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Thursday • July 14, 1994
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From Coin to Reel life
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By Josef Elchanan
The Battalion
n the movie screen, chrome-
plated guns blaze and razor-
sharp knives flash. Costumed
vigilantes and superheroes
come to life, attacking crimi
nals in all their evil guises.
Yet the superheroes’ origins were
many times not
) flashy-they
came from
newsprint.
Past money
making films
like the two Batman movies, the Teenage
Mutant Ninja Turtles’ trilogy, and the
Superman movies came from a less glam
orous - yet no less revered place - than
Hollywood. And so did recent and up
coming films like “The Crow,” “The Shad
ow,” and “The Mask.”
These films originated from a melding
of artwork and literature, the tales of su
pervillains, future civilizations, and, most
importantly, heroes found in comic books
which can be found at Bryan-College Sta
tion comic book shops.
Guy Jones, owner of BCS Books &
Comics, said movies generally remain
pretty faithful to their original comic
book screenplays.
“Overall, (they do a good job), but a lot
of times the films change a few things,”
Jones said.
For instance, David Lytle, owner of
Lytle’s
Comics and
Games, said
the Batman
films did not
meet every
one’s expectations, but still stuck to the
Batman theme.
“Die-hard Batman fans didn’t like it,
(but) I felt it gave a dark feel,” Lytle said.
Lytle cited the period of increased
comic book interest following the Batman
movie’s release as “The explosion.”
“That’s ending now, or earlier, (but it)
was spectacular,” Lytle said. “Most
stores opened for that market.”
Clarence Mahaffey, Mark Ramsey,
See reviews:
“The Crow” soundtrack, Page 3
“The Shadow” movie, Page 4
And Kevin Franzen, co-owners of
Purple Cactus Books and Comics,
said they started selling comic
books at conventions and trade
shows, doing it for extra money.
After enough inventory was
bruit, their Purple Cactus store
opened.
The local comic book store own
ers discussed the perception many
people have of comic book readers.
Mahaffey said comics are read by
all types of people, saying most of
his customers were adults.
Lytle agreed:
“We have professors who come
in here - they like this stuff.”
For a new generation of comics,
owners mentioned titles like
Sandman and Sin City, comics geared to
ward the more mature readers, much as
traditional comics, like X-Men and cer
tain Batman titles.
For the adult reader, comic books have
the visual direction of television and
movies, the writing of novels, and cost
much less than either.
Popular comic book characters have leaped
out of their newsprint pages to the big screen.
Batman (left), has been played by Michael
Keaton in the first two movies, but will be
Photo Illustration by Stew Milne/THE Battalion
played in an upcoming film by Val Kilmer.
The Crow (middle), was played by the late
Brandon Lee. The Shadow (right), was
played by Alec Baldwin.
Mitchell/THE Battalion
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The owners differed concerning the
role comics should have. Mahaffey said
comics made “good investments,” as well
as good reading.
Jones held the converse theory.
“(Comic books are) not meant to be
collectible, but to be read,” Jones said.
“You can have more than a minute of en
tertainment from comics.”
Lytle said that comic books can offer
something for everyone - from titles
ranging from the Japanese Manga to
Archie.
“If you haven’t read comic books in the
last three to four years, you should pick
one up,” Lytle said. ‘You’ll find a big dif
ference.”
Resort offers fun without the clothes
For the people on the Live
Oak Ranch, recreation -
not entertainment - forms
the enjoyment of nudism
By Jeremy Keddie
The Battalion
T raveling west along Highway 105, between
Navasota and Brenham, homes are separat
ed by cattle-laden pastures, windmills pump
water, and vendors sell vegetables and barbeque
along the roadside. But one sign may appear un
usual to the passing eye.
“Adopt a Highway - Next 2 Miles - Live Oak
Nudist Resort”
And it is this sign which indicates the presence
ofTexas’ largest nudist resort, located in Washing
ton, Texas.
Viewed by some as an alternative lifestyle, live
Oak member and employee, Jennifer Nunez said
she believes the public has misconceptions about
nudism and nudist resorts - such as Live Oak
Ranch.
Nunez said people tend to confuse nude recre
ation and entertainment. Those who confuse the
two often make the members of a nudist communi
ty uncomfortable while visiting.
“The same rules, etiquette and morals apply as
they do outside,” Nunez said.
