The O-town Scene - Oneonta, NY
Issue link: https://www.ifoldsflip.com/i/17438
Facebook founder draws audiences _ “The Social Network,” Hollywood's unflattering portrait of Facebook 's Mark Zuckerberg, pulled in movie- goers eager to see an account of the social-networking website's early days and driven founder. Fans attending opening-weekend into ‘Social Network’ LOS ANGELES (Bloomberg News) showings in Los Angeles and San Francisco said they understood why some events were fictionalized in the movie, which chronicles the acri- monious beginnings of the world's largest virtual gathering place. “I know they took a lot of liber- Associated Press ties,” Dylan Kellogg, 16 and seeing the movie for a second time, said at an AMC theater in Glendora, Calif. Zuckerberg is “really smart,” he said. “The movie portrays him as a person who’s driven by his own goals, but I think what he made was something that’s pretty cool for a lot of people.” “The Social Network,” among the Justin Timberlake, left, and Jesse Eisenberg are shown in a scene from ‘The Social Network.’ Saverin, played by Andrew Garfield. Saverin settled his lawsuit. The movie raised questions about year’s most praised movies by critics, follows Zuckerberg, now 26, as he rises from social outcast at Harvard to billionaire. By the time the movie ends, he’s become alienated from his friends by lawsuits and squabbles. Made for $50 million, the Sony film generated $23 million in its opening weekend, Box Office Mojo said. In the movie, Zuckerberg creates Facebook after being hired by three other students to help them build a social-networking site for Harvard students. The trio, Cameron Winkle- voss, Tyler Winklevoss and Divya Na- rendra, settled their lawsuit for $65 million in 2008. They subsequently have contested the settlement. Zuckerberg also was sued by friend and Facebook co-founder Eduardo Zuckerberg’s role, said Anthony Gardner, who saw it in San Francisco. Gardner, who uses Facebook at least three times a day, said he’ll continue to do so to stay in touch with friends. “It did make me think about his ethical intentions,” Gardner said. Screenplay writer Aaron Sorkin said he drew from depositions and interviews, although Zuckerberg and Facebook refused to cooperate. “It’s not a movie about Facebook,” Sorkin said. “At the center of this is a very modern invention, but the themes in it and the story are as old as story- telling itself — of friendship and loy- alty and betrayal and power and class.” By its close, the movie portrayed Zuckerberg in a positive light, said Patrick Tran, 21, after seeing it. “I don’t think Mark Zuckerberg did anything wrong based on the movie,” Tran said. “I like Facebook more after watching.” If you haven’t heard yet, listen to ... Austin, Texas, vocalist Kat Edmonson is wise beyond her years. Her 2009 release “Take To The Sky” (Convivium Records) managed to go under this writer’s radar until seeing her open for Lyle Lovett at Brewery Ommegang near Cooperstown on Aug. 12. Her performance was mes- merizing and warranted the fruitful purchase of this somewhat regret- tably short album. Nine tracks and just under 44 minutes long, “Take To The Sky” may tend to leave you wanting more; mind humming with as- sociations, comparisons and analogies with some of the larger names in jazz history that one only carefully evokes. By all appearances, It is a bit of an understatement to say that Kat Edmonson fool,” originally done by The Cardigans. And you may have not imagined one of The Cure’s biggest hits, “Just Like Heaven” being re-imagined in a Bossa Nova/Samba arrangement, yet here it can be heard to such heights that you may want to bury your memories of the ’80s even deeper. Ms. Edmonson has a rich and diverse catalogue of influences. Songwriting credits include two Cole Porter songs (“Night And Day” and “Just One Of Those Things”) one Heyward/ Gershwin/Gershwin tune and a haunt- ing interpretation of the frequently covered standard by Matt Dennis and Earl K. Brent, “Angel Eyes.” She was born in 1983. Edmonson’s Photo by Crystal Francisco choices of material from the first half of the 20th century may be esoteric and hinting at a multigenerational musical upbringing, but her more contemporary choices are of equal interest. Before an unlisted bonus, a cappella track at the end is John Lennon’s little known “(Just Like) Starting Over,” and earlier is a lovely, ethereal interpretation of “Love- and the aforementioned “Angel Eyes” are harrowing. I can’t help but think of Billie Holiday’s powerful “Strange Fruit,” but the association persists. Mr. Lovejoy’s arrangements are simple and spacious with an average of about six musicians on each track, including Ms. Edmonson’s vocals, with few, if any, apparent overdubs. The sound on the album is wide open and breezy, while occasionally looking south to Latin jazz, then north to Tin Pan Alley and overseas at points. Ms. Edmonson has a remarkable voice, both audibly and historically, and listeners should keep close tabs on her. ited with producing and arranging the album and plays piano on nearly every track. He may have tapped into something seren- dipitous here, as Ms. Edmonson’s voice suits the Jobim/Gilberto/ Getz feel. Most songs are driven forward by Mr. Lovejoy’s piano while being crystallized by Ms. Edmonson’s breathy, soothing alto voice. The opening track, “Summertime” Kevin Lovejoy is cred- — Eric Coan Want to write music and film reviews? Great! E-mail Cassandra at editor@otownscene.com 20 O-Town Scene Oct. 7, 2010