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October 28, 1988 - Image 20

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Publication:
The Michigan Daily, 1988-10-28
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FILM
Continued from Page 5
lap. Second only to seeing the ac-
tual effect is taking off the glasses
and watching the audience members
twist in their seats to avoid being
hit by non-existent objects. Who
need hallucinogens when there's 3-
D to OD on? As a side note, direc-
tor Andre de Toth was blind in one
eye and wasn't able to see the ef-
fects himself.
In the same year as this spectacle,
Dr. Suess scripted a film that was
directed towards children but could
be a nightmare to us all. In The
5,000 Fingers Of Dr. T, a young
boy dreams that his piano teacher
enslaves 500 boys and forces them
to play a one-mile-long-double-
decker-piano. The thought of 500
inexperienced piano players per-

forming simultaneously is scary
enough to think about, let alone
hear! Both Wax and Dr. T will be
shown on Halloween at the Michi-
gan Theater with goodies for all
who attend.
But surely not all horror films of
this time were meant for the kids.
When Hitchcock released Psycho
in 1960, it was questioned whether
or not adults were even ready for it.
While its violence is considered
mild by today's standards, it was
outrageous then. Audiences didn't
know how to deal with it and see-
ing as so many people are afraid of
showering for some time after see-
ing this film, it is clear that some
people still don't know how to
handle it.
But Hitchcock isn't known as the
master of suspense just for showing
blood - he had class. Not once do
you see the knife touch the body;

he knew it was the idea of being
repeatedly stabbed that was horrify-
ing, not seeing it happen. Besides,
it was only chocolate sauce going
down the drain anyway.
Not only did Hitchcock bridge the
gap, he created a flood. It took a
number of years for it to happen,
but now the blood flows freely,
though I doubt this is what Hitch
intended. In any case, this new form
of horror film seems here to stay.
Saturday night there is a double
feature of updated versions of vam-
pire stories. First is a remake of the
film Nosferatu, this time done by
Werner Herzog in 1979. It's visu-
ally beautiful, and visually terrify-
ing at the same time. There have
never been so many rats on screen
since Willard.
This is followed by The Hunger,
which stars David Bowie, Catherine
Deneuve, and Susan Sarandon.

Made in 1983, this film is a true
nightmare. There is an extremely
bizarre relationship between these
characters that makes any other
menage-a-trois look like a tupper-
ware party. And then we watch
Bowie disintegrate and end up
looking like the man who fell to
earth - after he has landed.
And so we arrive at the present to
take a look at the Hollywood Hor-
rors of today. At the moment Hal-
loween IV, Pumpkinhead, and The
Kiss are hanging around town.
How much longer will these films
live after Halloween remains to be
seen, or maybe they'll just vanish
into thin air. But they are good
representations of the turn that this
genre has taken.
Halloween IV is another sequel-
horror film that focuses-on a single
character bent on murder. In this
way it sounds like Psycho, but the

RECORDS
Continued from Page 4
into a French recording studio
where a sound engineer put a Level
42 label on them. Or at least that's
what some of the song's on this
new album sound like.
Actually, Level 42's new release
is pretty good, as romantic pop
goes. The Paul Carrock-like vocals
you'd expect from singers Mark
King and Mike Lindup are there,

complimented by a flawless A-ha-
style superproduction - especially
in the guaranteed-hit track "Heaven
in my Hands."
The album's got more, though,
especially in the rhythm depart-
ment. "Man," "Staring at the Sun,"
and "Take a Look" introduce
changes in time and some tango-
like beats that go beyond usual
pop-rock.
The album's biggest weakness
comes from the lyrics. Most of the

themes of the songs focus on past
loves, heartbreak, and emotional
pain - so what's new? A little of
this is OK, but after four or five
songs full, it can wear on even the
most optimistic listener. The al-
bum's anti-war song comes off
much like Asia's "Countdown to
Zero," - awfully cliched:
But the Dragon lives on/As the
spectre of war/And the killing and
slaying goes on as before/Will it
ever end?...

Not all the lyrics are weak,
though. "Man" has some important
things to say.
If you liked Level 42's last al-
bum, this one's a sure thumbs up.
If you didn't like the last album,
but you like fresh-sounding pop
music, consider this one for your
CD player.
-Mark Kolar

