(Ehr Daily (Ear Brrl Minus Mimics Wilco; Serveert Pure Pop Minus 5 Down With Wilco As if becoming the unofficial fourth member of R.E.M. wasn’t enough. Seattle’s Scott McCaughey, leader of the long-running Young Fresh Fellows, joins the Athens rock godfathers in the studio and on tour. He also manages to keep a steady side project, the loose-knit Minus 5, which teams him with R.E.M. guitarist Peter Buck and the Posies’ Ken Stringfellow. But McCaughey has really robbed the rock gold mine this time. For his latest Minus 5 release, McCaughey recruited alt-rock kings Wilco to sit in and play at being a backing band. The album, fea tunng Wilco’sjeff Tweedy and company, is appropriately titled Down With Wilco. The situation is amusing, something like when The Band backed Dylan in the mid-’6os, but only if Dylan was some how inferior to his supporters. Though sharp in spurts and catchy in a few stretches, Down With Wilco is no Yankee Hotel Foxtrot. Not that it aspires to be, but the participation of the now-gild ed band attracts greater expectation - more than the next release of the side project of an indie-rock elder statesman should otherwise attract. Wilco provides superb support, sup plying everything from bubbly power pop tc retro-’6os honey-soaked rockers. There’s a candy playfulness to its back ing here, trading in its cool art sound for some of the man-child giddiness of McCaughey’s cutesy rock experiments. McCaughey couldn’t ask for a better backdrop. Conversely, Wilco the back ing band deserves better songwriting from its captain. McCaughey’s songs largely aren’t up to scratch - not even up to the catchy standards of his two previous Minus 5 and Young Fresh Fellows albums. The melodies are con fused and cluttered, and the lyrics strug gle for a too-showy, clever hook. Down With Wilco lacks any real con sistency. For every excellent “Where Will You Go?” there’s pitiful filler like Llinillia Take 15/501 South towards Pittsboro Exit Main St./Southern Village JUNGLE BOOK 2 53 1:00-3:00-5:00-7:10 HOW TO LOSE A GUY IN 10 DAYS KHS 1:30-4:00-7:00-9:30 DAREDEVIL OPCHJ] 1:15-4:15-7:15-9:40 SHANGHAI KNIGHTS KHS 9:15 CRADLE 2 THE GRAVE X Matinees $5.00 |OIGI TA L | SEATIWC ( MOVIES AT TIMBERLYNE Weaver Dairy at Airport Rd. CRADLE 2 THE GRAVE I Daily 3:15,5:25,7:35,9:45 GODS 8 GENERALS* KB Daily 3:00,4:00,7:30,8:15 DAREDEVIL* Pffi Daily 3:05,5:10,7:20,9:25 JUNGLE BOOK 2* S Daily 3:15,5:15,7:15,9:15 SHANGHAI KNIGHTS ES Daily 2:50,5:10,7:30,9:55 ( PLAZA THEATRE Elliott Rd. At East Franklin V 967-4737 . THE LIFE OF DAVID GALE 1 Daily 3:30,7:00,9:40 1 OLD SCHOOL i Daily 3:15,5:20,7:25,9:20 DARK BLUE Si Daily 3:25,7:15,9:45 ABOUT SCHMIDT S Daily 4:00,7:05,9:35 HOW TO LOSE A GUY IN 10 DAYS Eg Daily 2:50, 5:15, 7:35,9:55 ch ngggj a > ggg||7/||Jgg 7:00, 9:30, SAT-SUN 2:00, 4:30 I A BEAUTIFULLY SPUN THRILLFR! TR Two THUMBS WAY UP! fuel luita. BUUIM.kiUM * ’ A JL A TOWERING > V. ' : >3 *241 ACHIEVEMENT! * *7t 1 the QL)IELAMERICAN V 3L ! 7 00. 9 10. SAT SUN 2 00. 4:20 (no 7 00 show Weds 2-19) 0™ rnrnm 7:10. 9 20. SAT-SUN 2:10, 4 40 ~TSUN, ■ ,'i. Adaptation. 7:10. 9 20 SAT-SUN 2:10. 4 40 THE PIANIST 7:20, SAT-SUN 1:30, 4:20 “Daggers Drawn.” For every glowing “Retrieval of You,” there’re two point less and trying numbers like “That’s Not the Way It’s Done.” It doesn’t help that McCaughey’s voice simply isn’t interesting. His flat Beach Boys croon quickly wears out its welcome, and its robotic consistency begins to grate on one’s ears. Calling this incarnation of the Minus 5 a super-group implies that it’s a col lection of renowned talent - which it is -but also that it’s a successful merger - which it’s not. McCaughey and Wilco are both capable of far better. If Down With Wilco proves anything, it’s that such strong talents ought to stick to their own comers. More is less. By Brian Millikin Bettie Serveert Log 22 Holland’s Bettie Serveert first gained recognition in 1992, when its album Palomine became an indie rock classic. That level of success soon disappeared, and the band settled into the role of cult artist over the remainder of the decade. If the group is ever to return to main stream prominence, its new album should be the one that does it. It would certainly be well-deserved. Log 22 is the best kind of pop record, one that sounds instandy familiar but evolves into something more distinctive. Lead singer and principal songwriter Carol Van Dyk is the best weapon in the band’s arsenal. Her vocal delivery recalls signed jersey you’ll never ever wash: $ 150 \ john franco poster: S2O \ 2003 game schedule: $0 / \ \ / subscription to “baseball america”: $62 \ \ trophies: $0 / / \ \ j / foam finger: $6 / jHT" | finding out there’s an internship for people like you: priceless Apply for a summer internship in the sports business at masteixard.com. 