“The Grey” is the story of tough, scum-of-the-earth oil drillers in Alaska and their struggle to survive against harsh weather conditions and a pack of wolves after a plane crashes deep in the Alaskan wilderness.

Based on the short story “Ghost Walker” by Ian Mackenzie Jeffers, “The Grey” is a film about hope and the will to live — and the strain that they inflict.

Liam Neeson leads the cast as the man in charge of protecting the drillers from wolves before and after the crash, and he portrays the toughest character that he has had to do since “Taken.”

Also starring in the picture are Dermot Mulroney, Dallas Roberts, Frank Grillo, James Badge Dale, Nonso Anonzie and Joe Anderson.

“The Grey” is like a new version of “The Edge” with wolves that are relentless in their stalking and killing.

The strongest point of the film is the fact that you get to know each character and care for them as they are killed off throughout the movie.

It is a survival film where the audience feels it every time someone is brutally taken by the wolves.

Filmed in a gritty and realistic way, the characters are followed closely. This makes the audience feel like they are right there with the actors.

The strong acting and settings in each of the films’ scenes establishes the extreme despair of the situation.

“The Grey” is the epitome of a survival film and how far they have come from films like “Jaws,” “Deep Blue Sea” and “Lake Placid.”

It is also going to be difficult to be topped in its genre, by films of the future as well as the past.

“The Grey” is a tough viewing experience but it is unlike anything else you will ever experience.

Neeson is dynamic as he leads these pessimistic outcasts through the tough wilderness to more despair, but with enough hope to keep them alive as long as possible.

Even with being suicidal himself after a personal tragedy, Neeson’s character Ottway finds the meaning in life through the toughest lesson of all.

If you are a fan of survival movies like the ones mentioned above, “The Grey” is a must-see. It is a worthwhile emotional experience that not too many movies can provoke out of their audiences.

It is thoroughly enjoyable for the entire hour-and-57-minute duration.

Also, be sure to stay for the short scene after the ending credits for an extra discussion regarding the movie’s conclusion.

arts@thedailycougar.com

Now in its 29th year, the festival begins with a recital by its founder Abbey Simon at 7:20 p.m. Friday at Moores Opera House.

Fellow piano masters Markus Groh from Germany and Albert Reyes of Uruguay will also present classes and recitals through Sunday.

“The International Piano Festival has been very successful for many years,” said Alan Austin, director of special projects for Moores. “It has gotten better every year, we will be doing them for a long time.”

Austin described Simon as the patriarch of the festival.

He said Simon is someone whose approach to music is something that students will take with them for the rest of their careers.

“With Simon’s history as a pianist, he will develop his students to play at these festivals with poise and confidence,” Austin said.

“The students come to (Moores School of Music) to learn that traditional sound that Simon instills in his students.”

The recitals and a special luncheon will provide festival attendees a chance to both speak with and get to know the artists.

The festival will consist of new masterworks by Groh and Reyes, Simon’s fellow masters.

Both will perform their award winning works during the festival as well.

arts@thedailycougar.com

Aquarius (Jan.20-Feb.18):

Consider how you might bring gifts of wisdom to your surroundings this week.

Pisces (Feb. 19-March 20):

Others might notice the added oomph to your stride and smooth-talking ways.

Aries (March 21-April 19):

Clarity and analytical thought might seem hard to find right now.

Taurus (April 20-May 20):

It’s time to move forward with your plans for artistic development.

Gemini (May 21-June 20):

Take advantage of this empowered state and you’ll probably be the class clown of the week.

Cancer (June 21-July 22):

You might find your amorous desires to be rather earthy. This sensual placement is beneficial to all matters in love.

Leo (July 23-Aug. 22):

Take the inner tension and channel it into physical activities until next week when the full moon will help liven things up.

Virgo (Aug. 23-Sept. 22):

If things aren’t going how you planned, take note on how to improve these trouble spots in your life.

Libra (Sept. 23-Oct. 22):

Recent lessons in emotional boundaries and relationships will begin to become apparent over the next week.

Scorpio (Oct. 23-Nov. 21):

Stand up for yourself this week in your career and scholastic responsibilities.

Sagittarius (Nov. 22-Dec. 21):

The feelings of extra frustration in work and service can be channeled. Make lists of your goals to avoid distraction.

Capricorn (Dec. 22-Jan. 19):

Take note of structures that seem to be fading out in your life so you can prepare for stronger replacements in their stead.

arts@thedailycougar.com

There is always hype surrounding an artist when they are coming out with a debut album. “Born to Die”, the first album released by Lana Del Rey (Elizabeth Grant), saw a massive wave of praise (or essential lack thereof) by critics.

