Now, a similar blending of technology and entertainment has found its way to the University of Maine.

Every so often for a few weeks at a time, the Maynard F. Jordan Planetarium on campus presents a series of laser shows set to classic music by artists like Pink Floyd, Led Zeppelin, U2, Madonna and a variety of others.

“The idea of laser shows in planetariums is as old as lasers themselves, but the good systems are extremely expensive running towards $65K for a basic package,” wrote planetarium director Alan Davenport in an email.

“As soon as I discovered a package we could lease inexpensively for short runs, we added it to our annual programming about three years ago,” he added.

The planetarium uses SkyLase, a solid state laser projection system produced by Audio Visual Imagineering, a company based in Florida.

According to Davenport, there are about 10 different shows that feature either an entire classic album, a playlist of an iconic band’s greatest hits or a mix of pieces from several artists with a unifying theme.

“Added to [the music] are the laser patterns illustrating each song with both streaming, sailing, pulsing geometric patterns, and animated characters and objects from the tune,” Davenport wrote.

Although the lasers only project in red, green and blue, the shows are entertaining and the technology behind them is a bit more complex than your average science fair project.

“Laser projectors are driven by digital signals from the sound system,” Davenport wrote. “These signals were originally created by computer and play from the same player where the sound is recorded.”

The digital commands are inaudible and move the electronic motors, which adjust the mirrors that the light bounces off of and onto the surface of the dome.

The lasers’ lights overlap each other to produce several different colors of light.

“These scanners, not unlike the scanners you see at the store checkout, are so precise that lines drawn by the red laser can overlap the green laser lines and mix to create yellow,” Davenport wrote.

“Yes, red plus green makes yellow. These are lasers, not finger paints,” he added.

The lasers can be programmed to trace figures and patterns thousands of times every second. This happens so quickly, the human eye perceives these rapidly projected dots as unbroken lines.

“One cool thing to do is blink really fast to make the figures lose big chunks of their pattern,” Davenport wrote.

This weekend alone, there are several shows to take in.

On Friday at 8:15 p.m., Pink Floyd’s classic album “The Dark Side of the Moon” will take over the planetarium, accompanied by psychedelic laser visualizations.

On Saturday at 1 p.m., there will be a laser show featuring some of Metallica’s greatest hits, like “One,” “Enter Sandman” and “Master of Puppets.” At 7 p.m. later that day, “Laser Beatles” will thrill all fans of the “Fab Five.”

Also on Saturday is a presentation called “Laser Star Stories.” The show is an educational tour through the constellations in the night sky, where “lasers draw out their stories while a wise old owl narrates,” according to the planetarium’s website.

When the planetarium isn’t presenting laser rock shows, its regular programming consists of educational and entertaining looks at the night sky, the constellations and the myths behind them. The laser shows are fun, but the planetarium’s main mission is to educate.

“It would be great to have people come to both types of programming when they realize it is all here for them to enjoy,” Davenport wrote. “On the other hand, we [want] to use this unique venue in as many ways as possible to serve the needs of the campus academically and culturally.”

Aside from the laser shows, the planetarium is trying something new.

“Video Dark Side” is a presentation of “The Dark Side of the Moon” in a new way. Instead of lasers, this show uses video projected onto the planetarium’s domed ceiling that features computer-generated animation.

During certain songs, the video is like an iTunes visualizer on steroids, since it was designed specifically to match the audio in pace and mood. During the album’s second track, “On The Run,” the visuals move around in subdued chaos, much like the song. The patterns are so immersing that at times, it feels as though the room is spinning.

In other songs, the visuals are nostalgically cheesy, but appropriately so. For example, “Time” features ticking clocks and “Money” has bouncing coins and dancing cash registers syncing up with the noises in the beginning of the song.

Employees of the planetarium hope the SkyLase laser shows will draw visitors for both the music shows themselves and the educational programming they also offer on a more regular basis.

“Our primary mission is to promote science education and especially astronomy and space science knowledge,” Davenport wrote. “The planetarium can present excellent models and programming for other subjects than astronomy, and it should be able to enhance campus life on a recreational level too.”

A complete schedule of SkyLase laser shows, which run until Feb. 26, is available on the Maynard F. Jordan Planetarium’s website, galaxymaine.com. Most shows are priced at $4.

For the most part, that trend seems to have died out. That is, until Oklahoma City superstar Kevin Durant dropped his new single, “Worried Bout Tomorrow.”