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Inc 22iw*L moub Bass ban*PHHYertlrtMnr du BWhIISIISTT * Co**** ft ij '25 yun olapeand art woMI *iM-or P££MUMt*gradM students ma U S Department ot Education accredited 2-yeer or 4-year codeotfuniveruty *s of 1/WJ3 and at the tm of winner selection end noMcafion Employees el IteterCard irtemabonai >ncoroomed :-Sponsor') Master Card member financial msMubons Maior League naseoau eropeities inc mib Advanced Media i p Major League Baseball Enterprises Inc. the Office of the Commissioner of Baseball, the American and National Leagues of Professional Baseball Clubs and the Malor League Baseball Clubs and each of their resoectiw shareholders emoiovees Derents directors officers affiliates moresentafTves aoenfs successors and assions ihemneftw mi r Fntm< i i.mnw a„ arrrunvr iSjaSSSSSrSorSpSTto SrtlSw’TS cSltistS y gOT -y ,rW *- *"**■ Mrtn * n successors and assigns ano advertwng.-promoion agenems icoMdcttvefy Rewaseo Parties i and members of the immedlfctKdv imottw- tame, brothers daughters andU^e SZT-”- y-fgggi: 7*S?**. 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M/sc i (ntortmmtnt if you could start your own music or entertainment company what would do and how would if be different’ The entry must be your ongew creabon mEngteh and camoMwve t>2nprem**h piMshHv submmad m any pnor Modification of an existing work Does not qualify as original. 5 ) FuUy complete the onknt antiy torm and 6) Ock the -Submit button limit one entry per person and am e-mail iterra Mr each selected came at stody ler Me terehen el Me Pramohan Parrel (i t a manwm el awe Spam Managamant and eat Music I EatartaiMßam aaaav) nddllmii eatres rataretd irem tach nmw m* . . *dd [ ss and olher inlotmalion to PST lor the P*PP°** 01 administering ttws Comes! and tor other uses by Sponsor is permuted by applicable Mw Sponsor s not responsible lei lost incomplete We stolen or rmsdueded entries or submissions theft dastroebon or unauthonred access to or alleretion of entrws fadurts or mMtwnctwns” S ** h *! ,OTISSIO " * communlcl . l>on • • * "V *2™* ***** mcMdmfl but not kneed to any mpiry or damage to entrant s or any other persons computer rented to or resulhng horn parhckMbon m ffm ConMst errors n these Ofhoal Rides m any Contest-retated adveiimments or oßrer marenab fhecancataton wwntwr or n *y y*" <*<*" ***?*. * <* !"T ,<,wh y "** err* Winners (16) Music & Entertainment Winners Entry Perioanand #2 kIM\ Rel * v *?^ W P -100 * n ‘**'* 3 <*Pbon "d/ot men on or about V2A)3 Nedhe. Sponsor nor anyone acting on its bthal wll enter mlo any cammumcahons with any entrant regarding any aspect of this Contest other Mir to notify ootantw winners Lend one prtie per person tamdy orhoueehoM Prtres 50: Sports Mmoenen* Winners fltfiMinr aDiaftimniMlWinwa Attend the MasterCardi Priceless Edge Summer Study Program thereinafter summer study program )at a participating university to be dewgmfed by Sponsor between t?C3 and 7 3/03 teetuong an edioducwon to each wmnar i sehcled course of study i*dhe< m* Spcxrs Management or Muwc & E ntertamr-wn* eMuceyi wtm access to tailed mtustn txnerts n trairexM mmnre "— U - c rwn i t f w ° n Pffb9 idwrersdy s campus or-campus men plan designated by Sponsor ground transportabon KVkon- off-campus traxront $t OOC wmcfi mav be uMd toware spendng money and the opportunty to conwere tor one ot twve SSUnltm * poet n** 9 *-- lot * fn f fl y ll Py >Bnc *• ** mdad to) the opportundy to pin a MLB' Club designated solely by Sponsor and oancioatt m a two-week mtemshpatiaMLß' CM) s admmtrabve ofkrato support the in sodium promonor. 