The gamecock. (Columbia, S.C.) 1908-2006, October 19, 2001, Page 6, Image 6
Floats
Parade caps week
of hard work, fun
CONTINUED FROM PAGE 5
gious as the desire to win.
“There’s a healthy competi
tion.” Bauld said. “Each year, We
raise the standards because of the
great work of the previous year."
She said, “The competition
hardly results in any spiteful ac
tions. Everybody has respect for
each other’s float.”
As the float’s builders proudly
see their creations start to resemble
their intended designs, the fun only
increases. “It gets better each year.
We are all trying to have everything
bigger and better because of the bi
centennial,” Bauld said.
THURSDAY: Finishing
Touches
Laborers are entertained as
they apply the final touches to their
floats, showing their organizations’
hard work and forethought.
The float-building party comes
at the end of a week of long nights
and hard work. Sponsored by WIS,
Sprint, Carolina First the Sorority
and Fraternity Councils and
WNOK, which will broadcast live
from the scene, the party is the last
chance to work on the floats while
I
celebrating with food and music.
Bauld thinks Thursday night is
the most fun. It’s another chance
to savor the experience and ap
preciate tradition, teamwork and
the spirit of Homecoming.
FRIDAY: Showtime
For those who’ve been con
structing floats for nearly a
week, the parade is a welcome
and well-deserved end. It’s hard
not to enjoy yourself when
there’s candy to throw and
cheers to shout.
“It’s an awesome feeling to
show all of your hard work and
pride in USC. Seeing the judges
and everybody who comes for
moral support watching and lik
ing the finished product is very
rewarding. The entire team
knows that that was what we
were working for,” Bauld said.
The Homecoming parade will
begin at 3 p.m. today on the
Horseshoe. Grand marshal
George Rogers will join Miss
South Carolina, local high school
cheerleaders, other fans and 15
floats designed by USC student
organizations on the 1.5-mile cir
cuit through campus and Five
Points.
Homecoming festivities will
continue with Cockfest, the offi
cial pep rally at 7 p.m. at
Williams-Brice Stadium.
MOVIE REVIEW
Hedwig bends gender, expands genre
HEDWIG AND THE ANGRY INCH
Directed by Baz Luhrman
BY TUG BAKER
THE GAMECOCK
This summer, Baz Luhrman
spent $50 million dollars to make
Moulin Rouge, a film many
critics, including myself, said
would breathe new life into the
long-deceased musical genre.
None of us knew, however, that a
little more than a month later,
the musical would be
revolutionized again — in a
production that does a better job
than Moulin Rouge for the paltry
sum of $6 million. The culprit?
Hedwig and the Angry Inch.
Called a “post-punk, neoglam
rock musical” by its creator, John
Cameron Mitchell, Hedwig and
the Angry Inch began as an off
Broadway shocker that generated
a cult phenomenon much like
Rocky Horror Picture Show did in
the early ’80s. Soon, Hedwig was
being put on by theaters all over
the world, including Columbia’s
Trustus Theatre, which was one
of the first regional theaters to
perform the musical.
Hedwig tells the story of a
young East Berliner named
Hansel (Ben Mayer-Goodman)
who falls in love with an
American Army sergeant
(MauriceDeanWint)andsees
him as a way to get out of East
Berlin. For that to work, the two
must get married, and Hansel’s
mother (Alberta Watson) and the
sergeant insist Hansel get a sex
change operation first, saying,
“To leave, you must leave
something behind.”
Unfortunately, the operation
doesn’t go as planned, and
Hansel is left with an “angry
inch.” I dare not explain this pet
name any further. Nevertheless,
Hansel takes his mother’s name,
Hedwig, and moves to the States.
The sergeant leaves her shortly
after, and Hansel (now played by
Mitchell himself) falls for a
young Jesus freak named
Tommy Gnosis, who abandons
Hedwig in disgust after
discovering her secret. Not only
that, but he also becomes a
famous rock star, stealing the
songs Hedwig wrote.
We learn all of this through
flashbacks as Hedwig tours with
The Angry Inch, her band of
Eastern-bloc musicians.
Hedwig’s tour stops at every
town where Tommy is playing;
the only difference is that
Tommy plays stadiums, while
Hedwig plays beside salad bars
in restaurants.
John Cameron Mitchell
shines as he writes, directs and
stars in Hedwig. He understands
how to make the story and its
colorful characters come alive,
not only on the stage, but also the
screen. Miriam Shor is
amazingly convincing as
Hedwig’s usually silent
boyfriend Yitzhak. In fact, Shor’s
performance is almost as
compelling as Mitchell’s.
When I saw the musical on
stage, I was convinced any
attempt to base a movie on the
story would fall horribly short of
the live experience. Mitchell,
however, has created a freely
floating film, much like The Who’s
Quadrophenia and Pink Floyd’s
The Wall, that mixes drama,
music videos, animation and
experimental film. (There’s even a
bouncing ball for a sing-along.)
The film’s music, story and
visuals combine to produce a
kind of onscreen magic that’s
rare in today’s movie industry. ,
The music blends with the story
in a way that’s happened in no
other musical in recent memory.
Songwriter Stephen Trask
completes the story Mitchell
tries to tell, giving the skeleton
flesh. I don’t know a single
, person who’s seen this movie
and hasn’t gone out and bought
the soundtrack.
The film looks as if it would
provide answers to humanity’s
♦ HEDWIG, SEE PAGE 7
FREE PALM
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Gianandrea Maoli
Harris Collins
Holly Smith
Joseph Folsom
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Mary Kate Winn
Meredith Hart
Reggie Browning
Richie Wofford
Robby Woodard
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Kaitlin Bishop
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