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الأحد، 7 مارس 2010

ete Sohren drives his truck through the Arizona desert like an angry kid beating a toy car against the dirt.
The truck — a Ford F-150 modified for off-road racing — streaks across the landscape, a bright yellow blur trampling bushes, mud, and rocks under massive black tires. The tires churn as the truck slides sideways in the dirt, spewing out huge, brown dust clouds.
As he approaches a hill, Sohren treats it like a ramp, speeding over the crest at almost 100 miles an hour. The truck flies six feet through the air; its fiberglass body seems to levitate above the tires. Then the tires hit the gravel, bouncing like rubber balls, and the body of the truck rises four feet on suspension springs before rocking back down with a jolt.
Woo-woo-woo-woo. Sohren's horn sounds like a police siren, but approaching another racer, he's way more menacing than a cop. He's got a reputation for playing rough. The siren's just a warning for the other truck to move over. Plan B is to bump it.
The other driver sees Sohren's truck behind him, the word "Pistola" along the top of the windshield in big, white letters. He steers his black racing truck to the left; Sohren speeds up alongside it. The front bumper of Sohren's truck bounces violently, inches from his opponent's front tires.
Sohren suddenly swerves in front and stomps on the accelerator, leaving his opponent in a swirling mist of dirt.
Such in-your-face maneuvering fits Sohren's sport, a melee of motorized gladiators battling across the desert called "off-road racing." Year-round, the deserts of Arizona, New Mexico, Nevada, and Mexico's Baja California peninsula roar with thousands of angry-sounding engines and screaming fans. Off-road racing's popularity is growing, but it's still a fringe sport — more dangerous than NASCAR, but with far less payoff. There's a sense of anarchy about muscle cars and monster trucks vying for position across vast expanses of primitive land, on an unpaved "track" marked with arrows on fluorescent signposts and surrounded by thousands of howling, camped-out spectators.
Because desert races stretch for hundreds of miles, some drivers might try "stroking it" — driving carefully to save their vehicles. Other drivers, those who take sharp turns at high speeds and run roughshod over tough territory, are known as "hard-charging."
Pete Sohren is hard-charging. The racing veteran might stroke his own ego, but he'd never stroke a race. He's been criticized by people in the racing community for an often reckless driving style, but his brazen, balls-to-the-wall approach is how he stays competitive in a dangerous and expensive sport in which the base cost of a competitive truck starts at nearly half a million.
He's called "Pistol Pete," as much for shooting off his mouth as for the "speeding bullet" simile. He's known for driving hard, talking smack, and refusing to cut his trademark curly mullet. The 6-foot-3, blue-collar father of four is an anomaly in this "rich man's sport."
By using his mechanical skills, taking a do-it-yourself approach, and enlisting the help of corporate sponsors, Sohren's managed to stay competitive in the trophy truck class (the biggest class in off-road racing) and give prominent off-road racers like NASCAR star Robby Gordon and Las Vegas casino executive Bobby Baldwin runs for their money.
But though he's been racing for almost 30 years and made numerous top five finishes, Sohren, 45, has yet to win a race. He always starts strong and leads at some point, but he's usually plagued by mechanical problems.
His problems appear solved, however, during the first weekend in February, when he travels to the Colorado River Indian Tribes reservation, almost three hours northwest of Phoenix, for the Parker 425. At the start, it looks to be a good chance for victory. He's qualified in the top three, and his truck's been running well all week.
"I'm ready," Sohren says the day before the race. "This is man and machine against the desert, and against everybody else."
And as it turns out, it's also man against machine.

Rush Limbaugh's Voice and Queen Songs Used by NAU Scientist to Annoy Beetles

Rush Limbaugh's Voice and Queen Songs Used by NAU Scientist to Annoy Beetles

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www.claysteiner.com
It's widely known that the self-righteous voice of conservative radio host Rush Limbaugh is enough to irritate the pants off of liberals and hippies from Burlington to Berkley, but two scientists at Northern Arizona University are using Limbaugh's squawk to annoy a different type of nuisance: beetles.

