Last Friday night saw Hatfield Hall packed with Rose students, as well as members of Alpha Omicron Pi chapters from IU, Ball State, and Quincy University. The occasion: the third annual Mr. Rose pageant, hosted by AOPi to raise money for the Strike Out Arthritis foundation.
The pageant was loosely based on the Miss America pageant, with some modifications. It had 5 major events: the talent competition, the “swimsuit of the future” design contest, the MacGyver contest, the question-and-answer session, and finally the formalwear contest. From the beginning, the ingenuity of the Rose male began to show. While some contestants went for traditional talents like singing, dancing, and instrumental performances, others took advantage of Hatfield’s big screen for added effect; yet others went for rather bizarre talents (eating a whole lemon in less than a minute stands out in this writer’s mind).
12-year-old faces adult homicide charge
Jordan Brown, a 12-year-old from Wampum, Pennsylvania, is one of the youngest individuals ever to be charged with murder. He is accused of murdering his father’s fiancé with a 20-gauge shotgun; if convicted, he could face life in prison without parole. His case has sparked a debate about the minimum age to try someone as an adult, which has gone all the way to the Supreme Court. At the moment, he resides in an adolescent detention center, after it was decided that housing a then-11-year-old in an adult facility was inappropriate. The prosecutor for the case claims that Pennsylvania’s law has tied his hand in the matter so that his only options are prosecution for homicide or no prosecution at all.
After the rushed, van-based blood drive in December, the Indiana Blood Center returned to Rose-Hulman this Tuesday and Wednesday to demonstrate what a real blood drive looked like.
The drive collected 177 pints of blood for transfusion, enabling doctors to save up to 531 lives. And in true Rose-Hulman style, RHA sponsored an inter-hall competition to see who could donate the most. Deming Attic won, with over 58% of its residents donating.
When Eisner-Award-winning creators want to do a little of their own storytelling in a known comic-verse, most times they are allowed to do so. This story was no different. David Lapham, creator of Stray Bullets, took the 30 Days of Night universe and created a unique stand-alone story that also serves to continue the over-arching plotline of vampires wanting to be mythical and just left alone. 30 Days ‘til Death follows lone-vampire Rufus as he tries to have a “normal life”—Heroes anybody?—while still being the bloodthirsty guy that he is. Think Superman, only he kills people graphically instead of saving them from Evil—he wants to have his cake (or humans) and eat it too.
Whether or not you are a God-fearing religious person, we have all heard of the Rapture (not Bioshock’s), Armageddon (not the movie), and the Apocalypse (not the X-Men villain). Everyone knows about the end of days, the war for this realm between heaven and hell. In knowing this story we know about the four horsemen: Death, War, Pestilence, and Famine. Vigil Games took this idea and set out to make a series of games based around it. In Darksiders (Xbox360, PS3), you play as War. The conflict between Heaven and Hell is coming to a head, and the Charred Council is formed to arbit the conflict. The Four Horsemen are summoned as nonpartisan observers to resolve the conflict. During the course of this arviting, War is killed. You, the player, return to face the Council, where you are blamed for causing the Apocalypse. You are sentenced to death, but convince the Council to allow you to return to Earth to find the actual cause of the premature Apocalypse.
This Canadian duo has been around for a decade now and by the time they reached their fifth album, The Con, they had really started to expand the soundscape of their songs. Their sixth album tones down a lot of the more ethereal feel of The Con and brings them back to the style of their best work -- upbeat, direct songs that made them popular in the first place. However, the simplicity of the arrangements and the straightforwardness of the messages within don’t detract from the structure of the songs. It’s the increased energy that makes this album wholly better than its predecessor. As in the past, there’s a pretty easy split between the simple songs and the more complicated ones, just as there is the split between the songs Tegan and Sara sing. Tegan’s songs like “The Cure” and “Northshore” are much catchier and fun, with her other songs not too esoteric, hook-wise. Sara has a catchy song as with “Alligator”, but in general her songs are just not as readibly accessible. They are more introspective. This contrast is pleasant, though, as it leads to an altogether richer and more enjoyable listening experience.
Reviewer rating: 3 elephants
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