Looking back at players who have pursued hip-hop on the side, they all have something in common with each other, but not Durant.

Allen Iverson was arrested for carrying a concealed weapon and possession of marijuana. Kobe Bryant was infamously accused of sexual assault. The artist formerly known as Ron Artest charged the stands and got in a fight with fans during a game. Durant is arguably the humblest dude in the league and he thanks God in post-game interviews.

See the pattern there? Don’t get me wrong — I’m not saying all rappers engage in criminal activity. My point is that most of the NBA players who have tried rapping are seen as less “pure” than Durant is. My point is that Durant doesn’t seem the type to be rapping in his spare time.

He’s apparently really into it, though. I follow him on Twitter and over the past year or so, he’s tweeted things about being in the studio and laying tracks down or whatnot, so it seems like this is a major hobby outside of basketball.

What upsets me most about this type of combination of sports and music is that it inevitably ruins both of them for me. The songs are usually an abomination, made to fulfill a ridiculous childhood fantasy of somebody who now has the resources to do something about it, and when I see them on the court, the thought of their song always lingers in the back of my mind.

With all of that being said, Durant’s new tune isn’t that bad.

The song features Durant and a little-known rapper named Privaledge, whom Durant and teammate James Harden have been promoting the past few months. Surprisingly, Durant is actually the better of the two on this track. I don’t claim to know much about rap, but I know I feel more “privaledged” to listen to Durant than the no-namer.

(That’s just an awful rap name, by the way.)

KD’s not exactly getting personal on the level that Drake of Childish Gambino do. He fits more into the “I’m-a-rapper-so-I’m-going-to-talk-about-how-good-I-am-at-things” mold. The refrain goes “I ain’t worried about tomorrow, I’m just worried about me,” which seems to sharply contradict his team-first basketball mentality. Either Durant the rapper is lying or Durant the baller is lying.

KD only raps in the first verse, and he starts out slowly but confidently. His confidence lies in the fake rap persona he’s created for himself, though. As Durant raps, “And I don’t care if they underrate, care if they go and hate, whip’s over $100k.”

That doesn’t sound like anything he would ever say. Nobody is underrating Durant. He is frequently cited as one of the league’s top 5 players, if not its best. Even if he wasn’t confident in that, he doesn’t seem the type to compensate for that by bragging about his nice car.

In interviews and press conferences, the only time when most people hear him speak, Durant comes off as humble and thankful, not as somebody with the hubris of your typical rapper.

Either his public appearances are a very small window into the person that Durant is, which is a fair assessment, or Durant is a rapper how a little kid puts on a red plastic fireman’s hat and calls himself a fireman. I’m going with the latter. He knows he’s not a rapper, but he’s trying to stereotypically act the part anyway.

As his verse goes on, he picks up his pace and shows he has flow. All in all, Durant’s foray into music is less embarrassing than most other attempts at music by athletes. Still, when you strip the song of the novelty he brings to it, it’s a humdrum affair.

I don’t know how seriously Durant takes himself as a rapper, but regardless, he seems to be enjoying himself. Let’s hope he doesn’t think too highly of himself, because while his skills are passable, he’s not exactly spitting hot fire.

Hopefully he’s satisfied with rap being a fun hobby. That’s about as far as he should take it.

January and February are filled with worthless software and less than a handful of minor league titles. These months are seen as a time to catch up on games you may have missed during the holiday rush — “Rayman Origins,” perhaps — or to play games you never got around to completing.

While January didn’t offer much more than a new “Final Fantasy” game and “Silent Hill HD Collection,” February looks to be an amazing month for gamers of all varieties.

Fantastic titles have already been released during the first week of this month. For the casual gamers, “Double Fine Happy Action Theater” looks to be an extremely creative game, available for 800 Microsoft points on the Xbox Live Arcade.

“DFHAT” is a Kinect game that is less of a game and more of a toy. This collection of 18 mini-games provides unique visual pleasures based on your movements. The $10 asking price makes this game a must-have for those praying for some Kinect fun.

“Gotham City Impostors,” a stylistic shooter that takes place in the “Batman” universe, was released Feb. 8 — available for PC, Xbox Live Arcade and PlayStation Network.

“Jak and Daxter Collection,” released Feb. 7, features the three classic platformers remastered in HD for PlayStation 3. Also released is the classic “Simpsons Arcade Game,” available for Xbox Live Arcade and PlayStation Network.

