University Press (Beaumont, Tex.), Vol. 65, No. 38, Ed. 1 Wednesday, April 5, 1989 Page: 3 of 8
eight pages : ill. ; page 23 x 14 in.View a full description of this newspaper.
- Highlighting
- Highlighting On/Off
- Color:
- Adjust Image
- Rotate Left
- Rotate Right
- Brightness, Contrast, etc. (Experimental)
- Cropping Tool
- Download Sizes
- Preview all sizes/dimensions or...
- Download Thumbnail
- Download Small
- Download Medium
- Download Large
- High Resolution Files
- IIIF Image JSON
- IIIF Image URL
- Accessibility
- View Extracted Text
Extracted Text
The following text was automatically extracted from the image on this page using optical character recognition software:
k
UNIVERSITY PRESS April 5,1989*3
A
—■til0-—---
State of the Arts
Just boppirV to
the ‘Cretin Hop’
By Deidre Moore
UP staff writer
L Hie Cretins
O’Neil’s Pub
f April 1,1989
t It’s Saturday night in the west
end of Beaumont.
1 The BMWs have been left at
c home; it is Suburban night.
Slightly overdressed en-
r trepreneurs crowd themselves into
r a chic little dive to hear the latest
in college music.
* The dark, the smoke and
everyone is a bit reserved. They
are waiting patiently as only the
* wealthy can do.
Gary is late, but Greg tells me
*' this is normal for him; things
, couldn’t possibly go right if he
were on time.
* In a floppy hat and ’60s-style
* shirt, the lead singer of the Cretins
walks in looking like a younger
* version of Arlo Guthrie.
In a few minutes, Greg steps
over to his bass. His tie-dyed shirt
» looks psychedelic in the stage
lights. He doesn’t seem to notice
k the crowd as he concentrates on
k tuning his instrument.
Do the yuppies enjoy the show..
* I’ll never know because I’m lost in
^ the music. The band has begun to
play “A Day in The Life” and
*' Bryan whispers, “the Cretins are
the only band who can play this
* live and not slaughter it.”
* They follow the Beatles with the
Doors, and oh, yes, and, thank you,
* God, the Stones.
We all get up and dance. It’s just
three of us at first, but soon there
are more. Then the music slows
down and, rather than return to
our seats, we just sit in the floor. It
looks like the beat scene. Can the
past really repeat itself..
But, this is not just a cover band.
This is a band who takes a song
and makes it its own song. The
song “Superman” suddenly
becomes “I am, I am Aquaman,
Spiderman, Ironman, Ultraman.”
The orginal music doesn’t let
you down. It’s not the time to get
up and get a beer or go to the
bathroom. It’s the time to stay and
really listen because this is the
best music of the night.
It’s a jam. Moondog drowns you
in drums. It’s rolling thunder, and
it sweeps down upon you, and you
can’t escape.
We are all crowded in front of
the band. How do the people in the
back feel.. And what about those
people who are here just to get out
and meet other people.. Will this
change their lives.. Who’s to ques-
tion.. But, maybe, just maybe,
they got loose enough to enjoy the
show and really hear the music,
hear the message. All music is not
just Cheese Whiz for the masses,
as Peter Buck would have
everyone believe.
Perhaps this is true. I am just a
critic, not a psychoanalyst. One
thing I do know for sure: It’s the
Cretins live again from O’Neil’s
Saturday night at 9.
Bi
S
OUND
By David Barras
UP staff writer
“Don’t Tell A Soul”
The Replacements
Sire Records
. The secret that the title of the
latest Replacements’ album, “Don’t
Tell A Soul,” seems to be asking us
jo keep is that they have, at least for
this album, lost their loud, rebellious
'style that produced such a song as
“Gary’s Got a Boner.”
4 The first single off the album, “I’ll
<Be You,” has been getting air play
on FM album rock stations and
fa TV. It sounds commercial but still
Jias a touch of the Replacements’
guitar stylings in it. It’s not a bad
V>ng but comes nowhere near the
energy of many of their past works.
Unfortunately, this song is one of
4he highlights of the album. Another
bright spot is “I Won’t,” which
sounds almost like a cover of a Yard-
<birds song. It has a rambunctious
bluesy feel like the rhythms and
guitar work of that ’60s group.
, Most of the songs are weak, with
lyrics to match. There’s nothing
tdever like the darkly humorous
/‘Tommy Gets His Tonsils Out”
from the “Let it Be” album, or
strong like “Shooting Dirty Pool”
from “Pleased to Meet Me.”
