The gamecock. (Columbia, S.C.) 1908-2006, January 27, 2003, Page 6, Image 6
Deathtrap
CONTINUED FROM PAGE 5
tures her role and performs it well.
Jeremy W. Gingrich, in his
first big role on stage, plays the
smart and slightly goofy Clifford,
handling the physical aspects of
the role with ease and grace.
Houston McMillon, who stars
I
as Bruhl’s attorney Porter
Milgrim, enunciates the role well,
his character is much less mem
orable than Carol Glass’ Helga, a
psychic, whose delightful dia
logue contains most of the laughs.
While the play has its prob
lems, the lighting by Barry
Sparks and the set design by
Walter O’Rourke and Randy
Strange are exquisite. There
were some direction issues with
timing, but overall the perfor
mance went well.
The play just doesn’t seem as
timely as it could have 20 years
ago, however, and that is where
“Deathtrap” fails to trap this
youthful reviewer.
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Thomas Reed
CONTINUED FROM PAGE 5
stacles of Columbia’s music
scene. “There’s no major music
venue near the university any
more now that Elbow Room shut
down. As far as the club scene
goes there aren’t as many step
ping stones as there used to be.”
“It’s tough when bands like
Hootie blew up and Edwin
McCain and all that. It’s had a
domino effect on the whole mu
sic scene. The backlash hits
you. Everybody’s going to turn
their nose up at anything that’s
radio friendly. All of the local
music around here is real art
sy or jammy. We just play rock
songs, man,” Baker explained.
But the band shows no signs
of giving up. Thomas Reed
Band is here to stay because it’s
not just about success; it’s about
friendship, the fans, and most
importantly, feel good music.
“We’re in it for the long
haul, Nathan Reed said.
David Reed holds on tightly
to his dream.
“I’m going to make the
world see things my way even
tually,” he said.
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CD REVIEW
Common triumphs
with atypical album
“ELECTRIC CIRCUS”
Common
HHHHH OUt Of ■
BY JUSTIN BAJAN
THE GAMECOCK
During his 11 years as an em
cee, Common has accrued a fair
ly impressive list of achieve
ments. He collaborated with such
reputable acts as De La Soul, The
Roots, Lauryn Hill, Erykah Badu
and D’Angelo. He’s battled Ice
Cube and even won a Grammy.
In over a decade he’s gone from
a brash, high-pitched young buck
from Chicago to a deep, introspec
tive and soulful world-traveler.
Common’s newest album,
“Electric Circus,” is his fifth and
most atypical venture to date.
It feels decidedly retro: the cov
er; song titles such as “Soul
Power,” “The Hustle,” “Between
Me, You and Liberation”; and pro
duction featuring funky keys and
Hendrix-like guitar riffs. But its
approach is anything but old.
For instance, who in hip-hop
would work with Stereolab, Zap
Mama and Sonny from P.O.D; sing
a song with his dad; talk about
marriage; and admit and change
prejudiced views on one album?
Common proves that it can
sound good to grow up, that it’s
more hip to rap about love than
hate, that it’s possible to mix
brash raps with soothing poetry.
On “Soul Power,” Common
raps over a BPM-pushing beat by
Jay Dee, reminding his skeptics
that he’s ferocious as ever. He
raps corrosive lines like “Still in
the bidness of smacking rappers;
that’s wack/you had a dope track/
l guess opposites attract.
Common makes his put-dowr
personal, blasting Ja-Rule by spu
ting “you made a hit, and came
upon a few dollars/I’d rather listen
to silence than you holler” and
then insinuates that Ja-Rule is a
copycat of the legendary 2Pac:
“You borrowed your persona/from
the late that made ‘Dear Mama.’ ”
Standard hip-hop fans will con
sider "New Wave" alienating. It fea
tures Common with Sadier from
Stereolab. The track is a completely
synthesized romp, mixing the melo
dious chorus supplied by Sadier
and the swift rhymes of Common.
“Electric Circus” is the culmi
nation of Common’s artistic de
velopment: It shows a mature man
who is secure with his emotions
and sensitivity and the beauty that
is extracted from music when an
artist really lets go. This albumi
truly a triumph for Common.
Comments on this story?E-mail
gamecockmixeditor@hotmail.com
>
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