In their third and final appearance in the Division II Elite Eight, the lady Jackrabbits fell hard and fast in the quarterfinals against California (Pa.).

The 96-79 loss in St. Joseph, Mo., was a disappointing end to a reign otherwise marked with success, including last year’s national title.

Frustratingly for the Jacks, it wasn’t that they played poorly in last Wednesday night’s match-up. They shot 48.3 percent and forced 21 California turnovers.

But the California squad, going into the game touting a 33-1 season record, was relentless, constantly pressuring the Jacks into bad decisions and forcing 27 turnovers.

Moreover, the Vulcans were on fire shooting-wise, with all five starters finishing in double figures. A white-hot second half had the Vulcans making 74 percent of what they attempted from the field.

“I’ve never seen a team shoot 74 percent (in a half) in the Elite 8,” senior guard Stacie Cizek told the Sioux Falls Argus Leader after the game.

“I don’t know if there was anything else we could have done,” said SDSU head coach Aaron Johnston.

Junior Shannon Shlagel led Jackrabbit scoring with 23 points. Senior Brenda Davis scored 21 points in her final game, and freshman Megal Vogel contributed 16 points and 10 rebounds.

The Vulcans went on to win the national title on Saturday.

The Jacks ended their final Division II season 26-7.

Deadwood, HBO’s latest shock-and-awe drama (Sundays, 8:00 p.m.), is indeed about our little tourism mecca west of the river.

But the small-screen Deadwood mining camp is a mecca for little besides blazing immorality, greed, lawlessness and really dirty people, in 1876.

At least this is creator David Milch’s version.

And considering it was an illegal settlement carved into land poached from the American Indians, created solely for quick, easy economic gain and lacking formal law for several years, Milch’s version probably isn’t too far off.

In last Sunday’s second episode, which started to develop storylines and add dimension to the bevy of colorful characters introduced in the previous week’s premiere, the historical inaccuracies that do exist become easier to forgive.

There are the good guys: the young entrepreneur Seth Bullock (Timothy Olyphant), Wild Bill Hickock (Keith Carradine) who does most of his gold mining at the poker table, and Doc Cochran (Brad Dourif). Some of the highlights of episode two include the good doctor Cochran, despite a cowering countenance, standing up to a smirking, powerful and thoroughly evil Al Swearengen (Ian McShane), the owner of the Gem Theater brothel, to protect a child who’s entire family was mutilated in a suspicious looting. Bullock and Hickock begin to form a respectful friendship of sorts, possibly setting up Bullock’s inheritance of the settlement’s respect for Hickock, who only has until episode four before he’s going to be murdered.

Unfortunately, there are a few historical discrepancies that aren’t as easy to forgive. Especially tragic is the characterization of Calamity Jane (Robin Weigert), which has her reduced to a giddy school girl in Hickock’s presence, and a sobbing idiot in Swearengen’s. The real-life Calamity Jane was far too weathered and tough-as-nails to have been so affected by these men, especially when she was used to being a lone female among ruffians. There’s also something off about the Black Hills terrain. But this series, as brutal and addicting as the rest of HBO’s Sunday line-up, is worth a watch. Or several.

The coming of country singers Mark Wills and Josh Turner mark a change in the type of acts the University Program Council has been bringing to SDSU.

“We were trying to provide more diversity for the students,” Sara Koneche, head of publicity and graphics for UPC.

“We realized we hadn’t been bringing in (different) kinds of concerts.”

“(We were) trying to get a good variety,” adds Leif Fixen, UPC’s recreation coordinator.

Wills has had three number-one hits on the country charts, including “Don’t Laugh at Me” and “I Do (Cherish You).”

The 26-year-old has performed at the Grand Ole Opry and was named ACM’s Top New Male Vocalist.

Turner, a deep-voiced South Carolina native, plays country music with a less pop, more traditionalist slant.

Also an Opry veteran, Turner has been compared to Randy Travis and Johnny Cash.

He has previously toured with Brooks & Dunn.

Doors open at the Performing Arts Center at 7 pm and the show begins at 8 pm. Tickets are $5 for students, $10 for non-students, and are available at Info Exchange in the Student Union.