The song “Talent Show” is slightly
reminiscent of their song, “I Don’t
Know,” but still lacks a spark
musically and lyrically.
The video for their latest single is
even slightly out of character. The
Replacements are among those ar-
tists who aren’t fond of making
music videos. Paul Westerberg,
writer of most of their songs, has
always stated that he always has his
own pictures to go with his favorite
songs, and the videos never quite
match up.
While they don’t seem to be taking
it seriously on camera, this video is
in strong contrast to their video, in
which the camera focuses on a
stereo speaker for the entire song,
until a foot kicks it down at the end.
Now that they are receiving air
play and recognition, the
Replacements will have to answer to
the same cries of “selling out” that
R.E.M. did last year. The difference
is R.E.M. continued to produce the
same good quality of music it always
had.
The Replacements, though, have 4
produced a weak album, far below
their true abilities, and, either con-
sciously or unconsciously, they have
produced an album the mainstream
public may find acceptable.
Recommended
By Joe Bob Briggs
♦Drive-in movie critic
4 Speaking of grisly gunk spewing
out of the newspaper. “The Terror
"Within” is a pretty decent new flick
jpbout what will happen when
Khadafy fires up his new chemical-
fwarfare plant, wipes out 99 percent
of the earth, and we end up with
^George Kennedy and a bunch of TV
Anovie actors living in an
underground shelter in the Mojave
^Desert.
t I’ll tell you what’s going to hap-
pen. There will be these giant,
"intestine-head, lizard-legged loonies
^reaming through the desert, raping
all the women so they can breed
’more genetic-DNA mucus monsters
«to populate the earth. And what’s the
only solution to save us from these
"mutated mush-heads?
t Andrew (son of Stella) Stevens!
He has an abortion policy! Like he
"tells his girlfriend after she gets
raped by a giant piece of protoplasm
with legs: “We shouldn’t really
♦abort until we know it’s not mine.
. The only problem is, these slime-
4sewer fetuses grow so fast that
^they’re the size of Lincoln Continen-
tals within 24 hours.
* That means that they’re popping
*out through voluntary C-sections
before anybody can pour Liquid
"Drano on ’em, and then they start
^marching through the scientific
’underground bunker, slashing peo-
ple’s throats open with their fangs.
There’s only one thing that can
’stop ’em: A dog whistle.
You know, if people weren’t such
weenies about abortion these days,
they would have had these three-ton,
colon-cancer monsters dead before
their slimy little heads chewed off
their first finger. This movie should
be required viewing for every
member of the Supreme Court.
We’re talking 17 dead bodies. No
breasts. Snake-eating. Bloody fetus
monster. Multiple throat-slashing.
Giant gargoyle rape. One self-
abortion. Exploding sheds. Ex-
ploding gargoyles.
Gratuitous monster abortion
scene, the best one since “It’s
Alive!” Buzzard Fu. Crossbow Fu.
Drive-In Academy Award nomina-
tions for George Kennedy, as Hal the
laid-back boss, for saying “We must
terminate at the first sign of abnor-
mality.”
Terri Treas, as the doctor, for say-
ing “I guess we’ll have to get rid of
it”; Tommy Hinckley, as the fix-it-
man, for saying “Turn it into a
Crispy Critter!”; Starr Andreeff, as
the monster-rapee, for screaming
“Please get rid of it! Soon!”
Andrew Stevens, as the profes-
sional slime-monster killer, for say-
ing “I ain’t sticking around to smell
its breath.”
Roren Sumner, as the giant lizard-
guts gargoyle, for getting harpoon-
ed, dog-whistled, sprayed, tripped,
rammed, crowbarred, blow-torched,
and cut into itty bitty pieces by a
giant ceiling fan.
Three stars. Joe Bob says check it
out.
Music glows inside her
‘Making a stronger me’
By Karen Gilman
UP staff writer
While she lived in Beaumont, she
attended the symphony concerts.
She knew she wanted to be on stage
as soloist. She got her chance.
Thursday evening, CeCelia
Chaisson, a Beaumont native and
1983 Lamar graduate, appeared as
one of three guest soloists with the
Beaumont Symphony Orchestra.
Her appearance on stage sparked
an ovation from the audience.
But this is not Chaisson’s only
chance on the stage.
A performance that she looks for-
ward to is one involving working
with Luciano Pavarotti.
