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XPERIENCE
Republican
Steve Ogden.
State Representative since 1990.
Strong friend, support of
Governor George W. Bush.
B.S., United States Naval
Academy (six varsity letters).
M.B.A., Texas A&IVI University.
Nine years of service in the
U.S. Navy Submarine Force.
Independent oil and gas
producer.
Married 23 years to Beverly
Ogden (TAMU Class of ‘89);
father of three, Michael, 22
(U.S. Naval Academy, Class of
98), Stephanie, 20 (TAMU Class
of 99), and Kristen, 18 (TAMU
Class of 01).
Steve
STATE
FOR
SENATOR
P.O. Box 3126 Bryan, Texas 77805
Paid Political Advertisement by Steve Ogden Campaign, Andrea
Woods, Treasurer, Box 3126, Bryan, Texas 77805
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Aggielife
Pag
Wednesday • January 22,
music r a o i e m
Elfman's music stands alon
Danny Elfman
Music for a
Darkened The
ater: Film and
Television Mu
sic Vol. II
MCA Records
(out of five)
By John LeBas
The Battalion
As more and more movies and
television shows rely on pop radio
darlings to provide their sound
tracks, the orchestral film score
seems to be headed for extinction.
Danny Elfman, however, is out
to prove otherwise. In Music for a
Darkened Theater, the eccentric
rocker-turned-composer turns in
a collection of film and TV theme
efforts that will make the listener
wonder: Is the movie or its score
more critical?
In Elfman’s case, it is definitely
the latter. The first of the two al
bums includes five “suites" select
ed from some of Elfman’s recent
film score efforts.
This is all stuff movie buffs have
heard before, but the music takes
on a vibrancy and self-sufficiency
without the movies. The listener is
swept up in the mystique and hero
ism of Batman Returns and en
gulfed in the emotion of Edward
Scissorhands. One advantage — the
TV and VCR stay off, allowing for a
more relaxing study atmosphere.
Another notable point: Elfman
creates music that movie watchers
do not really hear, but do listen to.
He weaves his music with the
movie so tightly that the two be
come one work of art.
For example, not many people
could hum the theme music of
Edward Scissorhands from memo
ry, but listen to the first suite on
the first disc of Music for a Dark
ened Theater and memories of the
movie will flood the listener.
The real gem of the set is disc
two. This album contains many
unreleased pieces from movies
and television commercials.
These pieces reflect Elfman’s
eccentricities more than those on
the first disc. For those who recall
Elfman’s days in the Los Angeles-
based band Oingo Boingo, disc
two is especially tasty.
Elfman melds orchestral
arrangements with screaming
guitar licks in tracks from Dead
Presidents. The original demo
theme song for Nightmare Before
Christmas doesn’t sound much
like what was used for the film,
but it is nonethelessentertai:
to hear Elfman singingandp
ing all the music.
I he best package on thisdis; erat an 111
however, is “Television Odds'N
Ends.” From music for a Nikec? trots The
mercial to the quirky themeof;
Wee’s Playhouse, it highlights
of Elfman’s more spontaneous' hniel Pet
often overlooked, efforts.
The major drawback of Afc
for a Darkened Theater isleng
Each disc is over 70 minutesfe ^ sa ^ w
which makes it really difficulij
listen to in one sitting.
But overall, Music For a Dan
ened Theater gives a wonderfi!
representation of Elfman's wot
should prove to movie and nut vas fount
fans alike that the traditionalfi;
score is not only alive, butdoir:;
very well.
N
o.
kil
SANTA
mocked
“That’s
onted tl
rongful-
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lood, fibt
illed ex-i
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ind DNA
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Danny Elfman
West
Continued from Page 3
Roberts said finding a new focus
for her work proved more difficult
then she had imagined.
“I began by creating ‘tall bowls’
(bowls with legs) and then moved
into box forms, which also had
legs,” Roberts said. “I wasn’t satis
fied with the boxes, but now realize
that they were the forms that led me
to the horses.”
Horses have played an impor
tant role in Roberts’ life. As a young
girl, she used to train and ride hors
es. Roberts said she wanted to train
horses for a living, but sculpting
eventually became her ambition.
The horses Roberts creates have
elongated legs around ten inches
long, although the length varies
from horse to horse. The torso of the
horse shortens in relation to the
legs. Roberts said this dispropor-
tional effect gives the horses a feel
ing of lift and life.
But some viewers of her work
have a different point of view on the
horses’ legs.
“At one of the shows I was at, a lit
tle boy asked his dad, ‘Why do those
horses have such long legs?”’
Roberts said. “The father answered,
T guess they have to walk through
some pretty tall weeds.’”
The names Roberts gives toil
horses uniquely depicts the horse:
much as the colors she paints te
Roberts said names such as "Spent:
“Pony Boy” and “Phoenix'
about from the horses themselves
“When I take them outofi
kiln, I look at them and theytakem
a life of their own with theiroc
personalities and experience
Roberts said.
With such devotion andins$!
into her own work, Roberts indicai
ed that she lives the life of an artist
She saici she enjoys herworkant
gives it a different insight.
“The clay leads my worfcandl
follow," Roberts said. “As ahwUiie
clay is the greatest teacher.’
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