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Exhibit explores rubble fromWTC BY DEEPTI HAJELA THE ASSOCIATED PRESS NEW YORK — For hour after hour, day after day, month after month, they kept at it. From the original mountains of debris down to the last quarter inch, workers at the Fresh Kills landfill sifted through 1.8 million tons from the decimated World Trade Center, looking to recover whatever they could. Some of what they found, from car parts to building remnants, makes up an exhibit chronicling the massive effort. “Recovery: The World Trade Center Recovery Operation at Fresh Kills” opens Tuesday at the New-York Historical Society and runs through March 21. The exhibit is part of “History Responds,” the institution’s pro gram that collects historical mate rials relating to the Sept. 11 attacks. ^ The work at Fresh Kills, miles from Ground Zero and closed to the general public, is an impor tant part of the Sept. 11 story that most people don’t know about, or ganizers said. i aon t tmnK people nave a good sense of the extraordinary lengths to which every single worker there went to find human remains, personal property, any thing to bring some comfort to the families who lost people on Sept. 11,” said Amy Weinstein, assistant curator at the Historical Society. “It’s a glimpse of something that very few people see,” said Mark Schaming, director of exhibitions for the New York State Museum, which put the exhibit together. “It’s a remarkable thing.... They sorted ^ things down to the size of a dime. ” It took workers 10 months to ac cumulate the items, which range from a paperweight found during the sifting process to vehicle parts to equipment used in the search. There are doors from a fire en gine and the trunk lid from a de stroyed police car; remnants of el evator floor numbers and a beam from the twin towers. There are pieces of fuselage and a seat belt from the airplanes that crashed into the buildings. There’s also a slew of small items, such as keys, found in the rubble. The photographs record the dai ly activities at the site, from the huge piles that had to be sorted to images of those who worked there, spending hours at conveyor belts watching for the smallest fragment of something vital to drift by. At the height of the operation, 7,000 tons of material were pro cessed each day as workers in res pirators manned conveyor belts, poised to stop the flow when they spotted a bone fragment or other remains. More than 54,000 pieces of personal property, including rings, watches, wallets and ID cards, were found. Of the nearly 20,000 human re mains recovered from the twist ed ruins, more than 1,400 were found at the landfill, the city med ical examiner’s office has said. The show is a collaboration be tween the Historical Society and "*■. the New York State Museum in Albany, which has a permanent collection of artifacts related to Sept. 11. tl bitfrifo i Quid, Healthy and Fresh! Burritos, Tacos, Salads, and Soups! Affordable, so saddle up... 934 Harden Street / Five Points i 765-218S CD REVIEW Adams trades in alt-country sound for garage ‘Rock’ “ROCK N ROLL” Ryan Adams out of *☆☆☆☆ BY MEG MOORE TIIK GAMEGOdK Bryan Adams he is not. “Summer of ‘69” he will not play. Consider yourself warned. Prolific songwriter Ryan Adams has earned notoriety for his non-music-related explo sions as of late, but his latest re lease “Rock N Roll” evidences that Adams has indeed been hard at work reinventing and reinterpreting. Alt-country’s poster boy has put out a decidedly gritty rock record, throwing himself in a new — if not unexpected — mu sical direction. Adams became a darling of both the critics and Elton John with the release ot his debut solo album “Heart breaker.” His obvious talents took to the mainstream on 2001’s “Gold,” which featured the time ly hit “New York, New York.” Although the songs on “Gold” ran the sonic gamut from reserved to rollicking, they, along with all of the tracks on the more subdued “Heartbreaker,” were country tunes at their cores. Of Course, in typical Adams fashion, the songwriter assert ed that he was not a country singer but simply aspired to make good music. On “Rock N Roll,” he smashes through all such country roots, recalling The Replacements and The New Romantics and tossing surly rock riffs against walls of ’80s synth. From its opening number, Adams’ latest release seethes with skin-and-bones rock, dis torted and irreverently sung. The rockers that he hangs out with on the New York City scene have clearly sent him careening in a new stylistic direction. Yet those who are familiar with his 2002 album “Demolition,” a col lection of previously unreleased demos, will not find this shift un expected: Songs such as “Demolition’s” “Waiting for a Sign” hinted at the grit that was to come. Adams’ recent involve ment-but-not with his punk-band side project The Finger — his record contract forbade such ap