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Swootatotn [ittmon Mihtottoo Srttom Giotot Promotion Dhoie* HntorCort Montfmol /nterpemred 7t Porotmo Skoot Pontmo. HY 1K77 fStt >wrarera mtmwmrwmm m m. m ream sene e remmr re*ef cewrernrey reer ireme awe foereu tftomo otto Mctm Me Brer 8 g* ef ftm mtorCmO cam araAar. it any) M Me MMMag aMrra ATT*. DIVERSIONS everybody from Gwen Stefani to Bob Dylan but is ultimately unique unto itself. She can utterly hypnotize you with a ballad like “Captain of Maybe” but can also tear into such a song as the incisive “Not Coming Down.” Aside from Van Dyk, what makes Bettie Serveert so appealing is how it manages to create seemingly simple pop songs that are really expertly crafted. Listen to how the album’s best track, “De Diva,” begins gently, adds instru ments slowly, builds momentum until it reaches its transcendent chorus then launches into a stinging guitar solo by Peter Visser. At a playing time of over 60 minutes, it’s close to an embarrassment of riches. Asa result, the album eventually loses steam toward the end. This is par ticularly evident in the 8-minute “White Dogs,” an apparent homage to the band’s primary inspiration, The Velvet Underground, which is even thanked in the liner notes. Unfortunately, the song is too mean dering to justify its length and will likely lose the listener. Despite a couple of minor missteps that better editing could have fixed eas ily, the band recovers admirably, finish ing on a high note with the irresistibly trippy disco of “The Love-In.” There is an unfortunate stigma attached to music produced by foreign based pop bands - that most of it is too weird and inaccessible to enjoy. The truth is, Log 22 is some of the best pop music you’re likely to hear all year. By Michael Pucci Experienced Singer/Songwriter Continues With Discord, Talent By Michelle Jarboe Staff Writer Ani DiFranco seems to have traded in her romance with liberal thought in favor of a love affair with dissonance. Evolve, DiFranco’s 14th LP, overflows with incongruent tones that paradoxical ly attract rather than repel the ear. And ,— -^YaiburrY*, /cey/ews) Ani DiFranco Evolve ★★★★☆ these tonalities are what bind together elements of funk, folk, jazz, country and Latin music into an eclectic evolution of style. The aptly titled album evokes com parisons to DiFranco’s career, which began with her 1989 self-titled LP fea turing her voice and her guitar and has led to an elaborately produced con glomeration of instruments and styles. But the artist who has developed her compositions dramatically retains the driving element of all her albums - powerful poetry. Over the slighdy jarring chords of “Serpentine” and “Icarus,” DiFranco’s voice prevails, dictating the movement of the music through its rhythm and diversity. From singing to pseudo-rap ping, and most often somewhere in between, DiFranco carries the album with her words. And this is nowhere more evident than on “Serpentine," a 10-minute med itation on self, country, politics, music and the media. Instead of becoming a repetitive tirade, the lengthy song is dis tinguished by the rhythmic presentation that highlights each line and drives every point. DiFranco uses her voice as an instru ment to compliment and balance her music. Guitars, piano, saxophones, percussion and other instruments are allied into the melodies of “Promised Land” and “Slide” as the vocals travel from husky to full, from harsh to soothing. Laugh-infused vocal gyrations make it impossible to sit silently and lis ten to the jazzy y. SQQBqO notes of “In the Way” and “Here for Now.” And DiFranco’s range of abilities is showcased by the contrast of revealing tunes such as the building, melancholy beauty of “Icarus,” one of the album’s most impressive lyrical and musical masterpieces. The notes often don’t instandy fit together but are resolved into exotic chords that eventually find segues into harmony. Similarly, vocal and musical Thursday, March 6, 2003 contortions are always balanced by sim pler, calmer moments, few and far between though they may be. “Phase” takes a less elaborate approach than many of the other tracks. Its unpol ished guitar work is similar to that of Little Plastic Castl/s “Two Little Girls.” But the gendest point of DiFranco’s evolution is the closing “Welcome To:,” a song previously released on 2002’s So Much Shouting, So Much Laughter. The musical hills and valleys of this finale knit raw emotion and polish in an appropriately final catharsis that leaves nothing to be desired. The path of Evolve is connected to DiFranco’s previ- ous albums yet departs into its own world of incongruence and rhythm unparal leled by much of her recent work. But that’s not surprising coming from the nonstop singer/songwriter, who suc cincdy explains herself through the lyrics of the album’s tide track: “I’m just trying to evolve.” The Arts & Entertainment Editor can be reached at artsdesk@unc.edu. 7