In order to truly have an opinion of this album, fans need to forget all about her performance on “Saturday Night Live.” A difference must be made between what an artist can do in a live show than from what he or she can do in a studio recording.

Released in October 2011, “Video Games” is a calm and subtle masterpiece of collaboration between Del Rey’s vocals and the melodic, soothing orchestral instruments. It takes some artists more than their debut album to find a sound as sharp and defined as this track. Though it is not a revolutionary new sound, it is still something that can be admired.

In the album’s title track, there are trip-hop themed beats as well as some alternative interludes that are incorporated within seconds of the start of the song. Del Rey’s vocals match the rhythm and create an enchantingly confident vibe that some artists lack.

Though most of these tracks are something new, there is still a sense of déjà vu when listening to each composition. For example, a few seconds into “Blue Jeans” there is a screaming similar to that of Awolnation’s single, “Sail”.

In “Off to the Races”, there is a bit of Garbage’s style incorporated in the beats and lyrical compilation of the song. The track is also one of the few in which she does not use her “traditional” voice and instead uses a more feminine and higher pitched voice, making the song flow better.

“Diet Mountain Dew” is a catchy pop track which really should have been a single. It has a ’50s feel to it and gives the audience a true glimpse into the image that Del Rey tries to give off.

The remaining songs lack any deeper emotion or message. The only exception to this is “National Anthem,” which demonizes and re-writes the American dream by saying, “Money is the anthem of success. So put on mascara and your party dress.”

“Born to Die” spans many genres and does not solely focus on a specific demographic, allowing the album to have a broader appeal.

The album contains an Adele track to hook the listeners, as well as the ’90s Brit-pop tracks and the stereotypical American pop songs.

Overall, the album has respectable tunes but is not worth buying. Del Rey is still jumping around genres in this album, looking for the one that emphasizes her talents.

She is a talented signer and there is much to look forward to from her, but “Born to Die” is simply an album that serves as a stem to see in which musical direction she will chose to follow.

The first workshop, “Step-by-Step Plan to Setting and Achieving Goals,” will provide students with information about how to identify goals, develop an implementation plan and strengthen their commitment to that plan.

“It’s the perfect topic for the beginning of a semester,” said Kay Brumbaugh, outreach coordinator and psychologist for CAPS.

The workshop takes place from noon to 1 p.m. in the Student Service Center 1 Building conference room 210D.

“Students not only get a chance to see an informative presentation, but also interact and hear concerns or ideas from other participants,” Brumbaugh said.

Many students find it difficult to stick to their goals for new semesters, even after attending this type of workshop. In that case, CAPS offers private consultations for students who need extra help and support.

“It’s also a great opportunity for participants to meet a CAPS clinician and gain information about available CAPS services,” Brumbaugh said.

A variety of topics are available throughout the school year, Brumbaugh said, including “Understanding Depression,” “Communication Among Couples, Managing Anger” and “Dissertation and Thesis Survival”.

It seems as though many students disregard CAPS at UH because they assume that all services require appointments and fees.

“CAPS therapists hold walk-in hours at sites around campus and there is no appointment or fee necessary,” Brumbaugh said.

This is perfect for students not sure if they need services and just want to see what a CAPS therapist might recommend.

Following today’s premiere workshop, subsequent workshops will run every Wednesday this semester until April 25.

“Food for Thought” workshops are always free and registration is not required.

For more information on this and other workshops, visit caps.uh.edu/outreach-food.aspx

With Internet buzz and a highly scrutinized appearance on Saturday Night Live, Lana Del Rey’s debut album, “Born to Die,” has become one of the most anticipated of the season — even if it was leaked in its entirety.

Del Rey, who refers to herself as the “gangster Nancy Sinatra,” first came to the public’s attention when her single “Video Games” and its music video went viral last year.

The Internet went into a tizzy after her nervous performance on SNL in mid-January, which NBC newsman Brian Williams stated was “one of the worst outings in SNL history.” The Web was vilifying the singer so much so that the show’s host that night, Daniel Radcliffe, came to the singer’s defense.

That incident has caused many to speculate whether Del Rey is the real deal or just another manufactured star. After today, many people will have the chance to decide for themselves. Something tells us that the general public will still not reach a consensus on Del Rey.

—source: Yahoo!News

arts@thedailycougar.com

The Internet has also been abuzz with the musical stylings of Houston’s own Buxton.

At a “listening party” on Friday for the band’s debut album, “Nothing Here Seems Strange,” the ensemble played to a packed audience that ran the age gamut.

Montrose hipsters mixed with aging hippies and a bevy of other characters at the group’s first album kick-off at Cactus Records.