“Resident Evil: Revelations” was released Feb. 7 and is a must-have for Nintendo 3DS owners. The latest “Resident Evil” brings the series much closer to its roots than “Resident Evil 4” and “5” did. “Revelations” pushes the 3DS to its limits as the most graphically appealing game on the system to date and is considerably better than the last 3DS “Resident Evil” title, “The Mercenaries.”

If those great games aren’t enough, many more are coming soon.

“Rhythm Heaven Fever” for Wii — scheduled to be released Feb. 13 — seems to be one of the Wii’s final first-party titles, as the console is soon to be succeeded by the Wii U. The original “Rhythm Heaven” for Game Boy Advance was a Japan-only game I imported years ago; North American DS release only made things better. If you’re a fan of quirky games or music, this is a key release.

Another title that looks to be a hit is “Twisted Metal” for PlayStation 3, scheduled for release on Feb. 14. It’s been over a decade since the release of the last “Twisted Metal” game, so this title is long overdue. If you loved the series as a kid, the new edition will satisfy. It’s shaping up to be much of the same with plenty of new twists on the series.

“Tales of the Abyss,” a remake of a classic PS2 role-playing game, is hitting the 3DS on Feb. 14, as is a new “Tekken” fighting game on March 6.

A new “PokéPark” game is hitting the shelves for Wii on Feb. 27 and looks beautiful, but it appears identical to its predecessor gameplay-wise, which isn’t a great thing.

The outrageous snowboarding series “SSX” will return on Xbox360, PC and PlayStation 3 on Feb. 28. And for the Japanese role-playing fun, “Shin Megami Tensei: Devil Survivor 2” will be everything you ever wanted from a game, scheduled to be released on Feb. 28.

The PlayStation Vita, Sony’s latest handheld, will finally be released on Feb. 22. The Vita will be available with over 20 different launch titles. While the system is graphically superior to the 3DS and has a second analog stick, the asking price is high at $250.

In Japan, the Vita has also been selling poorly compared to the Nintendo 3DS. High prices were initially a problem for the 3DS, but the systems began selling better after an $80 price drop. A similar move might be necessary for the Vita to remain vital.

This February is filled with many great games for any type of gamer. From casual gamers to the Nintendo fanboys to Japanese RPG fans, nobody will be left unsatisfied.

They have the capability to convey beauty through tactful use of language. Miraculously, lyrical poets craft their words so they fit within the confines of a musical medium.

Although I find myself occasionally disenchanted by his musical efforts, Ben Gibbard of Death Cab for Cutie and The Postal Service rarely disappoints lyrically.

A prime example of his eloquence can be found in “Title Track,” which opens Death Cab’s album “We Have the Facts and We’re Voting Yes.” The lyrics elicit images of young infatuation with an irresistible woman amid the influences of alcohol and nicotine and all things that may cloud the minds of young lovers. However, “Title Track” is no conventional love song.

“Title Track” opens with some Ginsberg-esque abstract imagery that sets the stage. Gibbard sings, “Left uninspired by the crust of railroad earth that touched the lead to the pages of your manuscript. I took my thumb off the concrete and saved up all my strength to hammer pillars for a picket fence.”

The striking beauty of Gibbard’s word combinations leaves the listener strangely euphoric and curious about the subsequent direction the song will take. Gibbard is one of the industry’s most prominent wordsmiths.

If Gibbard’s lyrical genius can’t keep Zooey Deschanel around, that doesn’t leave much hope for the rest of us.

It is an unfortunate side effect of long-term memory that leads many to associate Zack de la Rocha of Rage Against the Machine with the lyrics, “F— you, I won’t do what you tell me.”

The hit “Killing in the Name” from their self-titled debut album featured those lyrics repeated an abundant amount of times. By Rage’s third album, “The Battle of Los Angeles,” de la Rocha’s lyrical prowess had increased tenfold. Although his lyrics were still often radically oriented and highly critical of existing establishments, he expressed his discontent using more subtle language and rich imagery.

In “Ashes in the Fall,” de la Rocha sings, “A mass of promises begin to rupture, like the pockets of the new world kings, like swollen stomachs in Appalachia … a mass of tears have transformed to stones now, sharpened on suffering and woven into slings. Hope lies in the rubble of this rich fortress, taking today what tomorrow never brings.”

The lyricist’s message is clearly still one of discontent, but he succeeds in conveying it without resorting to repetitious and obscene phrases to garner attention.

Although many lyricists attempt to achieve what Gibbard and de la Rocha have successfully accomplished, few succeed.

