 2008, I traveled to Eastern Africa with Amizade, a non-profit organization devoted to promoting intercultural exchange and community development. The group – nine students, a facilitator and a professor – traveled from New York to Dubai, to Uganda, past the equator, into Karagwe, Tanzania, to the beaches of Zanzibar and into the streets of Dar-Es-Salaam. But beyond the trip itself, this group of 11 people accomplished something more than remarkable.

We partnered with WOMEDA and FADECO, two community driven non-profit organizations. WOMEDA, headed by Juma Masisi, works for women’s and children’s rights through community outreach and legal services. We conducted qualitative research for WOMEDA through interviewing women and men within the community. The concrete research will hopefully help WOMEDA ap-ply for grants and other funding, as well as help to edu-cate more members of the community about social rights.

Joseph Sekiku, founder of FADECO and native of Karagwe, helped the small village of Kayanga prog-ress in development. He started the first radio station,

which is now the main source of mass communica-tion for many in Kayanga. He also created the Eden Center, a school for sustainable agricultural develop-ment and teaching. Through this center, he has devel-oped and taught new methods of farming, including a drying system for fruits and vegetables. We helped to build water-harvesting systems for three women, mak-ing water easily accessible for them and their families. These are only a few of the achievements of Sekiku that have introduced sustainable development to Kayanga. The following pictures document only a few aspects of an unbelievable, life-altering trip. Access to water in rural vil-lages is extremely limited. Women and children walk miles each day, several times a day, in order to obtain water for daily needs. It is still not enough for a healthy, clean lifestyle.

We, as a global community, are not as different or divided as expected. This experience destroyed many of the stereotypes I chose to assume. But we as individu-als can make simple decisions about our daily decisions, our consumption and our actions that can make a glob-al impact. Buying locally produced products and fair-trade goods, for instance, encourages fair wages and labor

practices. Simply being aware and making conscious, informed deci-sions empowers you as a consumer and global citizen.

If you have an interest in getting involved in com-munity develop-ment or any other aspect of global af-fairs, you can visit www.amizade.org to get more infor-mation on how you can help in the fight against extreme poverty.

By Stephanie Bullins

The day after the opening of Kiss Me, Kate, producer Wil-liam Reid’s entire manner was ex-cited. Reid, a senior vocal music and journalism major at UNC-Chapel Hill, serves as an admin-istrator for the UNC-CH Pauper Players and also produced the company’s fall musical this year. Kiss Me, Kate, is a musical by Cole Porter, originally performed in 1948 on Broadway. The musical is a play within a play, with the interior play being Shakespeare’s popular comedy, The Taming of the Shrew. Reid felt like Kiss Me, Kate would be a good production to put on. Since his freshman year, Pauper Players has not produced a classic musical, which is usually put aside for newer, edgier shows, so Reid liked the idea of bringing a musical theatre “staple” into this year’s program. “You can’t get any more classic than Cole Porter,” he ex-plained.He also believes that, even though it is an older play, Kiss Me, Kate is still relevant today. “It speaks to any generation,” Reid added. The experience of putting Kiss Me, Kate together was mostly positive, said Reid. He cited being surrounded by so many talented

