It would be impossible to talk about Ocean Eyes, the second album by music project Owl City, without talking about The Postal Service. In fact, it would be impossible to talk about Owl City at all without drawing attention to the resounding resemblance. The similarity, however, runs superficially and the flaws of Ocean Eyes are as transparent is they are numerous--exceedingly, that is.

Despite its general failing, Ocean Eyes is actually a vast improvement from the previous Owl City record, Maybe I'm Dreaming. The latest effort introduces airy strings, new percussion styles and even some acoustic, providing some relief from the quickly tiresome bouncy, electronic pop beats. The initial sound of the 8-chip tunes to bass and drum beats matched with Adam Young's school-boy voice mimics the sound of The Postal Service and Ben Gibbard so familiarly that upon first listen you really want to like them, and might even think that you do.

Until you listen to a full track or two, that is. Then it becomes blindingly clear how little intellect, emotion, creativity and risk Young put into this 14-track disaster. (Eleven, technically, if you discount re-releases and remixes). Even calling it at eleven is generous since all the songs are nothing more than nearly identical monotone reiterations of the same uninspired, clich�d melodies and sing-song high-school rhymes.

Aside from "The Tip of the Iceburg" and "Hello Seattle (Remix)," which respectively offer some actual variation of intensity, tempo and instrumentals and the only reprieve from Young's unbearably silly lyrics, the album ranges from unlistable to unmemorable. "If My Heart Was a House," resembles a love ballad and offers a few surprises, but collapses under its own length and grammatically improper name. Nadir tracks shamefully include "Meteor Shower" and "Dental Care"--yes, a song actually about dental care.

Ocean Eyes could have passed for a mediocre, albeit unoriginal and safe, electronic album if it were purged entirely of its vocals. Some of the melodies even manage to be decent, but that's not enough to abrogate its failure that hinges largely on Young's highly synthesized whining, limited vocal range and lyrics that are either too inane in their simplicity and Seussical rhyme dependence or too obscure and disjointed in their failed attempt at metaphor. One would hope the second album would see purer vocals and the discovery of slant rhyme, but these likely lie beyond Owl City's potential. Ocean Eyes can be cute and catchy but is ultimately a disappointingly hollow experience.

The flaws of Ocean Eyes run deep, suggesting the inherent limits of Young, a synth-pop Wizard of Oz who manages a convincing and initially impressive sound, but in reality is little more than a dull-voiced, empty-minded optimist with an auto-tune. The disillusionment is especially disappointing and loathsome since Owl City's veneer so poignantly evokes the eccentric and catchy sounds of The Postal Service, from whom nearly everyone vainly awaits another album. Ocean Eyes is far, far cry. Why is a band in 2009 still trying to imitate 2003 pop music anyways? For a more original take on electronic power pop try Playradioplay!, The Secret Handshake, Breathe Carolina or even Swimming With Dolphins, a side-project of Young sans his vocals, something we can only hope lies in the future for Owl City.

1 1/2 stars out of 5.

Howling Bells lives up to its enigmatic name, with a neo-noir rock attitude that frolics in the shadow between the darkness and light. The Australian quartet, composed of Juanita Stein, Brandan Picchio, Glenn Mouleand Joel Stein released their self-titled debut in 2006 to critical acclaim, and after three years they prove they are still a great band to look out for.�

The release of�Radio Wars�is well timed as a midsummer pickup for the high note the music industry has been hitting again and again this year. While they may not be as eclectic as Animal Collective or as dreamy as Grizzly Bear, Howling Bells find their niche with a catchy yet tragic sound nestled somewhere in the middle of the indie spectrum. More than just another dime-a-dozen alternative rock group, Howling Bells solidifies their sound in shadow with a surprising vibrancy. Equipped with a lead singer like Juanita who is both innocent and dangerous, and a sound that is at once jubilant and ominous,�Radio Wars�succeeds in fusing opposites in an intriguing way.

The sophomore release starts off with "Treasure Hunt," a title which foreshadows what the album ultimately becomes. Listeners are driven into the track by layers of percussion and Juanita's forceful croon. From the very start, Howling Bells have launched into the schizophrenia that is their edgy yet romantic style.

Alternating largely between slightly tragic yet optimistic tunes and relentlessly morose tracks, the album seems to embody its own name in battling for a dominant theme. Is it radio-worthy rock, or a unique listening experience to be scoffed at by the typical radio aficionado?�Radio Wars�is both and neither, as its beats are catchy and seem danceable, yet its melodies probe with jaded lyrics like, "To cry doesn't make it any easier/ To laugh doesn't always feel right."

