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Page 5 • Thursday, September 3, 1998
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Possum dead in the Sheets;
BJM’s rock’n’roll lifestyle
shines through on Heaven
Colorless
Classics
Citizen Kane tops the list
as the all-time greatest film
BY RILEY LAG RONE
p° s
dada
enter Theat?
artey’sAunt';
Possum Dixon
New Sheets
CD Courtesy of Interscope Records
Possum Dixon, one of Los Angeles’
JT
The Brian Jonestown Massacre
Strung Out in Heaven
TVT Records
dada
dada
CD Courtesy of MCA Records
, ost overlooked bands, has returned
3 a sfr eetS ' j ts t i-,i rc } album on In-
sWl1 '^;-scope records.
' ./ The album was produced by The
,,r0u s ir’s Rick Ocasek (remember “You
ight Think?”), which explains its glossy
jp appeal. TVacks like “Holding
lenny’s Song)” and “Only in the Sum-
(| f iS .,. ertime” showcase both Possum
!f) ^ er , xon's flair for solid songwriting and
. . , :asek’s ear for an infectious hook.
Don't let the production fool you,
iwever. Possum Dixon remains a bar
I’ md at heart, a fact that is quickly evi-
00- ’nt when listening to songs like “Now
os ; 1 ' hat?” and the album’s title track.
Relying heavily on Celso Chavez’s
tooveso , arse 5 ut dever guitar work, it is
isies. mgs like these that make New Sheets
to she i album worth picking up at the
i/ma s cord store.
le, and' Also worthy of a listen (if you can find
't refusr em) are Sunshine or Noir? and Tropic of
;opeRu ’sZolPossum Dixon’s only two EP’s
'ailable on CD. (B)
have!
Riding on the momentum of six previ
ous indie releases. The Brian Jonestown
Massacre have returned with its first al
bum for TVT records. Strung Out In Heav
en. Led musically by mastermind Dr. An
ton A. Newcombe, BJM delivers an
outstanding work of pseudo-sixties, folk
psychodelica, proving once again that the
hippie culture mentality of Haight-Ash-
bury’s golden age is alive and well.
BJM is one of the few remaining rock
’n’roll bands that both produce the mu
sic and subscribe to its lifestyle. The
band members constantly fight, break
up, replace members and trash hotel
rooms but still manage to produce out
standing work. Strung Out In Heaven is
no exception.
Newcombe, a master of blending
styles without becoming derivative, defi
nitely hits the mark with this record.
From the Bob Dylan drawl of “Wasting
Away” to the Rolling Stones-esque
“Spun,” BJM’s latest release combines
the talent to make great music and the
attitude to back it up. (A)
For the vast majority of the public who
have not heard much from dada since Puz
zle, the group’s first and most radio-friend
ly release, it is time to sit back and watch
the band recapture the airwaves.
Its newest self-titled release brings the
band full circle to the radio-friendly dada
of the early ‘90s.
This can be either a good or bad thing,
depending on one’s attitude.
True, dada is no underground secret ob
session of a small group of fans, who
refuse to listen to bands without indie cre
dentials, but even those people would
have to admit that these guys are among
the best at what they do.
Once again showing an amazing knack
for classic pop songwriting, dada’s fourth
album will revive your confidence in top
40 music. TYacks like “Information Under
tow,” “Beautiful Tbrnback Time Machine”
and “California Gold,” the band’s first sin
gle, are just begging for airplay.
Pop, Indie, Country, blah, blah, blah. It
is the music, not the label, that makes
dada an album worth checking out. (B)
T his Friday night, dates wanting
to rent a video after a lovely din
ner should not fret if everything
on the new-release rack seems com
pletely unwatchable..
Is a well-planned evening’s enter
tainment ruined? Of course not.
The American Film Institute’s list
of the top 100 films of all time is a
good place to start when looking for a
rental worth the time and money.
When considering “classics,” where
better to begin the search than at the
top of the list with Citizen Kane 7 .
Every moviemaker since the re
lease of Citizen Kane in 1941 owes a
bit of his or her inspiration to Orson
Welles. At the time of its release. Cit
izen Kane was ignored by the press
for its icon bashing and its loose por
trayal of newspaper tycoon William
Randolph Hearst and booed by Holly
wood due to the total creative free
dom given to its writer/director/star,
Welles.
The death of Charles Foster Kane
begins the film. The rest of Citizen
Kane is spent questioning those who
knew Kane best on what he meant
when he uttered the word“rosebud”
on his deathbed.
In his youth, Kane was signed over
by his parents to have a proper educa
tion and place to grow up.
Upon maturity, he came into pos
session of the family fortune accumu
lated in the Colorado silver rush. The
only asset of the inheritance Kane was
interested in was a newspaper, the
New York Inquirer.
Kane raises the Inquirer from a
struggling newspaper to the top paper
in New York. Acquiring more power
by running for political office be
comes Kane’s next goal. Sexual allega
tions end his attempt at politics, but
after refocusing on the newspaper
business, Kane turns his marginally
talented opera-singer girlfriend into a
star with no outside support. Kane’s
entire life is spent without love, only
buying Today, Citizen Kane is largely
seen as one of the greatest American
films of all time. Welles inspires his
largely inexperienced cast to perform
up to and beyond its expected poten
tial in what was most cast member’s
feature debut. The combination of
conventional and innovative camera
work takes a complete step in film-
making evolution.
Filmed at extreme angles and with
harsh contrasts with main speakers in
scenes occasionally in complete shad
ow, Citizen Kane is an easily under
standable visual presentation.
With a history in radio production,
Welles completely integrates the
soundtrack of Citizen Kane with the
movie’s visuals.
This makes the sound effects and
music a necessary part of the story in
stead of just a grouping of unrelated
songs that will sell well as a CD.
Combine this with Citizen Kane’s
groundbreaking cinematic makeup
techniques, able to transform Welles
through 50 years of Kane’s life, and
the film is worthy of the top spot on
anyone’s favorite movies list.
When browsing the video rental
store this weekend, before picking up
that copy of Titanic to view for the
fifth time, scan the “classics” aisle
and consider a movie with more sub
stance and fewer computer-enhanced
special effects.
Ruling out an entire section just be
cause the films were not shot in color
eliminates many entertaining options.
Who knows, the well-timed choice of
a “classic” might just make your date
think you have class.
Brandon Bollom is a senior
environmental design major.
UND IHYSELF
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