I have omitted countless others from this brief list of lyrical poets, but these scarce few individuals are difficult to find in the vast sea of lyrical tripe.

It always offends me to hear that some people don’t regard a song’s lyrics to be of great importance. I challenge those people to open their minds. Take time to find songs whose lyrics are personally resonant. This exercise will greatly augment your listening experience.

The film tells the tale of Arthur Kipps, played by Daniel Radcliffe, a London lawyer whose career has fallen off since the death of his wife during childbirth four years earlier.

His firm gives him one last chance to prove himself, and he must travel to the Eel Marsh House in Crythin Gifford to settle the estate of the late Mrs. Alice Drablow. Kipps is met with hostility from the residents of the village, who plead with him not to travel to the house. However, Kipps is met with warmth from Sam Daily, played by Ciaran Hinds, who offers help.

Upon arriving at the Eel Marsh House, Kipps’ beliefs and rationale are put to the test when he is met by a series of supernatural occurrences, including distant footsteps, whispers, music boxes that play on their own and a mysterious woman in black.

“The Woman in Black” stands out from the rest of the genre because it exhibits notable attributes otherwise unseen in modern horror, such as an admirable storyline, well-executed cinematography and a great cast and atmosphere.

This film offers a storyline without blood, guts and gore, which have become popular in the past few years. While it does play up illusions, such as seeing a figure in the mirror, or tactics aimed at startling audience members, they are effectively applied and work well with the film’s dynamic.

The story, while not entirely original, separates itself from the pack. The film contains fewer “I want to play a game” moments and more of a core conflict and plot surrounding it. Characters do a marvelous job making the story come to life.

Director James Watkins employs dramatic camera angles, and the bleak surroundings and weather in his favor to bring a gothic feel to the film. Through varying angles, by zooming in or giving aerial perspective, the scenes surround the audience, making them feel as though they are a part of the story.

Perhaps one of the smartest marketing moves in this film was using Radcliffe as Kipps. Radcliffe surprises even the most skeptical horror junkie and does a commendable job in this role, bringing a certain spark to his character. Whether searching for the woman in black through the morning mist or swimming in a marsh, he gives the character his all, showing he truly is a phenomenal, diverse actor who will continue to shine in future films. Supporting actors do a great job as well, bringing the story to life and making the film enjoyable and effective.

Watkins did a fantastic job directing and making the film believable. The grim setting brings the story to the next level, creating an eeriness that complements the subject matter. Period details such as clothing, architecture and even the paper on which documents and notes are composed only make it better.

While the pace of the film is satisfying, the middle of the film does seem to get repetitive and groggy. However, the film is revived as the plot picks up steam.

For those tired of conventional happy endings, “The Woman in Black” concludes in a way that is best described as bittersweet. The story comes to an end that even the most confused viewer can comprehend and appreciate.

“The Woman in Black” is an excellent film that packs a punch and delivers the goods in a traditional format with a few twists and turns along the way. If you’re looking for a thriller that will make the hair on the back of your neck stand straight up, “The Woman in Black” may be just what you’re after.

Grade: B

The child? Of Montreal.

Since bands don’t have intercourse with each other and produce other bands, it’s clear the tale of Of Montreal’s inception has been embellished. Put the confines of reality and logic aside, though, and based on their latest album, “Paralytic Stalks,” that story just about makes sense.

In actuality, the Georgia rock band has been weirding the world out — in a good way — since 1996. They’ve undergone stylistic changes, gained and lost band members and, on Feb. 7, released their 11th album, which is quite the ride.

Of Montreal’s style has always been deeply rooted in catchy verses and choruses, even as far back as their more stripped-down early days.

Despite the generally happy vibe, lyrical themes of emotional emptiness and revenge plague the album. Much like the lyrics, the music comes off as bipolar, thematically swaying from place to place not only between songs, but also between verses.

As previously stated, this record is a poppy affair, so opening track “Gelid Ascent” is misleading. It feels more like progressive rock than psychedelic pop, but regardless, it’s the anthemic injection of adrenaline needed to kick this album off right.

Although its pace is pedestrian, there is still a swagger and intensity that can only be explained as good songwriting. The chorus is big, but it gets lost in the mass of the verses. Normally that could be considered a flaw since there’s no climax, but they’ve managed to make the entire song feel like the apex.

Like any good album cover, the artwork for “Paralytic Stalks” is a good approximation of the vibe of the record. It’s bright, colorful and pretty to look at, but there’s a hell of a lot going on. There’s also a lot here that’s unexpected, like the toothy mouths on the cover and the sudden changes in mood in the album.

