Iowa Alcoholic Beverages Division Administrator Stephen Larson ruled that the city’s PAULA ratio ordinance is inconsistent with the state’s requirements of liquor licensees. Larson’s decision affirms an earlier ruling by Administrative Law Judge Margaret LaMarche, who overturned the Iowa City City Council’s liquor-license denial to 3rd Base, 113 E. College St., and Et Cetera, which has since closed. Councilors have denied other bars, including the Summit and Sports Column, under the ordinance, which requires denial for a ratio of PAULAs-per-visit higher than 1.0.

In his order, Larson writes that city officials did not prove employees at 3rd Base, often called the Fieldhouse, knew underage consumption was occurring or that they “failed to exercise reasonable care to ascertain a patron consuming alcoholic beverages was of leave age.” He noted no information was presented about the “circumstances surrounding” the 143 PAULAs issued at 3rd Base in 12 months.

“Thus, it is unknown whether the patrons cited were merely holding or actually consuming alcohol in the presence of the Licensee or employees,” Larson wrote. He also found that the city did not have a clear definition of a police “visit.”

Check Wednesday’s Daily Iowan for more on Larson’s order.

Binns was pulled over at Benton St. and Greenwood Drive after police saw him drive straight through a left turn lane. He was also stopped for an equipment violation.

The redshirt junior initially denied drinking, police said, but eventually admitted to having “several drinks.” Binns was observed by police as smelling of alcohol, as well as having watery eyes and impaired speech and balance. He showed signs of impairment during field sobriety tests and also failed a preliminary breath test (.097 blood-alcohol content level). A DataMaster breath analyzer later listed Binns’ BAC at .101.  The legal limit in the state of Iowa is .08.

Although Binns is 20 years old, police said he was wearing a bar wristband to indicate he was of legal age to drink. A new Iowa City ordinance prohibiting patrons under-21 from entering bars after 10 p.m. went into effect at midnight on June 1.

Binns was arrested for operating a vehicle while intoxicated (OWI) and taken to Johnson County Jail at 12:57 a.m. He was released this morning after making an initial court appearance.

Iowa head football coach Kirk Ferentz issued a statement Friday morning regarding the incident.

“I was very disappointed to learn of the incident involving Broderick Binns,” Ferentz said. “He will, as a result, receive counseling and will attend an educational program. He will also receive some form of suspension and will do community service.

“I still need to get all the facts concerning the incident. But, the matter and punishment will be handled internally.”

Binns, a St. Paul, Minn., native, started in all 13 of Iowa’s games last season on the way to earning honorable mention all-Big Ten honors. The 6-2 261-pounder recorded 10 tackles for loss, including six sacks. He is anticipated to be a starter on the Hawkeye defensive line in 2010 as well.

Two of Binns’ teammates, Jewel Hampton and Jordan Bernstine, were both charged with public intoxication on June 5. Hampton, 20, was also charged for being in a bar after 10 p.m. Ferentz has yet to publicly announce any football-related punishment for either player beyond stating the matter would be “handled internally.”

The city clerk’s office validated 1,688 new signatures on an anti-21-ordinance petition organized by Yes to Entertaining Students Safely, City Clerk Marian Karr said Thursday. After petitioners’ first attempt at submitting the document showed invalid signatures, they had 15 days to produce 1,227 extra registered voters. YESS submitted 3,300 additional signatures, 51 percent of which were valid, Karr said.

The Iowa City City Council has 30 days to either repeal the 21-ordinance or place the measure to a public vote in November. The council is set to discuss the issue at its July 12 meeting.

If a referendum occurs and passes, Karr said, bars would return to a 19-and-older entry age effective within 10 days.

Check Friday’s Daily Iowan for more 21-ordinance coverage.

— by Nora Heaton

Academically, athletically, culturally, and financially, Barta said the Big Ten found an institution in Nebraska that “fits all of those and makes sense.”

Barta said he thinks Nebraska is a “natural rival” for Iowa, athletically, adding that both school’s fans would be able to drive easily from Iowa City to Lincoln, and vice versa.

