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Knight?Sr In all the film clips, not one sex scene was shown. There was nudity, but this hardly constituted a representation of "Sex In The Cinema." I dare say that most of the capacity crowd (450 persons in the Campus Room) were highly misled into thinking that they would see well-chosen sex-film footage, and hear an intelligent speech on the subject. Because they did not receive this, many walked out, and otner compiainea aiterwaras. Conroy-rajfrgrowing up in an always-moving military family, with much of the story concerned with Conroy's high 1 1 Jn.>c in 13Aanfrvrt Mo ic alert bu11LMJ1 uajo ill ucauiuiv. ??v >U ?>"? working on a novel about The Citadel. Tuesday evening's program is sponsored by the Ideas and Issues Committee of the University Union. A reception for Conroy will follow. I I ] wineec "I have never foi of quality ar Paul Kov UTT F? rieariy nurgur fro Robert La\ "Gaiio) val 1 iffitoiiiiiii.f11 mm 111 Judov it vmirsel Richer, C The Hearty Burj Queen's 'Opera By Cindy Olivarez i A Night at the Opera is the fourth album from the British rock group Queen, perhaps one of the most controversial rock bands. The biggest problem Queen has posed to most rock critics is that they don't fit snugly into any category at all. Because of their colorful style, they have often been put down as "eclectic" as being manufacturers of crazy-quilt rock dreams, as being ambitiors and, therefore, tedious and long-winded, musically speaking. They were first heralded in this country as an exceptionally talented heavy-metalband, and their premier album seemed to justify the t^rm. nowever, ineir second aiDum, -yueen 11, mrew most 01 tne Duymg public for a loop. Their lush, magnificent vocal harmonies and complex tonal structures shattered the categorization we had given them. With their third album, Sheer Heart Attack, their approach to rock music as it is generally known-loud and brash-- grew even bolder. The awesome vocal harmonies were still present, but we were treated to something completely different-- the album contained not only rock,, but also a 40s-type song, a dirge, a light, catchy ditty and others as well. I am hardly ever gushing in my praise of rock bands, indeed, I dislike most of them, but their latest effort A Night at the Opera is an album to rave over, to talk about, to listen to again and again. Queen has developed into a strong, vital, fluent and witty band, still full of surprises. True, I am not able to say, "This is a rock album"-rock is too small a word to apply to such music as this. RovAndries deGroot. litor, Esquire Magazine says: und any wine to equal the combination id value of Galio Hearty Burgundy." i,wine editor, Sphere Magazine: idy receives well-deserved recognition m both layman and expert!' vrence Balzer, Holiday Magazine: Hl^rfv RnrminHv is thp owntpst LAVIM JIL7 UlAV/ lue in red wine in America..." jj^j ^ ^ i1 ll''1 ^l'''' 1 f. Ernest & Julio Gallons California Hearty Burgundy, more robust...the Best of the Burgundies. iallo Hearty Burgundy s Best of the Burgundies furtdy of California. Callo Vineyards, Modesto, California. C a success It is sweeping, generous and sensuous in its scope and immensuy. Don't be put off by the royal penmanship on the cover- there's nothing stuffy about the music inside. Side one is comprised of the more nearly "commercial" songs of .the album. The opening number, "Death on Two Legs," is my least favorite cut, merely because lead singer Freddie Mercury writes much better songs than that, and it may throw some first-time listeners off momentarily. Its lyrical structure and content is dismissable, and the melody is nut nearly up to Queens' normal par. "Lazing On A Sunday Afternoon," also written by Mercury, is a catchy, immensely likeable and witty dancehall number, evoking images of proper gentlemen in fedoras at lemonade parties on the veranda. Again, even this type of song is given the full benefit of their vocal prowess. "I'm In Love With My Car," written and sung by drummer Roger Meddows-Taylor, is a tongue-in -cheek ode to an automobile ("I'm in love with my car - Gotta feel for my automobile, - Get a grip on my bony racer rollbarr Such a thrill wfien your radials squeal"). It is followed by "You're My Best Friend", written by bass player John Deacon. Sung by Mercury, it is refreswhingly direct and simple, a love song anunnp pnillH hlim "1Q " \17r*iHnn onH emu) Ku laor) rtnit orict Droin Moti miij \/ii\/ lium u*/, f* a tvtvii unu uuug uj ivuu guiiui 101 Lit am JLUOJ (possessor, too, of a doctorate in astronomy), comes close to being a country song. The vocals are hazy and moody, the lyrics thought provoking and enigmatic. But the country style melody doesn't quite fit the mood of the piece. "Sweet Lady," also by May, is'a love song to a shrew, paradoxically set 10 a gritty rocK meioay. u s a on out in lett tieia tor tne benevolent May, but it will stand up against any other song of that genre. Now for the heavy stuff. Side two begins with "The Prophets' Song," written by May. This song, more than any other, shows us for the first lime May as the thinker, the scholar. A wealth of profound emotion and thought is found in it. / The lyrics, while searching and thougthful, lay only the foundation for the pensive, haunting melody. It begins as a rocker, the moves into an "a cappella" section in which the predominant theme of the song is reiterated in vocal harmonies the likes of which have probably never i 1? ^ utrn cquoicu. The melody plunges into deep, textured roc?:, ending with the exhortation, "Listen to the madman!" and then a declaration of fear,"But still I fear and still I fear and still I dare not - Laugh at the madman." The ending of this song blends with almost breathtak'ng subtlety and beauty into the beginning of the next song, "Love of My Life," sung and written by Mercury. It contains a passage of quiet , graceful piano playing from Mercury that borders on being classical in its' spare, simple arrangement and technical quality. The lyrics are thougtful and romantic, and the entire song shows us a mature, pensive side to Mercury quite unseen Deiore. "Good Company" follows, and we are flooded with sunshine and merriment. One can almost see Mays' proper Uncle Harry in his braces and baggy trousers, tapping his foot and humming over crumpets and tea. The album ends with "Bohemian Rhapsody" which has, suprisingly, gained entrance to the sacrosanct airwaves of American Top-40. It is written by Mercury who, being possessed of a dynamic flair for the dramatic, sings to us the story of a somewhat eccentric young British hoodlum. At the end of "Bohemian Rapsody" is "God Save The Queen" (the tune we Americans use for "My Country 'Tis of Thee.) It is extremely gratifying to hear their tacky, comical rendition of it, for it is , essentially, a poke at their own grandiosity. After making an album of such magnificence, it is mighty of them to take a jab at themselves in such a manner. Fl^EvTsm^ I ARRIVED! | | BUUI ^Ul bLUt !j ji DENIM JEANS |i ii BY ;i | MOE IEVY'S 1! ?; unci BRITCHES BREW 1 OfCN FRIDAYS TIL 9 P.M. I i CORNRR LADY AMO ASUMK.Y ST. | jbWVWWUVtA/WWWWWWWWWWWVWWVVWWVMAMUWWWVVWWVWWWWW . M