We would have suggested a sobbing Glenn Beck, but that's just us.

Bark beetles are destroying forests all over the western United States, and in a method they're calling "beetle-mania," NAU Professor Richard Hofstetter and truck-driver-turned-research assistant Reagan McGuire began using Limbaugh's voice, as well as music, to try and get the beetles to relocate.

McGuire was a truck driver until hearing reports that bark beetles had killed about 74 million trees in Arizona and New Mexico and wondered if there was a way to "fight back using acoustic stress."

McGuire took his suggestion to Hofstetter, who liked the idea and set him up in his lab, compelling McGuire to put his truck-driving days behind him.

The two began collecting infested tree stumps last fall and started using Guns 'N' Roses and Queen songs to see if the beetles would respond and leave the area they were destroying.

As if the nasally drone of Axl Rose or the shrieking fury of Freddy Mercury weren't enough, the two started playing the beetles some of Rush Limbaugh's radio show, too.  

"I thought, 'What would be the nastiest, most offensive sound?' To me, that would be Rush Limbaugh or heavy metal," McGuire says in a statement provided to New Times by NAU.

Not satisfied with the results Limbaugh or Queen were producing, McGuire and Hofstetter started using sounds made by the beetles against them.

"We could use a particular aggression call that would make the beetles move away from the sound as if they were avoiding another beetle. Or we could make our beetle sounds louder and stronger than that of a male beetle calling to a female, which would make the female beetle reject the male and go toward our speaker," Hofstetter says. "We found we could disrupt mating, tunneling and reproduction. We could even make the beetles turn on each other, which normally they would not do."

At the moment, bark beetles are hibernating, but when they wake up, McGuire and Hofstetter will be waiting with new sonic methods of telling the beetles to take a hike -- again, we'd recommend giving a sniffling Glenn Beck a try.

Vote for Love: Manifest Equality Art Show

On Wednesday the former Big Lots in Hollywood played host to Manifest Equality, an art and music event organized to raise awareness about civil rights. Opening night featured appearances by actresses Heather Graham, Marisa Tomei, Olivia Wilde and Jorja Fox, plus AIDS and LGBT rights activist Cleve Jones. Hundreds of artists have work on display, including Robbie Conal and Shepard Fairey. , Manifest Equality is supported by Planet Illogica and MoveON and runs through March 7. Photos by Colin Young-Wolff.

Heather Graham

Nightranger: Girly Girls vs. Femme Fatales

Nightranger: Girly Girls vs. Femme Fatales

 

Nightranger frolics with audacious gals from both camps at Tarina Tarantino's Beauty line launch bash and Hairroin salon's fashion show. Plus, Elijah Blue's exploration of the fame game at his debut "Step and Repeat" art show. Read more in Lina Lecaro's new column, "Steppin' Out."

Painted ladies at the Femme Fatale party downtown.

 

Alice in Chains: Tim Burton in La-La Land

Between the candy-colored, kid-friendly billboards sprinkled across urban areas and the hipster music blogs hyping soundtrack contributions from the Cure's Robert Smith, it's been hard to peg exactly whom Tim Burton's live-action/CGI hybrid Alice in Wonderland was actually made for. Even curiouser, in a recent story titled "Disney Invites 'Goths' to the Party," The Wall Street Journal trumpeted the studio's partnership with alterna-retailer Hot Topic as part of an effort to direct "its marketing firepower at young women and teenage girls, particularly those who gravitate to darkly romantic entertainment like the Twilight series."
Having tumbled down the rabbit hole of the Alice in Wonderland press junket and landed in a luxury hotel suite opposite Burton himself, I tell the 51-year-old filmmaker that I was surprised Disney would make a concerted effort to push his new film, a loose adaptation of the Lewis Carroll fairy tale, to teenage Goths — because hasn't he always made fairy tales for teenage Goths? Having naturally served the black-lipstick crowd for 25 years, was it really necessary for him to calibrate his new film to suit the tastes of the latest brand of moody youth with disposable cash?