A little Juice “how to” isn’t going to make you Jimi Hendrix. Hey, I’ve been playing guitar for five years and I still sort of, well, suck. But this is a start …

1. Assuming you have a guitar (if not, borrow one or hit the pawn shops), you will need it to be in tune. Standard tuning for an acoustic guitar is (starting from the lowest sounding, top string) is E, A, D, G, B, E. You can tune your guitar by ear, which is hard, or be lazy and buy an electronic tuner from any music store for about $20. There are also online guitar tuners (www.proaudiomusic.com/misc/tuner.htm). Just play the note on the tuner, and turn the peg for the corresponding string until it matches the sound. On an electronic tuner, tweak the peg until the light goes from red to green.

2. Now learn some chords. You’ll need a chord chart (try www.co-acoustic.com/acoustic/chords). Some easy ones are C, G, D, Am and E. Each time you change the fingerings, you play a different chord. There are tons of easy songs that consist of only five or six different chords.

Now pick a chord and play it (try the C-chord in the diagram). The neck of a guitar is divided horizontally into frets and vertically by the strings. Put the fingers of your left hand where the dots on the chord chart are and push down REALLY HARD (don’t worry, it’ll get easier).

Make sure you apply enough pressure to get the strings to touch the wood.

3. Strum. Now drag your right-hand thumb or a pick held between your right hand thumb and forefinger down and up across the strings. This is called strumming.

4. Practice, practice, practice! With time (and practice) your rhythm will get smoother, you’ll learn more chords and your fingertips will get calloused.

Find chords to some of your favorite songs online (www.olga.net), then listen to how the artist plays them (and play along). Just copy the strum pattern.

5. Now find some friends. There are about a zillion people (you’ve got to know at least a few of them) who like to get together and “jam.”

This usually involves sitting around in someone’s basement and trading ideas. Be each other’s teachers.

It’s like having free lessons, and it’ll get you used to playing in front of people.

Norah Jones’ dreamy, effortless vocals remain the high point of her newest album, Feels Like Home, as they did on the Grammy-honored Come Away With Me.

Jones’ voice softly carves through the low key melting of her Handsome Band’s instrumentation on 13 new tracks.

While the album retains the soft jazz base prevelent on Come Away With Me, it also taps into something a bit more rootsy, especially on the first track, “Sunrise.” Easily the catchiest track on CD, “Sunrise” features folky guitar and soft bongo percussion.

There’s also the rather surprising “Creepin’ In,” a duet with Dolly Parton that lends a bit of spunk. Jones steps up and Parton, a true professional, takes care to not upstage her partner or do anything too splashy. The ending effect isn’t dissonant, but in fact, a pleasingly nuanced little country number.

She also channels a bit of the blues, especially on track six, “Be Here to Love Me.”

Jones’ has the voice of a soul much older than her 20-something self. The only thing that betrays the maturity is some of the album’s only slightly sophomoric lyrics (mushy love stuff, etc.). Possibly a coincidence, Jones has writing credits in many of the songs on Feels Like Home. If that’s the culprit, her lyrical craft and talent will mostly likely even up in years to come considering the other-worldly company she keeps by way of her backing band.

In the meantime, it doesn’t really matter. Jones singing the back of a cereal box would probably still be romantic. Her smokey voice is truly smooth, in sharp and appealing contrast to the over-produced, over-sang, over-sexed tunes of many of her pop contemporaries.

4 stars (out of 5)

Maybe you think you’ve never heard the California band Phantom Planet. You’re probably wrong.

Since their 1998 release, Phantom Planet is Missing, the band has marketed themselves on a variety of TV and movie soundtracks, mostly of the teeny-bopper persuasion.

They covered Dobie Gray’s “The ‘In’ Crowd” for Drive Me Crazy, a 1999 Melissa Joan Hart flick, and Jackson Browne’s “Somebody’s Baby” for the Not Another Teen Movie: Original Soundtrack in 2001.

Also in 2001, the Orange County soundtrack.

The same song, “California,” landed in the opening credits of FOX’s rich kid melodrama The O.C. in 2003.

They even filled a slot on the ultimate tribute to pubescent cinema – In Their Eyes: ’90s Teen Bands vs. ’80s Teen Movies.

Such affiliation with Hollywood movies may have had something to do with band member Jason Schwartzman, a sort of teen actor in his own right. Schwartzman starred in the comedies Rushmore and Slackers.

But with Schwartzman’s recent departure, the band could begin to steer the publicity boat away from Hollywood a bit (or at least be known for more than having an actor for a drummer).

It certainly seems the sunny, hook-laden songs of 2002′s The Guest, have given way to a much grittier, gutsier sound.

Released in January, their newest (self-titled) album is more Big Apple than Orange County.