For example, tke tracks like "It Ain't You" and "Nightingale." While they are similar in tempo and lack of guitar dominance, they differ greatly as the former feels complacent and the latter is far more haunting, yet somehow comforting. As a matter of fact, the�band seems much more convincing as a spooky rock troupe than a more mainstream and radio-ready version of itself. As with the already mentioned "It Ain't You" along with "Golden Web" and "Digital Hearts," the band falters when they fail to push the envelope far enough.

When Howling Bells does hit the mark, however, we're left with truly remarkable tracks like "Into The Chaos," a jarring and euphoric listen laced with Juanita's lilting voice. "Ms. Bell's Song/Radio Wars Theme" further proves their mastery in the eerie playfulness of the first half, solidified by the second half's crashing, dirge-like chorus, "Radio wars are coming/ They're here." Howling Bells state the arrival of their album like a prophesy, and the music world should be both curious and thankful for its fulfillment.

If your intrigue isn't enough to push you to purchase, head over to Howling Bells' Myspace page where the album is currently streaming. Immerse yourself in each slightly offbeat track, and if you aren't convinced of their prowess after hearing�Radio Wars, then you haven't truly let yourself get into the chaos.

4 out of 5 stars.

The idea that "you'll never look at dinner the same way again," as the tagline for first-time feature documentary director Robert Kenner's "Food, Inc." suggests, does not even begin to accurately describe the general lack of knowledge American gluttons have about the foodstuffs they shovel down their gullets, but the film's message attempting to address this is a decent enough start. Focusing more on the corporate constructs of the food industry than healthy eating, "Food, Inc." sheds some important light on the side of agriculture that other documentaries like 2005's "Super Size Me" do not. Still, the viewer leaves unsatisfied after 90 minutes of corporate condemnations and but a few minutes of ideas on how to change the system.

The issue these investigative documentaries now run into is that the general American public no longer needs a movie to skim over the basics of corporate practices. Perhaps it is educational to learn that the vast majority of your meat comes from but four companies and 13 slaughterhouses in the entire country - imagine the volume of dead, dirty animals those must process to fill America's McDonalds with hamburger meat and chicken nuggets -- but what filmgoers need is the next step: an in-depth, careful analysis of these practices and their effects on consumers.

Insofar as inciting change in eating habits is concerned, "Food, Inc." would do better to be a series with titles like "Meat, Inc.," "Corn, Inc.," etc., rather than spending 15 minutes here on Concentrated Animal Feeding Operations (CAFOs) and 20 minutes there on nonsensical government subsidization of corn.

To the film's credit, it never gets too preachy, nor does it take the assumed position that we should all become vegans and let cattle roam the country. But save for a few words at the tail end of the film suggesting we go to farmers' markets more and buy organic food, it does not really offer any solutions either. You vote on these systems with every bite, says Kenner, but he somehow leaves out the part about how to choose more sustainable groceries and such. For instance, the film spends considerable time on Polyface Farm in Virginia, an old-fashioned farm with naturally raised animals, mentioning how the owner sells at his local farmers' market - wherever that may be - yet somehow neglects to mention that his meats are used at Chipotle restaurants where your average consumer can make conscious decisions about supporting sustainable agriculture.

However, it is probably fair to say that if the film whets the appetite of the environmentally conscious or organically inclined, then it has achieved success. Michael Pollan, author of critically acclaimed "The Omnivore's Dilemma" and this year's "Go Big Read" selection "In Defense of Food: An Eater's Manifesto," figures prominently in the film's narrative, lending a significant sense of expertise and level-headedness to a documentary that might otherwise be written off by naysayers as another anti-corporatist liberal movie - though it probably still will in many cases.

"Food, Inc." is only going to leave a lasting impact on those who have never given their food a second thought, so unless these movies start capitalizing on the educational opportunities of specificity and intellectual potential of documentaries, as well as foregoing shock value for the sake of shock, the way you look at dinner will not be impacted enough to incite the change we need.

2.5 stars out of 5

We have all seen our fair share of creepy little child, ring-around-the-rosy, pocket-not-so-posy, "aren't you glad that is not your kid" films in our generation. There is the Spawn of Satan youngster who terrorizes everyone around him, the ghostly schoolgirl with unfinished business and those little bastards who use their angst-driven supernatural powers to wreak havoc on those around them. However, if you've been craving something truly original, "The Orphan" is a gift from the horror movie gods - or rather, demons.

