•
do Sentinel
ALOMA INCINEMA DRILL
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• • Holiday Art Contest, MP-240 • •
Orlando Sentinel •
• • 633 N. Orange Ave., Orlando, Fla. 32801 • •
lirtist's full name:
EntryForm
Mail to:
Artist's age:
Artist's grade:
School name and county:
Entries must be received by 5 p.m. today.
Parent's name:
Address:
Parent's daytime and evening phone numbers
(for notification of winners):
Rules:
1. Children in kindergarten through grade 5 attending
Public, private, parochial or home schools in Orange,
Seminole, Osceola, Lake, Volusia and 8revard counties are
eligible.
2. Entries must be original artwork on white or light-
colored paper. Crayon, paint, pencil, ink, felt-tip pen or
charcoal may be used. Paper may not be larger than 9 x 12
inches. Entries may be matted, but mats may not be larger
than 12 x 16 inches.
3. Photographs, computer-generated art and three-
dimensional objects, such as mobiles, dioramas or
Sculptures will not be accepted for judging. Also
unacceptable is artwork with cotton, glitter or other
naterials affixed.
4. Each entry must have a completed entry blank taped or
glued to the back. The blanks may be photocopied. To
ensure the fairness of judging, the artist's name and school
name must not appear on the front. Limit: one entry per
child.
5. Entries must be received by 5 p.m. today. Mail them to:
Holiday Art Contest -- MP-240, Orlando Sentinel, 633 N.
Orange Ave., Orlando, Fla., 32801. Entries may also be
hand-delivered to the Sentinel's main lobby at the same
address.
6. The Orlando Sentinel will not be responsible for entries
lost or delayed in the mail•
7. All entries will be judged by a panel of elementary
school art teachers, whose decisions will be final. Winners
will be notified by Thursday.
8. All winning artwork will be returned to the artists'
parents after Jan. 1, 2001. Other individual entries will be
returned if they are accompanied" by a stamped, self-
addressed envelope. Teachers may mail their students'
entries in bulk, and efforts will be made to return those
entries.
9. The children of Sentinel Communications Co.
employees, independent contractors and delivery agents
are not eligible.
fKravitz's-greatest hits,
pngevity is most impressive
the disposable world
rock music, he has
a hit with fans, if
t critics, for 11 years.
)CIATED PRESS
qEW YORK-- The setting is
ride the Tribeca Grand Ho-
in downtown Manhattan.
y Kravitz is offering a few
finders of how his job --
k star -- is so different from
ar occupations.
undled up against a chill
d, Kravitz is directed across
street by a photographer to
e while standing in a door-
t. Some nearby sports fans,
,Y from a celebration, recog-
him and crowd around to
:oh.
at duty done, Kravitz is
y for a limousine ride up-
. But first, someone's
g in the hotel lobby to
t him.
t's Robbie Robertson, for-
]r Band leader now working
] record company executive.
D'd never met before and
Irly exchanged pleasant-
rock star to rock star, en-
.ge to entourage.
JFinally, Kravitz stretches out
[the limo. It's well-stocked,
:With champagne, but with
his daughter left behind.
s riding to a studio in mid-
Manhattan, where he s
asked to write a song for a
ace name Kravitz doesn't
t to divulge. The assign-
t is a thriller for him.
Lgle the car inches through
c, he talks about his new-
release. It's a greatest hits ai-
, with tracks spanning a
I! de from "Let Love Rule to
Away." Typical for such
| ects, one new song,
| :.'n," is added to attract ra-
,o7 i trplay.
J [xra_vitz was taken aback
4n the idea was suggested to
.%-, :"/L There's something about a
, ill, test hits disc that lets you
*=' how long you've been
!
The cold truth. New
Yorker Lenny Kravitz
has been around long
enough to come out
with a greatest hits
album, which is his
most recent release.