pearances, so naturally, he had absolutely nothing whatsoever to do with the record — further evidences his gone-rock status. “Rock N Roll” opens with garage band fervor, amps cranked, vocals bleary and cracking. The music later in vokes a more U2-esque sound, equally well-executed and in creasingly melodic. The single “Nuclear” off of “Demolition” could have easily appeared alongside tracks such as “Do Miss America.” Put together in a mere couple of months, “Rock N Roll” sounds sloppy, brash and churlish at times — such is the nature of rebel-rousing rock. The record cannot logically be dismissed as an attempt at radio hits. Give it a listen — it lacks that pop-rock “je ne sais quoi.” Critics have also denounced the album as self-indulgent, but when has a Ryan Adams record not been wonderfully self-wallowing? The listeners that fell in love with the breakout “Heartbreaker” became enam ored with his earnest lyrics and plaintive acoustic sound; fans of “Gold” enjoyed its equally in trospective songs yet took com fort in its more upbeat approach. Then the leftover supporters from Adams’ Whiskeytown days revered him as a poetic cow punk, capable of consciously brash tracks as well as delicate tunes. And through it all, the focus has always been Adams himself. Rarely has he stepped away from the mirror while weaving his tales of loss and self-loathing. In this respect, “Rock N Roll” is as enjoyable as any other Adams record — it’s simply crafted for those times when listeners feel less country than rock ‘n’ roll. Ironically, the album’s title track is also its lone piano bal lad, lyrically poking fun at the pretentiousness of it all: “Everybody’s cool playing rock n roll / I don’t feel cool at all.” He says: “There’s this girl I can’t get out of my head.” Adams is not a totally careless badass; he just plays one on the album — rock ‘n’ roll would be nothing without its swagger. Regardless of when he bought his “first real six string,” his axe has clearly turned him into a musical chameleon. His best side — rockin’ or rootsy — re mains a matter of opinion. Adams’ many musical hues al low him to be prolific without being redundant. Indeed, Bryan Adams he is not. Comments on this story?E-mail gamecockmixeditor@hotmail.com Directions: Just across the Gervais St. Bridge - Left at Second Light_ Studios CONTINUED FROM PAGE 6 “Dr. Seuss’ The Cat in the Hat,” starring Mike Myers, and the well-received box office smash “Elf,” starring Will Ferrell. “Elf’ has been the surprise hit of the holiday season and has also been successful in making the whole family laugh — college students included. “If only real life was as joyous and funny as being an elf,” said* second-year business student JP Wiley. Second-year advertising stu dent Emily Rocap said she was — “laughing the whole time, and Will Ferrell was incredible.” “It is a great holiday movie to go (to) on a double date,” said sec ond-year business student Sheridan Malphurs. Some of the biggest films of the holiday season have yet to be re leased. Girlfriends will be drag ging their boyfriends to see J:he new chick flick “Mona Lisa Smile,” the tale of a teacher (Julia Roberts) who inspires stu dents at an all-girls college to make something of themselves. The film also stars Julia Stiles and Kirsten Dunst. Probably the most anticipated release of the holiday season is the final film in “The Lord of the •v Rings” trilogy, “The Return of the King,” This epic movie is sure to be a huge box office smash as well as an exhilarating finale to the hit series. Those'who hate paying a lot of money for movie theater tick ets might be better off renting a movie. Make it a Blockbuster night with such classics as “National Lampoon’s Christmas Vacation,” “A Christmas Story” and “Home Alone.” Whether in the theaters, or at -home, it should be an entertaining holi day season. Comments on this story? E-mail gamecockmixeditor&hotmail.com Santa CONTINUED FROM PAGE 6 crudity in this movie hits Tarantino levels and never lets up, but this is where the movie's strange poignancy emerges. Gutter talk, alcohol consump tion and fornication bombard the audience, and when a scene arrives carrying a glimmer of hope, it makes the human effect that much more intense. When the touching side of Thornton’s acting shines through for only a few precious moments, it almost rivals the trio of emotional per formances in “Mystic River.” One comes out of “Bad Santa” feeling wonderfully duped. The movie trailers give the impression that this film is the ultimate Scrooge attack on cinematic holiday sap. This is true, but Thornton is able to inject a flood of hope into the last quarter of the movie with nothing more than two tears. You’ll get an eyeful of lowbrow slapstick, but don’t blink — you might miss the smallest rewards. Comments on this story?E-mail gamecockmixeditor @hotmail.com . 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