Newspapers / Elizabeth City State University … / Dec. 10, 1991, edition 1 / Page 6
Part of Elizabeth City State University Student Newspaper / About this page
This page has errors
The date, title, or page description is wrong
This page has harmful content
This page contains sensitive or offensive material
e 6 THE COMPASS Tuesday, December 10, 1991 ENTERTAINMENT Bats & blood: Dracula(Trone Gibbs) prepares to feed on the blood of the lovely Mina's neck (Stephanie Crouial) during the November production of the play, Dracula. The audience was beguiled and entertained by special effects and fine performances by the University Players. The play was directed by Sean Smith and Lisa G*regOry. PhotobyUrsvlaUcMUUon Public Enemy's aim is true in their new hip hop album By Tarik Scott Public Enemy, the mental revolu tionaries of hip hop, are back with ,Apocalyse ’91, The Enemy Strikes 'Black: By now just abouteveryone on the campus is famihar with the first single from the album, “Can’t Truss .Jt.” Jn this song, brother Chuck D. s{)€aks about the American slave trade and the effects it still holds on Afri- tan-Americans. One line in the song that .sums its meaning is “But then again' I got a story/that’s harder than hardcore cost of the holocaust/I’m . ^talkin’ bout the one still goin’ on.” j J The album starts off with a bass ; Jvoice intoning that “the future holds ; nothing else but confrontation.” It is jjfollowed by the first track, “Lost at /*Birth,” a beat and rhythm, which is ! Teminiscent of Public Enemy’s song j»on Buck Whilins. While Terminator )lx (the track attacker) is frantically '.‘cutting old Public Enemy songs, - I'Chuck D (the hard rhymer) begins. It In the next song, “Rebirth,” Chuck \ J kicks lyrics over what sounds like a revised version of “Security of the '-First World”, an instumental on It Takes a Nation of Millions to Hold us "•Back. On track 3,“Nighttrain,” Chuck !' breaks down how “every brother ain’t ; a brother.” The song’s message is that ; I just because someone is African- Play Review American doesn’t mean that he won’t sell his people out. Chuck D really gets mentally busy on two tracks, “1 MiUion Bottlebags” and “By the Time I Get to Arizona.” “1 Million Botdebags” focuses on how the liquor industry targets certain al coholic beverages to the African- American community. Chuck says that the African-American commu nity puts $288 million a year into the liquor industry. The line that every brother and sister who like to indulge in hard liquor should listen to is, “Besides what’s inside ain’t on the label/ they drink it thinkin’ it’s good/ but they don’t sell the sh in the white neighborhood.” In “By the Time I Get to Arizona,” Chuck kicks a fiction rhyme on how he is going to Arizona to straighten out the powers who don ’ t want a Mar tin Luther Kifig holiday. Flavor Flav, Chuck D’s sidekick, has three solo jams on the album. In “I Don’t Wanna Be Called Yo Nigga,” Flav does his own comical breaksdown on the negative use of the word “nigger.” “More News at 11,” has Flavor Flav reporting news as a co anchor for P.E. TV. Flavor starts lampin’ on “A Letter to The New York IToad, a rising star in R rock • By Gary Brinn ■« Toad the Wet Sprocket, the awe- ' «somest group to break onto the alter native scene in years, is a four-man i'band out of Santa Monica. It’s about itimeCA sent us something good. They ’still owe us big for taking Tricky Dick 'andRonny Ray-Gun off of their hands. , i Toad was still a local band when ' Ithey attracted the attention of the big labels. Columbia Records signed the band, and released Bread and Circus I in 1989. BreadandCircuswas'wellTCCci'Jcd Z in the alternative music world, and got * airplay on progressive stations. Lyri- ” cist Glen Phillips provided the group with introspective words to go with the haunting melodies that mark this - first disc. But it does jam in places, r especially on “one litde girl.” This 1 song addresses the abuse of women, a » theme that reappears on the two sub- * sequent discs. BreadandCircus ccT\ain\y showed » promise, but it wouldn’t be enough to " make you a loyal fan. (What would a Toad.the Wet Sprocket fan be called? ^ A ToadHead?) Then Pale kicked its S way on to the scene in 1990. This disc Z addressed serious issues as much, if r not niore than the first. But the music ' had a greater range, and the group C seemed more confident than in their “ first outing. The song “come back ^ down” rocks while addressing the issue ~ of drug addiction. Phillips