difference comes from the way it is
handled. Psycho was scary because
of what it doesn't show, and Hal-
loween is scary because of what it
does. It all depends on what the
viewer finds more frightening.
Pumpkinhead is interesting in
that it creates its own mythos, a
creature that can be called on for re-
venge but cannot be controlled. The
demon easily incites fear but also
mangles its victims for all the
world to see. And last is The Kiss,
a supernatural thriller about a long-
lost relative who returns home to
pass on a family heirloom which is
an evil spirit.
Hollywood and Halloween. Lots
to choose from this weekend, but
remember the choice is all yours.
Will it be Trick or Treat?
Ras Michael
Zion Train
SST Records
Since SST's release of HR's first
solo effort, Human Rights, I've
been weary of the label's reggae
records, but with Zion Train ,
Lawndale's vinyl gods have shocked
me right back into that eerie feelin'.
Righteous rastafarian riffs. This
record gets better every time I listen
to it. And I thought SST had
burned themselves out with Bad
Brains' I Against I. My mistake.
Zion Train, Ras Michael's most
recent in a long list of albums,
reaches back to the Island and
brings out some of the finest-to-
date "roots" reggae to vinyl. I
thought I'd never see it happen, but
Zion Train proves that the throne
which has been occupied for years
by reggae greats such as Black
Uhuru, Peter Tosh, and Bunny
Wailer, can be shaken, though I'm
cautious about claiming any de-
throning. Upbeat, heavy-percussion
"Jealous " - one tune you're sure
to hear at Reggae Night if Simo-
nian has any sense of face at all -
and the Selassie praises on
"Youthman Rastafari" embody
Kingston's fury. My dreams come
true.
-Robert Flaggert
KIMBA
7 Slack Ink on' Whte or 'rev L
T-SHIRT 2)ea ; SWEAT Sl9ea
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P.O. 6X 40)64
ANARBOR, MI 48106
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INTERVIEW
Continued from Page 10
W: How was the jazz scene out
there as a performer? Did you come
to New York because it wasn't
supportive?
R: There wasn't enough hap-
pening. And I guess that could be
attributed to lack of support. That's
probably true and still true there.
There seems to be quite a lot of en-
ergy but it's not channeled, there's
no more outlets. So I did leave for
exactly that reason...and I had been
meeting more and more people who
lived in New York. I met a whole
lot of people through one of the
founders of the Black Artist's group
by Baikida Carroll, the trumpet
player. Through him I met a lot of
the people from AACM as well as
Julius Hamptom, Oliver Lake,
Lester Bowie, Joseph Jarmon,
Roscoe Mitchell. He was my next
door neighbor for three years in San
Francisco. We worked together

and...[many of] them were out here.
So I started to realize that I was
going to have to make my way to
New York and it was where I really
needed to be.
W: When did you make the de-
cision that you were going to ap-
proach this from a professional
level? As a career?
R: When I was about 18. I had
spent a few years away from music,
just kind of from peer pressure.
Nobody was into doing anything
too serious. It didn't really fit in for
me to be serious about something
such as the piano. During that time
I kind of realized my insight. In
terms of the music and my talent
and the gift that I had. And when I
got back to it, it was during the
time that I was 17 or 18, I would
have to say and was at the point
when I started to dive very heavily
into jazz and history of it, and the
roots of it. That's when I started
getting serious about doing this full
time. I went through a period -

especially from 20 to 24 - where I
was in music 20 hours a day.
That's what it takes to immerse
yourself in something and to make
great, great leaps and bounds. I
think it takes that kind of focus. I
know that I sure did that and it was
not work for me. It was what hap-
pened naturally. I found myself
immersed in it and it became my
life in a kind of natural way.
W: In your different bands, what
is the inspiration that you and the
players work with? And what is
your role as both a member of dif-
ferent groups and as a leader?
R: I have been leading bands
since I was about 20. I am 35 now.
That's a good long time to lead
bands. For me, leading a band is
pretty - much synonymous with
having the opportunity to manifest
my musical ideas. So I pick players
who I feel have an affinity to the
way I hear things. I pick players
that have expressed a lot of
enthusiasm about my music. In my
first years in New York, I just hap-
pened to hook up with people who,
in their own right, were quite
established. I just feel a good
repetoire with certain people. And
they enjoy my music. At a point
where I didn't have a lot of things
together, I got a lot of encourage-
ment and enthusiasm from some
very great people. People such as
Rufus Reed, Howard Johnson, John

Stubblefield, and Oliver Lake.
People who really enjoy playing
my music. As a woman, I feel that
I need people around me who are
very congenial and don't have a lot
of attitudes and who can deal with a
woman leading the band who are
willing to give themselves to try-
ing to get to the music. Even
though and in spite ofthe fact that I
am a woman. A lot of men have
trouble with that.
W: If you were able to create a
dream band of anyone living or
dead, who would you choose?
R: You know, it's funny, I
don't really think that way. There
are a lot of people I would love to
play with but in a way alot of the
people who I sort of dream of play-
ing with, I want to play their mu-
sic. I don't necessarily want to get
them to play my music. I really had
alot of opportunities with alot of
great musicians to manifest my
own stuff- although it is not by
any means overrecorded or on
record. I am just this week finish-
ing my third album which is the
second Quintessence album.
W: Why is it that jazz isn't
taught here in the elementary
schools? Why isnt it treasured as a
national pride?
R: The reason it is not treasured
is because of the basic structure of

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BOOKS
Continued from Page 7
geoning relationship between the
narrator, a friend of Hussein's, and
Gerty's innocent brother.
Gerty's brother hovers on the
fault line between innocence and the
knowledge concerning what
Apartheid - and its intersection
with sexual taboo - are all about.
Again the Group Areas Act wreaks
its havoc, but rather than ignoring
its ramifications, Essop has his
narrator admit his inability to fight
the Act and accept his need to im-
merse himself in politics rather
than ignoring their impact on his
life.

Such moments, as I have sug-
gested, are rare in Essop's work.
The images one is left with on fin-
ishing this decidedly uneven vol-
ume center on male fantasies and
fears of women and their own
threatened power rather than on the
political system that spawns such
crippling psychological mecha-
nisms and such one-sided sexual re-
lationships. Much like the Hajji
Musa of the title story, who tries to
prove he is a man by walking on a
bed of burning coals and severely
burning his feet, Essop and his
heroes engage in a tragi-comic
dance for their very lives, strug-
gling to maintain equilibrium even
as the fiery hell in which they live
consumes them.
-Mike Fischer

U

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Ann Arbor's

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Admission $3
I11 pm show only-with this ad'
LLimit 4 per ad. Exp. 10/30/88

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Prior orders. group plans and other discounis
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.PAGE 6 WEEKEND/OCTOBFR 28,1988

WEEKENDQCTOBE9 28,119,88

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