The gamecock. (Columbia, S.C.) 1908-2006, September 07, 2001, Page 6, Image 6
WEEKEND MOVIE LISTINGS
Russell House Theater
MOULIN ROUGE
8:00 (Fri. only)
Nickelodeon
937 Main St., 254-3433
THE ANNIVERSARY PARTY (R)
7:00,9:15 (3:00 Sat. & Sun.)
Regal Cinema 7
Columbia
Richland Mall, 748-9044
ROCK STAR
2:15,4:45,7:15,'10:10pm
AMERICAN PIE 2 (R)
2:05,4:35,7:30,10:00
THE PRINCESS DIARIES (G)
2:00,4:40,7:10,9:40
THE OTHERS (PG-13)
2:10,4:40,7:25,9:50
TWO CAN PLAY THAT GAME (R)
2:05,2:35,4:30, 5:00,7:00,7:30,
Q-on m nn
THEMUSKETEER (PG-13)
2:00,4:25,7:20,9:45
Carmike Wynnsong 10
5320 Forest Drive, 782
8100
CAPT. CORELLI’S MANDOLIN (R)
1:45,4:20,7:10,9:50
HARDBALL (R)
Sneak preview 7:15 Sat.
JAY & SILENT BOB STRIKE BACK
(R)
1:40,4:15,7:00,9:45
JEEPERS CREEPERS (R)
1:40,4:10,7:20,9:45
JURASSIC PARK 3 (PG-13)
1:30,4:30,7:00,9:15
LEGALLY BLONDE (PG-13)
1:30,4:20,7:20,9:40
“0” (R)
1:50,4:45,7:30,9:50
OSMOSIS JONES (PG)
1:45,4:30,7:15,9:20
RAT RACE (PG-13)
1:45,4:20,7:15,9:45
(No 7:15 Sat. show)
RUSH HOUR 2 (PG-13)
1:30,4:00,7:15,9:30
SUMMER CATCH (PG-13)
1:50,4:15,7:10,9:40
Columbiana Place
Stadium Cinemas
1250 Bower Parkway, 407
9898
BUBBLE BOY (PG-13)
12:50,2:50,4:50,6:55,9:05
CAPT. CORELLI’S MANDOLIN (R)
1:45,4:45,7:30,10:20
THE CURSE OF THE JADE
SCORPION (PG-13)
1:15,3:40,7:05,9:25
JAY & SILENT BOB STRIKE BACK
(R)
2:00,2:45,4:30,5:15,7:00,7:45,9:30,
10:15
JEEPERS CREEPERS (R)
1:25,3:45,7:10, 9:20
JURASSIC PARK 3 (PG-13)
1:10,4:00,7:35,9:40
LEGALLY BLONDE (PG-13)
1:30,5:30,8:00,10:25
OSMOSIS JONES (PG)
1:00,3:30,5:45,7:50
PEARL HARBOR (PG-13)
12:55,4:30,8:05
RAT RACE (PG-13)
2:05,4:40,7:15,9:45
THE SCORE(R)
. 2:15,5:00,7:40,10:15
SHREK(PG)
1:20,3:35,6:45,9:00
SUMMER CATCH (PG-13)
2:30,5:05,7:25,9:50
Dutch Square Cinema ,
14
800 Bush River Road,
750-3576
AMERICAN PIE 2 (R)
1:30,4:10,7:10,9:30(11:50 Fri. &
Sat.)
THE DEEP END (R)
1:50,4:30,7:40,10:00
HARDBALL (R)
Sneak preview 7:30 Sat.
JAY & SILENT BOB STRIKE BACK
(R)
2:00,4:40,7:45,10:10
JEEPERS CREEPERS (R)
1:10,3:10,5:10,7:20,9:20 (11:40 Fri
& Sat.)
THE MUSKETEER (PG-13)
1:30,4:10,7:30,9:50
“0” (R)
1:00,3:10,5:20,7:40,9:40 (11:40 Fri.
& Sat.)
THE OTHERS (PG-13)
1:20,4:00,7:20,9:40 (Midnight Fri.
& Sat.)
