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REVIEWS is the column in which
members of the Daily Arts staff get
to rhapsodize about their artistic
experiences during the previous
weekend. REVIEWS appears in Arts
each Monday.
Who's on 56
Crucify me for geekiness or bad
taste, but I happen to think that Dr.
Who is just about the coolest TV
show around, worth postponing
homework for. Channel 56 (that's
channel 12 for you cable folk) has
been showing old episodes back-to-
back on Sunday nights, usually
starting around 11 p.m. (the time
has an annoying tendency to change,
so look it up) and ending a joyous
eternity later. The Doctor, as he is
usually called, is a Timelord, this
guy from somewhere far away who
travels through space and time in an
English police call box... any fur-
ther description of the show would
take pages. Just watch for yourself
and figure things out for yourself.
Dr. Who can be really goofy at
times, and the sets and special effects
are typically laughable, but that's
part of the fun. Watch it with a
1 bunch of friends and predict the end-
ing an hour ahead of time.
Alyssa Katz
ha a~S
Gift loses
something in
delivery
Fine Young Cannibals' 70
minute set at the opulent Fox
Theater in Detroit on Friday seemed
like an evening in front of the MTV
saved only by the opening act!
backup singers and instrumentalists
Mint Julip (fortunately the iffy-
when-live Nench Cherry cancelled).
Roland Gift's neato voice sounded as
great live as it does on vinyl, but
their videos reach my soul more than
the distant Gift did on stage. Mint
Julip's amusing performance added
the personability that the shy
Cannibals, Andy Cox and David
Steele, lacked. The six woman a
cappella group from London gained
cultural knowledge about American
audiences and dropped a pop reference
of their own by comparing a male
audience member to whom they sang
to John Boy Walton. I give it a 75
and you could dance to it.
-Annette Petrusso
Zen and the art of
poetry
All summer
The sky roared
Earth tumbled
Morning dove sang
For the golden eye of the sun-
flower
These lyrical phrases by the
Venerable Samu Sunim are reminis-
cent of the exotic yet serene atmo-
sphere of the Zen Buddhist Temple,
7:30 p.m. last Friday. While in-
cense spiced the pre-storm breeze and
candles flickered around the golden
statue sitting cross-legged, the monk
spoke in gentle tones of his child-
hood in the rice fields and bomb ex-
plosions of Vietnam. The softly-lit
faces listened attentively as Sunim
told the intimate, touching and
amusing tale of how he became a
monk: he originally wanted to sweep
and clean what to him was merely a
large house, in exchange for room
and board. The friendly, narrative na-
ture of this meeting differed slightly
from the services offered every
Sunday, from 5 to 7 p.m. at the
temple, 1214 Packard, which also
include chanting (supplemented by
text for those unfamiliar with the
art) and meditation.
-Jay Pinka
Some Pig
The Grand Re-Opening that the
Blind Pig staged this weekend in
order to show off its new, slightly
yuppified interior - and some new
portraits of the great musicians Jim
Morrison and Alan Parsons -
turned out to be well worth the $13
admisson fee. Friday's showcase
starring the Junior Wells Blues Band
started out with a strong performance
by Ann Arborite Steve Nardella's
Rock and Roll Trio. Nardella and his
trusty Rickenbacker jammed out a
healthy combination of blues and
Chuck Berry-style rock tunes. The
surfing classic "Wipeout," given a
new, swampy feel, was a highlight.
The Harmonica antics of Peter
"Madcat" Ruth and his Pressure
Cooker followed, and as usual, didn't
disappoint. Chicagoan Joanna
Conner, promoting her new LP on
Blind Pig records, came on a little
strong for most of the crowd, but by
the end she had evidently won some
new fans judging by the clamor
raised by everybody when she wound
it up.
But the next thing you knew,
none of that mattered. After a couple
numbers without their fearless
leader, The Man himself strode
through the crowd. Clad in a sharp
red-and-white-striped shirt and a
white hat with a red band and an ex-
tra-wide brim, Junior Wells took
control with a soulful blues wail
that was once virtually the model for
James Brown's style and still can
make your ears ring. He played the
blues like only a handful of people
can do anymore up until the the
servers at the Pig collected all the
empty pitchers and the lights came
up. Wells ended, appropriately
enough, with his own version of
Brown's classic "I Feel Good."
- Mark Swartz
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