Lead single “Dour Percentage” is pure, classic pop, residing somewhere between Queen and Hall & Oates. But under its glossy surface lies a raw core of emotional loneliness. “We’ve woken up alone, no song to sing us off the edge / the speakers have blown, this planet is an orphanage / deep abandonment issues at our core, but if not each other / there’s f–k all to really keep hustling for,” Kevin Barnes sings.

The rest of the record continues much in the same way until the final four songs, all of which are 7-plus-minute epics.

“Ye, Renew the Plaintiff” begins with glitchy beats and gentle pianos before it gets grittier, the transition announced by piercing guitar jabs. Psychedelic guitar soloing reigns supreme for a few minutes until about the midway point, where a tribal chant transitions into the piano- and synth-driven pop that takes over the second half of the track. It builds up with swells of horns, winds and other oddities until it fizzles out as quickly as it began.

“Wintered Debts” sounds like Pink Floyd’s best attempt at country until they ditch that idea about 3 minutes in and opt for a structureless, jazzy breakdown that sounds like a toddler who vaguely knows what he’s doing banging away at a piano.

Things conclude with the 13-minute ride that is “Authentic Pyrrhic Remission.” Imagine “Bohemian Rhapsody,” only twice as long and twice as thematically diverse.

The track is most accurately divided into three distinct sections, the first of which is akin to a Deerhunter collaboration with Lady Gaga. There’s no questioning its merits as pop music in the same way as there’s no denying its indie pop qualities. The catchiness and accessibility is there, but it’s almost masked by the weirdness and experimentation.

To end the schizophrenic journey on an optimistic note, “Authentic Pyrrhic Remission” is about how much a significant other improves the speaker’s life.

“In your hands I’m quite simply a different instrument / And you’re the only one who ever put money on me / You think that I forget so easily,” Barnes sings.

Much like “Wintered Debts,” the middle portion is a chaotic fall into nothingness that still manages to have a drive behind it, probably because it is less of a dissolution and more of a transition into the final, brief segment that comes off as a jazz lounge serenade with only piano and vocals.

The only problem with this conclusion is that it is a conclusion — the album already clocks in at an hour, but clocking on another would seem like nothing at all since “Paralytic Stalks” is such an effortless listen.

Of Montreal has somehow managed to create an album that has both the sensibilities of pop and the exploration of experimental indie music. Hats off to them, for they’ve made an album that accomplishes so much, more than is apparent after a single play through.

Grade: A-

That statement was not meant to start an argument — it is definitive. Whether or not they think they’re too cool to admit it, everybody has some sort of interest in the game or the events that surround it.

Some people tuned in to NBC yesterday to watch the game. There were plenty of story lines to draw viewers — the Patriots and Giants faced on against each other in the Super Bowl in 2008; Patriots’ tight end Rob Gronkowski’s physical readiness was questionable; a win for Giants quarterback Eli Manning would bring more competition to the battle for supremacy with his older brother, Indianapolis Colts quarterback Peyton Manning.

Some watched for the halftime show. Madonna is one of the bigger names to grace the Super Bowl stage, and her roster of guest performers, including Nicki Minaj, M.I.A., LMFAO and Cee Lo Green raised interest in the performance.

Some watched to see the commercials. Those people didn’t get too much out of the experience. This Super Bowl was easily one of the weakest ad-wise in my lifetime. There was not one memorable commercial in the entire game, as most of the people tweeting with the hashtag #SBCommercials during the game.

Speaking of which, as expected, the big game blew up the Internet.

As much as our parents hate us for it, we live a good portion of our lives online. Specifically, on social networking sites like Facebook and Twitter.

We all know the drill on Facebook for big cultural events — there are three main types of statuses for those occasions.

First, there’s the standard “I am watching this event and enjoying it.”

Second, there are the statuses by people who think they are cool, cultural gods for intentionally knowing very little about the event.

Lastly, there are the witty among us who write, “Oh, is this event happening? Thanks for writing statuses about it, everybody, or else I would have had no idea.”

Facebook isn’t where to go to see what the nation is talking about, though — just your friends, high school classmates and totally real supermodels who added you.

No, Twitter is the place to go.

Twitter has long been a source for news and entertainment. Journalists are able to break news as soon as it happens and everybody else can share their opinion with the world instantly.

Everybody from comedians to politicians to UMaine athletes had something to say about the big game.