wails on “ therefrain, which is juxtaposedagainst - an almost lilting melody in the re- ■ ‘frtamder of the song. The mandolin is t clearly heard, played by a guest musi- ^ ciani. - ’ By the latest disc, Phillips has ^ick^ up the instrument. Is the man- »’ilolin the “alternative” instrument of 2 Hhe 90’s? AiT^the group's newest disc is fear. ’Progressive Beatc released earlier this year. BUY THIS DISC!! fear is the best thing to come along sinceNine Inch Nails. The group has matured and diversified. I caught up with Toad during their recent con cert stop in V.B., and asked Phillips about the things that make this disc such an improvement over the last two. “It’s not so much anything thought out,” he said. “It is a testament to two years of learning.” The disc opens with what may be the group’s biggest song yet, “walk on the ocean.” It is a reminder of Toad’s early work—but from the outset you know something is different here. The harmonies are noteable in this tune, with bass/keyboard player Dean Din ning and guitarist Todd Nichols sing ing back-up. The lyrics are “what I need to write about, to work out,” Phillips said, adding “it’s what troubles me in my life.” The demands of stardom must be high on that list—that problem is addressed several times on the disc. The disc version of “stories i tell” includes the lines “fame is a cancer and ego its seed/now i wasn’t looking for heaven or hell/just someone to lis ten to stories i tell.” This sort of belly aching might make you puke from a less skilled writer—but Phillips' hon esty shines through. The kickingest song on the disc is also the strongest lyrically. In “hold her down,” Phillips returns to women’s issues—this timeaddressingrape. This song is gritty and no nonsense. He sings “and i/would have a hard time facing you/this crime/the shame of what a man can do.” The most interesting song on the new disc is “butterflies.” It combines spoken words with an almost chant ing lyric, and a refrain that features as many as three sets of vocals sung simultaneously. The lines are inter woven with great skill. Not many people could pull this one off. This group is as good if not better on stage than in the studio. After tak ing a wild ride through a Toad con cert, the studio work sounds almost anemic. This may be due to the drum playing of Randy Guss. It is almost not there at all on many studio tracks, but it breathes new life into the music on the stage. During the concert, Phillips sang a snippet from everybody’s favorite, Willy Wonka and the Chocolate Fac tory. You know the piece—old Willie is singing about the world of the imagi nation. We all know how it ends—a dream come true for Charlie. It seems that T oad has earned its share of dream s come true. OO Well folks, Outer Limits is history. The Vah Beach club opened in May, and was as cool as karma. But, with out a progressive radio station, there just wasn't enough support. (Did we ever thank the jerks on the V.B. City Council for putting the nails in WOFM's coffin? Here's a big rasp berry to you guys!) Now alternative music fans are limited to a few hours on WHRV (public radio at 89.5) and an houiron FM-99. If the Boathouse goes the way of the DoDp, progressive rockers may soonl follow it into extinction. Of Goufse Outer Limits was a little big. Mayte a smaller club could make it. Les^lmg names, but... Gra^ your sticks and hit the beach for some cold-water surf Maybe a progressive night-life will return with the tourists. Players dazzle audience; in comic thriller Dracula Post.” M’s his retaliation for the/’oit’i poor reporting on a domestic incident that tooi^ place between Flavor and the mcpt jigf of his children. Flavor rips The New^fOrk Post up with lines like “Americj^’ s oldest continuously pub lished d^jl^ piece of bullsh .” Two songs on this album were made sp^fically for the brothers who like to pjiipp the jams in their boomin’ system^^“Get the F. Outta Dodge” and “Shij{j’em Down.” The pp^y song on the album that I believeijj\yill disappoint most true Public Enemy fans is “Bring the Noize”435jith Anthrax). It’s a remake of the song from the It Takes A Nation of Milliohs to Hold Us Back album. This lime around the song is done in a heavy metal fashion. No dis to heavy metal and those who like it, but this version of the song lost all its “soul” in the remake. The production on this album is excellent. This time around Public Enemy was produced by the Imperial Grand Ministers of Funk who helped to bring back the