Showing posts with label review. Show all posts
Showing posts with label review. Show all posts

Thursday, June 26, 2008

The Great Beef Soup Challenge Commences!



I was in the canned soup aisle of my local grocery store last night when I was hit by a sudden urge for canned beef soup. It was not one of those "I need beef soup now" urges, but one of those "you know what would be really good for lunch tomorrow? Beef Soup" urges. There was just one problem: choice.

Rather than risk getting "the bad" canned beef soup from the large selection, I decided that I would spread myself across the board: I bought one of each and will spend the next week eating beef soup for lunch.

I haven't eaten this way since I was an undergrad, so there is an off-chance that I will go insane by the end of next week. Now, this may sound strange, but that result will be a little comforting as it will help to explain those "crazy undergrad" years. Kind of like the discovery of the heavy amount of lead in ancient Rome's water pipes...



First up: Campbell's Healthy Request Vegetable Beef with Barley.

I decided to start with the "Healthy Request" selection because I guessed that "less sodium" and "healthy request" would also equal "no taste" and "leaves you strangely hungry." It turns out that I was right on both accounts. The soup has the thickness and texture of a good beef soup (chewy-but-not-tough meat and squishy vegetables), but none of the flavour. Aside from the faint taste of beef, I could have been eating any kind of soup at all. Very disappointing.

Tuesday, June 10, 2008

We Are All Scottish Now.


-or-


"How the Scots Invented the Modern World."



Writing popular history is something like a tight-rope act: lean too-much in one direction and you will plummet to oblivion. In "How the Scots Invented the Modern World", Arthur Herman attempts such a perilous act.


Herman's central thesis is far from new: "western" institutions, culture, and practices have been fundamentally shaped by "Scottish" culture. In a narrative that alternates between argumentative storytelling and meandering anectodotes, "How the Scots" is a story of Scotland and, at the same time, the story of the long eighteenth century.


Although I may joke as much when among friends: the narrative of this book does not reduce all things to "Scottish origin," in the way the dad from "My Big Fat Greek Wedding" reduces everything to Greek origin. Rather, the fundamental point is that the socio-politico-economic and moral conditions in Scotland that encouraged the period of intellectual, cultural and technological advancement now recognized as the "Scottish Enlightenment". In other words, a more apt name for the book could be "How SCOTLAND invented the modern world."


This notion of a "Scottish Enlightenment" has only recently gained attention in the historical community. Most historians of philosophy and STM had long recognized the influence of a "scottish school" in the late eighteenth century, but there had not been much work that focused exclusively on it. Herman's narrative is drawn from a diverse selection of older and recent literature that does just that.


Starting with a Braudelian examination of the geography of the Scotland, the story explains how a unique landscape produced recognizably "Scottish" social and economic conditions. Conditions which ultimately produced a highly literate and, for the main part, disciplined population. Basically: the Scotch are a product of Scotland. Duh.

Yet, the story is not so simple. As the first few chapters explain, the geographic factors that produce Scottish socio-economic conditions also condemn the Scotch to inferior status with regard to their southerly neighbours: the English. In fact, not only are the Scotch inferior to their southerly neighbours, they are pretty-much inferior to the whole of Europe.

This may lead one to ask: so, the "Scottish Enlightenment" occured because of pressure to overcome a northerly inferiority complex? As the author explains, the answer is "yes and no." Yes, inferior economic and political power encouraged innvoation and new ideas. At the same time: no, because the "Scottish Enlightenment" has a quintessentially "Scotch" character.

Herman explains that conditions in Scotland produced a unique a mindset (or perhaps the better term would be epistemic mode?) that encouraged the aforementioned "enlightenment." Without making reference to any "other" cultural mindsets, the Scots are made out to be a people who are uniquely capable of reconciling progressive idealism and cynical realism. To illustrate, the first Scottish figures whom the author turns to are the "founders" of the "Scottish School:" Francis Hutcheson and Lord Kames.


In an analysis of their respective philosophies about the nature of man and modern society, Herman attempts to show that both men, though quite divergent, demonstrate the essential "Scottishness" on which the rest of the story will rely. In a pseudo-biographical analysis, Hutcheson and Kames' teaching careers and social activities are traced, to demonstrate how subsequent "waves" of Scotch intellectuals can be traced back to them.



The rest of the book covers the philosophies espoused by the giants of the eighteenth century, with David Hume and Adam Smith being the main players. The narrative does not just talk about the intellectual achievements of the Scottish, but also illustrates the social achievements of the Scottish people in their homeland and throughout the world. Unforunately, Herman tends to rely on biographical stories to such an extent that the book seems to be as much a story of the Scottish people as it is a chronological who's-who-and-did-what in the eighteenth century. Ranging from the Scots fighting in the American Revolution (on both sides), to the opium runners in the Far East, it seems as though everything is in some way Scottish.