people, sponsorship by the General Alumni Association and help from Playmaker’s Repertory Company as con-tributing to the success of the play. “They’ve been very generous in loaning us cos-tumes for this show. I don’t know how we would have done it without their help,” Reid said. The show is very costume-intensive. There are 25 actors total, outfitted for two different eras—the 1940s, when the play is taking place, and the Elizabethan Age, which is the time period for The Taming of the Shrew. However, producing the show was not all fun and games. Reid still had his fair share of work to do. He handled all of the business affairs, such as signing contracts, finding space to perform and arranging the show. “The most terrifying part was making sure I got everything done,” Reid said. “At the end of the day, I was really like, ‘There has to be something, what am I missing?’” The play opened to an audience of 115 peo-ple. Reid said the crowd loved it, and the cast did a great job. “[They] shined with the love of what they do,” he said. However, choosing the cast was a difficult job. “We were blown away at auditions. We had too many people to play each part. We literally could have cast the show twice,” Reid said. He was especially impressed with the lead, UNC-CH freshman Erin Farley. Though there were two very talented females auditioning for the role, Reid was drawn to Farley. “She had such an excitement about it—a pas-sion,” he said. William said that the show was filled with talented underclassmen, including actors, directors and technicians. “There is so much young talent. It’s especially stunning how incredible the freshman class is,” Reid said. He reminisced back to being an underclassman and how exciting it was to come in and work with UNC-CH’s Pauper Players. “It’s always scary when a new generation takes over,” Reid said, referring to both his class and the new one. “We’re now the older ones. It’s an incredible safety net, knowing this class is so talented.” As well as being an actor, producer for theatre, he is also a member of the UNC-CH Chamber Singers, an upperclassman a capella group. Reid always wanted to be involved in the arts, with a one week exception when he was a kid and want-

ed to be a marine biologist. His parents were always supportive of his dream and were also involved in the arts. He spent summers enjoying “Shakespeare in the Park” and watching other classic plays when he was 8 or 9 years old. “At 9 years old, you don’t know that can be your profession,” he laughed. Reid didn’t start seriously acting until middle school, but he was passionate about acting. However, when he decided to go to school, he felt like he should have a more “practical” major. “I went into an I-have-to-be-responsible phase,” Reid said. His guidance coun-selors convinced him that he should audition anyway,

and Reid received a vocal scholarship to UNC-CH. He considered staying a vocal major for a year and then switching, but when the time came, he was hesitant. His parents helped him out. “My mom said, ‘William, now’s not the time to be responsible. Do what you want, as long as you’re happy,’” Reid smiled. “So I thought, ‘Maybe I’ll just double major.’” Reid still wants to pursue a career in the arts, maybe eventually even going into administration. But he wants to try performing first. Otherwise, he said, he would always wonder what could have happened. If his dream of performing in London does not come true, he and his friends have another plan. “We are literally planning on moving to New York and becoming starving artists, while our stomachs are still young enough to handle that many ramen noo-dles,” Reid stated. But his parents are still supporting him in many ways. “They said, ‘We can’t pay for New York forever, but we support you emotionally,” Reid said. For now, the Texas native is enjoying his time at UNC-CH. “I’ve loved every single moment of it, really, every second.”

Renaissance Man William Reid produces, acts and sings

Phot

o by

Kel

sey

Zyvo

losk

i

Reid breaks from preparing for the final performance of Kiss Me, Kate.

“We are literally planning on moving to New York and becoming starving artists.”

By Stephanie Bullins

The day after the opening of Kiss Me, Kate, producer Wil-liam Reid’s entire manner was ex-cited. Reid, a senior vocal music and journalism major at UNC-Chapel Hill, serves as an admin-istrator for the UNC-CH Pauper Players and also produced the company’s fall musical this year. Kiss Me, Kate, is a musical by Cole Porter, originally performed in 1948 on Broadway. The musical is a play within a play, with the interior play being Shakespeare’s popular comedy, The Taming of the Shrew. Reid felt like Kiss Me, Kate would be a good production to put on. Since his freshman year, Pauper Players has not produced a classic musical, which is usually put aside for newer, edgier shows, so Reid liked the idea of bringing a musical theatre “staple” into this year’s program. “You can’t get any more classic than Cole Porter,” he ex-plained.He also believes that, even though it is an older play, Kiss Me, Kate is still relevant today. “It speaks to any generation,” Reid added. The experience of putting Kiss Me, Kate together was mostly positive, said Reid. He cited being surrounded by so many talented

