University of South Carolina Libraries
"if I ever l | get out of this, | the first thing I'm gonna do is go see , sdigoIohg!' i "y^ ? JL_r There IS ad MCAT LJ i GMAT CPAT VAT I .NATIONAL MED. | ECFMG 1 | j Flexible Prog I Over 38 years of experience and su iiijiiit: Miiiiy materials. courses mat open days and weekends all year. C' of class lessons and for use of supp missed lessons at our centers. STANLEY H KAPLAN E DUCAT ION Al CENTER 2970 PEACHTREE RD , N.W . SUITE ATLANTA, GEORGIA 30305 (404) 262 7S82 Call Toll Free (outside N. ^ Fo Affiliated Centers in \ BOUI.EZ CONI | COMPUTI j DAPHNISI NEW YORK PHI WM AMf I 4 ' THE LEGENDARY LA HERMAN PLAYS LIS Tin: i'mi ncmi s-:in or tm L. MJ Beach Boys Wilson's re By Tom Shealey 15 BIG ONES (Reprise), the first album of new Beach Boy's music since the release of HOLLAND in 1972, has been carefully watched hu thp in iicif' nnKli^atinnc TViip VJ VIIV ?1AMV/1V ^MMUVMUVyjlO . A IllO interest is mainly due to the return of boy genius Brian Wilson as the guiding force of the group. The media hype has primed the public to expect an album of stunning and brilliant Beach Boy tunes comparable to the classics "Help Me Rhonda" and "California Girls." While Wilson's return marks a new beginning for the group, 15 BIG ONES is not quite the brilliant masterpiece it was expected to be. This is, without a doubt, Brian's project; ne arranged all Dut one song and produced the album. His masterful touch was supposed to make this a magical return to prominence for the group. Wilson structured the album in the same pattern as those recorded during the group's heyday. There lifferenceuT^^^ SAT 'DAT ^ GRE .OCAT .SAT | & DENT. BOARDS FLEX rams and Hours iccess. Small classes. Voluminous j are constantly updated. Centers omplete tape facilities for review lementary materials. Make ups for impuin m (arxrmKv ffiHT TEST PREPARATION I SPECIALISTS SINCE 1936 I Y. State) 800 - 221-9840 ,r M Major U. S V JLICTS RAVEL ] [ MXM I ^CHLOE ,K0^:V!! II HARMONIC KI \ 1)1 RIO | | i SINCERS ISKVMI'IIIII ^ N> " N(>KK '*"" Dn Sale July 1 5-22 CL.LJI U D Dutch Square Mi MsinnHiMi ; lack inspiratio turn doesn't ho are 15 3-minute songs; eight oldies Casual Look, written by artists such as Chuck "Chapel of L Barris, Phil Spector and Chuck In My Life," Berry; and seven new com- inadequate v positions by the Beach Boys. It is Of The Nigh an interesting, appealing album, "Everyone but a bit of a letdown. the highlight Lyrically they are still singing of only song no! the same, simplistic subjects as It was writt they always have. But the music Mike Love ai isn't as fresh and alive as it once flute and har was. "it's OK," "Had To Phone airy feel tha Ya" and "Susie Cincinnati" are promising ni good songs, and there's a fair Yet, there version of "Blueberry Hill" (not missing. quite as good as the original by The The good Fats, though). The old, familiar along with tl Beach Boys feel is still there, with songs in the '( the beautiful harmonies and lead album and t vocals that were typical of their old ture the sue songs. Mike Love's voice is par- possessed wi ticularly outstanding. because of tl" The steady, driving bass drum is of the time \ still present in "Back Home," and days of Kiss "Palisades Park" has the legen- deuce coupe* dary "run, run, run" refrain that Time has gives it a cute appeal. The album Beach Boys, was even recorded in the semi- is too old anc crude technique reminiscent of some of the their older records. But there is once the g still something missing. Although a fe There are obvious faults, like the added, such almost humorous vocals on "A ARPs, synth 'Silent Movii Brooks' greatest flaw, however, the style ot c< is the casting of himself in the lead so character roie. r or slapstick to be truly effective, there must be a certain likeness between the appearance Brooks 1< of the character and the actions he possessed performs. Brooks lacks the comedians te inherent subtlety of Gene Wilder or gag before Woody Allen which could have There are made the slapstick trulv "Silent Mov memorable. Brooks' frenzied repeated one facial expressions and attitudes detract from the comic scenes rather than intensify them. This is Qne fjnai Movie," /y m abrupt endi; H down rathe 11 fa^sfying'er use of loose p ticA i Sl< \ I KARBRA H 8 ^ S3T I ??