The 45-minute set gave the crowd a solid feel of the album and the band’s performing skills.

arts@thedailycougar.com

Designed from across the pond and fabricated in Houston, “Double Physichromie” is the product of  kinetic artist Carlos Cruz-Diez, whose work was on exhibit at the Museum of Fine Arts, Houston, early last year.

Cruz-Diez has two galleries in the US, including Maria Sicardi Gallery on Richmond Avenue, but this sculpture was his first US commission.

UH Curator of Public Art Michael Guidry described the artist as an important figure in art history and said the piece works best when seen in passing.

“It looks like an incredibly complicated piece of art,” he said. “But when you break it down into all of its components, it’s rather simple. I think the complexity comes in the amazing color combinations that Cruz-Diez works with, and how those colors sit together, and how they change when you move across the front of it.”

With his son, Jorge, Cruz-Diez drew very specific designs and then worked with local fabricators and a local painter to construct the piece.

“The installation was amazingly simple,” Guidry said. “The basic form, or armature, was brought over in three pieces. We had an S-shaped concrete foundation poured for it. They came over with a crane, dropped the three pieces down and, almost more simply than a puzzle, slid these pieces in along a channel.”

arts@thedailycougar.com

In World War II, a crew of African-American fighter pilots was kept from their full potential due to segregation but was finally given a chance to show their worth.

The film “Red Tails” had the same chance, but it turned out to be mediocre at best.

“Red Tails” opened Jan. 20 and, in spite of its mediocrity, still resulted in an opening weekend gross of over $18 million and a number-two spot on the box office list.

As of now, it has grossed almost $34 million and reached the number-four spot in the box office. More than two hours long, it isn’t exactly worth the money or your time to see it.

Starring Nate Parker, Tristan Wilds, Elijah Kelley, Method Man and Ne-Yo, the film relies heavily on the smaller performances of Terrence Howard, Bryan Cranston and Cuba Gooding Jr. With the silly performances by the leading actors, the higher caliber appeal isn’t enough to save it.

Cranston plays Col. William Mortamus, a Southern racist who delays the major achievements of the “Red Tails” — the name the group assumes.

The performances and depiction of the white characters, at first, are shown as racist morons who are inadequate when compared to the Red Tails.

The film is based on actual events inspired by John B. Holway’s book “Red Tails: An Oral History of the Tuskegee Airmen.”

From executive producer George Lucas, it seems to have been a small project with an estimated budget of $58 million to support his fascination with fighter planes and action sequences through clouded skies.

With the lack of quality from this Lucasfilm movie, it goes to show that Lucas has a curse when making films outside of “Star Wars.”

Lucas has been completely involved with the making of additions to the “Star Wars” saga — it seems to be all he’s good for after the series’ huge success, with the exception being the “Indiana Jones” films he collaborated on with Steven Spielberg over the past decades.

On the same note, the movie seems to use the same sound effects used in parts of “Star Wars” and “Indiana Jones” films. And with a sub par score, it is difficult to get involved in the story.

The best parts are the fight scenes, even though they are boring. These scenes are better than longer scenes in between that only feature bad dialogues and acting.

One plus is that the costume design is fairly well done.

“Red Tails” overall is not worthwhile and the inevitable redemption of the crew and acceptance from their fellow white soldiers is incredibly weak and forgettable.

arts@thedailycougar.com

For the longest time, all I heard about was Torchy’s Tacos and how great this Austin-based taco place is. When I heard that they had opened a location in Houston, I knew I had to check it out.

On the way, I had many preconceived notions of what constitutes a taqueria — little did I know that they would soon be shattered.

When I first walked into the restaurant, I started checking out the menu they had on the wall behind the cash register.

I saw the green chile pork taco listed at the top of the menu and it was love at first read: slow roasted pork carnitas simmered with green chilies and topped with queso fresco, cilantro, onions and tomatillo sauce.

I also ordered the taco of the month, The Revolution: ahi tuna, arugula, queso fresco and hot sauce.

The descriptions promised an interesting gastro-experience, until I was told that the prices on the menu were for one taco.

It is a law in the land of tacos: Three to an order.

I ended up paying $10.25 for two tacos and a fountain drink — a taco travesty!

I pushed on with what little optimism I had left, thinking that these might actually be $4 tacos.

I started with the carnitas taco — the amount of meat they packed into the taco was impressive. It was not a full meal by any stretch, but still pretty good.

The flavor of the pork was nothing special and a little dry.

The way carnitas are traditionally prepared is by cooking chunks of the pork in its own fat for hours, or sometimes even days. The end result is nothing short of pork bliss.

Torchy’s seems like it was a leaner cut of pork, baked and then shredded.