Shielded by blue-tinted wraparound glasses topped with a graying, chaotic mop, Burton theatrically sinks his head into his hands before launching into a sputtering rant. "I wouldn't even know what that means. I saw part of Twilight on a plane. It's like — well, it's like Alice in Wonderland. It's, like, surreal. It's, like, WHATEVER! I focus on making the movie, and I leave the charts and the graphs and whatever to the ..." He pauses for effect, leans forward, curls his fingers into the rabbit ears of the heavy-scare quote. " 'Experts.' "
There is usually something suspect about marketing to a willfully disenfranchised audience, but this sort of thing has long been part of Burton's brand. For two and a half decades, Burton has made his living defining and redefining so-called Goth aesthetics ... within 13 studio-funded movies that have collectively grossed well more than $1 billion. There's something of an old-school auteur quality to his career, with an important twist. If classical Hollywood directors like Vincente Minnelli and Douglas Sirk snuck subversive ideas into salable mainstream packages, Burton does the inverse: He brings "darkness" to the surface, and it stays there — ideologically, his films are inevitably traditional. "I'm misperceived as a dark person," Burton says. "I'm not dark."
Though discrete images resemble the original Wonderland illustrations by John Tenniel, the film that Burton's Alice most vividly calls to mind is Return to Oz, the 1985 Walter Murch effort that did away with the Technicolor song and dance of the 1939 Judy Garland classic and reclaimed the Gothic potential of Frank L. Baum's books. Murch's film catches up with Dorothy six months after her initial adventures. Scheduled for electroshock therapy (when Auntie Em hears Dorothy's tales of flying monkeys and walking, talking tin men, she naturally assumes her niece is nuts), our heroine flees and travels back to a land she's been to before, a now-bleak, decayed Oz, to save her old friends from new nemeses. The film was a legendary bomb, hurt immeasurably by reviews appraising it as "too scary for kids," but its somber vision of paradise lost has aged well — Disney's planning a DVD re-release this year.
In Burton's film, girl hero Alice (Mia Wasikowska) has aged into a young woman, on the verge of marrying a rich nerd. Plagued by visions and uncomfortable in Victorian high society, Alice flees her engagement party and travels back to a land she's been to before — a now-bleak, decayed Wonderland, called Underland (apparently, Alice's young ears misheard the first time). Like Murch's reimagining of Victor Fleming's classic, Burton's reimagining of this classic takes place in a once-wonderful fantasy land, sapped of magic and color by fascistic rule, a mentally "different" heroine the only hope. But it's hard to imagine Burton's film sparking a Return to Oz–style outcry for its disturbing content. Alice preaches the same, benign gospel of most of Burton's films, from Edward Scissorhands to Ed Wood: Nonconformity is good (although in practice it's mostly confined to fashion, as when Alice complains about wearing a corset), and ad hoc families are structured around varieties of rebellion rule. In a Burton film, whatever fantasyland he's visiting, conquering life's hardships is as simple as finding your tribe.
Given the trifecta of technical ingenuity, thematic conservatism and box-office bombast that most of his films have hit, it's surprising that Burton hasn't had more Academy recognition. His films are routinely nominated for technical Oscars, for their art direction, makeup and costumes, or Danny Elfman's scores. He's directed a single Oscar-winning performance (Martin Landau's Bela Lugosi in Ed Wood) and earned a single nomination of his own, as director of The Corpse Bride. He makes a broad show of how little the awards racket means to him.
"I watched so many movies as a kid — everything except for good ones." He jumps to his feet and gestures wildly at the window of the hotel suite, toward Hollywood Boulevard, where the red carpet leading to the permanent home of the Academy Awards is surrounded by columns bearing the names of each Best Picture winner since Wings took the first trophy in 1928. Walking between those columns, Burton says, "I realized, I never saw those movies. I never saw Academy Award–winning movies. I was fascinated, like, 'Oh, shit — those won?' "