Senior women’s field hockey co-captain Kelly Newton tweeted, “excited for the #SuperbowlSunday festivities to commence #weshouldnothaveschooltomorrow” and freshman Andrew Cerretani, a freshman forward on the men’s hockey team, tweeted, “Getting jacked up to watch the #Superbowl #bradyshow #gronknation.”

For a day, the NFL owned the Internet. As early as 10:15 a.m. on Sunday, Happy Super Bowl Sunday was a trending topic on Twitter in the United States.

Early Twitter stats gave interesting insight to the nations opinion of the game. At 10:15, of the trending locations in the U.S., seven — Boston, New York, Detroit, Miami, Philadelphia, Providence, Washington — had trending topics related to the Patriots, and five areas — Indianapolis, Los Angeles, Atlanta, Baltimore, Tampa — were talking about the Giants.

An interesting coincidence: Super Bowl XLVI was the Patriots’ seventh Super Bowl appearance and the Giants’ fifth. Take that information and interpret it however you may.

While not completely taken over by the Super Bowl in the afternoon, Twitter was alive with football talk.

By 11:30 a.m., many were talking about ESPN anchors’ picks for the game with the trending hashtag #ESPNSBPredictions.

At 1:30 p.m., #BetterHalftimeShows was trending, with hilarious tweets like @mattytalks’ “Kanye West showing all his favorite tumblrs and things he pinned on pinterest on the Jumbotron,” and “Tebow crucified at the 50 yard line, the NFL commissioner asks the crowd who to pardon, they scream “Michael Vick ” #BetterHalftimeShows” from @ThatWeissGuy.

The “Twitterverse” spent the rest of the afternoon talking about Madonna, various players involved in the game and Nick Cannon’s face time during pre-game coverage. Cannon got a lot of negative reactions.

“The Nick Cannon interview with Danny DeVito should have been sponsored by cyanide,” tweeted @richarddeitsch.

By the time 6:08 p.m. world around, the world announced it was ready to watch the game by making the phrase “Almost Game Time” a trending Twitter topic.

Kelly Clarkson’s powerful singing of the national anthem made her a trending topic at 6:28 p.m., mere minutes after she finished her performance. The speed and volume with which Twitter users reacted to everything about the game was astounding, this being the first prime example.

Not long after that, the Super Bowl began its official takeover of Twitter. At 6:36 p.m., only six minutes after kickoff, every trending topic in the U.S. was related to the game.

After every modestly important play, a trending topic related to it would emerge, proving that not only is the Super Bowl one of the most watched events on television, but it’s also one of the most discussed online.

Madonna was what made Twitter Super Bowl talks really take off — there were about twice as many tweets during the first half that mentioned “Madonna” than those that mentioned “Patriots TD” and “Giants TD” combined.

Twitter got slightly quieter during the second half, likely because everybody was too busy paying attention to the close game to tweet. When the game came down to the wire, everybody returned to their laptops or cell phones to chronicle the final moments of the game.

The Pats crushed most of our dreams with their heartbreaking loss. I know my brother crushed his hand punching a hole through his bedroom door. That’s the sort of emotional investment we put in our sports teams, a dedication that shone through as the country voiced its passion for a traditional favorite pastime — football — with a new favorite pastime — Twitter.

Anybody on Twitter but not watching the game during the Giants’ and Patriots’ final drives would have still known almost exactly what was happening based solely on the trending topics. 

The trends from the final moments of the game are more narratively powerful and have a greater context than it initially appears. Not only do the trends record the facts of what happened, but they also express the opinions of the nation in a poetic way:

9:38 p.m. – Manningham

9:43 p.m. – Field Goal Range

9:46 p.m. – TD in Super Bowl

9:48 p.m. – Seconds Left

9:50 p.m. – Dropped Passes, Catch The Damn Ball

9:54 p.m. – Tom Brady, Hail Mary, Game Over, #teamgiants

9:55 p.m. – Giants Win

9:59 p.m. – Purple Gatorade, Congrats to the Giants, #SuperBowlChamps

Thanks to the crazy amounts of viewers the NFL’s championship always draws, the halftime show is usually the most watched musical event of the year. That means everybody’s going to have an opinion of it, myself included.

I wrote half of this column before the performance, saying what I thought it was going to be like and what I expected of it, and I wrote the other half right after, to see if my suspicions were confirmed.

Prediction

According to an article from NFL.com, Madonna has partnered with “a creative team from Cirque du Soleil” to help with her performance. She is also rumored to have M.I.A., Nicki Minaj, Cee Lo Green and LMFAO on stage with her.