Ultimately, it was the tomatillo sauce that saved the taco, not too hot but just the right amount of acidity.

I then set my sights on “The Revolution.” I had an issue with this taco before even tasting it.

The arugula was sitting on top of the fish — a huge taco foul.

Why would you want to cover up the sole reason why I am paying so much for one taco?

Underneath the arugula canopy, you will find a four-ounce tuna steak, not cut-up chunks or sliced fish, but a little steak.

It seemed like they took a dish that would work in a nice seafood restaurant and tried to convert it to a taco, only to have it lost in translation.

Because of the large fish, you end up having to mash everything together to fit it into your mouth.

Just like the pork taco, “The Revolution” followed suit — a tasty taco but not worthy of four dollars.

I am a firm believer in the simpler the taco, the better the taste. It is a peasant food that doesn’t need to be jazzed up with arugala lettuce and ahi tuna.

If your customers are highly sophisticated foodies with pallets to match, then by all means put foie gras with beluga caviar on the taco.

However, the patrons walking into this establishment are college students and people on their lunch break, who mash tacos into their face and make arugula lettuce and ahi tuna seem like Iceberg lettuce and tilapia.

Just two small changes would make a world of difference.

First, divide the amount of protein they have in one taco into three. It gives the illusion that you are eating more and people like to have more bang for their buck.

Second, protein always goes on top — unless the taco features cilantro, onions or tomatoes. The protein is the reason why there is a taco. Why wouldn’t you shine the spot light on the star of the show?

Until they make these changes, I do not feel the need to go back to this place while there is a Freebirds, Chipotle and an authentic taquito within a three-mile radius that knows how to make tacos and burritos.

I give this place a rating of 3.5 out of five.

arts@thedailycougar.com

By now we have heard the famous top 40 track by Rihanna, “We Found Love.”

The creator of this latest dance anthem is Calvin Harris, a world famous disc jockey, singer-songwriter and record producer. He had created many self-defining tracks such as, “I’m Not Alone” and “Colours” before his ascension to the America mainstream late last year.

On Friday, Harris stopped by Stereo Live as the headliner accompanied by British DJ Burns and Houston DJ Josh DuPont as the opening acts.

DuPont is a deep house producer and DJ who was nominated “Best DJ in Houston” in 2007 and 2008 by the Houston Press.

Upon taking the stage, DuPont began playing unpopular dance tracks which just made him seem repetitive after 10 minutes.

This was expected since opening DJs are not allowed to exceed the talent of the upcoming artist, limiting their potential on stage.

The crowd began to grow as the night progressed and the lights dimmed.

Burns then took the stage causing a loud cheer and applause from the restless audience, who were pleading for more than just the basics of a dance beat.

The music thudded louder and the special effects lighting commenced to blind the audience as they moved to the bass of the house tracks.

There was an overwhelming enthusiasm from the crowd as they swayed and jumped.

This DJ had well-rooted transitions that were barely noticeable as well as perfectly-timed drops.

Though there was still much praise for Burns, he is still nothing in comparison to Harris.

As Harris walked behind the DJ booth, the crowd’s roar filled the dimly-lit venue and the previous echoes of the drop from DJ Burns faded.

The build that Harris created as he began his set on stage was astonishing, only to be outdone by the intensely compiled drop.

The sea of people jumped and screamed as the tracks commenced and Harris took full control.

Though he has a library of self-made tracks, he is also a DJ and mixed current dance songs in his set.

There was a wide range of tracks used, the standard ones that are currently heard across the world in dance clubs.

After some wait, he began playing his own tracks, causing the already enthusiastic crowd to get even wilder.

One of the first songs he played was “You Used to Hold Me,” a track he self-produced that caused a flurry of dancing bodies to move all across the venue.

He then went on and played some other house and techno tracks, still causing the tension and anticipation for his next and hopefully even better track.

This formula worked out well in the sense that it did not give the audience an overabundance of his personal songs.

As the night went on, he played “Bounce,” “I Feel So Close” and “Flashback.”

As he is producer and DJ, Harris was able to create a mix that awed the audience. It was composed of an intricate and well-defined house track and the now famous alternative track of “Paradise” by Coldplay.

He also did an impressive mix and elaboration to “Around the Word” by Daft Punk.

The final wave of well-grounded mixes, self-tracks and top 40 hits ended when Harris played “We Found Love.”

The crowd celebrated the world-renowned dance anthem by using all of their energy to dance and scream as the all-too-familiar beat blast through the already booming speakers.

Every light panel and fog machine turned on, working in unison to submerge the audience in a surreal environment.

Unfortunately this was Harris’ last self-made track showcased that evening.

As time passed, the songs turned to unrefined house tracks, which only had a small window of appeal to the audience.