Not only is there something wrong with Esther, as the mediocre trailers have been suggesting, but that something is as unpredictable as Bruce Willis was in "The Sixth Sense" or Nicole Kidman in "The Others." Without a doubt, "The Orphan" is one to add to the horror collection along with zombie favorites like "28 Days Later" and ghostly haunts such as "The Sixth Sense."

In fact, audiences were so deeply involved in the film as it progressed from one disturbing turn to the next that people shouted precautions to the protagonists as others covered their eyes in disbelief at simple plot twists. From the heart-wrenchingly disturbing opening scene to the final haunting frame, "The Orphan" simply delivers.

After the devastating loss of an unborn baby girl, parents Kate (Vera Farmiga, "Nothing But the Truth") and John (Peter Sarsgaard, "Rendition") Coleman finally decide to fill the empty spot in their family by adopting an orphaned child. Enter Esther (Isabelle Fuhrman), an angel with jet black hair, an adorable Russian accent and the wardrobe of an American Girl doll. Not only is Esther quiet, articulate and an amazing artist, but she does not seem like a creep when Kate and John first lay eyes on her at the orphanage. With her appreciative attitude and her sparkling smile, Esther actually does seem like the missing piece in John and Kate's perfect world. If only they had chosen a different kid.

As Esther's new mommy, Farmiga knocks it out of the park yet again. Underrated and underappreciated as an actress, Farmiga brings to each of her roles an authenticity and subtlety that makes her role as a struggling mother dealing with her still-born baby and the pain of a past traumatic event which left her youngest daughter deaf extremely complex.

And here lies another aspect of the film that was unpredictable to say the least. Not only does the plot of Esther's manipulating drive to tear the family apart carry itself impressively, but the number of side-plots and character histories brings a reality to the horror film which might typically lose itself among jumpy noises or scares. In addition, compelling camera angles and the diverse use of sound and dialogue keep the audience enthralled in the story and guessing until the final scene.

As orphan creeper Esther, newcomer Fuhrman is both adorable and intimidating as the newest member of the Coleman family. The way she weasels her way into the minds of her new parents and manipulates the children of the family to do her biddings is both believable and traumatizing, making it difficult to be able to sit back and witness.

While the film seems predictable and pretty standard as horror thrillers come, the trailers honestly do not bring it justice. There is something special about "The Orphan" that keeps you guessing and stays in your mind as you leave the theater, because there really is something wrong with Esther and, by god, it will keep you on the edge of your seat until the final second.

4.5 stars out of 5

Portugal. The Man's latest album, The Satanic Satanist, opens up with a guitar riff straight out of a Lynyrd Skynyrd song and maintains a consistent down-home feel for the duration of the album. This southern influence seems strange for a band from Alaska, but this album seems to be, at times, derived from southern rock bands such as Skynyrd and presents a strong mix of gospel-like vocals and hippie love-rock anthems in its own alternative packaging.

The Satanic Satanist appears to be the next step for Portugal. The Man since their 2008 release Censored Colors. Having adapted their own progressive, dirty blues style through their career, the band takes it back to roots on this album. Overall, the album is interesting and well crafted considering the band's commitment to releasing albums on a yearly basis, but perhaps some more time would have done this one some good.

The individual songs, although refreshingly different from each other, are relatively generic and thin in content. The message and its presentation often seem like lead vocalist John Gourley thinks he is your grade school music teacher, but this sometimes works to the band's advantage. "Pick it up and pack it up/ And put it in a bag/ Stack it up like cinnamon/ We'll get it real fast/ Until there's nothing left for you," Gourley chants in "Work All Day." It is almost impossible not to want to sing along to almost every song on the album. The lyrics are catchy and rhythmic and are repeated to the point just before they become annoying.

This release is not bad, just a bit disappointing. The Satanic Satanist does not live up to early albums by the band such as 2007's Church Mouth (2007) or Waiter: "You Vultures!" (2006), but it has a few of its own gems.

"People Say" is a soaring antiwar protest that makes you feel like you are singing along at Woodstock. It is pretty uplifting for a song about war and is surprisingly cheerful for the opening track of an album by the name of The Satanic Satanist. For this reason, the track has a sort of unexpected feel that will make longtime Portugal. The Man fans smile.

The album comes to a close with "Mornings." This is sort of the grand finale of the whole thing. Starting out with two very reverb-drenched guitars, this one soon erupts into a highly orchestrated ballad full of violins and the like. "Mornings" is a suitable end to the album and gives it a great epic conclusion.

