The gamecock. (Columbia, S.C.) 1908-2006, June 03, 1996, ORIENTATION ISSUE, Page 14, Image 14
14
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celeb
CHRIS DIXON Features Editor
Filmmakers from around the world com
on Cannes. France every vear for the Ca
Film Festival.
J. T. Wagenheim, a graduate student in R
Arts, was able to mingle with movie si
producers, directors and screenplay wr
through an internship with Kodak. Wagen
worked for five hours each day in the Ame
Pavilion, which is a hospitality center for Ame
filmmakers and press. Wagenheim said i
he was done working, he had the rest of th
to go to parties or movies.
Wagenheim said he met Mark Wah]
The Raincc
mee
S0UMD ADVICE
JOHN LYONS Copy Desk Chief
LOOKING M THE SHADOWS The Raincoats
kkkk (out o< six stars)
The Raincoats are one of the most
important female fronted bands to come
out of the punk movement in the late
70s and early 80s.
About two years ago, Kurt Cobain
caused a new stir about the band, and
; their third album "Moving" was re
released.
The album soared on college radio,
! and now original members Ana da Silva
; and Gina Birch have recorded their first
; new material in more than a decade.
They are joined on "Looking in the
Shadows" by violinist Anne Wood and
!! Heather Dunn on drums.
;; The album is one of the year's most
pleasant surprises and quite possibly
; the most successful comeback this year
! from an artistic standpoint.
" No, The Raincoats won't be playing
' for sold-out crowds like Kiss, The Sex
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rities at (
(Marky Mark), Leonardo DiCapri
Robert Altman and Shane Blaci
/erSe Lethal Weapon),
nnes "Everybody in the industry is so
if you don't go up to them with a i
o i il 1M- . _ _i. J* TIT
Up l0 mem lme a siargazer, w ag
t ars, "Directors love it if you talk tc
iters their work and blow up their ego,"
heim have to be sensible and be able to
rican It's harder to get to the stars beca
srican wants to talk to them."
vhen Wagenheim said he had to era
e day the beginning, but by the end of tl
was being invited to parties becav
lb erg many people. He said the best par
)ats comeb;
ts expectati
Pistols, The Eagles and every other god- 1
awful band from the 70s who decided to
do a reunion for this summer.
However, The Raincoats have
managed to once again create an album
that will ultimately have a much larger
impact on the music industry than any <
rendition of "Hotel California."
The album, like The Raincoats' :
previous efforts, is defined by its sudden ,
stops and starts. Da Silva and Birch
harmonize wonderfully, and at moments
the music is so catchy if s contagious. 1
Years ago, The Raincoats were (
associated with the do-it-yourself mentality
of the punk movement. They opened the
doors for countless other female artists
and introduced feminist ideals into songs
like the classic, "No One's Little Girl."
"Looking in the Shadows" is not as
important as their earlier work, and it
is not nearly such a groundbreaking
release. Instead, The Raincoats rewrote
their blend of lonely pop harmonies and
harsh disco-like changes in tempo.
The music is beautuui ana engaging,
Direct
TJ/iw,
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value
k as Account Exec
imer, Fall and Spri
vspaper, Garnet &
WUSC FM studer
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The Gamecock B9MLH
student p
Cannes Fil
o, Spike Lee, festival was the "Trainspottii
; (who wrote featured about seven or eignt rooi
women and men, "unbelieva
approachable, performance by Oasis,
camera or go Wagenheim, who is in the p
enheim said, his own screenplay, was able tc
) them about of his script to seven people,
he said. "You To go there as an America
talk to them, have the opportunity to go th
use everyone nothing and meet people and
town is an unbelievable expe
ish parties in Wagenheim said his expei
le festival, he motivated and encouraged him
lse he met so industry,
ty during the "I know I can write, I love t
iv^iv aiivuiiJL
ons i
El
but, unlike earlier efforts, its message *
is not very powerful.
When bands make comebacks, they R<
are held up for strict scrutiny, and The as
Raincoats live up to almost all
expectations. And, best of all, they seem
to be authentically interested in the ^
music and not the money an extended all
tour might bring.