people, sponsorship by the General Alumni Association and help from Playmaker’s Repertory Company as con-tributing to the success of the play. “They’ve been very generous in loaning us cos-tumes for this show. I don’t know how we would have done it without their help,” Reid said. The show is very costume-intensive. There are 25 actors total, outfitted for two different eras—the 1940s, when the play is taking place, and the Elizabethan Age, which is the time period for The Taming of the Shrew. However, producing the show was not all fun and games. Reid still had his fair share of work to do. He handled all of the business affairs, such as signing contracts, finding space to perform and arranging the show. “The most terrifying part was making sure I got everything done,” Reid said. “At the end of the day, I was really like, ‘There has to be something, what am I missing?’” The play opened to an audience of 115 peo-ple. Reid said the crowd loved it, and the cast did a great job. “[They] shined with the love of what they do,” he said. However, choosing the cast was a difficult job. “We were blown away at auditions. We had too many people to play each part. We literally could have cast the show twice,” Reid said. He was especially impressed with the lead, UNC-CH freshman Erin Farley. Though there were two very talented females auditioning for the role, Reid was drawn to Farley. “She had such an excitement about it—a pas-sion,” he said. William said that the show was filled with talented underclassmen, including actors, directors and technicians. “There is so much young talent. It’s especially stunning how incredible the freshman class is,” Reid said. He reminisced back to being an underclassman and how exciting it was to come in and work with UNC-CH’s Pauper Players. “It’s always scary when a new generation takes over,” Reid said, referring to both his class and the new one. “We’re now the older ones. It’s an incredible safety net, knowing this class is so talented.” As well as being an actor, producer for theatre, he is also a member of the UNC-CH Chamber Singers, an upperclassman a capella group. Reid always wanted to be involved in the arts, with a one week exception when he was a kid and want-

ed to be a marine biologist. His parents were always supportive of his dream and were also involved in the arts. He spent summers enjoying “Shakespeare in the Park” and watching other classic plays when he was 8 or 9 years old. “At 9 years old, you don’t know that can be your profession,” he laughed. Reid didn’t start seriously acting until middle school, but he was passionate about acting. However, when he decided to go to school, he felt like he should have a more “practical” major. “I went into an I-have-to-be-responsible phase,” Reid said. His guidance coun-selors convinced him that he should audition anyway,

and Reid received a vocal scholarship to UNC-CH. He considered staying a vocal major for a year and then switching, but when the time came, he was hesitant. His parents helped him out. “My mom said, ‘William, now’s not the time to be responsible. Do what you want, as long as you’re happy,’” Reid smiled. “So I thought, ‘Maybe I’ll just double major.’” Reid still wants to pursue a career in the arts, maybe eventually even going into administration. But he wants to try performing first. Otherwise, he said, he would always wonder what could have happened. If his dream of performing in London does not come true, he and his friends have another plan. “We are literally planning on moving to New York and becoming starving artists, while our stomachs are still young enough to handle that many ramen noo-dles,” Reid stated. But his parents are still supporting him in many ways. “They said, ‘We can’t pay for New York forever, but we support you emotionally,” Reid said. For now, the Texas native is enjoying his time at UNC-CH. “I’ve loved every single moment of it, really, every second.”

Renaissance Man William Reid produces, acts and sings

Phot

o by

Kel

sey

Zyvo

losk

i

Reid breaks from preparing for the final performance of Kiss Me, Kate.

“We are literally planning on moving to New York and becoming starving artists.”

ElectricalInfrastructure

Artist Statement:

In our ever-growing consumer-based society, the demand for energy also has been consistently expanding. In the past 30 years, the basic domestic household’s rate of electrical con-sumption has increased by 60 percent. The infrastructure of this basic utility is ignored and abhorred, a result of its industrial nature. However, as the industrial sector of Amer-ican culture has been zoned to certain areas of urban and rural development, the industrial architecture resulting out of necessity for electricity has been placed in our very yards. The amount of land covered by these wires now, and which will be covered over the next ten years, is staggering; a land area of approximately the size of Yellowstone National Park has been clear cut to make way for the placement of trans-formers, huge metal wire girders and simple wooden posts to supply electricity. It is both the ignorance and naivety of the electrical consumer that has propagated this unchecked destruction of miles upon miles of forests. In these photo-graphs, the journey taken by these electrical currents between the house and the power plant is documented. These photos are about both the journey of the electrical current and in showing this path, this trail of power, the absenteeism of the trees wherever the wire is has the ability to both fascinate and aggravate. As human beings, our ability to sculpt our envi-ronment is visibly apparent as the natural environment of the earth is changed to supply our everyday demands. These photographs are about one of these changes being wrought, and the structures that fill what were once natural places.