Last October, Chaisson was pick-
ed as one of 41 winners in the Opera
Company of Philadelphia-Luciano
Pavarotti International Voice Com-
petition. The prize for the winners is
a role with Pavarotti in the Opera
Company of Philadelphia.
“Just to work with him is a major
opportunity,” Chaisson said.
Chaisson also is auditioning for the
Metropolitan Opera Development
Program, a grooming program for
main-stage work, Chaisson said.
Friday and Monday, Chaisson per-
formed in Donizetti’s “L’Elixer
d’Amore.”
She is also in musical rehearsals
of Verdi’s “Falstaff,” portraying
Alice Ford.
“Falstaff” is one of the major pro-
ductions of the Academy of Vocal
Arts in Philadelphia, where
Chaisson is a full-scholarship par-
ticipant in the advanced opera train-
ing program.
In addition to rehearsals and voice
coaching, Chaisson takes grammar
courses in French, Italian and Ger-
man.
“The purpose for AVA is grooming
for being an artist, an all-around
performer,” Chaisson said.
Her voice teacher at the Academy
is Norma Newton, who also has
studios in Houston and New York.
While she was attending Lamar,
Chaisson studied with Joseph Trun-
cale, professor of music. At the
Beaumont Symphony performance,
Chaisson sang a duet with Truncale,
“Ah fors’e lui; Sempre libera” from
“La Traviata.”
Chaisson has performed a variety
of operas by various composers, but
she says she has found her niche in
the music now.
She is concentrating on bel canto
— beautiful singing. Composers of
this style music include Mozart,
Bellini, Verdi, Rossini and Donizetti.
She says it is the classical-romantic
period of music.
“When I sing this music, it glows
inside me,” Chaisson said. “It fits
me, it fits my voice.
“It feels more with my personali-
ty. It flows with my heart, with my
insides,” she said.
It’s frustrating at times, Chaisson
said of her training. But she knows it
takes time to grow and develop as a
performer.
“You can’t rush it,” she said, “so
I’ll wait.”
This past year, Chaisson said, she
has been “making a stronger me.”
She has been working on becoming a
well-rounded artist.
r
IS ImS
CeCelia Chaisson
Photo by Drek Reese
This includes not only training in
her field, but extra reading, con- a nifEDTICE mif s_i
stantly updating herself on what is §K U V E fa I IvC Ww I I n I flE
going on in the world, saying that a
person can become sheltered in the UNIVERSITY PRESS
music.
Chaisson said she enjoys learning Aai ■ fa aai po A Q 4 AQ
and growing, on her way to becom- J OOw'O 1 wA
ing the best she can be.
Ovirtet
Special Guest:
Psalms 150
Thurs., Apr. 6,
7p.mSSC Ballroom
I Hlj Lamar Students FREE w/ID
[Miff Children under 6, FREE
Gen. Adm. - $3.00
Harold
Smith
in recognition of “Love Lamar University” Week
Michael
Fitzpatrick
I
Jerry
Maxwell
Keith
Morgan
The Countrymen Gospel Quartet is from the Golden
Triangle area of Southeast Texas. The group travels
The Countrymen Gospel Quartet is from the Golden
Triangle area of Southeast Texas, performing
throughout Texas and adjacent states. The Coun-
trymen have performed with J.D. Sumner and other
well-known performers.
Thurs., Apr. 13
9 p.m., Perch
the 4 Guys
Standing Around Singing
Fri., Apr. 7,
9 p.m., Perch
The Hot A Cappella sound that is taking
Chicago by storm in here. In night clubs, on
MTV, in commercials and on the
radio...their comic style and exciting Doo-
Wop blend leaves audiences cheering. Don’t
miss the spirited music and fun that it...THE
FOUR GUYS STANDING AROUND SING-
ING!
The Barber
and feville
w
A
Upcoming Pages
Here’s what’s next.
Search Inside
This issue can be searched. Note: Results may vary based on the legibility of text within the document.
Matching Search Results
View eight places within this issue that match your search.Tools / Downloads
Get a copy of this page or view the extracted text.
Citing and Sharing
Basic information for referencing this web page. We also provide extended guidance on usage rights, references, copying or embedding.
Reference the current page of this Newspaper.
Murley, Bryan. University Press (Beaumont, Tex.), Vol. 65, No. 38, Ed. 1 Wednesday, April 5, 1989, newspaper, April 5, 1989; Beaumont, Texas. (https://texashistory.unt.edu/ark:/67531/metapth499654/m1/3/?q=Lamar+University: accessed May 29, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Lamar University.