Of course, that is the point of the book. However, it is also its failing. Herman fails to establish anything particularly "Scottish" about most of the people (men) he mentions. Yes, in many cases a particular person demonstrated a worldview that appreciated both the ideal and realist perspectives. But, as the book progresses, there is little strength in his claim that all of the Scotts he mentions belong to the same School: for instance, how can Sir John A MacDonald (Canada's first PM) and Alexander Graham Bell (telephone) belong to the same "Scottish" school? Aside from being of Scotch descent, the men had very little else in common.

Herman casts his argumentative net too far, which results in too many holes, to be able to justify that being well-educated, pragmatic, and influential are necessarily Scottish traits. There is a wealth of information to be gleamed from this book, and it is also a very enjoyable read because of the smooth-flowing prose. However, by the end of the tale, I do not believe that the thesis will stick with most readers.

Sunday, June 01, 2008

What the F!*K Was That?


Back in April, Team Awesome attended our inaugural showing of Evil Dead: The Musical. As expected, we had a great time. In fact, we had such a great time that we went again, a month later! We invited a group of our friends, and after the show the general consensus was “Hells Yes! It was Awesome! (We’re Awesome).”

The production does a great job of capturing the ‘camp’ feel of the classic horror movies. Lots of gore, ridiculous situations, and witty dialogue interposed by hilarious musical numbers delighted the entire audience.

At the same time, the script reveals a lot of reflexivity with regard to the genre and the movies on which it is based: upon hearing a strange voice urging her “Join Us!” coming from [offstage], one character asks “What was it my mom always told me to do if I hear a strange voice coming from outside a cabin? [pause] Oh yeah! Don’t wake the others and tell them, and go out alone to investigate!” Another character acknowledges that he is just a “bit-part demon”, and laments his fate: doomed to be killed by the hero.

The story itself is true to the Evil Dead and Evil Dead 2 movies. In fact, since Evil Dead 2 retcons the story from the first movie by limiting the weekend getaway to Ash and Linda, it is more of a combination of the two. The first act covers the events of “The Evil Dead”, where Ash and his friends go to a cabin in the woods (also the title of the opening number), with disastrous results following their discovery of an ancient book bound by flesh.

The second act retells the events of Evil Dead 2, where the daughter of the cabin’s owner arrives with her friends to discover a mutilated (one-handed) Ash in the midst of chainsaw-ing his demon-possessed girlfriend: “This isn’t what it looks like!”

A great aspect of the script is the way that the famous one-liners from Army of Darkness are interpolated throughout the play. The audience, especially yours truly, delighted in hearing classics such as:

“Wait! It’s a trick: use the axe;”
And, “Good, Bad: I’m the guy with the gun;”
And, of course, “THIS is my BOOMSTICK!”

Those members of the audience who recognized the lines would join-in, delivering with a roar the famous quotes that made Bruce Campbell into a B-Movie icon. Given the ‘intimacy’ of the venue- the audience sits right up at the edge of the stage- I expect that the producers intended for this level of involvement.

Of course, the ‘intimacy’ of the theatre brings me to the last point: the splatter. I can’t describe the experience without bringing up the enormous amount of blood sprayed from the stage onto the audience. Before the second act commences, one of the theatre staff travels throughout the first couple of rows and distributes rain ponchos, explaining that things will get a little “wet” if you are sitting up-close. Important note: you can bring your drinks with you into the theatre, as the show is great to watch over a pint of beer (or two).

Naturally, Team Awesome did not fear getting covered by a little “blood.” The final fight scene, which follows the Time Warp-esque “Do the Necronomicon”, had so much splatter that Team Awesome was more than a little soaked:


All in all: fantastic time. I recommend being familiar with the movies, as you will better appreciate the one-liners and some of the humour. Most importantly: sit close, get soaked, and have a great time! Great show.

Note: the title of this entry refers to one of the musical numbers.

Wednesday, April 09, 2008

Not Forgetting Sarah Marshall anytime soon.


A couple of nights ago, Team Awesome went to see an advance screening of "Forgetting Sarah Marshall." What little information I could find about the release indicated that it was made by the "guys who brought you 'Knocked Up' and 'The 40-year Old Virgin'." Since I really enjoyed seeing both of those movies, this one had some expectations to live up to.
And it did. Sort of.