6 - 11”x15” Silver Gelatin Prints4”x5” Large Format Film Camera

Photo story by Patrick Gehling

ElectricalInfrastructure

Artist Statement:

In our ever-growing consumer-based society, the demand for energy also has been consistently expanding. In the past 30 years, the basic domestic household’s rate of electrical con-sumption has increased by 60 percent. The infrastructure of this basic utility is ignored and abhorred, a result of its industrial nature. However, as the industrial sector of Amer-ican culture has been zoned to certain areas of urban and rural development, the industrial architecture resulting out of necessity for electricity has been placed in our very yards. The amount of land covered by these wires now, and which will be covered over the next ten years, is staggering; a land area of approximately the size of Yellowstone National Park has been clear cut to make way for the placement of trans-formers, huge metal wire girders and simple wooden posts to supply electricity. It is both the ignorance and naivety of the electrical consumer that has propagated this unchecked destruction of miles upon miles of forests. In these photo-graphs, the journey taken by these electrical currents between the house and the power plant is documented. These photos are about both the journey of the electrical current and in showing this path, this trail of power, the absenteeism of the trees wherever the wire is has the ability to both fascinate and aggravate. As human beings, our ability to sculpt our envi-ronment is visibly apparent as the natural environment of the earth is changed to supply our everyday demands. These photographs are about one of these changes being wrought, and the structures that fill what were once natural places.

6 - 11”x15” Silver Gelatin Prints4”x5” Large Format Film Camera

Photo story by Patrick Gehling

Open Mic,

Open Minds

There’s a stigma that goes along with an open mic night – it’s just some people who think they’re tal-ented because their friends like it when they play some cover songs while hanging out on a Friday night. When there is no filter on who can get up on stage and play, you expect, and often get, the worst. The open mic scene in Chapel Hill seems to be the exception to that rule. At 10 p.m. Tuesday, the white sheet of paper by the door at Jack Sprat Café had five names scrib-bled on it. The lights in the coffee-and-sandwich-shop-turned-bar dimmed, and the bartender cut off her iPod just as the host for the evening took the stage. Af-ter a few songs on acoustic guitar, the emcee consult-ed the white sheet of paper and called the first name. The first performer failed to impress, and the audi-ence was sure to let him know it. He got up on stage with his acoustic guitar and played some Beatles covers, look-

ing smug and impressed with himself. Most of his songs were drowned out by chatter and laughter. After each song there was a smattering of applause, but just out of politeness. His cronies sat in the back corner and listened attentively until his turn was up. Then they shuffled out obediently behind him when he finished his three songs.

A shy-looking girl, with a plaid shirt and jeans on, wielding a classical guitar, wandered up to the stage next. The crowd that had simply ignored the first per-former transformed into a silent and attentive audience as she poured out the first song. With her dark and smoky voice she sounded like Regina Spektor with an

acoustic guitar. One song was almost entirely in French and another was so fresh that she had a note-book with her so she could remember the last verse. The crowd was also rapt as two brothers stepped up with a mandolin and guitar and played spot-on covers of Ryan Adams’ “Goodnight Rose” and Van Morrison’s “Into the Mystic.” They sang in a tight harmony that only brothers could pull off as they crooned out their acoustic country-rock. But don’t think that it was all about the music,

