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CD REVIEW Bizkifs attempt to evolve blunders “RESULTS MAY VARY” Limp Bizkit : ★ outoftifii-frft* BY BEN ANGSTADT THE GAMECOCK Just when you thought it was safe to turn on the radio, Fred Durst and company come “limp ing” back onto the stage. It had been nearly three years since rap-core rockers Limp Bizkit released a new CD, and it looked like their 15 minutes might have finally ended. But this storybook world came crashing down with the arrival of “Results May Vary,” the band’s fourth major release. Sensing the impending death of rap-rock about two years too late, Bizkit decided to embrace bits of hard-core rock, main stream rock and gangsta rap with its new material. Despite their ef forts to evolve, the same, stale style remains embedded in the core of the music. One need look no further than the album’s first single, “Eat You Alive,” to see how little “Results May Vary” has to offer. Nerve grating screams pierce through most of the song. Halfway through the song, hwoever, there is a schizophrenic switch to a tender, soft section, where Mr. Durst high lights his romantic side before hol lering through the rest of the track. “Gimme the Mic” is a testa ment to Durst’s complete lack of humility, as he proclaims how “out of sight” he is when showing off his “microphone fiend” skills, all the while using profanity to such a ridiculous excess that it loses all meaning. It would be more interesting to hear how this microphone fiend managed to achieve success without ever crafting a creative sound. “Underneath the Gun” comes up next and has the honor of be ing one of the best songs on the al bum, though that’s saying very little. But by the time “Almost Over” begins playing, it is obvi ous that Limp Bizkit has not only decided to alter its sound, but that it has found a new skill: ripping off of its contemporaries. The track tells the autobiographical tale of a man’s rise to rap in the same vein as Eminem’s “Lose Yourself,” though not nearly as well. One of the most frustrating aspects of the album is its com plete and utter inconsistency in style. It’s almost as if Limp Bizkit were trying to straddle the fence of every musical genre so that it can use listener re sponse to best determine what new direction it should take. This is evidenced no better than the change from the gangster rap of “Red Light-Green Light” to the mainstream Creed-esque sound of “The Only One.” The song “Creamer” plays like a rundown of a list of modern technological gadgets, as Durst once again reminds us how arfiazing he is by essentially nam ing every piece of technology he owns from a cell phone to TiVo. Next comes “Head for the Barricade,” Limp Bizkit’s shame less copy of a Disturbed song, in which they replace the deep growls of the latter with Durst’s nasal whines. Following suit with more unoriginal tracks, Limp Bizkit then includes an em barrassing cover of The Who’s “Behind Blue Eyes” followed by the Staind rip-off “Drown.” “Results May Vary” is bad, even for Limp Bizkit. The inces sant style changes and typical, shallow lyrics — coupled with Limp Bizkit’s complete inability to craft anything fresh and orig inal — might have finally put this band’s head on the proverbial chopping block. Hopefully, for their sake, the members of Limp Bizkit can find a fast-food joint looking for help. — Comments on this story?E-mail gamecxKkmixeditor@hotmail.com Astronaut CONTINUED FROM PAGE 11 also remained an integral part -of his artistic career thus far. His instrumental talents have earned him the chance to per form at both the Lincoln Center Theatre and the Guggenheim Museum. Recently completing his first novel, “Rabbit,” McAbee is at tempting to infuse his literary pursuits with music as well—he has begun work on a composi tion that will accompany the book. Chronicling Curtis’s journey to Venus where he aims to pro vide the all-female population with a suitable male (himself), McAbee’s film will likely have audiences laughing — either at the movie itself or at the sheer quirkiness of the concept. As well as combining seemingly unrelated genres, the film makes use of black-and-white photography and gritty effects to capture the undeveloped feel of the outer-space frontier. After all, Curtis is a space cowboy — he needs the galactic equivalent of lonely border towns and des "olate lands to roam. Those looking to space out for an evening can get their fill of rocket-fueled excitement this Thursday at 7 p.m. Tickets are $6.50 for the general public and $5.50 for students with ID. The Nickelodeon Theatre is located at 937 Main St. Comments on this story?E-mail gamecockmixeditor@hotmail.com Clint Eastwood cites the keys to his longevity BY DOUGLAS J. ROWE THE ASSOCIATED ['HESS NEW YORK - Move on. Keep changing. That’s what Clint Eastwood sees as the keys to his longevity and success. In a half century of filmmaking, he’s hard ly stayed in the same position. Asked to explain his enduring career, Eastwood initially gropes for an answer, chalking it all up to luck, before finally set tling on a rambling response: “Probably, knowing when to move on, from doing the Italian Westerns, knowing when to move on (and) come back home and do some other things, some detective stories, knowing when to move on from those, doing other films, even small films that might not have been as com mercial like ‘Honky Tonk Man’ or ‘White Hunter, Black Heart,”’ he said in an interview with The Associated Press. “Branching out and continuing to expand all the time. If you just do the same thing, eventually it just comes to an end. That’s why I branched out into directing. “If I had just been playing the protagonist in films, maybe at some point (someone might have said) ‘Ah, we don’t need him ... We’ll move on.’ “So instead of them moving on from me, I just moved on from them.” Now Eastwood has moved on to direct a compelling film of emotional claustrophobia, sear ing pain and misguided vengeance, “Mystic River.” A stellar cast - topped by Sean Penn, Tim Robbins and Kevin Bacon — deliver^ uniformly strong performances in a story about three childhood buddies, one who suffers sexual abuse and another whose 19-year-old daughter is murdered. The bonds and boundaries of their blue-collar Boston neighborhood create a convergence between the two crimes that leads to a Shakespearean tragedy. Laura Linney even delivers a Lady Macbeth-like soliloquy. * Much has been made of Eastwood’s evolution from icon ic action hero to revered auteur. But there are still those who think he has to live down his ear ly, violent movies. Richard Pena, chairman of the New York Film Festival’s selec tion committee, can understand how some people find it hard to take seriously the man who starred in shoot-’em-up cowboy flicks, shoot-’em-up detective pics and alongside an orangutan in “Every Which Way But Loose.” Still, Pena points to “Bird,” “White Hunter, Black Heart,” “Unforgiven” - which won the 1992 best picture Academy Award and best director for Eastwood - and now “Mystic River” as evi dence of an accomplished, artful filmmaker. (Eastwood’s latest opened the festival last week.) “There was a very good docu mentary done about him for (the PBS series) ‘American Masters’ - in fact one of the members of our selection committee, Dave Kehr, was the screenwriter on it,” Pena says. “One of the things Dave says (is)... he’s the rare artist who spent the first half of his career creating an image and the second half of his career dismantling it.” But Eastwood says he’s made no conscious effort to retool his persona. “I’m not that smart, to tell you the truth. I just do projects by what I like and what I feel,” he says. “I guess my instincts were in the right place, because I’ve constantly just expanded and done other types of things over the years as I’ve aged. And I think that’s what a person should do.” He acknowledges he doesn’t have a trademark directorial style. Rather, he says, it’s dictated by “what the picture demands.” Eastwood hopes he’s made a film for grown-ups with “Mystic River.” If you’re looking for “The Matrix Reloaded,” you’re going to be disappointed. CD REVIEW Nappy Roots transcend genre “WOODEN LEATHER” Nappy Roots ★★★★ out of ☆☆☆☆☆ BY AUBREY FOGLE THE GAMECOCK If you are not a die-hard rap fan, it can be hard to figure out which hip-hop groups and artists might prove appealing. Of course, there are the well-known artists such as Eminem, Outkast and Nelly, but they are not for everybody. Some people might find them too violent, too fast or just not melodic enough to real ly enjoy. Rap is not as instrumental as many other genres of music, so it can be difficult to find some thing appealing by simply flip ping through tunes on those sample players they have at mu sic stores nowadays. Despite all of the deeply con templative and emotional lyrics in hip-hop today, most rap al bum producers would rather loop a drumbeat and throw in a few synthesized beeps and bloops than take the time to compose a genuine piece of music. In addition, it can be hard to find anything on the radio with all of the commercials they play, and downloading tunes from the Internet has gotten downright dangerous lately. It seems that music reviews in magazines and newspapers remain the easiest way to find out about worthy albums. Nappy Roots’ “Wooden Leather” is a worthy album — the CD certainly warrants lis tening, even by the non-rap fan. What is great about this al bum is that all of the tracks con tain distinctive melodies. Instead of the synthesized drum loops and overpowering bass that are generally prevalent in hip-hop, Nappy Roots infuses its music with a country-Western sound by utilizing instruments such as acoustic guitars and harmonicas. Their rapping is also impres sive, and by mixing it with sol id, original melodies, the group has created an attractive total package with “Wooden Leather.” They have even gone as far as to include a Metallica-style electric guitar solo on the CD. The album’s catchy beats will , keep you coming back to eactfW song for another listen, giving you time to concentrate on the lyrics, which take nothing away from this record. Although the lyrics dQ take a back seat to the great riffs, all of the group’s rap pers keep the songs fresh and flowing flawlessly. Barring MC Hammer back in the day, of course, it is hard to re call another rap album that ap peals so much to the non-rap lis tener. Of course, nothing less should be expected from a band that has its own holiday in Kentucky, on Sept. 16. Comments on this story?E-mail gamecockmixeditor@hotmail.com - Collection of writings fills void for fans of late Fred Rogers BY JUDY LIN THE ASSOCIATED PRESS PITTSBURGH - Mister Rogers may have left a void in millions of lives when he died, but Mrs. Rogers hopes a new collection of his plainspoken wisdom will pro vide comfort to them as it did for her. Joanne Rogers says “The World According to Mister Rogers: Important Things to Remember,” from Hyperion Books, was published for people who grew up watching Fred Rogers’ public television show. It serves as testament to his time less message of love, friendship and respect. “Most of the people who read this book will feel as if they’re having a visit with him. I do, and I think that’s why I cherish it so,” Rogers said. Culled from years of com mencement speeches, songs, writings and interviews, the new book contains words of courage and inspiration-simple state ments that made Mister Rogers a household name. At least one pas sage was pulled from a public ser vice announcement that aired after the Sept. 11,2001, terrorist attacks. One sentence reads: “I’m con vinced that when we help our children find healthy ways of dealing with their feelings — ways that don’t hurt them or any one else—we’re helping to make our world a safer, better place.” Unlike his previous songbooks for children and parenting guides, the new book has a broad er appeal. Proceeds from the book sale will go to The Fred Rogers Fund^ which promotes children’s development. Directions: lust across the Gcrvais St. Bridge - Left at Second Light LJ „ Lthh | .. I ?: i t§nri, fTt\ jtm WSBKmBb • toll’s Parking lot ■ 1125 Rosewood Drive Across from The ROCKET at the State Fairgrounds, Music, Great Food, Drinks and Door Prizes, Souvenirs for the firstg USC students in attendance. Sponsored by Alcohol & Drug Programs. Paid for, in part, with student activity fees. Actual time or event may change due to funding or programmatic decisions. ■ For additional info, call 777*7130. Department of Student Life * Division of Student Affairs