They were not horrible or easily dismissed, but after the performance that was just bestowed upon the crowd, there was a higher expectation than having to listen to “Sandstorm” by Darude.

After that, the mix was composed of unfamiliar tracks. This then led to the crowd awakening from the trance that they were in and just swaying and moving to the music nearly forcefully.

It was only 1:30 a.m. when this began and it followed through until the end of the show.

Overall it was an experience worth seeing despite the amazing performance falling short at the end with a lack of originality and emphasis on the tracks of the artist himself.

It was worth the opening price of the venue but not worth a marked-up or scalped ticket price.

This great artist failed to showcase a lot of his work, which led to a small disappointment and let down to his fans.

Although the set was solid and the drops and builds were timed perfectly, it is hard to recommend seeing him again.

It felt more like a large nightclub than a performance by Harris.

It is easy to attest to the great contributions he has done to electronic music in the past few years, but his live performance at Stereo Live fell short of expectations.

arts@thedailycougar.com

The nominations for the 84th Annual Academy Awards were announced early Tuesday morning, ending speculations on the nominations and kicking off the speculation on who will actually win the award. With the caliber of each nominee, it is going to be an interesting ceremony.

The winners will be announced on ABC on Feb. 26, during a ceremony that will be hosted by a man who is arguably the greatest Oscar host alive — Billy Crystal.

The Academy of Motion Picture Arts and Sciences picked nine films for the coveted Best Motion Picture of the Year Academy Award: “The Artist;” “The Descendants;” “Extremely Loud and Incredibly Close;” “The Help;” “Hugo;” “Midnight in Paris;” “Moneyball;” “The Tree of Life” and “War Horse.”

Martin Scorsese’s “Hugo” leads the nominations with 11 votes, with “The Artist” coming in second with 10. “War Horse” and “Moneyball” both have six. “The Descendants” and David Fincher’s “The Girl with the Dragon Tattoo” both received five nominations.

“Midnight in Paris” and “The Help” earned four nominations; “The Tree of Life” received three; and “Extremely Loud and Incredibly Close” earned two.

In the Best Picture category, “The Artist” is the one to beat, as well as in most of its other nominated categories, which include Best Director and Best Original Screenplay.

Like the Golden Globes, the Academy Awards have a good chance of being spread out this year; Best Director may not necessarily be from the same film as the Best Picture winner, which is typical of the Oscars.

Meryl Streep just may win her third Academy Award out of a total of 17 nominations spanning over three decades. That would put her in the company of the few who have won three or more Oscars for acting along with Jack Nicholson, Walter Brennan, Katherine Hepburn and Ingrid Bergman.

Gary Oldman has finally been recognized with a nomination for his leading role in “Tinker Tailor Soldier Spy.” Christopher Plummer, nominated for his role in “Beginners,” may also win his first Oscar.

Woody Allen has received two nominations for writing and directing “Midnight in Paris,” which are his first nominations since “Match Point” in 2006. It’d be a great surprise if he shows up to the ceremony — he’s been known not to care for awards.

Also, Terrence Malick’s “The Tree of Life,” excitingly enough, has been recognized with major award categories. The film was shot primarily all around Texas, with even some scenes taking place in Houston.

Nicolas Winding Refn’s “Drive” was snubbed with only one nomination for Sound Editing. “The Adventures of Tintin” was also snubbed, receiving only one nomination in the Animated Feature Film category, the category in which it won a Golden Globe.

The Best Original Song category turned out to be pretty weak this year with only two nominees: “The Muppets” and “Rio.”

Overall, the nominations are extremely deserved and desirable.

This year is without a doubt going to be the most interesting and entertaining to watch — with all the greatest actors and stars of old and new being recognized and looking to receive the industry’s highest honor.

arts@thedailycougar.com

“Tartuffe,” an opera based on the play by Molière and with music and libretto by Kirke Mecham, takes piety to task by focusing on the hypocrisy and greed that sometimes lurks behind it.

The Moores production of this opera, which has been produced more than 100 times worldwide, is set in Monaco during the 1920s. The performance is in English with English surtitles.

For more on this opera, visit www.music.uh.edu/opera/currentseason_showdetails_tartuffe.asp.

The opera “Amelia” is based on a story by Stephen Wadsworth, with music by Daron Hagen and libretto by Gardner McFall.

The story follows a woman dealing with the very significant issues of her father’s death, the dream of flight and the hope of rebirth. As the press release states, “Anyone who has ever loved a parent, a spouse, or a child will not fail to be moved” by the opera.

The Moores production of “Amelia,” which received a grant from The Cullen Trust for the Performing Arts, is only its second production.