not with Stuart Arthur Pelto and his spoken-word prose. Pelto shared an excerpt from the first book (“H.E. Hathaway and the Space-Time Ship”) of his science-fiction “quadrilogy.” The story had a strong emphasis on eating and using the bathroom, something that Pelto said is lacking in most other sci-ence-fiction stories. There was even a tirade against skim milk, where he claimed that the only real milk was whole milk. His vocal delivery was as important to the performance as the story. Pelto started every word that begins with a vowel with an “h” sound instead, which, along with made up words and weird pronun-ciations, is a part of his campaign to “explode the English language.” Some looked nervous, some looked like this is something they do everyday, and a couple looked thankful for the $2.50 pints that filled them with liquid confidence, but all five acts held their own dur-ing their 15 minutes. Any stage fright was expelled by the friendly atmosphere in the bar. The small crowd made it feel more like a group of friends playing for each other than a concert. A stand-up comedian bravely performed a short comedy set, something that is never easy no matter the size of the audience or the location. But even if he didn’t always get the re-sponse that he expected, he got a rise out of the crowd quite a few

times, which is more than most amateur comics get. The talent at the open mic night is a testament to the arts community in Chapel Hill, the same com-munity that has launched such nationally recognized acts as Ben Folds Five, James Taylor, and Superchunk. On Tuesday nights at Jack Sprat Café you can see why the arts community in Chapel Hill is so strong. Each week many vastly different artists take the stage to share their craft with groups of friends and strangers, and you never really know what you’re going to get. Who knows, you may even luck out and see Chapel Hill’s “next big thing.”

Who knows, you may even luck out and

see Chapel Hill’s “next big thing.”

Jack Sprat Café – October 21

By Corey Inscoe

Phot

o by

Eve

lyn

Ann

Gre

ene

Phot

o by

Eve

lyn

Ann

Gre

ene

Open Mic,

Open Minds

There’s a stigma that goes along with an open mic night – it’s just some people who think they’re tal-ented because their friends like it when they play some cover songs while hanging out on a Friday night. When there is no filter on who can get up on stage and play, you expect, and often get, the worst. The open mic scene in Chapel Hill seems to be the exception to that rule. At 10 p.m. Tuesday, the white sheet of paper by the door at Jack Sprat Café had five names scrib-bled on it. The lights in the coffee-and-sandwich-shop-turned-bar dimmed, and the bartender cut off her iPod just as the host for the evening took the stage. Af-ter a few songs on acoustic guitar, the emcee consult-ed the white sheet of paper and called the first name. The first performer failed to impress, and the audi-ence was sure to let him know it. He got up on stage with his acoustic guitar and played some Beatles covers, look-

ing smug and impressed with himself. Most of his songs were drowned out by chatter and laughter. After each song there was a smattering of applause, but just out of politeness. His cronies sat in the back corner and listened attentively until his turn was up. Then they shuffled out obediently behind him when he finished his three songs.

A shy-looking girl, with a plaid shirt and jeans on, wielding a classical guitar, wandered up to the stage next. The crowd that had simply ignored the first per-former transformed into a silent and attentive audience as she poured out the first song. With her dark and smoky voice she sounded like Regina Spektor with an

acoustic guitar. One song was almost entirely in French and another was so fresh that she had a note-book with her so she could remember the last verse. The crowd was also rapt as two brothers stepped up with a mandolin and guitar and played spot-on covers of Ryan Adams’ “Goodnight Rose” and Van Morrison’s “Into the Mystic.” They sang in a tight harmony that only brothers could pull off as they crooned out their acoustic country-rock. But don’t think that it was all about the music,

not with Stuart Arthur Pelto and his spoken-word prose. Pelto shared an excerpt from the first book (“H.E. Hathaway and the Space-Time Ship”) of his science-fiction “quadrilogy.” The story had a strong emphasis on eating and using the bathroom, something that Pelto said is lacking in most other sci-ence-fiction stories. There was even a tirade against skim milk, where he claimed that the only real milk was whole milk. His vocal delivery was as important to the performance as the story. Pelto started every word that begins with a vowel with an “h” sound instead, which, along with made up words and weird pronun-ciations, is a part of his campaign to “explode the English language.” Some looked nervous, some looked like this is something they do everyday, and a couple looked thankful for the $2.50 pints that filled them with liquid confidence, but all five acts held their own dur-ing their 15 minutes. Any stage fright was expelled by the friendly atmosphere in the bar. The small crowd made it feel more like a group of friends playing for each other than a concert. A stand-up comedian bravely performed a short comedy set, something that is never easy no matter the size of the audience or the location. But even if he didn’t always get the re-sponse that he expected, he got a rise out of the crowd quite a few