“I think it’s going to be a terrific rivalry,” Barta said. “We get sort of a win-win. Not only are they a great addition to the conference, but they’re a great rivalry automatically for our fans, and for our student-athletes.”

Barta also said he anticipates Iowa continuing to play Iowa State in a yearly non-conference football game unless something changed in the makeup of conference scheduling.

However, Barta added that he and Iowa State Athletics Director Jamie Pollard have a plan that would allow allow for the voiding of the contract between the two schools  if something interfered with the scheduling of the annual rivalry game.

“Both Jamie and I did put a contingency in the last contract that we put together that said if something occurs that doesn’t allow us to play it like this anymore, then there is a way we can deal with that,” Barta said. “We weren’t being prophetic. We were making a good business decision when we put a contract together.”

The Big Ten Council of Presidents/Chancellors (COP/C) announced unanimous approval Friday for The University of Nebraska-Lincoln to join the conference, effective July 1, 2011.

Nebraska will compete in the Big Ten beginning with the 2011-12 academic year.

Look for additional coverage of Nebraska joining the Big Ten in the pages of next week’s Daily Iowan.

— by Jordan Garretson

Hampton, 20, and Berstine, 21, were both charged with public intoxication. Hampton was also charged for being in a liquor-license establishment after 10 p.m. Iowa City’s new 21-ordinance went into effect midnight on June 1.

Bar staff at Vito’s, 118 E. College St., alerted police officers patrolling the Pedestrian Mall around 1:46 a.m. of a large fight taking place inside the bar, said Iowa City police Lt. Bill Campbell. Upon arrival, the officers found Hampton had been involved in “several” physical altercations.

Campbell said Bernstine was not cooperative with officers when they attempted to take Hampton into custody, leading to Bernstine’s arrest as well.

“Bernstine was pretty disruptive in hindering the officer’ ability to take Mr. Hampton into custody and into the squad car and so forth,” Campbell said. “He was warned a number of times to step back and allow the officers to do what they needed to do. He continued to specifically verbally make it more difficult for the officers to take care of what they needed to take care of.”

Iowa head coach Kirk Ferentz said in a statement that he is aware of the arrests.
“At this time I am in the process of gathering all the facts concerning the incident. I’ll have no further comment and the incident will be handled internally,” he said.

Hampton, a redshirt sophomore running back, missed all of the 2009 football season after suffering a right knee injury last July. He rushed for 463 yards and seven touchdowns while serving as Shonn Greene’s back-up in 2008.

Bernstine, a redshirt junior cornerback, also missed the 2009 season after breaking his ankle in a pre-season practice last August. The Des Moines-native recorded 12 tackles and one interception as a sophomore in 2008.

— by Jordan Garretson

Daily Iowan: Where did you get the inspiration for this book, or the characters in the book?
Chuck Palahniuk: The very first incident — and it all came really tightly together — was when I was in New York doing promotions for the movie Choke, which is my fourth book. I was touring together with Sam Rockwell for a long period of time, and he was talking about making a movie about Jesse James with Brad Pitt. And he stopped speaking, and he became very self conscious. He said, “Listen to me, just listen to me go on. I just say ‘Blah, blah, blah, Brad Pitt. Blah, blah, blah, Brad Pitt.’ It sounds like I have some weird form of name-dropping Tourette’s Syndrome.” And that’s just such a really genuine, insightful moment, when I can say that even celebrities are afraid of being accused of name dropping.

But then it’s a bit more insidious, because it led them to self-censoring anything they said about their own lives, because most of their peers are also celebrities. They didn’t want to take about their lives for fear of being accused of name dropping. And so, I thought that was kind of heartbreaking.