Kravitz was shocked at
the idea at first, but
now he's pleased. '1 feel
quite blessed. I'm still
... on top of my game.'
ASSOCIATED PRESS
making music.
Longevity alone is an
achievement these days. The
music scene is littered with art-
ists who had one or two hits be-
fore pop culture quickly dis-
posed of them. No one fs im-
mune: Jakob Dylan is the latest
star to discover how fickle the
public can be.
"I feel quite blessed," Kravitz
said. "Eleven years later, I'm
still in the game -- still on the
top of my game. That's an
amazing blessing."
The New York native built
his career despite critical suspi-
cion. Since his 1970s influences
were easy to hear in Kravitz's
music, he immediately was
slapped with a derivative tag.
Things have gotten better,
but critics still don't really em-
brace him. Kravitz admitted it
hurt in the beginning.
"You're just making music,
and people are telling you why
you're doing this and doing that
and why this isn't good," he
said. "It was strange at first, def-
initely.
"I'm doing what comes natu-
rally for me, so I don't worry
about what people say about
me," he said. "And a lot of what
people say is based on a confu-
sion people have because
there's no slot for me. Is he
white? Is he black? What's the
music? Is it rock?"
His hits have ranged from
the sweet soul of "It Ain't Over
Till It's Over" to the grinding
rock of "Fly Away."
Lately, people expect to hear
a big guitar sound from him,
which may partly explain why
"Fly Away," a song he thought
was too simple and had to be
persuaded to put on an album,
became a hit. Kravitz figured "If
You Can't Say No" off his 5 al-
bum would be big, but it
flopped.
Since "Fly Away," Kravitz
has looked out from the stage to
see fans as young as 10 or 12
years old in the audience.
"There are a lot of kids out
there who only know me
through 5," he said. "They don't
know anything before it. This
[greatest hits] gives them a
chance to get one album and
hear where Pm coming from."
WEDNESDAY, DECEMBER 13, 2000 E7
Newman' s
soul mate:
Eminem
By RODER CATLIN
ttARTFORD COURANT
It shouldn't come as a big
surprise that Randy Newman,
the biting, sardonic songwriter
of the past 30 years, has found a
modern-day kindred spirit in
Eminem.
"He's a great artist," New-
man, 55, says of the Tapper in a
phone interview from Los An-
geles. "It's unfortunate his stuff
is so rough and misogynistic.
But it's also funny.
"What he is, in part, is a real-
ly great narrative comic guy.
The language scares some peo-
ple off. They take him seriously
when he's not. But some of that
stuff is really funny."
And Newman is eminently
qualified to make such a deter-
mination because "I'm probably
the songwriter that has done
the most humor in this field,
outside of novelty acts."
Newman has paid for his hu-
mor. "Short People" may have
been his biggest hit in 1977, but
those who didn't grasp its sati-
rizing of bigotry protested it.
When Newman sang of the
South in the voices of charac-
ters he imagined there on his
1974 "Good Ole Boys," some
thought he was a redneck too.
Although Newman's latest
album, Bad Love, is more auto-
biographical than usual, he
speaks in the voice of invented
characters on some of its
tracks. "The guy in 'Shame' is
not me. The guy in 'Better Off
Dead' is not really me. The one
in 'I Want Everybody to Like
Me' is, uh, pretty close."
"Yeah, it's caused me trou-
ble," Newman says of singing in
unlikable characters' voices,
"because it isn't done very of-
ten."
Eminem does it, though,
when he claims his nastiest
rhymes come in the voice of a
character called Slim Shady.
"Eminem is clearly someone
else a lot of times," Newman
says. "He's a very talented fella.
I hope he doesn't think he has to
live the life to get respect. That's
what could bring him down."
"People are genuinely of-
fended on occasion, and they're
good people and smart people.
But they can't see past it. But
he's one of the best people to
come along that I remember."
• , ¥ r
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MEET THE PARENTS SDDS (2:05-4:30) 7:05-
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