For more on this opera, visit www.music.uh.edu/opera/currentseason_showdetails_amelia.asp.

The house will feature the operas over the course of five days — beginning with “Tartuffe” tonight at 7:30 p.m. Performances follow at 8 p.m. on Saturday and Sunday.

“Amelia” premiers at 7:30 p.m. Friday with performances continuing at 2 p.m. Sunday and 7:30 p.m. Monday.

Free preview lectures will begin 45 minutes before each performance. The composer and librettist will be present for the weekend performances.

For more information or to purchase tickets, visit www.music.uh.edu/opera/.

Vagabond is currently made up of five proactive students — two actors, two playwrights and a technician — who wanted more out of their fine arts educational experience.

“We started as just a group of theatre students who were excited about what we were learning, but we wanted to really work at producing and directing, and even using some of our own playwright scripts,” company’s associate artistic director Colin David said.

The project, David said, aimed to give the participants the full experience of how running a theatre company “out in the real world” would be.

“The school’s been very helpful and supportive of us doing that,” David said. “It just basically gives us as undergrads a lot more opportunities to do what we love and what we’re here to study.”

“Bug,” a play written by Pulitzer Prize winner Tracy Letts, is a story focused around the troubled and twisted mind of a lonely female whose fate is to meet a man who only further disrupts her life.

“‘Bug’ is essentially part-love story, part-sociological thriller in some ways,” said David, who serves as the director of the play.

“It’s a little bit of horror and gore, of how paranoia can destroy you, and what we give up of ourselves when we fall in love.”

David cited the current trend of success among horror movies in Hollywood right now as one reason why “Bug” was chosen as the company’s next production.

“No one is this area has done a ton of real horror on the stage, and I think right now horror movies are selling really well,” David said. “I think seeing it in real life is even creepier.”

Theatre performance junior Josh Hoppe, who plays the male lead Peter further elaborated on the dark and eerie nature of the show.

“It was the next logical step for the company because it’s a challenge. It’s very tech-heavy — there’s teeth being ripped out, there’s people being stabbed to death, we light ourselves on fire — it’s ridiculous,” Hoppe said.

Fans of horror and scary movies are urged to trade in a night at the movies and experience a live, on stage production that is fast, gritty and full of life.

“The audience will walk away thinking about it. It gets under your skin.

“It’s chilling; it bothers you. At the same time, it’s good because it’s mysterious,” he said.

“Bug” will be playing on campus at 8 p.m. Saturday and Sunday in the Jose Quintero Lab Theatre in the Cynthia Woods Mitchell Center. Tickets are $5.

In exchange for a new, juicy, barely legal sex and dating advice and (mis)adventure column, we at the Cougar are asking for your suggestions on a new name for what was once Cougar Sutra.

Please tweet us at @TheDailyCougar, message us on Facebook or send an e-mail to arts@thedailycougar.com with your suggestions. Top picks will be posted in a poll at thedailycougar.com next week for the final vote.

The reader whose suggestion is chosen will get special mention and first shot at asking yours truly for advice on sex, dating and everything in between.

A trusted advisor recommended that I write the first column with a hard hit on the truths about what goes on between the sheets, but this is our first meeting, dear virgin reader, and I don’t think we’re on that level yet.

Instead, I’ve chosen a select few first-date bloopers to warn you against the next time you find yourself on first base with a potential special someone.

First of all, I don’t get bloody noses, ever.

I’ve got this schnozzle, and while I’ve seriously bruised the exterior of my snout, I’ve never gotten a bloody nose.

However, one admirer of this as-of-yet-unnamed-column was kissing on some handsome sweetie when she tasted that all-too-familiar iron flavor. Indeed, when they broke their sweet embrace, she had blood all over her face, and he was mortified at the treacherous blood vessels in his sensitive nostrils.

As the semester begins, a word to the wise: Do not, under any circumstances, reveal that you’ve stalked your date before going out.

One confidant shared a creeper story where she went out to dinner with a supposed gentleman who had researched her social networks so thoroughly that he knew her birthday, place of birth, previous university and where she spent her last bikini-clad vacation.

If you’re on a first date with a really nice guy, and he manages to bust himself in the face with his car door so badly that he ends up in the emergency room, I recommend that you give him a second chance another day.

However, in the case of one first-date story submission, the gent in question had the gumption to return after his run to the hospital to try to “seal the deal,” with white bandages holding his poor nose together.

Keep this one in mind as the coming weeks lead into the pink-and-red-and-white Valentine’s Day mania. One young man, unnamed and remembered forever in antiquity with a wistful smile, asked if I would have him as my valentine.

In a previous conversation, I had discovered that we have an ancestor in common, and we are therefore cousins 18-times removed.