That same weekend I was in a car with some publishing executives, and they were talking about Lillian Hellman. A lot of them had been asked as much younger people to do research into very specific aspects of travel in Europe. And, it was only when Hellman’s autobiography was published that they realized that they had been basically assigned to do the research that she used to write about her own life. And they had been roped into what now looked like a big fictionalized lie. They couldn’t really conflict it, because they didn’t want to be fired. They told me they were sort of unwilling accomplices in this big lie. And so they still are very resentful of that fact. And they also talked about a large number of celebrity biographies that are sitting in publishing houses, just waiting for certain living celebrities to die. In the same way that Truman Capote’s In Cold Blood sat for years, waiting for the execution of the two murderers. They just sit there and sit there, but as soon as their subject dies, someone just slaps another two page chapter on the book, and it’s in bookstores within a week of the death. It’s like little hyenas waiting for their subject to die. It’s so dismal, but appealing about that — books are just waiting for their subjects to die. The story is waiting to take over from the truth.

The fourth element — I’ll leave it at four — was when I was in Sundance with the people that made Choke, and they were getting a distributor for the movie. I couldn’t help but notice these incredible, beautifully-groomed movie stars, and they would appear in public for a promotion. They were completely unencumbered — they didn’t have a coat or a purse of anything. They would seemingly just wander freely through Park City, Utah, being photographed like animals wandering through the landscape. But walking about 10 or 12 steps behind them, there would be a kind of plain, overweight woman, who would be just completely burdened with all of the makeup cases, and the purses, and coats, and tote bags — everything that went into maintaining the beauty of this beautiful actor or actress. They were sort of pack-mules … They weren’t in the photographs, but whenever they were needed they would rush over and they would tuck in a stray hair or help apply a little more makeup. They’d check every detail. So I was sort of fascinated with these people, whose job it was to make this kind of perfection and beauty. That’s where I got the idea for Hazie, the protagonist in the book.

DI: Can you talk a bit about the references in the book? What went into the research for this book?
CP: A lot of the research didn’t go into the actual content of the book, it went into the structure of the book. And I’m always looking for nonfiction structure that I can use to tell made-up, really outlandish stories. So old gossip columns in the 1930s and 40s, like Walter Winchell’s column, Ed Hooper, things that just sort of evolved into tape-sets. I really needed to know how those worked, and I needed to know the conventions of them, so that I could replicate them in the basic structure of the book itself. So I was researching a lot of spoken language for all of the cinematic structure, as well as the convention of all of those syndicated gossip columns, so then I could replicate that structure, and use it to tell this fictional story.

It’s funny how all the research into the structure never really gets acknowledged, but the content was researching the story of female stars of that period — how they rose from obscurity, how they were typically taken and groomed by someone, how they went through a series of marriages — with each marriage serving a different specific purpose in a different phase of their life or career. But at the end of their lives, they would have this companion, this grooming person, who would basically care for them until they died. They would die in usually kind of dismal circumstances. Researching the lives of all these people like Joan Crawford, Katherine Hepburn, Bette Davis, and Ava Gardner — so I could create a kind of composite of all of them, that would resonate with the idea of all of them. Right now you can only imagine how many Liz Taylor biographies are sitting in publishers’ shelves, waiting for Liz Taylor to die. The numbers are probably staggering. Imagine all those different versions of you waiting to take over the moment that you die.

DI: What effect do you hope that the structure of the book, and the references within the book have on people?
CP: I never really try for a specific effect. If anything I just hope that people see aspects of our time that we kind of think of as just our time. The way that identities are imposed on people through the media, and that the nature of gossip, what we now think of as blogs — we think of as Brangelina and Bennifer — we tend to think of these phenomena as being really modern and of our time, but actually these things are ancient. My goal is to get people to recognize that all of these things are repetitions of historical patterns. They’re different patterns, and it’s upsetting if we see ourselves as part of that. It’s sort of a continuing, unending pattern of human behavior.

DI: Why did you decide to write the story in first person, from the perspective of Hazie Coogan?
CP: Well, number one, these sort of grooming-support people that I saw at Park City, Utah at Sundance — I found them so incredibly compelling. They’re like puppet masters. They seem to be servants, but they’re actually really kind of the masters of everything. It’s from the aspect of the philosopher Heidegger, who I’ve always found appealing. It’s the nature of power relationships — whether the king is really in power, or whether the people who provide food for the king are in power. There really is no clear hierarchy. But in a way each one holds power in their own way. It’s also *Sunset Boulevard*, the character we don’t see a lot of is Max, the butler. We see a lot of Nancy Olson, we see a lot of Norma Desmond, but we don’t delve into Max’s character. I’ve always wanted to see that story told from the perspective of the servant, of Max, who orchestrated so much of that. In a way Max is a survivor, the only one who could tell that story, because everyone else was destroyed by it.