This year, the NFL went with the strategy that has worked the best for them in the past — getting a long-established act, like Madonna, that is too big to fail. The timelessness of her music and its universal likability should produce a positive audience and critical reaction.

I’m uneasy about how well her guests will contribute to the performance. M.I.A. and Minaj could be a nice contemporary compliment as long as they know their place and try only to bask in the legendary glow of Madonna. If they don’t try to take over the show, which I don’t think they will because I’m assuming they have enough respect to know better, they should be a positive element of the performance.

Green has such a big voice, so I can see some sort of vocal interplay between him and Madonna going over well. If LMFAO does show up, I think that is where halftime could go wrong. I don’t think their brand of pop would mix well with Madonna’s, and to be honest, I find them unbearably annoying.

The association with Cirque du Soleil is also promising, but the quality of the music has to match the visual element. Put last year’s Black Eyed Peas halftime performance on mute and it’s one of the greatest in the history of the event. Bring the audio into the mix and that is no longer the case.

Madonna ought to live up to her reputation as a performer and put on the great show she is capable of. She is far more of a musical consistency than the Black Eyed Peas, so I believe she and her guests will bring their A game and give us something memorable.

Reaction

My biggest fears were confirmed by a terrible Bud Light commercial — LMFAO was part of the performance.

My negative predisposition towards them taints my opinion of their contribution to the performance, so I’ll give them benefit of the doubt and say they didn’t blow their opportunity. Despite their general absurdity, the snippet of “Party Rock Anthem” actually worked well, although ’80s kids must have died inside when they saw Madonna “shufflin’.”

Minaj was also there, but her contribution was completely unnecessary. She held some pom-poms and rapped for about 10 seconds, but her quick pace didn’t match the music and her inclusion seemed like a forced ploy to draw viewers.

Then again, marketing is the reason for all the guests — Madonna is capable of handling a large-scale show like this on her own, I’m sure. The contemporary names were just peppered in to arouse interest in Madonna’s upcoming album that I’m sure you had no idea about until now.

M.I.A.’s performance was as unnecessary as Minaj’s, but it sounded a lot better. Like Minaj, she only had a short rap verse, but it actually flowed with the music and sounded like it belonged.

Green was easily the most effective non-Madonna performer. Like I predicted, he had a short back-and-forth with Madonna, and although he overstayed his welcome by accompanying Madonna as she was lifted on a platform, he wasn’t disruptive to the performance.

Much like her guests, unfortunately, Madonna was also forgettable. Solid and mildly entertaining, but forgettable.

Some of the acrobatics by Madonna’s background dancers were impressive, which is where I’m assuming the Cirque du Soleil influence made itself known, but everything else was pedestrian.

Madonna lacked the gusto needed to make halftime exciting. She looked very much like she was going through the motions, and it looked like she only learned some of the motions yesterday, especially when she almost fell on the bleacher part of her set.

Her songs didn’t sound classic; they sounded old. There was no energy in her singing or “movements” — not enough enthusiasm behind them to call it “dancing” — and the show suffered.

I’m sure everybody there loved the halftime show — plenty of tweets suggested it was a “you had to be there” thing — but I’m willing to bet they won’t remember it for long.

Madonna’s still the Queen of Pop, but that title is now more of a lifetime achievement award than an indication of how good she currently is. Madonna’s getting older, and live, it’s starting to show.

The intimacy of Cohen’s voice, which sounds like it was breathed into the microphone from mere centimeters away, creates a personal aura that makes it easy to connect with the aging singer.

Cohen is a legendary figure, loved for the past five decades for the natural sound of his bare vocals conveying darkly poetic lyrics.

“Old Ideas” is his 12th album, full of wit and wisdom with roots in blues and gospel. All he’s got to put into a song is his own experience.

Decades of desire, regret, suffering, misanthropy, love, hope, and humor shine through in these 10 tracks that will embark you on a journey through some of life’s greatest trials and tribulations, narrated by the old prophet himself.

Cohen isn’t wrapped up in deadlines — death is his only one. Until the darkness takes him, his sunken baritone voice sings along to the beat of life. His lyrics and voice in “Show Me the Place” are raw poetry; the essence revered may bring you to a point at which you start to cry, as in the last whisper to one you hold dear.

In “Going Home,” where humor and tambourine walk hand in hand, Cohen bubbles over with black humor.