flavor (sound) of their first two albums. This is an al bum that all culture minded B-boys and B-girls should have in their hip hop collection. Public Enemy is help ing to put the mental revolution in full effect for ’91 and if you didn’t know, then get a late pass. By Ursula McMillion The University Players beguiled their audiences with comedy, thrills, special effects, and great individual performances during the Players’ NovemberpresentationofDracu/a in the Little TTieater. The play, based on Bram Stoker’s 19th century novel, tells the story of the sleek vampire, Dracula (Trone Gibbs), who tries to make the beauti- ful Mina (S tephanie Crouail) his bride of the night In order to do this, he must drink her blood over a period of time. After her death, she will then be immortalized as his vampire bride. The play opens in the living quar ters of an insane asylum, 20 miles out side of London. Dr. i^thur Seward, (Chester Dunton), headmaster of the asylum, is concerned about his niece, Mina's, strange behavior. He has called in an expert, Professor Van Helsing (Vincent M. Swift). When Van Helsing arrives on the scene, he shocks Seward and Mina’s fiance Jonathan Harker (Del Potter) with his diagnosis: that Mina has been the victim of a vampire. At first this information seems ludicrous to Se ward and Harker. A visit from the count to the asy lum , however, and Mina’s rapid meta morphosis in his presence causes Se ward and Harker as well as the rest of the members of the household, to come to terms with the danger the debonaire count poses to Mina. Mina is never to be left alone, for fear that she might fall victim to the fiendish count. In his efforts to reach Mina, Drac ula displays supernatural powers, including the ability to transform him self into a bat and to command people through hypnosis. The tension builds as Seward and Harker arm themselves with garlic. Album Review crucifixes and a wooden stake, in an attempt to thwart Dracula’s efforts. Many scenes were played with humor and wit. Tom Williams’ per formance as the insane Renfield was especially entertaining. Williams’ an tics included catching and eating flies, and throwing tantrums. The action was enhanced by James Gibbs and Randy Berry’s excellent technical direction with bats flying over the Little Theatre audience, Dracula disappearing in puffs of smoke, appearing through a painting on the wall and spooky organ music highlighted with human screams. Shortly before dawn, Mina, now under the count’s spell, leaves the asylum and goes to the count’s side in his mansion. Seward, Professor Van Helsing and Harker follow her and kill Dracula. Dracula, freshman Trone Gibbs, was great. His speech and manner isms were excellent for this lead role. He kept the audience in suspense with the assistance of good special effects designed by James Gibbs and Randy Berry. He also won enthusiastic re sponses with his comic asides. When Dracula and the sex-starved Sybil are getting into the elevator, she wishes that the elevator would get stuck, al lowing her to spend intimate time with the count. “Not tonight! ” he quips with a roll of his eyes. The portrayal of Mina was senior art major Stephanie Crouail’s best performance yet with the Players. Her swings from the coy young lady of her day to the sultry soon-to-be Vampiress were excellent. Many good supporting perform ance added to the success of this pro duction. Chester Dunton was convincing as Dr. Seward; butthisperformance not as strong as his previous apeaj ances among the Players. However be was hilarious during the scene when he nervously smoked a cigarette. Vincent Swift turned in a flawai portrayal of Professor Van Helsing Swift's delivery lacked inflection aii( was often stacatto. This, combine^ with frequently poor projection, madj his character less than credible. Senior Del Potter gave a believably performance as Jonathan Harke^^ Mina’s fiance. The chemistry betwees the two was a little flat, but Harker,’{ basic, “boy-next-door” characterizi.u tion provided a dynamic contrast witli[ the alluring, diabolical count. 