As a whole, The Satanic Satanist is a much more experienced and mature Portugal. The Man. It shows a band that has grown up from its more punk-influenced works like Waiter: "You Vultures" and, as a result, is much slower overall and a lot smoother musically.

3 out of 5 stars

This weekend, raunchy romcom "The Ugly Truth" and Disney's "G-Force" were the two most talked-about movies hitting theaters. While you would think that almost anything could beat a movie about guinea pig spies at the box office, "The Ugly Truth" failed to do so. When guinea pigs are the better alternative, you know things are bad.

In "The Ugly Truth," Abby Richter (Katherine Heigl) is the producer of a morning show that's going down the tubes. She needs to find a way to boost ratings, fast. Much to Richter's dismay, however, her ratings boost comes from the addition of a two-minute daily segment from Mike Chadway (Gerard Butler), the male chauvinist host of a local public access show where he gives his advice about relationships -- "Get a Stairmaster! Get on it! Get skinny!" The buttoned-up professional and the laid-back womanizer butt heads until they come up with a deal: He will coach her through the process of finding a boyfriend, and in return, she will stop insulting him and allow him to work on her show. According to Chadway, if Richter follows his rules, which basically involve becoming passive and skanky, then she'll be able to snag and keep a boyfriend who fits all the criteria on her checklist.

It's hard to miss the misogynistic underlying messages in this story: that the perfect man will never like a woman for who she really is, so women must constantly work to be something different. That in mind, the "romantic" part of romantic comedy is lost in "The Ugly Truth."

Heigl's performance also leaves something to be desired. After three films in which she has played essentially the same character, viewers should begin to wonder: Is she capable of doing something different? She always plays an uptight workaholic who needs to loosen up and find an easy-going man to complement her neurotic tendencies. Her character in "The Ugly Truth" is no exception. Abby Richter is desperate, na�ve and neurotic to the point of frightening. She launches into a heated diatribe about tap water within seconds of sitting down for a first date and hides in a closet at work when things don't go her way. Butler as Mike Chadway is charming, but for the most part, the rest of the characters are self-obsessed and one-dimensional.

Most of the film's attempts at humor are unoriginal and contrived comedic situations. You've seen these scenes before, and they weren't that funny the first time around. There is nothing fresh or different about "The Ugly Truth," aside from the characters' willingness to discuss their body parts and make crude gestures in public.

"The Ugly Truth" is rated R, an unusual designation for a chick flick. Surprisingly, however, the film's vulgar, raunchy humor and overtly sexual jokes are what occasionally save it. A particularly memorable scene involving a vibrator is probably the film's only truly funny and original moment. But even though aggressive sexual references might make audiences squirm and shriek, it takes more than a few jokes about masturbation to make a film funny.

Separately, Heigl and Butler have turned out some pretty decent romantic comedies, so their partnership in "The Ugly Truth" should have been a success. But the truth about this movie is ugly--it's boring, predictable, and unamusing.

1 star out of 5.

Jordin Sparks' latest album, Battlefield, debuted last Tuesday, and unfortunately for Sparks, no one cared. The youngest American Idol winner probably hoped to make a splash with her sophomore album, but the only thing produced was more mediocre music.

Besides the lame sound, the album revolves around generic lyrics that sound like a 16-year-old's take on a breakup. The fact that most people have thought the same things her lyrics describe when they were somewhere around halfway through high school does not make her relatable, it just makes her boring.

The album starts off with "Walking on Snow," which has a kid-pop feeling. It is upbeat, has light music in the background and is not hurtful to the ears. These qualities are not necessarily negative, but in the music business they are not exactly what artists aim for to set themselves apart with a unique sound. "Walking on Snow," like the rest of the album, sports moving lyrics like "Ur love was a waste of time, you've been left behind/ You made no mark on me, you're gone and you left no sign." Congratulations to Sparks, who would like everyone to know she can rhyme.

The next track, "Battlefield," is probably the worst on the entire album and the one that has made some sad radio appearances. It is graced by more meaningful lyrics like "I never meant to start a war/ You know I never wanna hurt you/ Don't even know what we're fighting for," and "Can't swallow our pride/ Neither of us wanna raise that flag/ If we can't surrender then we both gonna lose." Besides the dorky lyrics, Sparks' sound hits a disappointing low. While belting her "Battlefield" chorus she loses herself in a whiny, pitchy sound that would make anyone slam the off button on their radio.