DI: Going back to the nature of these power relationships and the balance of power, is that why you incorporated stage directions and told the story as if the speaker were directing it?
CP: Exactly. You know, you’ve got to have some form of that visually establishing of things, and physical direction of the perspective. For that purpose, it would be kind of organic of the story itself. It seems perfect, because in a way Hazie is the director, she is the one calling the shots.

DI8: In the book, there are a few references to art imitating life, or life imitating art. Do you consider Tell-All to be one of those?
CP: That’s a tough one, because in a way Tell-All is a hybrid, because it does draw from so many real things. But just the fact that they are real things — and combine so many real things — and I collect them, sort of makes them of the world. But I would say that it’s a hybrid, it is kind of a distillation of two things.

DI: You actually mention Iowa City in the book, as one of the places that Kathie Kenton is given a key to. Is there any specific reason behind that?
CP: Name-dropping! See how you read? We all do that. We read looking for a connection to our own lives. Do you remember the Huey Lewis and the News song, “The Heart of Rock and Roll” is still beating? It was this song from the ‘80s, and in the end there’s a fade out with this long series of shout-outs. Huey Lewis doing a shout-out “To Portland, Oregon,” “To Spokane, Washington,” “Cincinnati, Ohio!” It must be two or three minutes of continuous shout-outs, and people love that song. Chances were really good that your city or your town was mentioned in the song. And the people of Portland — where I lived at the time, they really love the fact the Huey Lewis was saying their city. So, that’s why Iowa City is in there. The more stuff I can cram in there, the more likely there would be something that resonates with everybody. It’s kind of a sweet thought.

DI: What commentary are you trying to make about either old-Hollywood, or the celebrity-worship culture that continues today?
CP: In a way, it kind of goes back to Heidegger. I’m always fascinated by ways in which people manipulate power — how they try to acquire power. One way is by name-dropping, like creating new associations that will sort of ignite them in someone else’s mind with some other thing that has a great deal of power. And so, in a way, the whole book is a kind of exploration of how power is gained from other people: how people manipulate each other, people manipulate each other in order to gain power. There’s one particular instance where the politicians are complimenting and providing awards to Katherine Kenton — but they’re only doing it to stand in the spotlight for a long period of time themselves. They’re only doing it because it makes them look really gracious, and part of the Katherine Kenton mystique is sort of hooking their wagon to her star. The book is about how everyone uses each other to try to increase their own power.

In a release, Iowa associate athletics director Fred Mims said, “Due to Montell’s recent and previous violations of our student-athlete code of conduct, we have no choice at this point but to remove him from the Iowa wrestling program.”

Mims also said in the statement that if Marion wishes to transfer to another NCAA institution, the university athletics department would suppoert a transfer “pursuant to the NCAA’s one-time transfer policy.”

Marion tallied a 37-9 overall record in his two seasons with the Hawkeyes and was a NCAA runner-up at 141 in March.

— by Ryan Young

girl_talk.mp3

Of course, in the whole hip-hop world, it was something I was aware of, but also, with acts like John Oswald, Negative Land, or Kid 606, these are all acts I found out about in high school. I thought, oh wow there is this whole world where people are just manipulating pop music and pop culture and make something new and weird out of it. That was an idea that was always fascinating to me. So in 2000, when I got a computer, my first laptop in college, I’d seen a lot of people perform on laptops, so when I got my hands on a laptop, immediately I knew I wanted to play on it. I thought it’d be interesting to start a project based entirely on sampling other people’s songs. Kind of like Negative Land, except dealing with pop music rather than using rather than old records or things like that.