“I’d like to speak with Leonard / He’s a sportsman and a shepherd / He’s a lazy bastard living in a suit,” he sings.

It’s a comedic commentary about the person he has become. He “knows he’s really nothing,” yet, his message is bold and beautiful. No costume can disguise this man’s imperfect integrity.

Leonard conveys haunting righteousness with a Yiddish feel in “Amen.” The horns aren’t nearly as spooky as the hurt that spills through the piece. Leonard is no ladies’ man and he certainly doesn’t pretend to be.

“Anyhow” features the same heartbreak, as well as the vibraphone. “I know you had to hate me / But could you hate me less,” Cohen sings.

The confession in this piece is that he’s “crazy to love,” but Cohen is committed to this sort of craziness and “it’s deeper than any goodbye.” This is the type of music that touches your soul with the ache that every heart feels time and again.

“Come Healing” nonchalantly begs for mercy, as in “Anyhow,” and healing overtakes his unfinished longing. This is the most hopeful track on the album. The tone of his voice is almost sincere as he cries out for a Christian redemption.

“Darkness” is my personal favorite from the album. His bad boy bravado stirs up behind what one could only imagine as a smirking face. This piece is similar to Cohen’s earlier guitar work.

Cohen closes the album with “Different Sides,” discussing the possibility of remaining good in this wreck of a world. The song creates a trance-like feel with organ accompaniment as he leaves his feelings alone in the darkness.

Essential tracks to listen to on the album are “Amen,” “Come Healing” and “Darkness.” Cohen’s heartbroken lyrics are a masterpiece that will lull you through the night until you are grinning just as he is.

Grade: B-

If this phrase means nothing to you, it’s about time you rented 1964’s “My Fair Lady,” an iconic musical starring Audrey Hepburn as a lowly Cockney flower girl.

Those who adore Hepburn as the pencil skirt-donning, pastry-nibbling rising socialite in “Breakfast at Tiffany’s” may be surprised by her turn as the less-than-refined Eliza Doolittle, but they won’t be disappointed.

As Eliza opens the film by peddling her flowers and avoiding her money-grubbing, alcoholic father, she meets professor Henry Higgins, played by born-and-raised Brit Rex Harrison. Higgins is initially horrified by her lack of social graces and poor elocution, but he soon sees an opportunity for greatness in the unlikeliest of places. Higgins decides to take Eliza in and make her a lady fit for high society, all the while betting on his success in a wager with Col. Hugh Pickering, played by Wilfrid Hyde-White.

When the transformation is complete, Eliza is a class act — so much so that she attracts the attention of handsome young aristocrat Freddy Eynsford-Hill, played by Jeremy Brett. Freddy has fallen hard and croons in an attempt to win her over, but Eliza’s heart belongs to Higgins.

But when the good professor takes all the credit for Eliza’s rise from the streets to the ballroom floor, she leaves him for Freddy. It’s not until Eliza is gone that Higgins realizes the error of his ways, and must put aside his snobbish pride to win her back.

Hepburn is marvelous as the rough, rowdy flower girl turned “loverly” lady. Even with tattered clothes and an obnoxious accent, she shines. Harrison is ideal as the stuck-up Higgins, belting out catchy tunes like “I’m an Ordinary Man” and “The Rain in Spain” that remind of us a time when many actors were multi-dimensional and didn’t reach the heights of fame because of who their parents were.

“My Fair Lady” is a romantic comedy done right. Nineties flicks like “She’s All That” and “10 Things I Hate About You” have attempted to replicate the formula of boy meets girl, boy sees opportunity and seizes it in hurtful bet, girl finds out — but not with a sliver of the success that this classic musical has.

For those who are wary of musicals, don’t let a fear of catchy choruses keep you from witnessing this iconic film. It’s fun and witty when you least expect it, and a few of Eliza’s one-liners will leave you wondering, “Did she just say that?”

The die-hard romantics will find an unrivaled originality and sweetness to the love story between Eliza and Higgins, and anyone who enjoyed 2010’s “The King’s Speech” will draw delightful similarities between voice training scenes.

“My Fair Lady” is based on “Pygmalion: A Romance in Five Acts,” a play by George Bernard Shaw. Higgins’ ultimate idea of Eliza’s overhaul is to pass her off as a duchess at an ambassador’s garden party. But as the story evolves, it becomes clear his heart has gotten in the way of his greedy goal.

Eliza insists throughout the film, “I’m a good girl, I am,” and by the time the credits roll, you’ll have no choice but to believe her.