Usually on an unsuccessful album there is at least one standout hit that allows it to drag along the charts for a while. "Battlefield" attempted that and failed. The rest of the album is more of the 5th and 6th grade music scene, which is fine if that is the audience Sparks is aiming for, but it seems doubtful kids that age can relate to love as a "battlefield."

There is no doubt Sparks has an amazing voice but the actual content she is producing continues to disappoint. It in no way showcases her talent and makes her only marketable to the tween scene. Any of the songs could have been handed off to Ali Lohan or any other semi-talented 16-year-old and been executed to the same degree.

It is another disappointment for Idol as none of the tracks on Battlefield are even worth downloading. If Sparks keeps choosing music that puts her on a similar level as the kids that sing on Disney Channel, the real life battlefield of failure she is probably dealing with right now is only going to get worse.

1 star out of 5

On their sophomore album The Knot, buzz-worthy Baltimore-based duo Wye Oak delivers a unique brand of folk rock with a dash of Americana--and once listeners ease into the weird melodies and eerie vocals, they'll realize that this band is definitely one to watch.

The Knot opens slowly and cautiously with "Milk and Honey," and then moves along to the striking "For Prayer," where crashing percussion and wailing guitars interrupt quiet verses. "Talking About Money" oscillates between hushed singing and noise as well.

These tunes are a little bizarre, but clearly crafted by intelligent, talented musicians.

Formed in 2006 by Andy Stack and Jenn Wasner, Wye Oak began as a just-for-fun basement recording project. Their debut album, If Children, was released independently in 2007 and again in 2008 after the duo signed with Merge Records, which is also home to Spoon, She & Him and Conor Oberst, to name a few.

With a few spins of The Knot, listeners will hear why Wye Oak's strange and beautiful sounds are deserving of a recording home along with these bigger-name acts. Wasner's voice is quiet but powerful as it wafts over the eerie "Siamese." Her vocals almost have a sing-song quality, but the lyrics are haunting and heavy.

The Knot is a cohesive collection of songs, and a common theme pervades each track--relationships. But The Knot digs deeper than break-ups and make-ups; according to an interview with Wasner on the Merge Records official Web site, the album's title refers to "assessing the ways that our ties to other people define our experiences."

Indeed, Wasner's lyrical reflection gets deep. Her songs are intensely emotional and direct. The eight-minute-long "Mary is Mary" is creepy and somewhat depressing. But on slightly louder and more upbeat tracks like "Tattoo" and "I Want For Nothing," winding layers glimmer instead of plod along. We can also hear the addition of instruments such as piano, which is impossible for this duo to use during a live performance. The layers created by these two musicians are impressive. Their sound is sometimes sparse, but never hollow.

Occasionally, The Knot does sound like a rock album. "Take It In" is grittier, and dirty bass and screeching feedback on "That I Do" give it a garage rock feel.

The Knot is sometimes sublime and whimsical, and always intimate and confident. However, The Knot is not easily accessible--it's really not even immediately likeable. But it is an album that listeners can really sink their teeth into. Stack and Wasner have clearly put a lot of work into these ten tracks, and fans will have to work at it, too--but it's worth the effort.

4 stars out of 5.

You might not have heard of Disney's newest poptart, Demi Lovato. Somehow, she has managed to climb the Billboard charts and snag roles in Disney Channel originals without a nude photo scandal, an underwear model boyfriend, or a song about sneakers (Ecko red, anyone?). On her sophomore album, Here We Go Again, Lovato shows that while she still has some growing up to do, she can really sing.

The album's opener and first single, "Here We Go Again," is a jumpy teen pop anthem about how guys are so complicated ("You never know what you want/ and you never say what you mean"). "Here We Go Again" is reminiscient of Miley Cyrus' smash hit "See You Again," the song that no one wanted to admit we were all listening to. But most of Lovato's tunes do not evoke comparison to Cyrus--Demi Lovato's songs are age-appropriate and just edgy enough to appeal to middle schoolers who want to rebel but still need to wear the same shoes as their friends.

And right away, Lovato proves that she can actually sing. Yes, her lyrics are consistently cheesy. Yes, the musicianship leaves something to be desired. But this girl's got a set of pipes, and she knows how to use it.

"U Got Nothin' On Me" is guitar-driven faux-stadium rock, and sounds like someone hired cheerleaders to be Lovato's backup singers. That aside, however, she's got the girl-power thing down.

