The Michigan Daily - Wednesday, October 10, 1990 - Page 7 ,....', .. . . . ... ,- ''e A.. a.a.tea, The marks run deep8£ by Mike Kuniavsky ,.M' " Clip and save dr ar vy tRecipe for... a° ay K 3at;w Action film (Marked for Death style) ;.........e.. Ingredients: 1 retiring or retired cop (Steven SeagalTM Brand) 1 ruthless, insane minority drug lord (JamaicanTM brand) 30-40 henchmen (same minority as ruthless, insane drug lord) 1 'Nam sidekick 3-4 family members (Sitting DuckTM Brand) 1 love intrest (optional) 1 car chase scene 1 assault on hideout (Drug LordTM Brand) 5-6 really cool guns Dash of plot Vi Ultraconservativism (Drug War" Brand) , sadism, to taste. 0 Have RUTHLESS, INSANE MINORITY DRUG LORD not only sell crack to high schoolers, but hurt FAMILY MEMBERS of RETIRING OR RETIRED COP. Place RETIRING OR RETIRED COP and SIDEKICK in revenge situations. Loudly break 10-15 limbs. Insert gratuitous lines from LOVE INTREST, ex: in response to FBI agent's declaration that COP is RETRING OR RETIRED, "He still looks functional to me." Simmer PLOT with CAR CHASE SCENE 'til audience tender, add ASSAULT ON HIDEOUT. Cook on high heat for 20 more minutes. Lay on thick. Serves no one. Okay, enough sarcasm. What re- ally bothered me about this film was the fact that, once again, Hollywood attempts to couch its hatred for mi- norities (or, to be more accurate, its insistence on placing minority char- acters in negative situations while *retaining white males as "positive" role models) by choosing a "more minor" minority for its victims, pre- sumably one that can't fight back as easily. This time around they chose Jamaicans. The filmmakers do in- clude a positive Jamaican character, a positive Black character (the afore- mentioned SIDEKICK) and some nat- uralistic scenes of the conditions in Jamaica that could possibly - in the film's internal logic - lead to the bloodthirsty, insane villian. But, regrettably, the broad thrust of the film is still with the reinforcement that the people doing the worst ills are not white and are not from this country and that the whites must de- fend themselves at all cost before their families (or, as the catchword in political rhetoric seems to be re- cently, their "children" - bullshit, it's their bank accounts) are hurt. What also really bothered me was that the audience - mostly Black, where I saw the film - did not seem to recognize this fact. They laughed and cheered when this white schmuck cracked the wrists, legs and necks of idiot Blacks. Needless to say, I was very disappointed: the same thing probably would have happened if I was sitting in an audi- ence full of average whites, but I had hoped, had really hoped, that things would be different. Here's Steven Seagal, "America's hottest new action star," and boy is he baaad. 1" t4 Ultimately, it seems that Holly- wood really does represent the views of its viewers and this, more than any two-bit B movie from a dork like Seagal (pronounced say-gall, presumably so that it doesn't sound too "ethnic"), is where the tragedy really lies. The medium is the mes- sage, and the message is shit. MARKED FOR DEATH is showing at Briarwood and Showcase. Not all poetry is solipsistic and obscure: Roger Weingarten is here. Weingarten brings wisdom and hu- mor to the dark side of country life in his poetry. Says reviewer W.S. Di Piero of his second collection of poems, Ethan Benjamin Boldt, "I don't know of any contemporary poet his age (Weingarten is 30) w#0 can sink us so deeply into the often cruel, sometimes witty, sources"of country wisdom." Infant Bondsof Joy is his seventh and latest book of poetry. Weingarten will be reating from his work at Rackh n Amphitheatre today at 4 p.m. WRITE FOR ARTS!!! CALL 763-0379!!!! Various Artists Marked for Death Soundtrack Delicious Vinyl Okay, here is where the film par- tially redeems itself. Though almost absent from the film, the songs fea- tured on the soundtrack album are almost exclusively by Black artists and feature if not a range, then a va- riety of Black music. The best cut on the album is "The Shadow of Death" by Def Jef and Papa Juggy. With a pretty hellish groove and the tension between Jef's intense rebel- liously-anguished voice and Papa Juggy's reggae lyrics (telling you where rap was before rap was) Jef pulls you through a hell where "it's too much friction/So your tempera- ture goes up/It's too hot to han- dle/Boom, your head blows up." There's also an interesting con- versation among the tracks: in the fifth cut, Mellow Man Ace's "Welcome to My Groove," Ace tells a pretty typically sexist (male rap speaks with its mouths and thinks with its cock) story of an average guy wanting to get laid with no re- grets and no commitments; later, 3 tracks to be exact, Body & Soul an- swer him, and tell about how he "wants to be your man, your sweet- heart and your lover/But under cover, that brother's lookin' for a second mother." They sum it up with "Men live in that frame of mind/Blind in two eyes, but his third eye sees fine." Finally, in the classic tradition of the kid that's left out of kickball on the playground, Tone-Loc decides to jump on the "I'm a gangster, too" bandwagon with "I Joke, but I Don't Play." He asserts his usual pop de- meanor as a facade, " I never talk about a gangster shotgun/But when they see me they find that I've got one.' Yeah, and I bet it's bigger than Ace's.t The last four tracks on the al- bum, bonuses on the CD, are by Jimmy Cliff and Peter Tosh and were produced (executive produced by Seagal himself!) especially for the film. This makes 'em all pretty lame, sountrack muzak, and even more tragic considering the film's content. On "No Justice" Cliff sings "I can't get no justice under this sys- tem/I can't get no justice in this so- ciety." No, Jimmy, you can't. And you can't even get respectful em- ployers, ones that would listen to your music before slapping it in their stupid, racist films. -Mike Kuniavsky --wfl-w-fl n Toute nation a le gouver- nement merite. 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