The gamecock. (Columbia, S.C.) 1908-2006, August 28, 2002, Page 7, Image 7
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I Director Wes Anderson
and actor Owen Wilson’s
films have produced some
of the most innovative
stories this century
Anderson and Wilson have
paved the way for untradi
tional comedy in Hollywood,
and their fans consider their
work the new comedy of
their generation.
The friendship between
Anderson and Wilson began
at the University of Texas,
where they met in a play
writing course. In a 1999
People Online interview,
Wilson spoke about meeting
Anderson. “I was friends
with a kid who grew up with
Wes in Houston. He intro
duced us, and we became
friends. We had similar in
terests and backgrounds.
He has two brothers like me,
one older and one younger,
we both saw every movie
that ever came out, and we
boih wrote short stories for
the literary magazine.”
Wilson and Anderson be
came roommates and
churned out a full-length
script about the mistakes of
slackers who try to be rob
bers. The duo worked hard
to turn the script into a film,
with Anderson directing
and Wilson and his broth
ers, Luke and Andrew, act
ing in the main roles.
Unfortunately, lack of
funding forced Wilson and
Anderson to cut production
short and edit the footage to
only 13 minutes. With en
couragement from filmmak
er L.M. Kit Carson, they sub
mitted it to the 1993
Sundance Film Festival, and
eventually, Columbia
Pictures signed on to the pro
ject and released the full ver
sion, “Bottle Rocket,” in
1996.
“Bottle Rocket, not well
♦ WILSON, SEE PAGE 9
PHOTOS SPECIAL TO THE GAMECOCK
Friends and collaborators Wes Anderson and Owen Wilson are the creators of a new kind of dark comedy.
These were the most requested
songs on USC’s student radio
station from Aug. 18-25.
1. “SINCE WE’VE BECOME
TRANSLUCENT
_Mudhoney
2.000H!”
Mekons
3. “AMERICAN CHEESE’’
f Nerf Hearder
4. “THE TIGHT CONNECTION”
I Am The World Trade Center
5. “BYO SPLIT SERIES VOL. 4”
_ Bouncing Souls/Anti-Flag
6. “URBAN RENEWAL
PROGRAM"
_Various Artists
7. “HOT CHARITY"
_Rocket From The Crypt
8. “REAL TUFF
__ Rotten Apples
9. “ETERNAL YOUTH”
_ Future Bible Heroes
<10. “CONCRETE" "
Fear Factory
revisiting the
CLASSICS
m
_|_|_ ■ usic is a timeless form
of art. The best music from the
recent past might someday find its
way into classic radio rotation. The
rest has been nearly forgotten, and
it deserves to be rediscovered. This
semester, The Mix will re-examine
some of the most monumental (and
possibly underrated) albums of the
past two decades in a 15-part series
leading up to the announcement of
the best albums of2002. This week:
1982-1987.
‘Gods’ of hip-hop praised in full
BY JUSTIN BAJAN
THE GAMECOCK
The mid ‘80s signified a chunk
of time in music history that remains
the golden age of hip-hop. Typically,
artists before this golden age were
more concerned with party-influ
enced choruses: songs relating more
to the locomotion of the body than the
evocation of the mind.
So many influential artists and
groups were part of this renais
sance, including Boogie Down
Productions, Public Enemy, Big
Daddy Kane, and Eric B. and Rakim.
These artists were the Rembrandts
of their time, adding an acute sense
of aestheticism while raising the lev
el of intellectualism in hip-hop.
But one group stands out as the
chief representative of this influx of
talent: Eric B. and Rakim. In this
seminal group, Eric B. controlled
the DJ/production side while Rakim
emceed.
Their first album was called, “Paid
in Full,” a name that seems to equally
fit the bling-bling stylings of main
stream hip-hop. But more than 15
years ago, flashy jewelry and large
amounts of money were not a sick
ening element that dominated the ra
dio, just the trappings of success.
Eric B,
left, and
Rakim.
Some
consider
Rakim the
greatest
emcee of
all time.
PHOTO
SPECIAL TO
THE
GAMECOCK
Most people consider Rakim to be
the greatest emcee of all time, a
proclamation that has earned him
the title the “god” of hip-hop. This
album features Rakim spitting lines
full of multi syllabic rhymes, a fea
ture that separated him from his
peers. “My Melody” clearly shows
this, as Rakim raps, “I’m not a reg
ular/competitor/first rhyme edi
tor/melody arranger, poet, etc.”
Although Rakim clearly out
shines Eric B. as the most signifi
cant and talented member of this
group, B. provided the canvas on
which Rakim painted. B.’s produc
♦ ERIC B., SEE PAGE 8
BY ASHLEY VAUGHAN
THE GAMECOCK
Eccentric, quirky and ab
surd describe the films that
have resulted from the col
laborations between Owen
Wilson and Wes Anderson.
The unique deadpan humor
and atypical characters that
appear in their films provide
a proverbial breath of fresh
air in the movie industry
which, has traditionally fa
vored remakes, sequels and
run-of-the-mill plots.
Through their efforts,