With last week being National Nude Recreation
Week, The American Sunbathing Association es
tablished two goals for the association:
“To make the general public aware that nude
recreation is an activity enjoyed by regular people
from all walks of life, and to show people what good
neighbors nudists can be and the positive things
they do for the community.”
Nunez said nudists choose their lifestyle for a
variety of reasons. One of which claims individuals
view each other as equals, because clothes tend to
indicate the socioeconomic status of individuals.
“Nudists are friendly and very trustworthy since
everyone is more vulnerable when naked,” said
Nunez.
;
LIVE OAK RAN*
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Hard Helmet ‘turns
the stomach’ well
By Chris S. Cobb
The Battalion
“Betty”
Helmet
Rock
Interscope Records
On the cover of this recording is a young
woman smiling and holding a basket of flowers,
looking much like Julie Andrews in “The Sound
of Music.” But, what you will find on the CD is
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Nunez began visiting Live Oak on the week
ends, enjoyed it, and then chose to move to the re
sort. She said she chooses to practice her lifestyle
in secluded environments because the public some
times alienates nudists, which makes them uncom
fortable.
“I detest Hippy Hollow,” Nunez said of the nude
hangout on Travis Lake, “It made me uncomfort
able with all the pointing and gawking.”
Although nudism is not legal there, Nunez said
law enforcement used discretion in the past and
left nudists alone.
Linda Krabill, another employee of Live Oak,
said actions that make nudists uncomfortable are
not tolerated at the resort. In order to protect nud
ists, resorts generally establish rules.
“No laughing, staring, pointing and always sit
on a towel,” Krabill said.
Live Oak Ranch has ways of screening their
guests to insure security. The resort requires first
time visitors to fill out a personal information form
and file a copy of their driver’s license with the re
sort. Information on Live Oak’s clientele is confi
dential and is used to prevent troublemakers from
entering other resorts.
Krabill said individuals, such as perverts, who
Stew MiJrie/THE Battalion
make nudists uncomfortable can be tracked
through The American Sunbathing Association.
The rules are meant to protect everyone so they
feel comfortable, although Krabill said Live Oak
has only a few problems each year.
“The most difficult thing for newcomers is to be
nude in a non sexual situation,” Krabill said.
Krabill suggested newcomers begin nudism with
a pace which they are comfortable with. She sug
gested that women come with oversized T-shirts
and men should bring athletic trunks. Krabill said
Live Oak Ranch prefers that individuals come with
a member of the opposite sex.
“We like to have a balance to help make people
comfortable,” Krabill said.
The resort has been offering nudists a secure at
mosphere for their lifestyle during the past 16
years. Nudists can either visit when it is conve
nient for them, or can reside within the resort.
Members of the resort have the choice of various
living accommodations - camping, recreational ve
hicles, cabins, and mobile homes for residents.
Live Oak has more than 700 members with 18 who
live at the resort.
Nunez lives in the mobile home park, and a
Please see Live Oak,Page 4
feathers weigh as much
as a ton of bricks, and despite the pretty pic
tures on the cover and sleeve, the music is just
as heavy.
Gene Simmons, bassist for the band Kiss,
said on a recent Headbanger’s Ball, “I like Hel
met - anything that turns the stomach.”
The music is also not for the weak at heart. It
would not be a wise choice to put on as back
ground music for a candlelight dinner, but it
certainly is mood music. In other words, if
you’re in a bad mood, this is a good choice for
that extra push over the edge.
“Betty” picks up where Helmet's last album
“Meantime” - which included the MTV nominat
ed video “Unsung” on their video awards -
leaves off.
Some chances are taken on this record. For
instance, the song “Biscuits for Smut,” is a little
funky. “Beautiful Love,” a remake of the 1959
jazz standard by pianist Bill Evans, starts off as
as a bonafide jazz-guitar song, but soon turns
into heavy metaVnoisq/jazz. “The Silver Hawai
ian" is almost daneeable.
The best track, “Milquetoast,” also appears
on “The Crow” soundtrack. But after awhile, the
ear grows tired of listening to the same kind of
crunch-guitar/droning vocals/drum-driven
which continue to the end of the CD.
This release is not a great introduction into
this: kind of music. But, if Helmet’s last release,
“Meantime,” was your cup of tea, “Betty” is a
good refill.