times, which is more than most amateur comics get. The talent at the open mic night is a testament to the arts community in Chapel Hill, the same com-munity that has launched such nationally recognized acts as Ben Folds Five, James Taylor, and Superchunk. On Tuesday nights at Jack Sprat Café you can see why the arts community in Chapel Hill is so strong. Each week many vastly different artists take the stage to share their craft with groups of friends and strangers, and you never really know what you’re going to get. Who knows, you may even luck out and see Chapel Hill’s “next big thing.”

Who knows, you may even luck out and

see Chapel Hill’s “next big thing.”

Jack Sprat Café – October 21

By Corey Inscoe

Phot

o by

Eve

lyn

Ann

Gre

ene

Phot

o by

Eve

lyn

Ann

Gre

ene

graphic design: art or not? By Mitch Moste

On an average day, people are exposed to thousands of images, be they in the form of commercials, billboards, signs or a multitude of other advertisements. In the mod-ern day, the most typical means of this imaging comes in the form of graphic design, and while the practical-ity and common applications of graphic design cannot be disputed, many fail to consider it a pure art. “There’s a debate over whether or not graphic design is an art or not. Typically in art, you’re trying to express yourself, and most think that in graphic design generally you’re just try-ing to sell something,” said Duke student Mimi Zhan, 20, who has worked with various mediums of art, and has had a fair amount of exposure to graphic design. Zhan be-gan listing common design software that she uses regularly. “I mainly use Photoshop and Illustrator. Graphic design is not limited only to software, but in the contemporary sense it is mostly focused on digital images and visuals.” Zhan was quick to add that there was more to it than just images though. “A large portion of graphic design is also centered on layout and words and how words play into the art, with a lot of focus on typography and printing and stamping.” When pressed on the commercial issue of graphic design, Zhan seemed a bit flustered, and was ready with a passionate response. “In the old school thought process, it’s more the product that matters,

but in more modern art, it’s more the process of mak-ing the art rather than the end product. The way you ex-press yourself is more important than why you’re doing it. You don’t think about it when you make art. So even though you may have a goal with graphic design, you’re still incorporating how you make the art.”

Others find the marketable aspect of graphic design to be a perk. North Carolina State University Col-lege of Design student Darwin Campa, 24, admit-ted that at the college, the inside joke is that graphic design is the art you get paid for. Campa himself en-joys the final product of all his hard work, though like Zhan, he agreed the process plays an important role. “I enjoy the final product, when it’s done right, though the process is obviously important too. A lot of times when you’re presenting the product to the client, you have to explain the process and how you visualized it, and very often with jobs the interviewer is more interest-

ed in how you came to create the final prod-uct.” In fact, the College of Design at NC State recog-nizes the significance of the creative process and trains its students accordingly. “We didn’t even use a computer for the first year. At many schools where you learn graphic design, many of them are tech schools that have two year programs and they’ll teach you how to use a lot of the soft-ware right from the start. But NC State is unique in that they’re really focused on the

“There’s a debate over whether or not graphic design is an art or not. Typi-cally in art, you’re trying to express

yourself, and most think that in graphic design generally you’re just trying to

sell something.”

