IMPORTANT ANNOUNCEMENT
Library Hours and Services During the Holidays
During Thanksgiving and Winter semester breaks, the library will be
closed on the following days:
November 25
December 24-25
December 31-January 1
A schedule of holiday and interim
library hours can be obtained at the
information desk in Evans Library or
online at URL: http://library.tamu.edu
Access to the online catalog will be
available at all times through the internet.
The Evans lobby will close for construction December 16 - January 14.
Traffic will be rerouted through the Annex during that time.
.A times like this, words cannot
say the things we’d like them to.
But may it help today to know )
Our thoughts are there with you.
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From Your Big 12 Friends at
The University of Missouri-Columbia
Page 4 • Monday, November 29. 1999
A
GGIELIFE
Various Artists
Music from the
Motion Picture Dogma
CD courtesy of
Maverick Records
fM DALLAS (
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Various Artists
Anywhere But Here
So i uni track
CD courtesy of Atlantic
Recording Corporation
Beck
Midnight Vi
CD Courtesyo:
Geffen Records, If
This soundtrack is basically a
song by Alanis Morissette fol
lowed by an orchestral score. It is
easy to detest a soundtrack for
containing one track as its “sell
er,” a la the Titanic soundtrack.
Alanis Morissette’s song,
“Still,” is conveniently placed as
track number one. However,
“Still,” a six-minute gem, is al
most worth shelling out the $13
for the entire CD.
The lyrics of “Still” are amaz
ing. There is a chorus, but it is not
constantly repeated for the sake
of extending the time.
Howard Shore supplies the
score that completes the sound
track. It follows the feeling begun
by “Still” — that of mystery.
The score is fitting with the
idea of the movie. All of the
pieces could be played over video
of cathedrals and synagogues.
If one is not interested in an or
chestral score, they can wait for
Morissette’s single. If there is no
single, then just wait for some
college student to compress it into
an MP3. (Grade C +)
There is nothing that compli
ments a heartfelt movie about
the relationship between a moth
er and daughter more than a
soundtrack composed entirely of
mellow songs recorded by fe
male artists.
The album consists of songs by
k.d. lang, Carly Simon, Sarah
McLachlan and Poe, among oth
ers. Though the artists vary in
their musical styles, the songs on
the album are very similar to one
another, as if a cookie cutter was
used to make a replica of the
same approach to music.
The exception to the laid back
style of the album is “Chotee” by
Bif Naked and “Twisted Road” by
Patty Griffin.
These songs add a taste of
rock and variety to the album
but not enough to provide a nice
balance to the remaining 13
easy-listening songs.
Though the album lacks origi
nality, it supports the movie
well. The song titles and lyrics
reflect emotions felt by the
women in the film. (Grade: C)
Beck, champion of thecp DALLAS!,
machine and inventoroftk|A nn Brown :
unhip it’s hip” movement.:B one now, a
once again he has thestuiMp 1 ^ ^ c * iei
bump hips with the best
DJs and to produce messa™ l i t lin x E'
sic with enough pop appeifl 60165 ? wlt 111
hnlrt fhp ^ttpntinn nf thpanyon
vard the systt
Jeff Wolfshohl
— Amanda Palm
hold the attention of the
with Midnight Vultures.
It is hard to tell ifBeckti
in his hip-hop one-upman'l
if he is blissfully lost int
cesses of pop culture. Itdosl
matter whether his musicisf
warning against overindu||
or an affirmation of its]
Beck could turn a detunedti
horn into a rhythmic!
the end, what else does her]
The only low point of thf
bum is its lyrical content,
as always, relies on imagerl
make his point, but hispoiT
seems to run a narrow rut t|
tween the price of fameffif
wood Freaks”) and bizarre si
al acts (the familialVViW payroll.
“Debra”). f She made t
But lyrics aside, Bed ' tunity c//mbin
how to light the roof up.vh'viiig office woi
need care about the messf chief assistant
(Grade: B + ) if Brown, 52,
so she could ta
— Stem the nonprofit a
l|990, Mothers
vancement of
Brown wal
tears ago this:
Jeals court o\
Jion in a dead!
A decade la
inside Brown 1
Others she be
the judicial pn
“Man mal
jne and put
faid, “but Gc
lity to cleans
^s a better pe
In 1990, Da
boner John V
job, paying he:
et when he cc
find a place f<
20% of Super Bowl ads go to u dot con ^
NEW YORK (AP) — Some Internet companies are
paying more to advertise on January’s Super Bowl tele
cast than they have generated in revenue, helping push
the average commercial price for the game to a record
of about $2 million.
As many as a dozen “dot-com” advertisers are ex
pected to rub shoulders with Anheuser-Busch, Pepsi
Cola, Federal Express, Visa and other longtime Super
Bowl advertisers on the Jan. 30 telecast on ABC.
Dot-com advertisers have bought about 20 percent
of the available commercials in the Super Bowl, in
dustry insiders estimated.
Price evidently has been no object as industry in
siders say the average charge for a 30-second Super
Bowl commercial has soared 25 percent from the old
high of $1.6 million on the last NFL championship
game broadcast. Super Bowl ad prices are typically the
highest on TV.
Marvin Goldsmith, ABC’s head of sales, declined
r exi<
to comment on the prices but said sales ha#
helped by a strong economy and advertiiff MEXICO C
newed appreciation of broadcast TV’sabilityi from the dust;
a huge audience quickly. Mexico City yt
The Super Bowl attracts the biggest TV rai b but a group
the year at the same time the broadcast netwoiworts and the
diences have steadily eroded. wNAFTA).
“There are very few of these platform eve* Repeating '
offer the opportunity to reach the masses inai die day after i
period,” Bob Flood, who oversees nationalTb die capital in I
chases made by DeWitt Media in New York,;; olution — the
Online marketers especially want to use1,000 miles (2
Bowl as “a showpiece for their Internet addrewad Juarez to
say to the world that ‘we are playing with* The 200 rid
boys,”’ Bill Croasdale, a top commercial buyer:! porters, passe
ern Initiative Media in Los Angeles, said, ■ndercapitaliz
But paying more for a 30-second commercl dig the goverr
you have generated in sales is a bold move J P°d s o* grain
time when excess is the norm. I Did you k
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