Tweens fell in love with Demi Lovato in the Disney Channel original movie "Camp Rock." Currently, the 16-year-old stars in the Disney Channel original series "Sonny With A Chance." According to Lovato, however, acting is just a hobby and music is her true passion. It doesn't hurt that she's toured with Miley Cyrus and the Jonas Brothers. (She's also rumored to have briefly dated Cyrus's brother, Trace.)

Here We Go Again includes a few slow love songs with boring, repetitive melodies, but Lovato's voice still shines despite the lack of creativity.

She rocks out on "Quiet," and expresses her feelings without sounding overwhelmingly angsty. "Catch Me" shows off her vocal range and control instead of her power.

The bombastic "Got Dynamite" is as close as Lovato gets to seduction and sex appeal. With explosive percussion, distorted guitars, and even more girl power, it's also about as close as Disney gets to rock 'n roll.

On Here We Go Again, Lovato also experiments briefly with piano ballads and more reserved sounds. In between her big, electric pop rock songs, she's got a few tracks with some country twang, and the variety does not work in her favor.

The album feels disjointed, as if Lovato desperately wants to solidify her signature sound, but just can't figure out what that sound should be. She's obviously versatile, but with 14 tracks, she could stand to lose a few. The pop anthems on the album pack the punch, and everything else just brings it down. For now, Lovato should stick with the loud, girly anthems and leave the singer-songwriter thing to the pros.

That being said, it's important to take this album for what it is--Demi Lovato doesn't have a college audience, and she probably never will. Her songs are aimed at young girls who are just starting to purchase and download music and who need a cool, respectable teen role model. They don't care if her guitar riffs are original. And for that audience, Lovato is perfect. If I was 11, I could listen to Here We Go Again on repeat until the next Jonas Brothers album came out.

So Here We Go Again is the perfect album to listen to with your little sister--she'll love it, and you'll be able to tolerate it without wanting to rip out your hair.

2 1/2 stars out of 5.

When many of us were still enjoying the blissful days of elementary school, the Riverdales were rocking hard, living the rock star life most only dream of. Formed in 1994 under the name Screeching Weasel, the punk band came onto the scene with their debut self-titled album and toured with Green Day in 1995.

Although they split after their second album in 1997, the band came together again in 2003 to record their supposedly final album. Riverdales frontman Ben Foster took some time to catch us up on how the band's been doing, their upcoming release and their show in Madison on July 25.

Now that they're back together and doing live shows after what was supposed to be the end, Foster explained what happened.

"Most recently we were doing vocals for outtakes for our previous albums and we just had a really good time. We started talking about doing another album and within a couple months we were writing new stuff and recording," Foster said.

While finding their groove on the last two albums, the Riverdales found not much has changed in their sound over the last 15 years.

"I'd like to think its better now. Anyone can go out and experiment -- music critics and music snobs have a tendency to say that's what they want. For myself, I like bands who do something and keep doing it well, the ones who work within the confines of a formula they came up with and perfected," Foster said. "I think it's an admirable and smart thing to do. That's what the fans want, they don't want the same record over and over again, but they don't want you to experiment with horns and guitars and that kind of thing. ... I think that when I've gone wrong somewhere, I tried to hard to reject that and consciously do something different or outside my comfort zone."

The band's six-year hiatus ends with their shows and new album, Invasion USA, which is set to be released July 14. Although they're playing live shows again, things will be a little different this time around.

"We're not touring, we're doing fly-ins, which is much more my speed. Sometimes we drive to Chicago. We do weekends here and there," Foster said. "I can go in and be able to financially justify doing the shows and not get in the situation where you burn out, and when you're on the road with your band mates in a van you end up getting in fights. Doing it this way, everyone is just fresher and happier."

The Riverdales are staying quite busy with their show at the Majestic soon after Invasion USA's release. The album is the first priority, but they've got a lot on their plate.

"We want to give people who have never seen us a chance to see us live. We're trying to eventually do both bands [Screeching Weasel and The Riverdales], but I don't know when that exactly will be. Right now we are just focusing on the release in Madison," Foster said.

When asked what we can expect from the punk rock veterans at their Madison show, Foster is optimistic.

"Its going to be a good show, we've got a set that's about 40 to 50 minutes long with stuff from every album, but new stuff too," Foster said. "Not real heavy with the new stuff, it's just sprinkled in here and there. But I think it will be a really good show."

The Riverdales will be at the Majestic tonight 9 p.m.