Would you talk a little bit about your process of creating these mashups? How do you get from having nothing there and a song with over 100 samples?
It’s a slow trial and error process for me. It’s something that never really begins or ends. It began like 10 years ago, and it won’t end until I stop. When I prepare for a live show, I have a template of material in front of me, and with the show, I trigger all the samples by hand and it’s all a loop-based software. But when I’m sitting around that week and preparing for the show, I might find little bits and pieces I want to use — ‘oh this combination of these vocals over this music over these beats, that sounds interesting, I wonder if I can work that into the show.’ So with the live template, I’ll make substitutions. I’ll take out something I’ve been playing a lot, or something I’m bored with, or something I don’t necessarily like that much, and try to put in something new. And based on audience response and how I feel about it, it will influence what I do with that clip.

So the live show is a big, living collage where each show I take something out or add something new, and it’s always growing. I’ll do that for two years, slowly working in new material into shows, saving the ideas, all of that, until I sit down to do an album. So by the time I sit down to do an album, it’s almost like I’ve had two years of practicing and I have all these ideas laid out and I know these three songs go really well together and they transition well into these five songs together. So by the time I sit down to do an album, it’s like I have 75 percent of the puzzle pieces and a really good idea of where it’s going to begin and end and it’s just a matter of assembling it, the small holes here and there.

That’s interesting because it sounds like almost a collaborative effort between the audience and yourself as a performer.
It’s funny, because the shows are definitely highly influential. And also, sometimes with the album, it’s a balance of having stuff that I know goes over well and having stuff that’s a big more experimental. Sometimes I’ll come up with something that I love or I’ll play it for my friends and they will all really like it. But, it just maybe doesn’t fit the context of the show that well but maybe it will fit the context of the album a little better. It’s definitely some give and take, and I feel like on the album I have more room to explore things that I think are musically interesting that aren’t necessarily just bangers that go over well during a live show. I feel more inclined to go more in-your-face or over-the-top during the show because people are partying and celebrating so you don’t really want down moments. Whereas on an album I don’t really feel weird about playing some one hit wonder from the early ‘70s that very few people probably actually know about.

When you’re making the album, do you have a bigger motive or argument than just making really fun and catchy pop music?
Yeah. I definitely think there’s some conceptual ideas at play. I don’t want to push any politics on people, but I think with any style of music that happens. You can listen to My Bloody Valentine and just hear nice pop songs, or you can listen to My Bloody Valentine and explore the textures and get to the more experimental elements. I feel like it’s like that with a lot of artists.

For me, I am kind of trying to push a little bit of an idea that all pop music should be valued, in some way. I try to get into things. I try to like music. When I find music I don’t like, I at least try to appreciate it. I believe all music has different intentions, and I think sometimes people forget that. You can’t evaluate Radiohead on the same level that you evaluate Kelly Clarkson on the same level that you evaluate Young Jeezy. But it doesn’t mean that they’re all not excellent at what they’re doing. Everyone has their own intention. Radiohead wants to be perceived as a brainy, artsy band, and they are. And Young Jeezy wants to be perceived as a popstar rapper who’s hard, and he is. They’re excelling at what they’re trying to do. So with my music I’m trying to break down all those barriers and throw them all together to almost challenge people in a way. To say, all of these things can fit together in the same world and guess what, it’s not embarrassing, it’s not weird, it’s not guilty pleasures, it’s just music.

I think that’s how I view music, and I think it’s implied. I meet people who hate all the source material, but like the music and that’s awesome for me. This is how I feel, but I’m not expecting anyone to be brainwashed into thinking about music in the exact same way that I do, but at the same time, it’s implied in what I’m doing. With any musician, they’re influences is implied deep down in the work.

And the whole idea of originality is why I love making these records where some people really just love them as original pieces of music, and for some people are on the fence — is this original, is this not, who owns this. I think that whole idea brings up a debate and that’s interesting to me. I don’t think there is an absolute answer. If you hate what I’m doing and think that I’m stealing from people, that’s fine, that’s your opinion, but at least I’m trying to push something out there that’s conceptually challenging to people.