The lyrics are tempered with the P?
GT]
experience that was lacking in previous ^
efforts, and songs like "57 Ways to End
It All" and "Love a Loser," which seem co
trite on an initial listen, are solid, well- r-?
constructed songs sung with such
intensity, ifs hard not to feel the emotions
of the song.
No, this album is not The Raincoats'
finest. That honor belongs to "Money,"
but "Looking in Shadows" is a fine release
that is better than most of the rubbish
record companies keep pushing to radio.
t Sale:
i Extrc
ible W(
utives for Student IV
ng semesters. Sell a<
Black Quarterly stu
it radio and earn co
^Gam^
/y^nO
Student Media
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Monday, Juno 3, 1996
arties w
m Festiv;
ig" party, which matter of meeting th<
us full of beautiful a lot of contacts," he
ble" food, and a good screenplays out tl
don't know who to si
rocess of finishing business cards; I ha^
i Ditch the outline w v
A Vfdgciiiiciiii acuu i
. , , . of Entertainment Toni
n film student, to ,, ,
ere for basically an4h?s
shmooze around with ET in New York
rience," he said, school.
-ience at Cannes "Producing is not
to go into the film but it's a great place
"I want to be a sci
;o write, but ifs a direct."
Eventually' put
OUNDAOVICE
>HN LYONS Copy Desk Chiel of
/ENTUALLY Paul Westerburg t.,
(out of six stars)
is
Paul Westerburg, formerly of The m
^placements, has been making music T1
long as some of his younger fans have 11
- "* * n<
en anve. f
"Eventually," his 2nd solo album
ace The Replacements went their
parate ways, is completely in line with a<
the work Westerbuig has done before, ir
He quit smoking, but his sexy, two- u
cks-a-day voice is still very much in a
'ect. The voice sets his crooning apart si
am that of so many other bands. p
A towering figure in the world of
liege radio, Westerburg is a legend tl
Tlxc
summer to
Pick it up,
5 EXP
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QOHil?
ledia Advertising,
dvertising for The
dent magazine ar
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mmission plus gr<
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Advertising
4||J|l!l]lll|;||Ul
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; right people, and I've met
said. "There are so many
lere, but they (screenwriters)
tiow it to. I have 90 to 100
rc ou maiij v^uiitaL-Lo nun.
ie got to know the producers
ght while he was in Cannes,
:h been offered an internship \
when he finishes graduate \*??
Mark Wat
exactly what I want to do, European
to start," he said. Wagenhc
reenwriter, then eventually Cannes F
doing an I
s Westerburg ii
his own time and deserves every bit af
respect he gets. to
"Eventually" is chock-full of the pc
illads and lover's songs Westerburg
best known for, but it is a much more br
ature release than his early work with m
he Replacements, and far outshines al
le mindless pop-rock albums he ar
srformed for the soundtrack for gi
Jingles."
After yeais of mild success and critical br
:claim, Westerburg is finally heading w
ito the mainstream. This move will
nfortunately separate him from the of
>llege-age listening audience whose tu
mtiort he deservedlv received in the dc
~r i */
ast, but he will not be forgotten. b <
Westerburg was a defining point in b?
le college rock sound of the 80s, and vc
king hard
keep you i
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Positions availabl
: Gamecock stude
id underwriting fc
sat experience.
Wmm ?r
p3i *~ 3S??
;
11 berg was In Cannes for the
premiere of his film "Fear."
Mm met Wahlberg at the
rllm Festival where he was
internship with Kodak.
11 spotlight
ter a long wait he may soon be able
cash in on a husky voice and carefullyisitioned
guitar riffs.
"Eventually" looks to be Westerburg
eak-through effort and is a soft-spoken,
ore serious album than his first solo
hum Tt. has a soft, melodious sound
id focuses on Westerburg's careful
litar solo.
His voice takes center stage and
ings the album together as a coherent
hole.
"Eventually" is veiy similar to some
The Replacements work, but this
ne Westerburg is the whole show. He
>es what he does best and what he's
sen doing for years. He creates a
;autiful pop-rock ideal with a hearty
>ice.
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