PLANET OF THE APES (PG-13)
1:40,4:20,7:10,9:50
PRINCESS DIARIES (G)
1:15,4:00,7:00,9:30
RAT RACE (PG-13)
1:10,4:00,7:30,9:50
(No 7:30 Sat. show)
ROCK STAR(R)
1:20,4:20,7:10,9:30 (11:50 Fri. &
Sat.)
RUSH HOUR 2 (R)
1:00,3:00,5:00,7:50,10:00
(Midnight Fri. & Sat.)
SUMMER CATCH (PG-13)
1:40,4:40,7:50,10:05
TWO CAN PLAY THAT GAME (R)
2:00,4:30,7:00,9:20 (11:30 Fri. &
Sat.)
St. Andrews Road
Stadium Cinemas
527 Saint Andrews Rd,
772-7469
DR. DOLITTLE2 (PG)
2:15,3:50,5:20,6:50,8:20 (9:50 Fri.
& Sat.)
THE MUMMY RETURNS (PG-13)
2:00,4:25,7:00 (9:20 Fri. & Sat.)
ORIGINAL SIN (R)
2:10,4:20,7:05 (9:15 Fri. & Sat.)
SPY KIDS (PG)
2:30,4:15,6:00,7:40 (9:25 Fri. &
Sat.)
TOMB RAIDER (PG-13)
2:20,4:05,5:50,7:45 (9:30 Fri. &
Sat.)
Carmike Cinemas 14
122 Afton Court, 781-3067
AMERICA’S SWEETHEARTS (PG
13)
1:30,4:00,7:00,9:30
AMERICAN OUTLAWS (PG-13)
2:15,4:15,7:30,9:45
AMERICAN PIE 2 (R)
1:30,4:15,7:00,9:30
CATS & DOGS (PG)
2:00,4:00,7:00
THE FAST AND THE FURIOUS
(PG-13)
2:10,4:40,7:10,9:40
GHOSTS OF MARS (R)
9:15
THE MUSKETEER (PG-13)
1:45,4:30,7:15,9:30
“0” (R)
1:30,4:30,7:00,9:45
THE OTHERS (PG-13)
1:30,4:30,7:15,9:30
PLANET OF THE APES (PG-13)
1:45,4:30,7:15,9:45
PRINCESS DIARIES (G)
1:45,4:15,7:00,9:30
ROCK STAR(R)
2:15,4:40,7:00,9:20
RUSH HOUR 2 (PG-13)
1:30,3:30,7:15,9:15
SPY KIDS (PG)
2:30,4:30,7:15,9:30
TWO CAN PLAY THAT GAME (R)
2:00,4:30,7:45,9:50
Movies at Polo Road
9700 Two Notch Rd, 788
7818
AMERICAN PIE 2 (R)
1:15,3:20,5:25,7:30,9:35
JEEPERS CREEPERS (R)
1:05,3:05,5:05,7:05,9:05
MOULIN ROUGE (PG-13)
Open-caption presentations
1:00 Sat. & 3:35 Sun.
THE MUSKETEER (PG-13)
1:00,3:05,5:10,7:15,9:20
PLANET OF THE APES (PG-13)
1:00,3:30,7:15,9:35
(Note: No 1:00 Sat. or 3:30 Sun.
shows)
PRINCESS DIARIES (G)
12:50,3:05,5:20,7:35,9:45
RAT RACE (PG-13)
12:55,3:10,5:30,7:40,9:50
ROCK STAR(R)
12:45,3:00,5:15,7:30,9:45
RUSH HOUR 2 (PG-13)
1:00,3:00,5:00,7:00,9:00
Gambrell Hall
Auditorium, Room 153
THE CONVERSATION (PG)
6:30 Sun.
Levereaux
Remembering
a lost friend
CONTINUED FROM PAGE 5
Smith back.
Why do people have to die
young? Why is it always the
people most full of life—those
who understand what living
really is long before the rest of us
figure it out—have theirs cut so
short? Why can’t the good live to
be a thousand and the evil die
before they grow up? Imagine
what the world would be like if
Hitler had died of pneumonia as
a baby.
