ARTS The Michigan Daily Wednesday, October 15, 1986 Page 7 "She's Gotta Have It' definitely has it By David R. Draper She's Gotta Have It takes a little and goes a long way. The budget for the film is small, the four main characters are virtual unknowns, and most of the movie takes, place in one woman's apartment. To top it all off, the storyline is absurd: one woman trying to juggle three boyfriends Records: Sam Lapides YESTERDAY'S DREAMS (Cassette only) There seems to be a conspiracy amongmusic critics that the only good pop music comes from far off places - be they England or Athens, GA - and often the farther, -the better (like New Zealand's Chills). We often display a tendency to ignore what exists right under our noses, despite its apparent quality, simply because of i't's close proximity to our own front porch. A new cassette release by Ann Arbor's Sam Lapides should prove to the pop-faithful that a British or Athenian accent is not a precursor to the worth of a pop song. For starters, there are few factors that point against Lapides' success. One is his name. "Sam Lapides" just doesn't have the same mythic American, backwoods and bacon ring to it of a Peter Case, or a Mitch. Easter, or Will Rigby. Another is his do-it-yourself ap - proach. You aren't going to find posters for this cassette plastered all over Discount Records, or even Schoolkids' simply because the tape is a product of ultra-cottage industry, and without the promotion and advertising of a label, a curious listener will have to actively seek out this recording in - stead of having it thrust towards them. All this cannot belie the fact that Yesterday's Dreams showcases 4 beaut full arranged pop songs at are a ear-tickling as any American release of recent vintage. Acoustic guitar strum ming sets the structure for Lapides' husky and mellifluous, whisky smooth voice to glide around. With whale-sized hooks from the very first note, the tunes are instantly hummable, whether their tempo is quick and upbeat (like "Still") or slower and plaintive (as in "24"). The effort is more than merely a throwback to a simpler sound: 80s technology makes a pleasant intrusion into the delicate guitar tapestry with electronic drumtracks provided by local studio wizard and fellow ex- Tool and Die member Phil Seiden. See RECORDS, Page 8 who all know about each other. How car, a movie like this possibly be successful in these days of mega- stars and huge budgets? One way is to have Spike Lee write, edit, direct, and act in the film. Lee plays Mars, a frail, wise- cracking punk who vies for Nola Darling's (Tracy Camilla Johns) attention. Mars is reminiscent of Woody Allen with his self- deprecating wit and neurotic idio - syncracies. Mars doubletalks and taunts everyone, but is not the only source of comedy. Each of Nola's boyfriends, including Mars, treats -this love cube as an apparantly normal situation. How can three decent men date one woman knowing about one another? It isn't easy for them to do, but it is hilarious to watch. What can the three men see in Nola to keep them around for so long? This question is not an easy one to answer. Obviously, Nola is cute and independent, and quite a breath of fresh air for all of her men. But they are attracted by more than just her physical appearance and' character traits. In general, people want what they can't have. In this case, Nola is the prize that they all strive for. The competition culminates when all four spend Thanksgiving together at Nola's house. During dinner, each of the men trade sly insults. However, Nola is oblivious to all of it, never taking anyone's side. This is the turning point in the film. The three begin to see that Nola is unattainable and that all of their efforts are in vain. This scenario reveals more about Nola. As the men spend less time with her, she begins to realize her mistake.Nola loves the attention, but it ends up backfiring on her. Nold realizes that she can no longer lead this triple love life and live with herself at the same time. This point in the film is disconcerting, as Nola make a lame attempt at settling down. 'The sud - den turn of events is convincing. The film is too complex for such a simple ending. Other than the last ten minutes, the film is hilarious and well worth the $5.00 admission price-(including popcorn). The Center for Japanese Studies Presents: Japanese Human Resource: r Management Policies in Transition A Brown-Bag Lecture by Returning Sumitomo Intern GERALD IAN WILSON THURSDAY, OCTOBER 16 12 noon LANE HALL IN THE COMMONS ROOM Call 764-6307 forfurther information. i::.:*: *.i i%> ii:.>