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Carter CONTINUED FROM PAGE 8 the South Carolina National Bank. He remained there until 1993, when the job market in the computer technician field de creased and companies started downsizing. It was then that Carter decid ed to start over. “I felt that delivery in restau rants was starting to expand com pared to that,” Carter said. “I want ed a second career. So this is some thing I created for myself as a sec ond career.” He moved to Five Points, dyed his hair bright red, got a purple moped and a leather jacket, and started delivering all over Columbia. “Five Points is kind of alterna tive, (with) all the rock bands. I sort of wanted to fit in,” Carter said. He explained that he isn’t re-, ally involved in the Columbia rock scene. But through his ap pearance, he strives to be differ ent. He said it’s “just an image kind of thing. It’s something unique that stands out.” And if people in Columbia rec ognize him for his hair and moped, then Carter said his sec ond career is a fulfilling one. “It’s a recognition of my think ing,” he said. “It’s like an expres sion of myself, my creative think ing.” And he’s achieved a large amount of that fame here on the USC campus with his ubiquitous presence. There’s even a picture of him in a collage of “campus life”-relat ed photos behind the desk in McClintock, safely sealed and pre served in a plastic frame. “I’m a part of campus life,” Carter said. Comments on this story?E-mail gamecockmixeditor@hotmail.com I hD Now Hiring FIVE POINTS ACCOUNT REP > ALL MAJORS ENCOURAGED TO APPLY _ Student Media 2i 5/5 is now SU k accepting applications for the 3 position of " ^ Account d Z • Representative ^ to sell advertising to local businesses for the Fall 2002 semester. Call Sarah Scarborough at 777.5064 i ' Bloodsport CONTINUED FROM PAGE 9 length album released in the states. While “Bloodsport” has a few bright spots of ingenuity, it lacks the luster of “Becoming X” for the most part. One of the biggest problems is the musical mishmash that presents itself in the album’s song structures. Where the Sneaker Pimps once sounded like a trip-hop group experimenting with pop sounds, they now emote a Depeche Mode-like sound of a pop group experimenting with trip-hop. Corner’s vocals aren’t a real 1 problem. He has a very smooth voice that lends itself well to the group’s move further away from the land of trip-hop. However, with his serious delivery, he manages to highlight the problems in the lyrics. With Dayton’s flirty, yet demure, vocals, a listener could tune out the banality of the lyrics; but here, Corner’s voice forces the listener to focus on the words and how they just don’t fit. Despite these problems, the Sneaker Pimps still manage to produce some nice tunes. “Sick” completely drops any pretense of being a trip-hop song and places its fate fully in the hands of an acoustic guitar, a keyboard loop and a drum machine; remarkably enough, it works pretty well as a standard Brit-pop song. “Loretta Young Silks” creates what can only be called a trip hop ballad. It is without a doubt the best song on the album musically, but the lyrics are so contrived that it ruins the effect. “Bloodsport” is not up to the expectations of the Sneaker Pimps’ fans. Perhaps after this, the band will go crawling back to Dayton and ask her to join up again. Now that would be an album to buy. Comments on this story?E-mail gamecockmixeditor@hotmail.com Control CONTINUED FROM PAGE 9 Aside from knowing how to play all of the instruments used, this process requires a natural musical ear. “Control” is amazingly fluent and full sounding, and at no time is there any reason to doubt that it comes from any less than a four-man band. The addition of keyboards on this album is a strong contributor to the completeness of the sound. A few songs, especially “Magazine,” offer the contemplative eerieness of early Radiohead albums like “The Bends.” However, Bazan’s lyrical style has a much stronger emotional Exhibit CONTINUED FROM PAGE 8 Mike Smith. In it, an elderly man sits at a small round table and sips from a mug. His gaunt fingers and face indicate he has worked hard in his life. His care for his house is evident in the cleaning supplies that are stacked to the ceiling on top of freshly painted green cabi nets. But the rotting door to the right reinforces the idea that the man is making do with his situa tion. This photo wasn’t taken dur ing the Great Depression, as one might assume at first glance, but in 1999. Debbie Fleming Caffery’s appeal. The album’s first song begins with “We were holding hands with our bare feet in the sand.” Also, in the song “Priests' and Paramedics,” Bazan finds himself wondering why everyone dies. It becomes difficult to decide whether he’s being completely sincere or sarcastic throughout the album. He puts pessimistic remarks next to optimistic remarks about the afterlife, and this creates a reaction of confusion and lyrical superiority. Perhaps the most impressive thing about Pedro the Lion is that the music has a way of appealing to everyone, especially if they’re feeling melancholy. Comments on this story?E mail gamecockmixeditor(u>hotmail.com “Sleeping Lizards,” in which two lizards lay silhouetted against a screen door that is falling from the top left corner, is a quainter look at disrepair. One of the exhibit’s most vivid characters is the woman in E. J. Bellocq’s early 20th-century print, “Prostitute in New Orleans.” The woman is seated, wearing striped tights and holding a shot glass. A liquor bottle stands on the small table next to her. Images like Bellocq’s and Serrano’s reveal the darker side of the South, but the images don’t judge. Instead, they peel away layers and reveal what lies be neath, at the heart of every Southerner. Comments on this story?E-mail gamecockmixeditor@hotmail.com FRIDAYSATU R DAY'S UN DAY APRIL 26*27*28 featuring BUSH-HOOTIE & THE BLOWFISH JETHRO TULL-STY -O.A.R. 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