The gamecock. (Columbia, S.C.) 1908-2006, April 24, 2002, Page 10, Image 10
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.
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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.
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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.
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“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.
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