Arts & Entertainment

January 9th 2013 - Over the Edge

THE EXPECTED JOURNEY: THE HOBBIT
TRAVELS FROM TOLKIEN'S PEN T0

ii
EMMA SPANJER
MARS’ HILL (TRINITY WESTERN UNIVERSITY)
LANGLEY (CUP) — An understand-
ing of J. R. R. Tolkien’s world is pivotal
to the understanding of his writing. The
book The Hobbit is often labeled an ad-
venture story for children, though many
ardently disagree, given tense scenes of
fear-invoking magical creatures.
Such juxtaposition can be traced to Tol-
kien's own childhood and youth. The
iconic writer grew up during the turn of
the century in England, a time when the
country laid claim to being the industrial
and imperial power of the world. Or-
phaned young, he and his brother spent
little time around the things that worried
the adult world, opting instead for fantasy
tales, exploration of the lands surround-
ing their Birmingham residence, and
invention of languages. His fantastical
imagination was furthered with formal
study at university, and then interrupted
by the Great War.
The Hobbit follows Bilbo Baggins (uncle
and guardian to one Frodo Baggins) as
he’s pushed out of his comfortable life by
a wizard and a band of dwarves in search
of long-ago stolen treasure. Before the
tale is completed, Bilbo and company are
faced with many obstacles, including a
particularly fearsome dragon.
Tolkien uses his experiences of a fast-
growing industry of destructive steel and
automatic power to paint a picture of evil
that we now recognize best from Peter
Jackson’s interpretation of The Lord of
the Rings.
Tolkien’s time at the battlefront of attri-
tion seems to have been a major influ-
ence in the way he painted good and evil.
Though, in The Hobbit, we see far less of
that evil than in the book’s sequel trilogy.

In this introduction to the epic, we are
presented with the languages, creatures,
and lands that inhabit The Lord of the
Rings, but it’s all played out in a much
lighter manner.

The Hobbit is just one of those books
that bring every one of its readers, from
its publication in 1937 to the present,
together. And, if the book is any indica-
tion, this movie doesn’t have the ability
to be as dark as The Lord of the Rings is,
and that really eliminates it from becom-
ing as mighty a franchise as its predeces-
sor has become.

Still, there’s plenty to look forward to
with the film debut of the The Hobbit.
Peter Jackson’s devotion to Tolkien’s
world, and understanding of the goodness
at the core of his characters has wonder-
ful opportunity to shine in The Hobbit.
Apart from beautiful scenery and pack-
leading cinematic feats, what Jackson did
so surprisingly and importantly well in
The Lord of the Rings was found in his
conveyance of a small hobbit’s strength.
That furry-footed creature defied all odds
with an unlikely cast, and withstood the
evils of Mordor for the memories of what
he knew to be good. And now, over 10
years later, Peter Jackson has tackled an-
other story of improbable heroism.

For you long-time fans of all things Tol-
kien, sit patiently through, and enjoy
comparing your mind’s long-harboured
version of ‘Riddles in the Dark’ with
Jackson’s. For new fans, revel in the hil-
arity of the dwarves and their absence of
table manners. And for all of us, we can
sit back and enjoy J.R.R. Tolkien’s tale of
a simple hobbit, as wonderful today on a
big screen as it was in a little children’s
novel 75 years ago.

RIHANNA'S REIGN DOESN'T
LET UP WITH UNAPOLOGETIC

SARAH SANGHA

THE LINK (BRITISH COLUMBIA INSTITUTE OF TECHNOLOGY)
BURNABY (CUP) — Despite what
you may think of her music or
persona, no one can deny Rihanna’s
incredible work ethic. She’s been
churning out albums almost once
a year since her big break in 2005,
in addition to worldwide tours and
a film career. Unapologetic is her
seventh studio album, which at the
ripe age of 24 is no easy feat.

Those who argue that music takes
time may want to rethink their
position after evaluating her success.
Rihanna’s business model seems
to be built on exposure. She is
constantly on the radio, either in her
own songs or belting the chorus for
a range of performers from Drake to
Coldplay. Every so often, when she
seems to be teetering on the edge of
overexposure, she releases a song
that catapults her back to the top of
the charts.

Rihanna seems to be _ following
Madonna’s wheel of reinvention.
Every album has its own distinct
image to set her apart from
competitors. From sun-kissed island
girl in her debut album, to a fire-
engine redhead seductress in Loud,
Rihanna knows how to market and
brand herself.

Her latest reincarnation is as a brash,
outspoken young woman. From
risqué photos on Instagram to daily
tweets about marijuana use, it’s clear
that Rihanna does not want to be a
role model.

Unapologetic is filled with these
themes; the album seems to uncage
her emotions. For pop fans, the album
has a little something for everybody.
There are empowering, upbeat songs,
with “Phresh Out the Runway” and
“Pour It Out” — two of the best for
feeling fly and getting ready to party.
Of all the artists mixing R&B
stylings with dance music, Rihanna
does it best. She enlists David Guetta
on “Right Now” to help her pick up
where “We Found Love” left off. It’s
a youthful anthem about living in the
moment, sure to be played in every
corner of the globe.

The most interesting songs give a
glimpse into her headspace over the
last few months. Her tumultuous
relationship with Chris Brown is
reportedly back on, and she touches
on the subject in a retro-sounding
track with Brown titled “Nobody’s
Business,” which samples Michael
Jackson.

Rihanna plays around, sampling
other artists and injecting her own
sassy mood into the lyrics, including
lyrics from 90’s track “Pony” by
Ginuwine, and briefly copping a bit
from “Can’t Tell Me Nothing” by
Kanye West, an ode to her newfound
relationship with Mary Jane.
Rihanna’s made it clear that she’s

not apologizing — but she doesn’t
need to: we’re still buying what she’s
selling.

Songs to listen to: “Numb”, “Pour It
Out”

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