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Local theaters
from good to bad
by MARCY BASILE
Movie Reviewer
It’s Friday night. Television
just doesn’t excite you and your
steady skipped town to visit
“Mom.” (Hi, Mom!)
Panic sets in.
Hum. Only Four cinemas (if
you don’t count Aggie Cinema
and Cepheid Variable). What
ever happened to the days of old
(i.e. high school) back in Hous
ton when the biggest problem
you had was getting the car to
get to the theater. Forty million
theaters were at your dis
posal.
Not so in B/CS.
All four theaters: Manor
East, Schulman Six, Plitt and
Post Oak offer the Bryan-
College Station area a fair
selection of current movies.
But it’s the condition of the
theater itself that reflects the
seriousness of the manager.
In a town with only four thea
ters, they had better make
sure their theater passes the
sticky-floor, popcorn-on-the-
seat, ugly-curtain tests. Peo
ple remember grunge.
Few faults can be found
with Manor East As one of
the area’s oldest theaters, it is
perhaps the best of the four.
No overbearingly ugly wall
curtains to distract you while
you idle away the time.
(Maybe that’s bad. There you
have to talk to your date —
regardless.) The floors are
amazingly unsticky and a
popcorn carpet is almost non-
existant. The theaters them
selves are comfortable in size.
Granted, the two smaller ones
can’t compare to the large one
when it comes to spacious
ness, but the Manor East staff
does a good job of placing
movies in the appropriate
theater.
The Schulman Six is run in
much the same manner: fairly
clean floors, not too terribly
uncomfortable seats and
minimal popcorn trash. The
one question I have, though,
is why all six movies are sche
duled to start within five mi
nutes of each other? Nothing
is more irritating than to wait
in packs inside a miniscule
lobby.
Post Oak has a problem
simply because it is located in
side the mall. Late night
movie goers are out of luck if
they park by Dillards or Wil
sons; hiking has become one
of my favorite pasttimes as of
late. Also, Post Oak has a
problem with handling sold
out shows. Last weekend all
three movies were sold out.
Unfortunately, a lone ticket
girl sold every single ticket.
Neither the crowds nor the
girl were pleased.
Last, but not least, is the
Plitt, which is located in the
Skaggs shopping center.
Once again, parking plagues
movie-goers. Having to con
tend with the crowd from
Teasers and the regular late-
night Skaggs shoppers, Plitt
patrons must resort to playing
“race for your space.” Not a
fun game. The temperature
inside the theater is another
drawback. While most thea
ters cause goosebumps, Plitt
causes heat stroke. Once
again, not fun.
Well, we don’t all get the
chance to trek to various big
cities to take advantage of the
plaethora of theaters avail
able. Plitt, Post Oak, Manor
East and the Six are all we’ve
got. We should be thankful
for them. Then again, with
out us, they wouldn’t be • \
Music
‘VU’ from band ahead of its time
By WALTER SMITH
Music Reviewer
No, the Velvet Underground
hasn’t re-formed; but some
long-lost master tapes from its
late-’60s studio sessions have re
surfaced. And thanks to the
miracles of modern engineer
ing, those recordings have been
transformed into “VU,” a col
lection of perhaps the most
musically developed Velvet
Underground songs.
These missing recordings,
which originally were to be on
the band’s never-issued fourth
studio album, were discovered
last April while Verve/MGM
was preparing to re-release the
Velvet Undergound's first three
albums. Only two of the cuts
boast the original band lineup
ofjohn Gale, Sterling Morrison,
Lou Reed and Maureen Tucker.
The remaining eight tunes fea
ture Doug Yule in Gale’s place.
The Velvet Underground was
an anachronism: although it
was a band from the ’60s, it
never was a banc of the ’60s.
Sterling Morrison,
While under the supervision of
Andy Warhol, the Village elder
of pop art, the group sang of the
sex-and-drugs decadence of the
inner city art scene — a subject
too removed for most listeners.
“The Velvet Undergound and
Maureen Tucker, Lou Reed and John Gale
Nico,” the band’s Warhol- third album, “The Velvet
produced debut album, and Underground,” further con-
“White Light/White Heat,” its fused whatever remaining lis-
“experiments in feedback and teners the band had by show-
other assorted noises” second casing a set of sensible, well-
album, alienated the band from executed songs. Such are the
“fourth” album.
The record opens with “I
Can’t Stand It,” a mesmerizing,
hook-laden piece. “Stephanie
Says” is a melodic number high
lighting the richness of Lou
Reed’s voice. Some songs, like
the up-beat “Foggy Notion” and
the rambling “Temptation In
side Your Heart,” have ended up
on Reed’s subsequent solo
albums. “I’m Sticking With
You” is a cute number that de
monstrates the “singing” abili
ties of drummer Mo (Maureen)
Tucker.
Other songs, like “One Of
These Days” and “Ocean,” are
exceptionally psychadelic; they
help reveal the musical influ
ences of some popular, present-
day neo-psych bands, like the
Church and the Dream Syndi
cate.
Perhaps the Velvet Under
ground was formed twenty
years before its time. Neverthe
less, the band made an impact
in the music world and “VU”
provides the logical final nexus
for the band’s four-album stint
-3-