March 2, 2000
Samiha Khanna
A & E Editor
Monterrey’s
Tucked away in a corner of
the Walmart shopping center, it
wouldn't appear that Monterrey’s
had much to offer, or that it is a local
favorite, calling in crowds of hun
gry people week after week.
The modest restaurant does
have a strong appeal, though, judg
ing by the 35-minute wait on a Fri
day dinner hour, and the presence
of many an Elon student.
The waitstaff is quick and
courteous. The restaurant is also
very clean for such high demand.
You start off with the classic
chips and salsa appetizer, but these
are not any ordinary combination at
Monterrey’s. The chips are buttery
and light while the salsa is noticably
fresh and mouth-watering. There
are the traditional entrees and sides,
such as enchiladas and tamales, as
well as great desserts like sopapillas
and fried ice cream.
The price is more than rea
sonable, especially on a college
budget. Monterrey's is definitely
worth a try and a nice break from
campus dining.
“The Green Mile”
“The Green Mile” does not
give anything away in its previews.
While going into the theatre you
expect a story similar to “The
Shawshank Redemption,” since the
director of each movie is the one
and only Tim Robbins.
However, you soon realize
that it is a 3-hour tale about some
thing totally unexpected—a “Ti-
tanic”-like flashback sequence,
bladder infections, a curious litde
mouse and an electric chair.
The film is much more vio
lent than expected, and the serious
ness of the issues involved may
elicit a shocked or upset tear or two.
Some scenes are slightly un
settling to the stomach, but Tom
Hanks’ amazing abilities make you
want keep watching despite the
stretched-out story. Take some tis
sues to this one.
D'Angelo hypnotizes with "Voodoo"
Faith Gaskins
Contributing Reporter
This Friday at 8:30 the walls
of McKinnon Hall will resound with
the pulsating calypso rhythms of
the Caribbean Sound Steel Band.
This four-member ensemble
from Jacksonville, Fla., will bring
their unique island sound to Elon
just in time for the recent warm
weather.
Wielding nothing more than
steel drums, Barry Olsavsky, Sean
Tarleton, Mike Wilson and Danny
Stimpson have been delighting au
diences all over the eastern coast
with their captivating beats.
“Caribbean Sound brings a
wonderful sense of style and pas
sion for their music,” raves Charlie
Wade, the Director of Marketing
and Communications for the Jack
sonville Symphony Orchestra. “[It]
is absolutely infectious.”
This band began transporting
people to the islands with their mu
sic in 1986 using a sound that mod
els the original Steel “Pan” sound
from born in Trinidad and Tobago
in the 1930s.
Today, however, they remain
dedicated to the discovery of new
and exciting places to take this style
of music.
“Through the evolution o^
Caribbean Sound we have devel
oped a passion for bringing the rich
history, the harmonic sound of the
steel drum, and the unique person
ality of its members to our audi
ence,” declares the band. “Our
sound is one of diverse blending,
mixing Calypso, Soca, Reggae,
Samba, Mambo and Jazz.”
Their latest release, “J’Ouvert
Cornin',” is available on
Amazon.com and includes such fa
vorites as “Merengue” and “Kiss
the Girl” as well as covers of the
Jimmy Buffet tunes “Ho Ho Ho and
a Bottle of Rum” and “Son of a Son
of a Sailor.”
Their first disc, “Panic At
tack,” is also available and features
such favorites as “Jump in the Line”
and “Caribbean Wind.”
The group performs in a
myriad of situations, from formal
and informal concerts, school per
formances, residencies, master
classes, festivals and orchestra pops.
It was recently chosen for the 1999-
2000 Florida State Touring Pro
gram assistance for productions
within Florida.
This musical cruise promises
to be a stimulating and sensational
way to start the spring. Spring break
will seem that much closer with the
unmistakable sounds of the Carib
bean within Elon’s own walls. ,
Madeline Groman
Contributing Reporter
If you’ re thinking D’ Angelo’s
video is the only think hot about his
new album “Voodoo,” then think
again. This mixture of Jazz and Blues
thrown together with a little of todays
popular hip-hop, creates the seduc
tive, but easy to groove to sound of
“Voodoo.”
The smooth, sexy vocals of
D’Angelo is joined by the smooth
rhythmic talking of Redman and
Method Man on the track “Left and
Right,” creating a beat so likeable
you’ll want to hear it again and
again.
The very Jazzy “Spanish
Joint” track is one you won’t want
to miss either with its quick, funky
beat kept going by the background
bongo drums. The twangy sound of
the bass guitar flows stunningly with
the array of horns.