graphic design: art or not? By Mitch Moste

On an average day, people are exposed to thousands of images, be they in the form of commercials, billboards, signs or a multitude of other advertisements. In the mod-ern day, the most typical means of this imaging comes in the form of graphic design, and while the practical-ity and common applications of graphic design cannot be disputed, many fail to consider it a pure art. “There’s a debate over whether or not graphic design is an art or not. Typically in art, you’re trying to express yourself, and most think that in graphic design generally you’re just try-ing to sell something,” said Duke student Mimi Zhan, 20, who has worked with various mediums of art, and has had a fair amount of exposure to graphic design. Zhan be-gan listing common design software that she uses regularly. “I mainly use Photoshop and Illustrator. Graphic design is not limited only to software, but in the contemporary sense it is mostly focused on digital images and visuals.” Zhan was quick to add that there was more to it than just images though. “A large portion of graphic design is also centered on layout and words and how words play into the art, with a lot of focus on typography and printing and stamping.” When pressed on the commercial issue of graphic design, Zhan seemed a bit flustered, and was ready with a passionate response. “In the old school thought process, it’s more the product that matters,

but in more modern art, it’s more the process of mak-ing the art rather than the end product. The way you ex-press yourself is more important than why you’re doing it. You don’t think about it when you make art. So even though you may have a goal with graphic design, you’re still incorporating how you make the art.”

Others find the marketable aspect of graphic design to be a perk. North Carolina State University Col-lege of Design student Darwin Campa, 24, admit-ted that at the college, the inside joke is that graphic design is the art you get paid for. Campa himself en-joys the final product of all his hard work, though like Zhan, he agreed the process plays an important role. “I enjoy the final product, when it’s done right, though the process is obviously important too. A lot of times when you’re presenting the product to the client, you have to explain the process and how you visualized it, and very often with jobs the interviewer is more interest-

ed in how you came to create the final prod-uct.” In fact, the College of Design at NC State recog-nizes the significance of the creative process and trains its students accordingly. “We didn’t even use a computer for the first year. At many schools where you learn graphic design, many of them are tech schools that have two year programs and they’ll teach you how to use a lot of the soft-ware right from the start. But NC State is unique in that they’re really focused on the

“There’s a debate over whether or not graphic design is an art or not. Typi-cally in art, you’re trying to express

yourself, and most think that in graphic design generally you’re just trying to

sell something.”

conceptual stuff. The first year they focus on etching things out and on paying attention to detail. They teach you how to care about how something turns out so you don’t just throw things together,” said Campa. The mass avail-ability of graphic design software has seemed to have had an affect on a lot of the material that people en-counter everyday. “Once you take a year of de-sign you really realize how bad some of the images are out there. There are people who really haven’t had any ex-perience or formal training and they just learned to use Photoshop because it came on their computer, and a lot of people who are hiring don’t know any better,” said Campa. As for this availability of soft-ware, Zhan disagreed with the no-tion that this availability should in anyway discredit the overall value of graphic design as an art. “It depends on who is us-ing it. If someone is holding a col-ored pencil and just marks on the paper, that’s not going to be con-sidered art. It’s the same if some-one takes Photoshop and just alters a family photo, lightening it or cropping it or getting rid of red-eye, that’s probably not considered art,” Zhan said. “Most people use a very limited percentage of what Photoshop is capable of, and most of what they do really could be achieved with other home-use software.

But other artists use as much of the program as they can, and every time Photoshop upgrades, they make use of new functions. If you’re just using the filters to make something pretty, that’s not rally art, but if through a combination of the functions they are making a meaning out of it…that makes it artwork. That’s what I consider art,” she added. Zhan’s own experience demonstrates the

numerous outlets available for graphic designers. “I’ve done ads for the Campus Concert Series with the logo and flyers and t-shirt designs. I’ve also done logos for a non-profit organization and for a summer job I had, working on textbook covers and images of vi-rus structures, diagrams and illustrations on the inside.” “Ideally to be a good graphic designer you have to know how to layout a book, how to layout a web-page and even code a webpage. Some people are more interested in print design and others are more into web design. Also, with movie and shows, most credits and titles and commercials are the products of graphic de-signers,” Campa added. To further her point, Zhan ref-erenced the famous Czech Art Nouveau artist Alfons Mucha’s work as a prime example of commercial imagery that is still considered art, despite the fact that much of Mucha’s most famous artwork was advertisement. While it seems unlikely that a definite resolu-tion to this debate will occur in the near future, as soci-ety moves deeper and deeper into a modern and techno-logical age, it is fairly certain that new challenges await, and that the definition of art itself will be reformed.