1 Renfield, Tom Williams, is a vij eran with the University Players. Hei' was an excellent schizophrenic. Sybil Seward (1986 ECSU gradu-, ate Jocelyn Proctor), the sex-starved|i and somewhat ditzy sister of Dfll Seward from the USA, was funny( and the audience responded wittlj laughter at her frequent visits to the!i living room bar for sherry and her ag-^ gressive nature with men. She aniii Mina had a hard time regaining theiif stage composure after a minor flaw iii; i the set. Miss Hennessey, freshman Rosa D. Riddick, played a convincinj housekeeper with dignity, grace anjj a great British accent. Wesley, freshman Bruce Boydj makes his debut with the players in thj supporting role of asylum attendant His performance was strong. Shawn Smith directed the produc tion with assistance from Lisa Gr& gory. The play’s directing was siii perb, with excellent pacing, blocking and overall emotional tone. Dracula was another hit for University Players. f Toad the Wet Sprocket, a four-man group out of Santa Monica, is touring in support of its new disc, fear. Tl)e^ group has established itself in the progressive music world by combining rocking tunes with social^-; conscious lyrics. They recently appeared in Virginia Beach. FHou>co.rusyofso„>i^\ House Party II has laughs galore By Tarsha White The film House Party, released in 1989, was more than just another rap film; it was an impeUing vehicle that proved the economic power of to day’s young Black film goers. Pro duced, written, and directed by broth ers Reginald and Warrington Hudlin, House Party was an amusing look at teenage dilemmas including drinking, sexual responsibility, and, of course, music and parties. The film also emphasized the value of family. House Party's success placed Kid-N-Play at the top of rap as well as the silver screen. Rappers Kid-N-Play have another hit in the film’s sequel. House Party II. In their second feature film Kid-N- Play prove to audiences that they are not just another “rapper-tumed-actor” duo. House Party II reunites most of theoriginalcastof//c>ujef’a/'fy,which • , X Th®" Play gets hold of Kid’s check includes Martin Lawrence, who plays and gives it to Sheila Landrow (Iman) Play s annoying buddy at the record with hopes ofgetting a recording deal store; Tisha Campbell, as Kid’s girl friend, Sidney; and Full Force as Kid- N-Play’s pestful rivals. One member of the original cast that is absent from this sequel is Robin Harris, the come dian/actor who played Kid’s father in House Party. Harris died at the height of the film’s success. Kid, Play comes up with the ideaIof|' the Pajama Jamy Jam to raise moi)eyj for Kid. The illegal party ends disaster and Kid gives all of the money I to his work study supervisor damages. " , At the end, Play sells his car, whicli I he calls ForPlay, to get Kid’s money I back. S ubsequently, Kid ends up st*y', ing in college after all. House Party II was an excelled; comedy. The actors performed fessionally and the plot was realistic;' The casting was brilliant, also. M| ® the actors seemed to work wp''j together. House Party II is the film that makes people laugh and giife® a positive message at the same tim?!. I'j tries to encourage kids to go to col^8®i and stick with it even if the beginnjnSj is not so great. It also emphasizes m] with hard work, perserverance, loyalty to your friends things that oi)c J seem^ impossible could turn ouij pretty good in the end. T r.‘i £-°j House Party II was dircctedhy^^l^ production team of Doug McHenry| and George Jackson, who previously produced such successful filmsasN^i Movie Review In addition to the original cast. House Party II also includes super model Iman, who plays Sheila Lan drow, a con-artist who seduces Play; Queen Latifah asZora, Sidney’s insti gating but conscious friend; Kamron as Kid’s hip white roommate; and Georg Satnford Brown as Kid’s Black History college profesor. Whoopie Goldberg has a bit part in the begin ning of the film as well. House Party II basically takes on where House Party left off; the kids are now in college. Kid is serious about going to col lege and doing well because of a promise he had made to his father be fore his death. The local church has provided funds for Kid to go to col lege, and everything is looking fine . pened with his money and he and Play get into a fight. This is one of the most amusing points in the movie. The major conflict in the film is that Kid doesn’t have the money to pay for his tuition. After realizing how im{X)rtanl going to college was to Jack City, Krush Groove and derlies. Its soundtrack includesarus[| such as Kid-N-Play,. Tony! TonM Tone!, Ralph Tresvant, Naughty Nature and Boys II Men. |
Elizabeth City State University Student Newspaper
Standardized title groups preceding, succeeding, and alternate titles together.
Dec. 10, 1991, edition 1
6
Click "Submit" to request a review of this page. NCDHC staff will check .
0 / 75