Instead of being honest about how this freaked me out, I let him bring me a valentine consisting of a formerly white teddy bear of dubious origin, and a heart-shaped box of out-of-date Ferrero Rocher.

He romantically explained that they were the most expensive items at the dollar store.

Like the statue from which it is inspired — of John Harvard in Harvard Yard, nicknamed “the statue of three lies” for its inscription — passers-by might think of “Four Lies” as a perfectly predictable historic art piece.

As with its ivy-league counterpart, a closer examination of the work of art’s plaques and engravings reveals several ironies and interesting inaccuracies within the work — there is even a codex in the Special Collections of the M.D. Anderson Memorial Library that works with the piece to help solve its mysteries.

The main subjects of the statue are bronze copies of its creators, Houston’s The Art Guys.

“They thought they would one-up Harvard and do a statue of four lies,” curator of the University Public Art Collection Michael Guidry said. “There aren’t really four lies within the piece, though, that’s a lie in itself. The whole piece is riddled with quote-unquote ‘lies.’”

The date of its sealing (it is also a time capsule) and the date of the University’s 100th anniversary are both intentionally incorrect.

The statues are posed in such a way to invite interaction, and have been dressed up on more than one occasion. There is also a website dedicated to the piece that the artists monitor.

“They really think of it as an on-going active piece of art, not something that was just installed last year and then you walk away from it and move on,” Guidry said. “They really like the idea that it’s going to have a life, and they continue to do things to kind of activate it.”

Though many cultures have a lunar or lunisolar calendar, this UH celebration is dedicated to the Chinese New Year, which occurred on Monday. This new year ushers in the Year of the Dragon.

The Chinese calendar itself is lunisolar and the New Year is widely celebrated throughout China, Taiwan, Thailand, Hong Kong, Indonesia, Singapore, Vietnam and, of course, in the United States.

While some communities only hold Lunar New Year festivities for a few days, others keep on celebrating for 15 consecutive days, with each day having a different theme.

Traditional dishes are also eaten. Red decorations are hung. Monetary gifts are given and fireworks are lit to welcome the New Year.

UH’s CEO is funded by student fees and its goal is to spread awareness of different cultures and the well-known diversity of our campus.

This semester, the CEO will have soup cooking lessons, a Carnival of Cultures, Zuzu acrobats and more.

For more information on the CEO, visit www.uh.edu/csiceo/index.html.

arts@thedailycougar.com

Edward Garza, a literary studies junior and the newest member of The Aletheia staff, shared what to expect from the journal this semester.

“We’re publishing our second-ever issue — my first issue as editor. I was published in the first one and got a chance to meet the other editors, and they decided to take me on.

“This issue is poetry heavy and has a lot more art than the previous issue did.”

The journal’s focus is on the UH undergraduate community but also has a wider range of artists in mind.

“What makes The Aletheia exceptional is that it is more than a publication. Our mission is not only to showcase UH artists, but to do so beyond the bounds of campus,” Garza said. “Thus, every month we post new content on www.thealetheiajournal.com.”

Part of what distinguishes The Aletheia from other journals is its substantial amount of exclusive online content that either showcases additional work from a particular artist or provides an insightful interview about the creative endeavors of those individuals.

“The content constitutes a student feature, an alumni feature and a faculty feature. These profiles allow readers everywhere to discover more work from an Aletheia artist as well as learn more about her or him through an interview,” Garza said. “This, of course, is in addition to the digital copy of the journal, which is also on the site.”

The Aletheia also hosts monthly readings at Avant Garden, 411 Westheimer. The readings revolve around the work of contributors and UH’s undergraduate literary community.

“The readings typically feature three writers from the journal. These have been well-attended, lively events,” Garza said.

A reading dedicated to undergraduates is fairly rare and a great experience for up-and-coming writers to practice reading to an audience, which besides being entertaining helps instill confidence in young writers.

On Saturday, editors got together to bind the Spring 2012 chapbook together. The debut issue was also hand-bound, with a rough thread that gave the journal an eclectic feel.

“We editors maintain a fun and productive atmosphere — whether we’re hosting a reading or deciding on which submissions we’ll publish.

“Since our creative interests encompass prose, poetry and visual art, the journal is all the more rich,” Garza said.

“We want to give you literature that is not only strong and inventive, but a joy to read.”

The Aletheia is published by the University of Houston Honors College Center for Creative Work.

For more information, visit www.uh.edu/honors/honors-minors-programs/center-creative-work/aletheia.

arts@thedailycougar.com

After making its full theatrical release on Jan. 20, eyebrows across the nation are raised over the film many see as an abomination to the lives lost on Sept. 11, 2001.