In the face of this cliched
question, we are offered
platitudes that are just as
enigmatic. We must remember
that people are born, and people
die, and it’s completely out of our
control. There is a time for
everything, and everything has
its time.
But Smith, we still miss you.
Singer Ryan Adams shines like Gold
BY TUG BAKER
THE GAMECOCK
Ladies and gentlemen, I have
heard the Next Big Thing, and
his name is Ryan Adams.
No, not that Canadian. Drop
theB.
Formerly the singer/song
writer behind alternative
country band Whiskeytown,
Ryan Adams took a break from
the group in late 1999 to pursue a
solo venture. The 26-year-old
Jacksonville, N.C., native moved
to New York City and began
writing songs on his acoustic
guitars sans pick so his
apartment neighbors wouldn’t
complain about the noise.
These writing sessions
became last year’s much-lauded
album, Heartbreaker. The
fifteen tracks on his debut
showed a startliiig amount of
maturity and talent in such a
young individual.
James Iha (former guitarist
for the Smashing Pumkins)
once said Adams could “write
an album in a month”, and he’s
not far off. Even though he just
finished a Whiskeytown album
released earlier this year, Ryan
Adams’ new offering, Gold, is
due out September 25, a year
after Heartbreaker.
Gold focuses on Adams’
[MNP@7:30]
Beginning September 10
Mondays @7:30 p.m. in Boyce Chapel
at Columbia's First Baptist Church
Come experience worship in a relevant, new way.
Featuring: worship band, drama, and Bible Teaching that connects
with our daily living and targets young adults ages 18-35.
—
Is
Holding
an
Open
Call
Audition
at:
Embassy Suites
200 Stoneridge Dr.
Columbia, SC
Greystone Exit off 1-26
Sunday
September 9th
12 noon
Auditions are on a first come first serve basis.
We suggest that you arrive early.
i-*-J
LIKE WHAT YOU SEE? COULD CARE LESS?
E-MAIL GAMECOCKMIXEDITOR@HOTMAIL.COM
original, “Highwater Every
where,” from which Dylan bor
rows the title.
Then there’s “Mississippi,”
easily the finest track on the al
bum. It might even be the best
song Dylan has written since
Blood on the Tracks, and “best”
is not a superlative lightly ap
plied to the Dylan cannon. Some
may balk at the song’s instant
pop appeal, but the lyrics give the
song depth. The melody features
a simple, rising bass line, but the
band plays it with flair and fi
nesse. Its members prove what
Dylan says of them on tour: that
they are “the finest bunch of
players in the country.” Dylan
responds in kind and gives one
of his best studio performances
ever (the album was recorded
live in the studio, with few over
dubs). Dylan’s delivery on the
chorus (“stayed in Mississippi a
day too long”) seems perfect. A
song of this caliber is the hall
mark of every great Dylan al
bum.
The obvious, lingering ques
tion, though, is how Dylan con
tinues to surpass his own leg
endary history. Where does he
go from here? Most likely back
on the road, where he always
ends up, destined to live out his
life a true vagabond. In fact, a fall
tour has already been scheduled.
Even in Dylan’s old age, his phe
nomenal ability to write and per
form songs continues unabated.
Perhaps he says it best in “Mis
sissippi” when he promises that
“things should start to get inter
esting right about now.
deed, the band (Dylan’s current
touring band plus Augie Meyers
on organ) blends exceptionally
well with Dylan’s vocal delivery
throughout the album. “Summer
Days” is a thrilling Western
swing number one could easily
imagine in any old juke joint.
“Bye and Bye” and “Moonlight”
are jazzy numbers, a la George
Gershwin, and showcase Dylan
as a crooner (a role he almost
pillls off)- “Floater” does just
what its title suggests, thanks to
Larry Campbell on violin. These
songs are timeless; they would
sound just as natural coming out
of a 1930s family radio. Dylan
mixes up the 12-bar blues format
in “Cry Awhile” with surpris
ingly effective tempo changes. He
displays his comedic talent in
“Po’ Boy.” Each line is some sort
of joke or pun, delivered in the
Vaudeville spirit. “Sugar Baby,”
however, is no joke; the musical
arrangement is as deep and dark
as the lyrics.
