Page 8 - The Michigan Daily - Friday, February 20, 1987
The Hammer Party
The press kit that accompanies
Big Black's The Hammer Party
reads like The Rock Critic's Guide
to Evil Adjectives. It includes catch
all phrases like "blarin'
aggression," "majestic ugliness,"
"urban nausea," "manic brain
death," "maelstrom of booming
dread," "flipper chewing on
razorblades," "singes like a hot
soldering iron," "Theda Bara with a
cudgel," "mutant crunch,"
"unremitting grimness," and
"repugnant power" to describe Big
Black and their sound. This about
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sums it up - there just doesn't
seem to be any adjectives left for
me to use.
Anyway, for those of you who
don't know, The Hammer Party is
a reissue of the first two Big Black
EPs Lungs and Bulldozer which
are well out of print. All those
silly adjectives aside, a friend of
mine summed upLungs best when
he said that he could really like Big
Black except that everytime he
hears them he's just gotta get up
and start pacing around the room.
He's right for the most part -
Lungs is irritating and it puts you
on edge, but that's its charm. The
standouts are "Steelworker" and the
ever-loving "Dead Billy."
Bulldozer packs a bigger wallop
and even features a real live
drummer. The bad-ass redneck
hoedown "Texas," "Pigeon Kill,"
and "Seth," - which starts off with
a racist tirade (not the band's) - are
all hair raising, and, if nothing else,
will convince you that Big Black is
a great band. Still - you wouldn't
want them dating your sister.
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For those who won't be joining the exodus south over Spring Break, The Folkminers (Marty Flet-
cher, Sam Lapides, Mark Mosher, and Randy Sabo) will be appearing at Rick's on February 23.
By Kurt Serbus
Round Midnight, Bertrand
Tavernier's film about-an expatriate
jazz musician living in France, will
no doubt be a difficult movie for
some audiences to sit through, for
the same reasons that jazz lovers are
a relatively small and exclusive
club. That's because Tavernier takes
his stylistic cues from the music
that is his focus. Jazz is more than
just the subject of Rou
it is the reason, the d
the essence. Like jaz
than occasionally du
with it's own rythym
ignoring standard cine
and patterns as it circl
to it's point of org
much happens in Rou
- a man just lives andt
film's approach to tha
be as foreign to
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nd Midnight; Hollywood fare as a free-form jazz
efinition, and composition would seem to ears'
z, the film is weaned on MTV. That alone might:.
g, and more be reason enough to see Round...,
ll. It moves Midnight, but the fact is that this
1, completely movie has a lot more to offer thaii-
-matic cliches just a change of pace.
es lazily back Like Dexter Gordon, for instance, a w
gin. Nothing jazz legend who all but plays
nd Midnight - himself as the seminal tenor
dies -- and the saxaphonist Dale Turner. Turner,
t concept will whose paticular genius is so
audiences overlooked here in the States that
mainstream he's forced to blow in a small
Parisian nightclub to pay the rent,
is a man who knows he's dying and
doesn't seem to give a crap.
Because of his numerous addictions
and self-destructive tendancies, he's
ditioned treated like a gifted child, given an
allowance rather than a paycheck --
which doesn't stop him from
s. constantly getting skunked. Gordon
5. is comanding in this role, not,
because he's a great actor (he isn't),
but through sheer charisma. His
68-7942 smoky voice and bear-like presence
seem to harken back to a time when
there were giants in the earth, and I
res to the fact that he is the last of a dying
E ~breed makes his slow-motiont
suicide all the more dramatically,
Though Gordon provides the soul
of Round Midnight, it's Francois
Clozet who provides accessability"4
As a struggling commercial artist'
CHARTER and drooling Turner-worshipper
who suddenly finds himself
se your becoming the friend and caretaker of
eantage his life-long idol, Clozet adds a,,
are, lively spark to Turner's slowly"
smoldering fire, not just in terms of
T U.S.A.,, the characters, but in terms of the
audience as well. Clozet's quirky,-
for your highly likable presence andy
in Europe fascinating performance elevate the,
harter dates and re- mood of the film whenever he's"
aartures on scheduled
other midwest cities onscreen, acting as a slap in the
PARIS " BRUS- face to the film's self-concious and
IUNICH a"" ADMAN-
CHMADRID- occasionally self-indulgent mellow.
You really should go see Round
erredagency Midnight some laid-back Sunday
evening. Bring a slight sense of
wonder and suspended>1.
preconceptions, bring a quietly'
poignant gin buzz, bring a couple
cartons of cigarettes and smoke, .
them continuously despite theater
ATE fire regulations. But go see it. It's.
04 not for everyone, but it's well
worth a shot.
Weekly Widebody Charters (NONSTOP*) from
Detroit April November, 1987
OPEN 8 A.M.-5:30 P.M.
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1987 Landes Prize Announcement
Undergraduate students currently registered in the Engineering College
are eligible to compete for the George M. Landes Prize ($800). This is an award
presented annually to an undergraduate student who demonstrates excellence of
both technical work and the presentation of that work in written or graphic
form. The prize is presented in memory of George M. Landes, a 1977 graduate
of the Mechanical Engineering Department and a Ford Motor Company
engineer who was killed in an automobile accident in 1981.
To enter, a student must submit a single piece of technical work. This
presentation -- written, graphic, or some combination of communication media
-- can be a technical article, a design report, a piece of technical journalism, or
any other presentation of technical work. Submissions will be evaluated for