A. Ibirillismt darkness
Two soundtracks shine from the shadows of brooding films
By Chris S. Cobb
The Battalion
“The Crow Soundtrack”
Various Artists
Rock
Atlantic Records - Interscope Records
Two things are needed to properly “experience”
this recording: the lights off and the music loud.
The bands will do the rest - provide the atmosphere.
The film and soundtrack have been out for a
short while, but due to the mysterious circum
stances that occurred during the filming, including
the dark subject matter and the death of actor
Brandon Lee, both have turned into cult classics.
The Cure begins the album with “Bum,” a good
song reminiscent of U2. “Bum” sounds like it would
fit nicely with the tunes from Achtung Baby CD.
The song begins and ends with a “wash” of noise
and starts the recording off strongly.
Just as the Cure’s song ends, the Machines of
Loving Grace’s “Golgotha Tenement Blues” begins.
The lyrics echo through the eardrums as the guitar
squeals and crunches through the dance-type tune.
Don’t expect it to be played on top 40 radio, but it is
a good track.
The next offering is the much radio-played “Big
Empty” by the Stone Temple Pilots. The drummer
must be good friends with the engineer because the
drums are too loud in the mix. Despite this, the
track is solid and is more than what critics have
called “just a throw away from their ‘Core’ sessions.”
Trent Reznor (Nine Inch Nails) and his comput
er-processed guitar sound follows. Although good,
“Dead Souls” does not stand up to those on the Pret
ty Hate Machine and Broken albums.
After this tune, the recording seems to skid.
Songs by Rage Against the Machine, the Violent
Femmes, and the Rollins Band are disappointing.
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Although, the Femmes are still a punk band playing
with no distortion.
The album picks itself back up with Helmet’s
“Milktoast.” The song on the soundtrack is mixed
slightly differently than the one appearing on their
new album, Betty. Page Hamilton and the rest of
Helmet slug their way to Pantera’s “The Badge.”
This track might be a bit of surprise to Pantera
fans.
The song is a cover of an Oregon-based band, Poi
son Idea. The lead singer of Pantera, Phil Anselmo,
suggested the song because the band had never
recorded a cover tune. The song would not fit on
their latest album, Far Beyond Driven, but then
again, Pantera doesn’t usually play punk.
Please see The Crow, Page 4
By William Harrison
The Battalion
“Blade Runner”
Vangelis
New Age
Atlantic Records
“Quite an experience living in fear, isn’t it?
That’s what it is to be a slave.”
— Batty
“Blade Runner”
Twelve years ago, Ridley Scott’s intriguing sci
ence fiction film “Blade Runner” was released, but
unfortunately something equally majestic was not:
New age musician Vangelis’ soundtrack.
Because of production politics, Vangelis did not
release his moving score at the same time as the
film. The studio cut and spheed the release without
regard to director Scott’s wishes, eventually leading
to a falling out with Scott. This clash caused Van
gelis to block the release of the film’s music in 1982.
However, demand remained for the soundtrack,
and at long last the music may stand alone, freed
from the film that inspired it.
Vangelis’ haunting score begins as the film did,
with music echoing amid a huge, ominous Los An
geles cityscape of the future. The music mirrors the
city: dim and raining, gigantic towers looming as
numerous aircraft dart through space like fireflies.
This depressed panorama serves as a fitting dark
backdrop for a tale pitting an artificial human slave
uprising against “Blade Runner” policemen.
The soundtrack runs without pause as Vangelis’
score mixes the futuristic feel of soft synthesizers
with an occasional dose of raspy saxophone reality.
“Main Titles” begins the score with a sound bite
of Harrison Ford, acting as Deckard, a reluctant
Blade Runner. The sound drifts through the tracks
as an endless dream, occasionally stirred by the
edge of the saxophone.
Vangelis’ “Love Theme” again features the saxo
phone which creates a sultry mood as the synthesiz
ers take a back seat. This track is probably one of
the most familiar and most recognizable from the
film.
The surprise comes from “One More Kiss, Dear,”
a song with a Big Band sound, reminiscent of World
War II songs. The antiquated monophonic tenor of
Don Percival, the trombone and restrained percus
sion tie in well with the film’s emphasis on the sub
stance of memories.
Despite the Big Band variation, the soundtrack
is a singular piece from a single man’s interpreta
tion of a film’s mood. There is little to satisfy eager
Please see Vangelis, Page 4
Page 3
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