“If you’re just using the filters to make something pretty, that’s not rally art, but if through a combination of the functions they are making a meaning out of it…that makes it artwork. That’s what I consider

art.”

uncharted.online featureswww.uncartmag.com

Miel Bon Bons:EDIBLE ART Mitch Moste

Nasher: EL GRECO TO VELAZQUEZ Trey Green

Inbal Pinto: SHAKER DANCE Alyxandra Press

Frozen: IN THE PIT Neha Patel

Vivien: AND THE SHADOWS Alyxandra Press

Coming Home: THE AVETT BROTHERS Corey Inscoe

The Cool Kids: HIP-HOP STYLE Trey Green

This Is Our Youth. Stephanie Bullins

Newcomer: CAROLINE ROBINSON Rebecca Collins

conceptual stuff. The first year they focus on etching things out and on paying attention to detail. They teach you how to care about how something turns out so you don’t just throw things together,” said Campa. The mass avail-ability of graphic design software has seemed to have had an affect on a lot of the material that people en-counter everyday. “Once you take a year of de-sign you really realize how bad some of the images are out there. There are people who really haven’t had any ex-perience or formal training and they just learned to use Photoshop because it came on their computer, and a lot of people who are hiring don’t know any better,” said Campa. As for this availability of soft-ware, Zhan disagreed with the no-tion that this availability should in anyway discredit the overall value of graphic design as an art. “It depends on who is us-ing it. If someone is holding a col-ored pencil and just marks on the paper, that’s not going to be con-sidered art. It’s the same if some-one takes Photoshop and just alters a family photo, lightening it or cropping it or getting rid of red-eye, that’s probably not considered art,” Zhan said. “Most people use a very limited percentage of what Photoshop is capable of, and most of what they do really could be achieved with other home-use software.

But other artists use as much of the program as they can, and every time Photoshop upgrades, they make use of new functions. If you’re just using the filters to make something pretty, that’s not rally art, but if through a combination of the functions they are making a meaning out of it…that makes it artwork. That’s what I consider art,” she added. Zhan’s own experience demonstrates the

numerous outlets available for graphic designers. “I’ve done ads for the Campus Concert Series with the logo and flyers and t-shirt designs. I’ve also done logos for a non-profit organization and for a summer job I had, working on textbook covers and images of vi-rus structures, diagrams and illustrations on the inside.” “Ideally to be a good graphic designer you have to know how to layout a book, how to layout a web-page and even code a webpage. Some people are more interested in print design and others are more into web design. Also, with movie and shows, most credits and titles and commercials are the products of graphic de-signers,” Campa added. To further her point, Zhan ref-erenced the famous Czech Art Nouveau artist Alfons Mucha’s work as a prime example of commercial imagery that is still considered art, despite the fact that much of Mucha’s most famous artwork was advertisement. While it seems unlikely that a definite resolu-tion to this debate will occur in the near future, as soci-ety moves deeper and deeper into a modern and techno-logical age, it is fairly certain that new challenges await, and that the definition of art itself will be reformed.

“If you’re just using the filters to make something pretty, that’s not rally art, but if through a combination of the functions they are making a meaning out of it…that makes it artwork. That’s what I consider

art.”

uncharted.online featureswww.uncartmag.com

Miel Bon Bons:EDIBLE ART Mitch Moste

Nasher: EL GRECO TO VELAZQUEZ Trey Green

Inbal Pinto: SHAKER DANCE Alyxandra Press

Frozen: IN THE PIT Neha Patel

Vivien: AND THE SHADOWS Alyxandra Press

Coming Home: THE AVETT BROTHERS Corey Inscoe

The Cool Kids: HIP-HOP STYLE Trey Green

This Is Our Youth. Stephanie Bullins

Newcomer: CAROLINE ROBINSON Rebecca Collins

www.uncartmag.comUncharted.