While every track on Love and
Theft is a joy to listen to, three
tracks elevate the album to great
ness. “Lonesome Day Blues” is
12-bar perfection. A sterling ex
ample of electric blues, it’s a
stomping, gritty, blues rocker
straight out of Maxwell Street in
Chicago. Dylan howls, growls and
spits the vocals out; his delivery
on the word “steel,” for example,
is bone-chilling. “Highwater” js
a tribute to the father of the Mis
sissippi Delta blues, Charlie Pat
ton. The stunning, banjo-driven
country-blues number rages like
the mighty Mississippi River it
self. It’s a tribute in the finest
sense, featuring the same power
and passion found on the Patton
Dylan
The legend lives on
through recordings
CONTINUED FROM PAGE 5
inspiration. The highlight of the
album is its closing track, a 12
bar blues epic, “Highlands,” that
clocks in at just over 16 minutes.
After the release of Time Out of
Mind, Dylan and his backing mu
sicians took the new songs back
on the road with renewed pas
sion, never skipping a beat.
So at age 60, with a 40-year-old
music career, Dylan does not
have much left to prove. But he
continues to amaze. Next week,
his 43rd studio album, Love and
Theft, will hit record store
shelves. And so the search is on
for adjectives worthy of describ
ing his newest work.
The easiest way to understand
Love and Theft is through Dy
lan’s own comments. “I think of
it more as a greatest hits album,
Volume 1 or Volume 2. Without
the hits—not yet, anyway.” This
is a classic Dylan comment, sim
ple yetpbscure, but it makes
sense. Dylan is not talking about
these songs as his own greatest
hits, however. In truth, these are
America’s greatest hits.
Take the album’s opener
“Tweedle Dee And Tweedle
Dum”: It sounds as if the record
ing was plucked straight from
Sun Studio (Elvis, Johnny Cash)
in Memphis, circa 1959. “Honest
with Me” has a similar but hard
er sound, and is driven by splen
did slide guitar work from gui
tarist Charlie Sexton. And in
two loves. It is one of the best
songs on the album.
“The Rescue Blues,”
“Touch, Feel, and Lose,” and
“Tina Toledo’s Street Walking
Blues” are all standard bluesy
country numbers invigorated
with Adams’ soulful
songwriting. “Nobody Girl” is
appropriately followed by
“Sylvia Plath” where he pines
for a moody, poetic girlfriend.
“Somehow, Someday”
sounds like Adams took over lead
vocals for the Mavericks, and
“When the Stars Go Blue” plays
almost like a tribute to Gram
Parsons. A true country song, it
answers the question “Where do
you go when you’re lonely?....
Where the stars go blue.”
“Goodnight, Hollywood
Blvd.” closes the album in a
tearful farewell accompanied
by piano and strings.
With his songwriting talent
and the already strong response
he has received from fans and
critics, it is guaranteed that
Gold will hold its place as one of
the best albums released this
year. Ryan Adams will keep
writing beautiful music,
becoming a prolific contributor
and possibly be the savior of
country music. Whatever
success he finds is well
deserved.
ability to emulate the different
styles of his predecessors.
Listening to Gold, one can hear
snippets of Gram Parsons,
Steve Earle, Lyle Lovett, Van
Morrison, and even Bruce
Springsteen.
This album has more
upbeat arrangements than his
debut, largely due to Adam’s
move from New York to
Hollywood, which he considers
a much more relaxed yet
structured environment.
Appropriately, the first song on
the new album is called “New
York, New York”, and the
album closes with “Goodnight,
Hollywood Blvd.”
“New York, New York” is a
fast-paced tune driven by bongo
drums and Adams’ quick,
clever lyrical delivery. Soon,
Adams leaves the Big Apple and
takes us to the laid back land of
California with “Firecracker,”
a rollicking song carrying hints
of Wilco’s Summerteeth album.
“Answering Bell” is a
straightforward crush song
conveyed wonderfully through
a humming organ and
background vocals by Adam
Duritz of the Counting Crows.
Slowing down the album a bit,
the first ballad, “La Cienga Just
Smiled” is a bittersweet
account of being torn between