Most of my favorite artists are bands that have challenged various aspects of music. People that make interesting pop music, but at the same time, causes debates and breaks down things in music, introduced different ideas in music, make people think about music in a totally different way than they thought before. So that’s definitely what I go for with music. I want to make something that’s a fun, party record but I also want to make something that’s challenging conceptually to people.

Well, I definitely think that’s the case. I’ve heard you cite ‘fair use’ as a reason you haven’t been challenged legally with music, but do you think that a reason artists haven’t come after you is because maybe they feel the same way as you? All music needs to be appreciated?
Yeah, I mean it’s definitely a potential thing. In an ideal world, that would be the case. People hear my records and they believe it’s transformative and they believe the music that I’m making is not negatively impacting their sales or their product or their whatever.

If you take a step back, you see that all music has influence. You can take any band and say, ‘oh, they have they guitar tone of the MC5 or the energy of Nirvana or a rhythm section that’s like Yes!,’ or whatever, you know what I mean? I think pull from everywhere. I don’t think there’s any real difference between playing a guitar, which is an instrument, to make your own instrument by playing someone else’s, manipulating the background and trying to make something new out of it. I think it’s very similar to taking a physical recording and manipulating it and changing it around to make something new out of it.

The world has changed heavily in the past 5-10 years, especially with this Youtube culture. I think a lot of musicians and artists can look out there and constantly see material that’s based on pre-existing media. Whether it’s home made videos on Youtube or remixes or taking CNN clips and autotuning them to make a joke out of them, there’s so much stuff on Youtube that’s based on taking something that exists already, and manipulating it and making something brilliant out of it. I think to a lot of people, that idea to take a pre-existing media being able to be manipulated to make something new is not foreign. We’re surrounded by it. Which is different that 10-15 years ago before the internet was as crazy as it is now. I think the idea of manipulating samples and remixing other people’s music was kind of a radical idea, and I don’t think that it’s necessarily like that anymore.

It seems like you’re taking this idea of manipulating music and applying it to the world, more than just the music world. Would you say that’s true?
Yeah, I think it relates to everything — heavily in sciences. But I’m not anti-copyright. I don’t think that people should be able to take something that someone else made, resell it and repackage it, and put their own name on it. But at the same time, I think in sciences, art, music, anything, there is definitely a stronghold where certain aspects of copyright has gotten out of control. I think it took awhile for it to become apparent, but I think in this internet culture we’re so used to sharing and borrowing and ideas flowing so quickly and emails and Youtubes and responses and people just collaborating on that level, I think it’s becoming apparent that certain aspects of copyright are holding things back.

I definitely think science is like that. People hold copyright on certain things and that makes it difficult for other people to build on this idea. Whereas if there was more of a fair use idea and if people could manipulate people’s ideas to try and make something new out of it, then I think things would move a lot quicker. But science is a business. People do do it for fun and because they’re interested, but it’s a business just like music is a business and just like all of that.

And in my mind, it’s even more so the business of music. A lot of people just do music for fun, that’s how I got started, but many people don’t just do science for fun. Many people do science because there is a paycheck involved. So when you’re working at this company as an engineer and you might have this idea or this angle on a certain idea but there’s copyright on it so you’ll have to work you way around it, there’s no point exploring it any further because there’s going to be a hierarchy of people above you saying that is forbidden, or that idea is already held down so we can’t move forward on that, and that’s it.

So I think it impacts all aspects of our lives. Anything that copyright has a part in.

Is that one of the reasons you went the route you did for releasing your Feed the Animals? The ‘pay whatever you want’ model?
In my mind, it was the most efficient way to do it, to be honest. It was the sort of thing where I feel that we should be able to sell these CDs the way that anyone sells their CDs. I don’t see anything wrong with selling CDs. I love going to Best Buy and buying CDs. I love that experience. I love looking through used CDs. That whole culture. I love it.