*- aiuuiii, is ll 1C jHI arranged by Wilson. Li -'"' jfl en and arranged by id Daryl Dragon. Soft ensemble, the music is still psichord lend a light, basically in the '60s style. t makes it the most The songs on 15 BIG ONES may imber on the album, satisfy Beach Boy fanatics and is still something could draw some of the new acplaim thpv cppW If pnnM Kfinrt vxvj V/VN/I?. A V VVU1U Mi Illg vibrations that went them new fans, younger listeners tie best Beach Boy's unfamiliar with the classic ">0s are now gone. This "Caroline, No" or "Heroes and tie attempt to recap- Villains." But the old folks who cess the group once remember "Sloop John B." and the 11 probably fail, not timeless "Good Vibrations" will be ie music, but because disappointed. The songs lack the >eriod. These are the magic that once made them and Elton John, not pleasantly addictive. The life and ; and surfing. energy that coursed through the taken its toll on the old tunes has grown faint. Where Brian Wilson's voice the old albums were memorable I cracked to carry out and exciting, this one is only mildly harmonies that were interesting and generally unin;roup's trademark, spiring. w modern twists were These songs will suffice for a as Roy Wood's sax, while, but I'm afraid they will be esizers and a string cast aside and forgotten in time. 9 From Page 4 >mic overkill which is just a medium for gags the end is istic of Mel Brooks, simply the cessation of the gags instead of a resolution of the action In "Slilonl " *lw' ?.? Uiiviii HIUV1C, 11IC icks the intuition comedy is independent of the by truly great story, resulting in an arbitrary lling himself to stop a finale leaving the viewer it becomes tedious. frustrated. many instances in ie" when gags are e too often. Despite its weaknesses, "Silent Movie" is an entertaining and weakness 01 Mieni pleasing comedy. When the haracterisitc seen in routines work, the audience is rooks' films, is the overwhelmed. By adapting classic tig. The film winds slapstick to a contemporary set?r than concludes, ting, Mel Brooks proves the inibility to create a stinctive, amusing nature of Hint* stpms fmm hie ^iiHionnnc lioi! tl" o UUU1V.III.I.O nao 1IUI tuail^cu UVCI liie lots. When the story is years. I South Carolina f I ever photographers display prints first thing 1 Ijonna do sixty prints, all works of South , Carolina photographers, will be ; go see displayed during the month of July O 1 HCJJl-l ?- m * % ? ^ in iiic miuuieuorougn lower ix)DDy ISO LONG here in Columbia. i U W "lw*l v, Following their display in the ( capitol city, they will be displayed ( on tour throughout the state. /Clemson University will tHp J. 8 display center for the prints during 4v jf , I the month of September, where '<$*) 1 1 ^ s^own *n Hall. /* *, . tjjgjV' I Sponsored by the Columbia >xK- I Communicating Arts Society, this ffffl o'Ajft1 x' I s^10VV'n8 >s intended to develop and I identify an appreciative audience .y ^I of this type art, as well as en jffAubM >> * I courage the furtherment of fflWl I photography as a form of ex I nrpssion I The 15 artists participating in the I event provide a thorough crossI section of the state's population. Of ;1 the 15, 11 are from Columbia, three I are from Clemson, and one is from Hartsville. The participants are all I personal friends, quite familiar ?HiUiiiio.uimi nam?J with each other's work.