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entertaii 'High An By SKOT GAKRICK uamecock Starr Writer Picture a movie where suspe man is murdered by overexpos sent hurling to her doom from e Picture a movie which star Korman, Cloris Leachman, an imagine all of these elements ir what 'High Anxiety' is all afcx 'High Anxiety' is the newes Brooks, who is rapidly becoi respectable comedy. In all of E of motif, some unifying theme westerns, horror movies, silei Brooks has dedicated his late Hitchcock. Incorporated into most famous of Hitchcock's i Birds.' BROOKS HAS DONE his h Hitchcock movies are perfectly suspense is prevalent through Brooks plays a psychiatrist n winning doctor who takes ov< dubious title of "The Institute the villains of the plot at the insl by Harvey Korman and Clorii Hitchcock villainess with warj pointed breasts. Leachman, as and hisses biting retorts throi Korman's portrayal of Dr. M next in line for the position oi vincing as a role possible in z leachman and Korman are institute by illegally prolongir Brooks eventually stumbles on Msistengs take ovt Synthetic ~wrv1 UlllS IV growing AftI M?M VHI WWHlil flpnn ?mill I ..-mi. zqq., I !TV\ii> c^L I h?'5 bcrfi^nG Ojr 1 I cand ddio! \ l 51 \m\ S , M tzzYi I iment ixiety' enjoya nse is predominant, mysteries abound, a >ure to rock music, and a wicked witch is i high belfry window. s Mel Brooks, Madeline Kahn, Harvey id hints of Alfred Hitchcock. If you can i one movie, you might have some idea of Hit. ;t comedy spoof by writer-director Mel ming American legend in the field of [rooks' movies, there has been some type for him to butcher. He has lampooned it movies, and now, mysteries. st work to the master of suspense, Alfred 'High Anxiety' are key scenes from the movies: 'Psycho,' 'Vertigo,' and 'The lomework well as the scenes from the / mimicked. The flavor of Hitchcockian 'High Anxiety.' amed Richard Thorndyke, a Nobel prize5r an asylum which claims the rather for the Very, Very Nervous." He meets titute, a pair of nasties admirably played 3 Leachman. Leachman is the perfect >ed posture, hint of mustache and large i Nurse Diesel, has a nasty temperament igh clenched teeth. ontague, the black-suited heavey who is : director of the institute, plays as coni comedy. making a profit off the patients in the ig their stays and milking them dry. to this scheme but is a little too late; he aee /ii>AiLi Y, page 20 gr By ERNEST WIGGINS Gamecock Staff Writer In 1975, Lou Reed of Velvet ITnHprflrAiinH infomw ncn >i > cir\ n V/IIUVI uuiim iimuiiij | 1,1 vatvu Cl ** double album entitled 'Metal y Machine Music.' The album was a combination of feedback, sound distortion, oscillations and heaven knows what else, all thrown together to make a wall of noise. In his liner notes, Reed commented, "Most of you won't like this, and I T4> i uuu i uianic yuu ai dii . . . II S HUL meant for you. At the very least I made it so I had something to listen to ... I'm sorry, butr not especially if it turns you off." This message was on the inside of the album and the only way one could read this was to buy the album. It was the ultimate in self-indulgence. This was an exception to the genre of synthetic music which is now capturing an ever increasing ipu/ .. ow No > j ? \L>'^ mark. sc \Y\Q?>C. bUr>V^ I - :n I mm ( UHHP HBMi ible, but not j Pi reHfl . WmMm fwWnr : -JyKh i^snHHnni n||)BB &?k I jipl,'*-'' i^MBBillBaiBM Brooks and Kahn in 'Anxiety' . . TH formii Jr "\* JmHHK now f Gary Wright . . . once r using electronics Hawk audience yearly. Performers like but n Tangerine Dream, jGary Wright, callec r,merson i^ane ana maimer, Edgar music Winter and Yes all use synthetic The . keyboard instruments as a major, Donm if not primary, part of their' hit thi compositions. syntht >0 11 ?uurI'(l)t,r Ulan! baUoTs ? I ? ^wb $uu'll 3Fry fl a rn , m a? Jit n I f T =1 = \~zr Brooks' b mgaGasesMgjL^^^BRjy^BL^^^B^HIB^^M^BjL I-'' iyfS?&:'"' j^fljyy ? BIIl jL^fl comedy now playing at Mira ESE COMPOSITIONS are Mitch* sophisticated and often quite instrui tiful, exploring realms of herlat : not touched before. The "Clocl , ARP of VCS3 synthesizers, made fie capability of creating an turnini ;t infinitp nnmhor i-kf * * ..??vji in- latter lents and sounds. side the music field, brillinat SYN > have developed machines music lave the capability of per- often I ng intricate mathematical instrur ;ms in split seconds. The new Eno b< t in technological ad- Howev ment had bled into the music Russel slowly at first but now with (he sy ervor. The synthesizer was strume estricted to space bands like wind, Ethos and Pink Floyd ow had infiltrated the fields social I disco, folk and classical is . techno nominal queen of the disco may sc * ouiuiiicr nau a recent disco consist it featured heavy, oscillating Reed's stic rhythm. Ex-folky Joni Heavei RV i k lallxit I ? v 3lu?fU ? 3?"""3t,:s ^ 1 "T i I ~t hem? - ? fTI I I firf / J ^EL' * -.-V. / .^., ' ? /''*' v# fl icle Theatre ill has incorporated this nent into many selections on est albums. Walter Carlos of [work Orange" fame has it with classical music g Bach and Beethoven into day whiz kids. ITHETICS are modern at its most daring. It has seen criticized as being an nent of the non-musician ? eing the guilty party here, er even die hards like Leon 1 and Bread have adopted nthesizer as a viable in;nt in contemporary music. as disco is indicative of changes, so the synthesizer icative of intellectual and logical changes. The time >on come when a concert will t of a re-enactment of Lou iwetai Machine Music ' n forbid. 3LENN RAWLS MiV'.y . . =n; ill An\iT r?i