The remaining original band members, Alexander Greenwald, Sam Farrar, Jacques Brautbar and Darren Robinson (with drummer Jeff Conrad), seem to have flagged down New York’s garage bandwagon and climbed aboard.

While heavy guitar and jerky rhythms may all but end a lucrative career in the soundtrack aisle, Phantom Planet may gain even more critical credibility, or at least appeal to a more diverse group of listeners.

Abby Bischoff is head of the concert committee for the University Program Council, the organization that is bringing in the band.

“Their sophomore album (“The Guest”) is a little more, I like to call it sunshine rock, because it’s sunny and happy,” Bischoff says.

“Their new one, a lot of people are comparing it to the Strokes. I don’t want (to call the album) dark, but I guess it’s just less upbeat.”

Ashley Allen, station manger for KSDJ, agrees that the difference between the two albums appeals to two different sects of people.

Of the two songs that have been on rotation on KSDJ, “California” and “Big Brat,” he says more women call to request the former.

“They have harder songs that appeal to guys and softer ones that will appeal to women.

“A lot of girls (have been) calling for ‘California’.”

He also says the station has been getting more calls for “California.”

“I really think Phantom Planet has some rock out songs and they can kick it into down tempo,” Allen says.

Brad DeBeer, a DJ at X107.1 Depot Radio, says the station has been playing “Big Brat” fairly often at night.

“(Our night DJ) says he’s had a lot of feedback, or responses to it. He’s gotten a lot of calls requesting it more,” DeBeer says.

“The way he talks it’s really getting a lot of good play and a good response from people around the town.”

Both Allen and DeBeer think the band will be well received.

“(Brookings listeners) are pretty excited UPC went out and brought this band in,” DeBeer says.

Allen says the whole KSDJ staff plans on going.

Nathan Tom, a junior apparel merchandising major, bought a ticket because he really likes watching “The O.C.” and it piqued his interest enough to want hear more.

“I’m going because I know them from my favorite show,” Tom says.

For some SDSU students, an up-and-coming band like Phantom Planet may not be quite the big concert they were hoping for.

“I think they need to get a band that more people can appreciate or have heard,” says Kyle Anderson, a freshman nursing student.

But that’s not an easy feat for the University Program Council, who has fought an uphill battle in the last several years to bring in artists that a lot of students want to go see.

The Council, who organizes and promotes a variety of on-campus cultural events, concerts and other entertainment with money provided by student fees, has seen declining concert numbers since selling out a Sugar Ray/Orgy concert in 1999. Two years later, 3 Doors Down drew only about 2,300 concert-goers, 2,700 less than the previous. And last year’s Everclear/Sister Hazel concert sold only about 1,500 tickets.

Abby Bischoff, in charge of concerts for UPC, says it’s important to point out that Phantom Planet isn’t actually one of their “big concerts.” The event is just another semester event, albeit the biggest of the spring, comparable to last semester’s Martin Luther King III speaking event. The semester events are paid for out of the council’s regular funds. Big concerts, however, are paid for through an entirely separate fund that has to be replenished through ticket sales. Lackluster ticket sales mean the council has less money to work with during the next go-round.

“What the student’s don’t really understand, is that when they don’t come to these concerts, the fund doesn’t get replenished,” Bischoff says.

“The moral of the story is even if you don’t like the concert, come anyway, it’ll pay off in the long run.”

Adam Karnopp, UPC advisor, says that there are other factors that hinder the group from bringing in huge name acts.

“I think there’s about three or four different things,” Karnopp says.

“One, the artist’s prices are insane … to get anybody that has massive appeal.”

He also points out that Brookings’ location in between big concert cities like Omaha, Neb., and Minneapolis, Minn., deters acts from wanting to come here.

“Geography doesn’t help us either,” he says.

The council has tried for such big acts in the past.

Last year they put a bid in for the Dave Matthews Band.

“We had an offer out to him, but their artist price is so high and our campus isn’t big enough, or in the right place,” Bischoff says.

“Sure, Dave Matthews would sell, it just costs so much to bring him here.”

She says that big country acts, which would appeal to many SDSU students, are even higher priced.

“There are a lot of country music fans so they can get premium prices for their tickets.”

Within the resources she had to work with, Bischoff thinks Phantom Planet is a good quality band.

The Council has already met it’s goal of pre-selling at least 300 tickets.

Bischoff says several factors played into choosing the band.

“We did some polls on KSDJ and committee members polled some people in their classes,” she says.