So when I put together the record I would take a step back and look at it and ask, ‘do I truly believe this is transformative? Do I truly believe I’m not negatively impacting anyone’s sales? This isn’t hurting anyone?’ And if the answer is yes, then I feel comfortable with it and I want to press it on CD and sell it the way everyone sells their CDs. I put work into this the same way that any musician puts work into it. But I think the pay what you want model was just something that, I am attached to the internet, just like most people. And when an album comes out, it jumps on the internet, and the majority of the people who are going to listen to that album get it through the internet and it’s available for free on file sharing networks and this and that. Which is cool, because that’s part of the reason I’ve had the success that I’ve had and the reason many of my musician friends have had the level of success they’ve had. Music being distrubuted, people hearing it, getting covered everywhere, you know it’s reason the shows are the size that they are, and it’s great. So, I wanted to embrace that rather than ignore it. So I just thought that I’ve always been pretty upfront about things with the people I push my music on, so I just wanted to say to the fans who buy the music or download the music, ‘we know you can get this for free and go ahead if you want to, but also, we’re selling it, so if you want to participate in that experience you go ahead and do that.’ It’s an upfront way to deal with it, as opposed to pressing a CD and turning my head and pretending that downloading things doesn’t exist. That’s why we did it.

Is there a new album coming soon?
Yeah. For the last album, I took three weeks off to start developing it and getting it going. So this year, starting in June, I’m taking three months off of shows, which I haven’t really done in the past few years, to start working on the next album. I have some ideas of where it’s going to go, and it’s impossible to predict how fast my work pace will be, you know. But, it could be done at the end of summer, I highly doubt that, but I’m going to take these three months to get the ball rolling. I’m guessing by the end of the year or early next year would be the goal. I have a lot of ideas and material and most of the show material is the new material.

Yeah, so I saw you last year in Des Moines, so will this show be different?
It’s always different. It’s difficult though, because every night could be a completely new show, or at least a year later could be a new show. It’s always tough to know who came out to what show, or how familiar the audience is, and there’s always a large chunk of the audience who wants to hear album material or remixes of album material. So I’m always trying to strike a balance between playing some stuff I played last time with a new take on it, or playing some stuff from the album, but yeah there’s a bulk of new material. I try to put that pressure on myself to mix things up because I’ll meet people who will say that it’s their sixth show this year, so I’ll think, wow I have to keep this moving and keep those people entertained.

Last question — thoughts on Iowa City?
I always remember Iowa City because in 2008, when I was on tour with Dan Deacon, we passed through on one of the final nights of the tour. We were all celebrating, and we went to someone’s apartment that night with a bunch of people we met and had a really rowdy day in general. The tour was winding down. So that’s always the picture I have of Iowa City — a house party we went to that completely sealed the deal on that tour, wrapped it up perfectly. That’s always what flashes through my mind.

Former Iowa offensive lineman Kyle Calloway was chosen with the 216th overall pick by the Buffalo Bills. Calloway became the sixth Hawkeye to be taken in this year’s draft, a new record for most Iowa players drafted since the format was reduced to seven rounds in 1994.

Calloway was the second offensive lineman from Iowa to be taken, as his former teammate Bryan Bulaga was a first round choice of the Green Bay Packers on Thursday.

This is the second time in the Kirk Ferentz era the Bills have drafted a Hawkeye offensive lineman. Buffalo drafted Ben Sobieski during the 2003 NFL Draft.

Be sure to visit dailyiowan.com for further details and be sure to read Monday’s edition of The Daily Iowan for complete coverage of all the Hawkeye players drafted.

— by Brendan Stiles

Edds was the fifth Hawkeye to be drafted this week, as the Miami Dolphins selected him with the 119th overall pick on Saturday. The pick had belonged to the Dallas Cowboys, but the Dolphins traded up seven spots for the pick to select the Greenwood, Ind., native.

This marks the second time in six years Miami has drafted an Iowa player. The Dolphins chose former defensive end Matt Roth in the 2005 NFL Draft.

Be sure to visit dailyiowan.com throughout the weekend for further details and be sure to read Monday’s edition of The Daily Iowan for complete coverage.

— by Brendan Stiles