From saxophones and trum
pets to drum symbols, this CD is
mellow enough to fall asleep to but
also has a light
enough groove to
do work to.
Making
quite a stir in the
early nineties with
his first album,
“Brown Sugar,”
his sophomore re
lease was eagerly
awaited with open
ears.
Who knew
that this self taught
musician in his
early twenties
would bring back the cool, classic
sounds of music legends like Marvin
Gaye and Curtis Mayfield with a
nineties R & B twist?
Some of these soulful beats
may have even been inspired due to
recording “Voodoo” in Jimi Hendrix
old studio.
Put into a class all by himself,
“Brown Sugar,” opened the doors
for D’Angelo, quickly making him
a household name.
Working with popular artists
such as Method Man, D’Angelo
left folks wondering who’s
uniquely, seductive voice was left
lingering in their heads from songs
like “Make Up’s 2 Break Up’s”.
So whether you’re a fan for
rap, hip-hop, or even rock, you’ll
want to experience the enticing, sexy
and jazzy sound D’Angelo offers,
possibly becoming a new favorite
for any music lover.
Warm up with Caribbean steel
Pumpkins return with true rock CD "Machina"
Tom Mullen
The Pendulum
Billy Corgan wanted to
rock. First listen tells me Corgan
forgot all about the dud “Adore"'
and remembered that he rocioed
i before and still could, Corgan has
said that if “Adore” wasn’t made
that there would be no Smashing
Pumpkins. As I ponder that
thought I remember waking up to
‘Today” of "Siamese Dieam” or
driving all over the streets late at
night to every part of “Gish ” I
remember that Corgan meant
something in the alt-rock '90’s
and they were the biggest band on
the planet.
With Cobain and Vedder,
they provided a kid the reason to
buy a guitar. In the days of
Backstreet, Spears, and Cobain
dead, and Pearl Jam in jam-jam
land, Corgan knew that he needed
to put out a “rock” record.
The Smashing Pumpkins
have returned. With Flood at the
helm again, Corgan searches te;
his calling. The Pumpkins have
gone back to what works; riff,
hook, bridge, chorus» anthem cho
rus- The basics for a hit single,
now all you need is love to make
them hits. Corgan doesn't disap
point with many lyrics atotlove»
or loss of love. He is searching for
something on this record.
Back on board is Jimmy
Chamberlain, kicked out previ
ously for drug abuse. 30cked out
nowis*to-di^fbf *D’Arc^4ordr«g.
abuse* Bring in MeKssa Auf der
Maur firom and you got old
blood €«Jt and new blood is;,. ,;,.
a
more into the album. “The Sacred,
and Profane” giv^s us one of his'
all a of me now, and: if I fa^'
Yo«^a1|ap^ofii^iiow/T^j^^
'm'thev' v
But this jdibkiii^jtiit t^tgd"/'
ing to do it It is not as bad as
‘*Adorer but It h missiag some
thing. Ibid first single was “The
Everlasting Gaze/' and no other
song sounds like it on the aibtmi,
'‘Heavy Metal Machine ” maybe,
but it doesn * t have the hook or struc
ture to make it worth mentioning.
Where is die‘‘despite all my rage» I
am still just a rat in a cage” lype
song?
“Machina...” is a beautiful
iialbum that reflects the band was
happy making this record I am a
sucker for a good chorus, and
Corgan delivers this each and eveiy
time. Guitars are abound on this
album, making it enjoyable to listen
to. Chamberlain is heard through
out tight and concise on drum*
nfung as he ever was. Being a jazz
drummerin rockdoes pay off some
times and helps it stay unique.
D’Arcy, who played on the album, i;;
is non-existent, but we allknow that
Corgan rules this band. This release
isprobably as rockas the Pumpkins .
will ever get. Maybe they will go
retro and pull out a grunge or fuzz
sounds again. The reason Corgan
won't is ^athe isn't as mad as he
was in the past. I thjink all the
turmoil die batjd had with mem*
being glad to be back*
SotfeCcitigm wants to rock,
but at the s^e time he holds his
rest of the band. Side note: Corgan
» t I 1 I ~ if' *
itar
'ing ^klebas'go^n-
l^ttbe ^cMorship i;
' sbngC €toted» M
all Mi&|s but ?
it shows his ttirn from anger to
* V ^
doesnH quite do it» butas we
can be thankful that the Smashing
Pumpkins are still around to give
us a song that won*t include a
turntable scratch or feature Lil*
Kim.
One day die pendultun will
swing towards rock on the radio,
and onto the masses. When that
time comes, Corgan will smile
again: “I’m alone,,! blow the dust
of my guitars... cause I have
survived...”