Other top contenders were Switchfoot, Blessed Union of Souls and Finch, bands popular on college radio. Bischoff thought Phantom Planet’s “California” being featured as the theme song of “The O.C.” made them current and would sell some tickets.

Bischoff adds that bringing in up-and-coming acts could promote a music scene in Brookings.

“In the Midwest there’s really no college that has a reputation for being ahead of the game (with the) music scene,” Bischoff says.

“But Skinner’s brings in some good people, and hopefully with expanding enrollment, people will want to see these up-and-coming artists, not just big mainstream artists. That’s my dream.”

The music of Epic Hero has been branded everything from “pop-rock” to “alterna-pop” to Christian.

The band, opening for Phantom Planet, has already earned a following in their native Minneapolis and surrounding Midwestern states. The group has toured relentlessly since releasing their debut album, A Brighter Mess in 2001, opening for the likes of Lit, Rascal Flatts, Bliss 66, Something Corporate and Semisonic.

Songs from the group have gained airplay on over 100 college radio stations across the country.

Ashley Allen, station manager for KSDJ, thinks Epic Hero is a strong opening act for Phantom Planet.

“Epic Hero is from Minnesota and they have a pretty good regional following,” Allen says.

Roger Clyne and his Southwestern Peacemakers have burned quite the name for themselves into the frozen Brookings tundra, mostly through past performances at Skinner’s Pub and at the now-defunct Bash in the Grass.

After their latest Skinner’s Pub show, on Feb. 9, that reputation probably isn’t going anywhere.

Starting about a half hour late, the group made up for lost time before the pub’s expectant crowd by powering through several singles from their new album, Americano!

The new songs stayed in the same Cowboy punk vein as those from past albums, maintaining the delicate balance of dirty rock, desert country and gringo-in-Mexico cheekiness. The band didn’t forget the old favorites from earlier albums and Clyne’s time with the Refreshments.

Clyne showed no signs of a rumored sore throat, and his expressive vocals overcame a too-loud sound system.

The show on a whole was surprisingly gritty for a band whose studio tracks seem the stuff of sunset beach tequila mixers, not a pulsating crowd of college beer-drinkers. But that’s sort of the appeal of the band, live or recorded.

Clyne pens soft ballads and lilting bar tunes that show quite a bit of depth, his Peacemakers lend an edge. The most recent Skinner’s Pub performance was no exception.

Those darned little comment card boxes are everywhere. At fast food restaurants, in clothing stores, museums, even at the library.

But do people ever use them for more than doodle pads or a place to discard old gum?

After a quick survey of a few choice forums on the SDSU campus, it seems written comments are still a strong form of expression.

Jack’s Place on the lower level of the student union posts filled-in cards on a bulletin board next to the pop machine.

A frequent poster “Cooly McCool, Emperor of Coolville,” seems to think the eatery needs one thing.

“I want a snowcone machine, or at least access to snowcones.”

The response: “Well, I want a million $$, some things in life are not going to happen-yours is one of them.”

Brigg’s Library provides an entire book for comments.

An entry: “The smell of baby powder by the bathrooms makes me want to throw up. I don’t even want to get a drink of water from there. Why does it smell?”

Clark Hallman, Head of Public Services, responds helpfully to many of the comments.

He answers, “I assume you are referring to the odor created by air fresheners or deodorizers that were placed in the restrooms in response to many complaints about offensive odors … Personally, although I do not find the air fesheners’ scent to be particularly pleasant, I believe it is much better than the odor that drifted from the restrooms before they were installed.”

Hallman himself gets an occassional comment.

“I’ve never written a comment before, but I love to read Mr. Hallman’s responses. Clark, you’re my hero.”

Hallman’s response: “Thank you very much ! I view my comment responses to be the pinnacle of my literary achievements! … But seriously, I think it is important to respond in a clear and honest manner to these comments.”

Most of the other comments are serious, complimenting helpful staff or bringing up serious concerns.

“This is a very nice library with a great group of reference librarians. Also, the OHIO STATE BUCKEYES are #1!”

But there are those that range from the questionable to the eerily familiar …

“I don’t know about those library assistants, they are a little suspicious.”

“I have diarrhea a lot.” (Hallman’s response: “I’m sorry!”)

“I think our library needs a snow cone machine and free balloons. Think about it.”

Snow cone machines aside, creating a forum to get a feel for what the general public thinks is a valid venture, as many patrons are too shy to bring up any concerns in person.