Allow me to explain.
There has been a bit of a viral marketing campaign appearing on street corners and on the TTC, running ads about how much Sarah Marshall sucks, and how "I am so over you, Sarah Marshall." Here's an example:

A better ad that I could not find an image of was the "I am so over you, Sarah Marshall." Based on the choice of phrase on these posters I was expecting a sort of 'disastrously immature campaign of emotionally masochistic demonstrations of 'moving on' with the goal of regaining lost love.' Well, I was only partly right.

After being dumped by his five year girlfriend, now a famous actress, Peter Bretter (Jason Segel) sets out on a campaign of debauchery to try to ease his aching heart. He whirls through a series of intimate encounters: ranging from the humiliating to just plain strange. But hey! At least he's getting action, right? Well, Peter admits to his brother-in-law that he is still feeling depressed and uncomfortable, as well completely heart-broken. So, he figures that the best cure for his melancholy is to do the one thing the two of them always talked about doing: take a trip to Hawaii.

Well, as any RomCom veteran should know, it just so happens that the (in)famous ex-girlfriend has also decided to do the whole 'Hawaii vacation' thing- with her new beau, an outrageous British rock star (played by the scene stealing Russel Brand- just wait for the serenade). Of course, awkwardness and hilarity ensue.

In between scenes of emotional breakdown, Peter makes some new friends: a newly-wed husband who experience failure anxiety during sex because of his sense of spiritual cleanliness; a surfer-dude who suffers (albeit unknowingly) from anterograde amnesia; a massive native Hawaiian; and others. Of course, among the 'others' is the new love-interest: free-spirited Rachel (played by Mila Kunis).

I'm pretty sure that you can figure out the rest from there: Boy goes on vacation to forget lost love, encounters lost love, pines, gets comforted by new friend, realizes new friend is hot chick and promptly falls for her...blah blah blah...just wait for the dinner scene, because it is great.
That said, here are the (IMHO) highlights:

The Good:
  • Full frontal male nudity. There's no better way to combine humiliation and anguish than to have a man dumped while he is butt-naked;
  • The music. The soundtrack is good, the original soundtrack is fantastic. I can't do it justice by trying to describe it here;
  • Ridiculous segues from drinking with the buddies to crying alone on the balcony. Well, not so ridiculous;
  • Rachel's fight with her ex-boyfriend. It's funny and very effective character-building;
  • The dinner scene. Fantastic. It's too bad it comes so late in the movie;
  • And, a vampire puppet rock opera. 'Nuff said
The Bad:
  • Marketing really did not do a good job on this one, as I was expecting something else before I could get comfortable with this story.
  • Too long. The movie is 2 hours, where there could have been about 20 minutes less.
All said, if you liked Knocked Up, you'll definitely enjoy this one. The humour is very similar, especially considering the number of appearances by actors from other Apatow productions. It's a very funny movie, just get ready to be in there for a while.

Monday, March 03, 2008

This week's LCBO gem.


Alright, I'll admit that I am a bit of a wine-o. I grew up in a household where wine accompanying a meal was chosen according to its characteristics and flavours. So, aside from being a wine-o, I am also a bit of a wine snob.


But, that does not mean that I believe that good wine is only found in the vintages section. In fact, I prefer to pick out bottles from the variety found in the aisles. Sometimes I will try out something cheap, sometimes it will be a bit expensive.


Admittedly, I tend to drift towards the cheaper bottles, as it is easier to buy 2 or 3 at a time, and not feel as though I am taking a dent out my budget. After being a student for so long, these considerations tend to come naturally.


So, I recently came across this little gem at the LCBO:




It's the 2007 "Astica" Sauvignon/Semillón bottled by Trapiche. The wine is described as a "remarkably fresh with soft tropical fruit flavours." Now, I am not so sure about the "tropical fruit" descriptor, since the dominant flavour seemed to be peach: a fruit local to the Niagara region.

Quibbles about the tropical-ness of the fruit flavour aside, the wine went really well with stuffed chicken breast, accompanied by rice and a creamy mushroom sauce. Although the recommended serving temperature is 10-16°C, I find that serving it in the 6-10° range compensates for the acidity that follows each sip.

The best part about this find: the price. At $8.10, it is a deal. The wine can be served casually, or you can also keep it around for special occasions. It’s probably best with chicken or white fish, but it is also pretty good along with nachos and mango salsa.

So: Peachy, cheap, and a little dry.

Details:
Trapiche (Argentina)
Sauvignon/Semillón
LCBO#: 359083
750 mL bottle
Price: $ 8.10

White wine, slight dryness with mild peach flavour