Receiving Oscar nominations for both Best Picture and Actor in a Supporting Role on Tuesday, “Extremely Loud and Incredibly Close” stars Tom Hanks, Sandra Bullock and Thomas Horn in a story not focused on the events of the worst terrorist attack in American history, but about nine-year-old Oskar Schell (Horn) finding closure in his father’s (Hanks) untimely death.

After finding a key in his father’s closet a year after the World Trade Centers collapsed, Oskar makes it his mission to find the lock to which it belongs, coming endlessly through the five boroughs of New York on foot with the help of a man who lives in his grandmother’s apartment across the street, known only as The Renter (Max von Sydow).

Screenwriter Eric Roth did incredible justice to the novel of the same title by Jonathan Safran Foer. Transforming the book — which follows the often-sporadic inner workings of Oskar’s mind — into a script was no easy feat, but he left few key plot lines untouched and added very few elements that weren’t found in the novel.

von Sydow’s nomination for Actor in a Supporting Role is questionable, but not undeserved. Though he has no spoken lines, he guides Oskar’s journey perfectly through handwritten notes.

However, newcomer to the big screen Thomas Horn could have easily received an Oscar nomination for his performance.

With his only experience in front of the camera being children’s “Jeopardy!” in 2010, his portrayal of an incredibly intelligent, yet extremely panicky Oskar Schell was heart wrenching. He absolutely nailed the personality traits and speech patterns found in children with suspected-Asperger Syndrome through perfectly-delivered narration, monologues and onscreen interactions with Bullock, Hanks and von Sydow.

Such harsh criticism and backlash the film has received is completely unwarranted.

Before refusing to see the film because it’s been perceived as offensive, remember that “Extremely Loud and Incredibly Close” is not insensitive to the national tragedy 10 years ago; it is a story about conquering fears, honoring a fallen loved one and putting the pieces of a broken heart back together.

arts@thedailycougar.com

Happy birthday, darlings. While I write, your reigning figure teases us with the rain so characteristic of this time of year. Let’s look forward to great possibilities in the lunar new year of the Dragon that began when the sun and moon entered your sign over the weekend.

Pisces (Feb. 19-March 20): 

Venus is in your sign right now. Take the chance and open up about your romantic feelings before Valentine’s Day. The person you’re trying to reach might understand what you want to say better in an old-fashioned letter rather than a phone call.

Aries (March 21-April 19): 

Your sign’s ruler, Mars, God of War, is about to throw a giant hissy fit next week in Virgo’s sign. Watch out for some serious temper tantrums, frustrations in work and communication coupled with some serious roadblocks.

Taurus (April 20-May 20): 

We’ve got Mars, Mercury and Pluto creating nice angles to Jupiter right now. Perfect. Right in your sign. Take the opportunity to get some creative and expansionist thinking done with these helpful aspects.

Gemini (May 21-June 20): 

My dad’s a Gemini, and we were hanging out recently. He had two cell phones, one in each hand, and he was doing something on each phone while holding a conversation. Consider how you can improve your communication methods. Remember, always chose quality over quantity.

Cancer (June 21-July 22): 

The Moon is your ruling celestial being, and right now she’s in the gregarious sign of Aquarius. Take the moment to have a really good social experience outside of your comfort zone.

Leo (July 23-Aug. 22): 

You’re in the free and clear at the moment. I recommend taking an unbiased moment and reflecting on how you’re going to get through this Mars-retrograde hissy fit that’s on its way. Bolster your defenses.

Virgo (Aug. 23-Sept. 22): 

Like I’ve been telling everyone else, Mars is about to turn retrograde in your sign and he’ll stay that way, frustrating communication and making political tact impossible until April. Work on breathing deeply while you can.

Libra (Sept. 23-Oct. 22): 

Saturn’s in your sign for the long haul, and while this can really feel like you’re being caned by nuns, this is the opportunity to buckle down and garner some utilities you’ll be grateful you earned.

Scorpio (Oct. 23-Nov. 21): 

Venus, planet of love, and Chiron, the wounded healer, are together creating trines to your sign right now. And because there aren’t any planets in your sign right now, this is a good time to look at love, hurt and take a moment to heal.

Sagittarius (Nov. 22-Dec. 21): 

You centaurs have the perfect opportunity to look objectively at what you want in the coming weeks and months, particularly as Valentine’s approaches, when you can woo whomever you choose.

Capricorn (Dec. 22-Jan. 19): 

My favorite sea-goats, mythological beings of great stamina and good mystery, Pluto and Mercury are in your sign and call on you to express the unspoken sides of your personality that sometimes just need to revel in the human side of life.

arts@thedailycougar.com