At exactly 7 p.m. last Wednesday evening, the Capitol Square hummed with the sounds of an excitedly chattering crowd as the opening chords of the famous "March" from the movie "Superman" began to swell and flood the area with music. The lawn surrounding the Capitol was barely visible, hidden underneath countless blankets on which citizens of Madison, both young and old, sat with friends and family in anticipation of a favorite Madison summer tradition: Concerts on the Square.

The first Concert on the Square was held over 26 years ago on the evening of June 27, 1984. In the '80s, Madison's downtown was often left abandoned on weekday nights, its beauty unappreciated by citizens eager to return home from work. Philanthropist Pleasant Rowland changed that when she introduced the idea of holding a free family-friendly outdoor concert on summer evenings. Rowland's vision has since become among the most popular events of Madison's summer, drawing an audience that reflects the diversity of age, thought and lifestyle throughout the city.

Septimiu Teodorescu, a citizen of Madison who is originally from Romania and now owns a gym on the Capitol Square, has been celebrating the weekly concerts with food, drink and friends for over five years now. According to Teodorescu, the concerts "Bring all the good people around to appreciate art and music. It's a place you can really relax and enjoy a snack with friends."

For six consecutive Wednesdays between June and July, the Capitol Square is closed to all traffic, the buses are rerouted and the citizens of Madison gather to enjoy an evening of free music performed by the renowned Wisconsin Chamber Orchestra, which is celebrating its 50th anniversary season this year. Vendors line the streets, offering pizza, ice cream, beverages and much more. Many audience members choose to bring their own nourishment, arriving by the dozens with picnic baskets under their arms in search of the perfect spot on the Square.

Each concert has a theme and also a special guest artist who is featured throughout the evening. With various themes including "Verdi Meets Elvis," "Maverick Marimba," and "A Night at the Opera," the music is sure to please everyone. The concerts generally last for an hour and a half, ending around 8:30 p.m. with an intermission halfway though.

"There is usually a mix of classical favorites, lesser heard classical selections and more popular songs in every concert" said Suzanne Beia, a School of Music professor at the UW. Beia was also featured as guest artist on violin the night of July 15, which paid homage to Hollywood with the theme "Movie Blockbusters." The night's lineup included well-known theme music from "Superman," "Schindler's List" and "Star Wars," among others.

No matter what music fills the air, the atmosphere at Concerts on the Square never changes. According to Beia "It's ideal: such a large percentage of our community turning out, each week, to eat, drink, socialize, enjoy the outdoors, relax and listen to a wonderful variety of music performed at a very high level."

Andy Hansinger, a UW student entering his senior year in the fall, spent the evening of July 15 lounging with friends and enjoying the soothing sounds of Concerts on the Square. He has discovered, like many, that living in Madison over the summer allows students to leave the bubble of campus and explore Madison as a city, not just a college town.

"I love that not only do you get to experience the music, but you get to experience the Capitol too," Hansinger said. "It really brings the city together."

For any Badger seeking the essential Madison experience, Concerts on the Square is a necessary checkpoint on the list of things to do. Students should not miss the chance to participate in one of the most popular and exciting traditions that the city has to offer while mingling with their fellow Madisonians.

This year's finale of Concerts on the Square is next week, July 29, where the theme will be "Maverick Marimba." The concert begins at 7 p.m.

A middle-aged mother grabs a tissue out of her purse and dabs her eyes, making a snorting noise from the back of her throat while trying to stifle her anguish. A pair of teenage girls heave with grief while looking over at each other to make sure they are equally devastated. A man in his mid-twenties simply storms away from the crowd of bawling softies, most likely with a tear or two running down his cheek.

This is the crowd watching "My Sister's Keeper "on a rainy Saturday night. Looking around the movie theater, there haven't been this many weeping and sniveling suckers dripping all over their popcorn since "The Notebook" -- however, this makes complete sense as this year's tear-jerker is also brought to you by the one and only Nick Cassavetes (the director of "The Notebook").

"My Sister's Keeper," based on the novel by Jodi Picoult, delves into serious medical and ethical issues as protagonist Anna Fitzgerald (Abigail Breslin, "Definitely Maybe") looks to earn medical emancipation from her parents. For her entire life, Anna has been subjected to countless surgeries for the sake of her cancer-stricken sister, Kate (Sofia Vassilieva, "Medium"), who needs Anna's genetically conceived body parts to survive. For Anna, this means that her body has been at the mercy of everyone around her, and for once she is ready to stand up and separate herself from the sister she both loves and is constrained by.

