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Show Arts and 6 Entertainmeni .'' the forum HW&J- October 18, 1994 w''W' Julian Cope triumphs in the last chapter of musical trilogy: Autogeddon with its folk-lik- e track Aint by Kimi Michel Forum Staff Writer What would happen if you took the ballads of the 50s, the british invasion, psychedelic sound of the 60s and combined it with the punk rock of the 70s? You would probably think the product to be a cacophonic disaster, right? Not so in the latest album Autogeddon by British rock n roll eccentric Julian Cope. Cope brilliantly synthesizes three decades of music into an individual, unique and contemporary blends sound. Autogeddon sparse acoustical ballads, powerful rock n roll and a trace of the psychedelic sound of the 60s into a complete and diverse union to give the listener a plethora of musical experiences. Copes musical account is a spellbinding talc of the pillaging of Mother Earth. Cope illustrates his pathological fear of big cities and traffic with specific emphasis on the evils of the automobile: from the first track Autogeddon Blues R.E.M. Retired Westminster art professor Don Doxey was awarded the rank of Professor Emeritus. His Round Gcttin Round with its feverishly rhythmic punk sound and finally to an s.t.a.r.c.a.r. the last track eleven minute acoustical ballad. Cope takes you on a ride through the destruction caused by the automobile. Although the message is clear, Cope utilizes some harsh language to accentuate the point. This album completes Copes ambitious musical trilogy which began in 1991 with the double-albull Peggy Suicide" and in 1992. Autogeddon is the last chapter of Copes ambitious other distinguished past professors in the lounge on the 2nd floor of Converse Hall. m Jcho-vahKi- musical trilogy. The title is borrowed from the epic Hcathcoatc Williams poem about the death of the world by automobile. The versatile Cope released two albums in 1993, The Skelling-to- n Chronicle and the meditative instrumental release Rite available only through his tc own mail Records. order label, Ma-Go- g creates a monster. R.E.M.s new album questions many old assumptions in their music, welcomes a harsher sound R.E.M. has indeed created a Monster with their latest work. This is a power chord, feedback, distortion-deligfor R.E.M. fans who have been waiting for a harder-edg-e sound from the Athens, Ga., ht foursome. This entire work is laden with variations of the sound hinted at on Drive, from their most previous CD, Automatic for the People. Its heavily distorted, guitar blast that threatens to overrun the vocals. For those of you who were disappointed by the lack of that sound on the remainder of Monster is what Automatic, been waiting for. youve This is not to say that R.E.M. full-thrott- their highly crafted, intricately arranged trademark sound for a grunge knockoff. Instead, they have incorporated the power-guitstyle popularized by the Seattle bands into their own unique brand of rock and roll. Monster does sound like a blanket of guitar the first time through. But subsequent listening reveals the same intricacies and layers of sound that R.E.M. is known for, with the added urgencies of guitar. Peter Buck proves himself the master of more than mandolins on this outing. His guitar work is everywhere, including, I think, backwards, on Whats the Frequency, Kenneth. The thumping, driving rhythm section of Bill Berrys drums and Mike Mills bass and keyboards the monster has traded-i- n by Shawn Kuennen Forum Staff Writer a portrait now hangs with sound, to the fifth No Gcttin le ar fill-o- ut Photo sound tremendously. Michael Stipes voice, so clearly understandable on R.E.M.s last few releases, has again drifted back into the music, reminiscent of Murmer and Reckoning. The lyrical content, too, struggles to be heard. Largely, Stipe seems concerned with identity, -- both public and private. There may be more relationship songs on this CD than on all their others combined, but thats not really saying much. The bulk of the lyrics deals with holding on to ones identity in a pop culture such as ours. On King of Comedy Stipe sings Im not your magazine Im not your television Im not your movie screen Im not commodity, This may be in response to Kurt Cobains suicide, and the death of River Phoenix, to whom this CD is dedicated. Perhaps ironically, Comedy sounds somewhat like a disco song, reminiscent of Berlin, from the early 80s, as does Crush With Eyeliner. But that doesnt make this is a disco album; that is merely an illustrative device. This is a rock and roll album with conviction, and certainly one of the best this year. Newport Forum Staff Writer Nietzsche said He who has a why to live can bear with almost Victor Frankl said any how. ...everything can be taken from a man but one thing: the last of the human freedoms to choose ones attitude in any given set of circumstances, to choose ones own way. The movie Shawshank Redemption closely parallels these philosophies and sends a clear message ot hope even in the most humiliating conditions. Shawshank" begins with Andrew Dufresne (Tim Robbins) on the witness stand being accused of a crime he declares he did not commit. Dufresne is sentenced to two consecutive life terms and taken to Shawshank Prison only to fall prey to typical prison bullies. Directed by Frank Darabont with the help of Steven King, the film allows the viewer to take pity on Dufresne and his newfound friends. The hostile environment of prison life, while appropriate for most, was not appropriate in this case. Dufresne has a few run-in- s with the sisters, who initiate all the new boys with rape and brutal beatings. , At one point in the film, Boggs, tha senior sister, beats Dufresne while his two thugs hold him and then tells him that he will swallow any thing he (Boggs) gives him otherwise he (Dufresne) will end up with an ice pick in the ear. Dufresne then replies that upon death the jaws lock and have to be pried open with a crowbar. To say the least, Boggs changes his mind. The difference between Dufresne and the other prisoners is (Sucli! (S Pasta Pizza Still Westminster Tuesday Night is Buffalo Wings for 15 Dufresne is somewhat protected Specialty Pizzas Shawshank is FreshPrepared to order totally unpredictable. Throughout the film there are certain clues given by Red (Morgan Freeman), Dufresnes closest friend and narrator of the film, however the ending is completely unexpected. The message throughout Shawshank remains that regardless of the situation, there is always hope. Dufresne teaches his peers to get busy living, or get busy Night! Adult Atmosphere from the accidents which befall his unlucky peers. dying. BURGERS King of for his cell mates, while gaining respect from his peers and the head officer. From this point on, in GflUMZT ' that Dufresne is able to rise above defeat. He uses his banking education as a means to attain privileges The ending Friberg t Fear vs. Hope: The ShawshainEt Kedempiltoini by Terresa by Amy parking in the rear Local Monday thru Saturday 1 1 :00 AM-Midni- ght Sunday 5:00-10:- 00 PM 1063 East 2100 South SIC 484-180- 4 beverages on tap |