Cameron Diaz ("What Happens In Vegas") takes a more somber path in her acting career as the ball-busting mother of Anna and Kate, showing a seriously earnest and fearless portrayal of a mother who refuses to give up on her daughter's life. As the quirky California blonde with the 1,000 watt smile and bubbling laugh, Diaz truly finds a role that suits her age. It was refreshing to witness this transformation, and with a new star on the Hollywood Walk of Fame, Diaz should seriously consider taking on these rolls and challenging her inner funny girl to take a walk on the more serious side of the street.

However, while Diaz does show a darker set of colors to movie-goers, it is relative newcomer Sofia Vassilieva who absolutely shines throughout the film and keeps the tears coming as her illness progresses. Intermixed with flash-backs and voice overs, it is Vassilieva who leads audiences through the journey of cancer and emotionally connects to each character of the film, to the audience, and to the camera as she remains breathtakingly beautiful inside and out until the film finally ends. With lips like a young Scarlett Johanson ("Vicky Christina Barcelona"), and the acting talents of a young Kate Winslet ("Revolutionary Road"), the 17-year-old Vassilieva has just begun what can only be anticipated as an astounding journey.

As a novel, "My Sister's Keeper" takes the individual perspectives of each character through their own points of view, creating a deeply sincere account of every person's unique struggles. However, like so many book-to-film adaptations, "My Sister's Keeper" simply doesn't have the time to take on so many perspectives and different emotions to make the film a complete replica of the much-loved book. This is something fans of the highly acclaimed novel must look past, because it is easy to get too wrapped in disappointment (especially after the hype from the naysayers who find this change a travesty) and miss the beauty that the film uniquely brings.

Despite the differences, "My Sister's Keeper" is a beautiful story of family, hope and the courage the find the good in life, and one that shouldn't be missed.

4 out of 5 stars.

Never has adult catechism class been so much fun. "Nun orders are a lot like gangs," Sister Diana Carl said in the cathedral-like Overture Center for the Arts. This new show, "Late Night Catechism" drew a diverse audience of agnostics, devout Catholics, Lutherans and those simply amused by religious satire.

The one-man show has a simple premise: treating the performance like a catechism class, meaning the audience gets Sister Carl's full attention. Fueled largely by the strict Catholic school environment, this attention mostly comes in the form of improvised criticism.

"Let go of each other for just a couple of minutes" Sister Carl said to a groping couple in the crowd. After their reprimand, the couple was instructed to stand up and apologize by saying "thank you, sister, for taking an interest in me." Whether it was the pressure of the audiences' stares, or the glare of the sister's eyes beneath her generous habit, the audience complied with her wishes.

To fully appreciate the ironic humor of "Late Night Catechism," a background in the Catholic Church or school surely helps, but it is not necessary. An interest in any religion also added to the hilarity, as the quick-witted sister left no religion untouched.

"Unless every one of you is Baptist, you can stop clapping," the sister said to her laughing, applauding audience.

Another frequently targeted group were public school students.

"I'm sorry your parents didn't love you enough to send you to private school," Carl said.

After an audience member said that a "C stood for kindness," Carl quickly retaliated with another dig at public schools:

"Saying C is for 'kindness' would be an A+ answer in public school; you can't correct them because it's stifling their creativity," Carl said.

While Sister Diana has talking points for every performance, the show itself is led by the audience participation and their own personal stories about Catholic school. As you can imagine, audience members were drilled and praised throughout the show for having good, Catholic names -- the sister nearly cried when she heard the name Mary Kate Josephine, calling it a "Catholic trifecta."

Just as in school, the nun cajoled the audience in to participation by offering prizes, such as a glow in the dark rosary, saint cards or a mini statue of the Virgin Mary.

While religious satire tends to tread thin ice in the Bible belt, Carl performed in a way that neither insulted the Catholic faith nor praised it. The "Late Night Catechism" class both celebrated and poked fun at some of the more unusual Catholic practices, such as the tradition of burying Joseph upside-down, facing the house, to help the sellers get their asking price.

The audience-inclusive style of "Late Night Catechism" captures the attention of all in attendance as a simultaneous fear and hope they are the next to be called out by Sister Carl. Better still, the improvisational nature of the show feeds off individual experiences of the audience, ensuring a fresh performance each time.

For this reason, "Late Night Catechism" is sure to attract regulars throughout its duration. Sister Carl's stand-up style adult catechism class is both refreshing and hilarious for all ages and religious backgrounds. Don't miss some good, clean fun at "Late Night Catechism" at the Overture Center before class is over.

"Late Night Catechism" plays at the Overture Center from July 14 through July 26.