The Michigan Daily -Tuesday, November 27, 1990- Page 7
X-Clan: this is protected by the
red, the black and the green
by Forrest Green I1
X-Clan/Isis
Power Center
Nov. 25, 1990
X-Clan tore the roof off the mutha
Sunday night at the Power Center!
But I'm getting ahead of myself. The
first act, Papa J. Smooth, was a
surprisingly intelligent, entertaining
and genuinely exciting opener. The
two rappers, representing something
from Detroit a bit better than the
city's usual fare, emerged from
behind the curtains wearing hats
reminiscent of the Roaring Twenties
and generally roaring. J. kicked up
the slight crowd's anticipation with
cartoonishly lewd dancing and the
duo's set pumped tough basslines,
hype drum patterns and an excellent
chant of "Fuck New York! Fuck
New York!" into the mix.
The following act, the Rap
Mafia, did not do so well in repre-
senting my hometown. Following
two rather lackluster numbers, the
three crotch-grabbing "Detroit dogs"
segued into a track entitled "Fuck
That Bitch," that did absolutely
nothing to entertain the crowd, a
large part of it being female. As the
disgustingly misogynous number
continued, the Rap Mafia was ap-
propriately booed off of the stage.
As the unapologetic group left
the stage and chants of "We want X-
Clan!" rose to a crescendo, co-pro-
moter Kuumba's Mike Fischer
briefly emerged, disclaiming the Rap
Mafia's loathsome views from his
organization, as well as X-Clan.
This in turn was followed by a show
of applause from the audience. Dis-
respect for African-American
women, particularly in rap, must be
put to an immediate halt and so this
was an especially relevant moment.
A great set followed by Ann Ar-
bor's M.C. D.I.E. and particularly
his D.J., inspiring a small section of
the crowd to chant, "Go white boy!
Go white boy!" as the D.J. pumped
Ice Cube's "AmeriKKKa's Most
Wanted" and Inner City's "Good
Life" into his mix. Abruptly, a long
sigh, "Aaaaaah!" announced the pres-,
ence of Professor X and his group.
"Funkin' Lesson," "Outrage," and
"Verbs of Power" all were performed
just slightly superior to the recorded
original versions.
Architect Paradise and other
Blackwatch members held huge flags
bearing the colors red, black and
green, as the unusually angry,
indignant Professor X dropped sci'
ence that the Power Center never
knew. "So here we are at this insti-
tution of higher learning... Well,
I'm here to tell you, that they have
you fooled! They have you thinking
you're free! ...YOU'RE NOT FREE!
YOU'RE NOT FREE!"
Equally angry call-and-response
chants followed, "How black is it?,"
"VERY BLACK!" and "No justice!,"
"NO PEACE" KThe tracks "Grand
Verbalizer, What Time Is It?" and
"Heed the Words Of the Brother" fol-
lowed, and after a warm embrace be-
tween Brother J. and Professor X;
Isis emerged from behind them and
rendered a particularly angry perfor-
mance of "Rebel Soul."
Word to Kuumba and co-pro-
moter Office of Major Events: Ann
Arbor needs more of this kind of re-
bellion.
The three men of Three Men and a Little Lady are an extremely busy bunch of guys. In addition to working for a
Qlving, they have plenty of free time to play with Legostand with Mary and her Mom.
Three men with penises
Three Men and a
Little Lady
dir. Emile Ardolino
by David Lubliner
"W hat is a penis?" inquires
adorably precocious 5-year-old Mary
fpobin Weisman) in Three Men
and a Little Lady. Peter (Tom Sell-
eck) and Michael (Steve Guttenberg)
look at each other nervously. Peter
clears his throat and says, "Well
Mary, it is the male urinary tract
Which..." and so on. Mary shakes
her head in, disbelief. Something
tells her that there is more to it than
that explanation.
This kind of witty humor per-
vades the latest film to be released
this holiday season with a cute little
kid in the starring role (see John
Hughes' Home Alone for more de-
tails). And despite the idiotic plot
and terrible overacting, eager movie-
goers looking for a little Christmas
cheer will flock to this one as well.
When the original film, Three
Men and a Baby, was released a few
years back, one couldn't help but
fear the worst. A remake of a charm-
ing French film with American tele-
vision actors? You've got to be kid-
ding. Surprisingly, that movie, as
well as its sequel, are entertaining
and there are some explanations for
their success. Lady is the consum-
mate product from Touchstone, the
"adult film" arm of Walt Disney Pic-
tures. It's smooth and slick and pos-
sesses colorful production designs.
The movie feels like a fairytale and
even promotes ideal American main-
stream values. In one scene, the
three men react extremely defen-
sively to the suggestion that they are
possibly homosexuals. The end re-
sult is perfect Christmas entertain-
ment for the entire family.
In place of the unbelievably luxu-
See LADY, Page 8
RECORDS
Continued from page 5
blues attitude, sometimes punk-en-
ergized, sometimes acoustic guitars,
and The Pink Floyd-ish noise experi-
ments. The Lips record on a 4+ track
machine, and they don't let any
tracks go to waste. "Chirp chirp" go
the crickets. Relax. Here, have these
headphones.
-Brian Jarvnen
The Geto Boys
The Geto Boys
Def American
The Geto Boys are brilliant car-
icatures from the Clockwork Orange
school for the Young and the Ruth-
less. Their criminality and ruthless
villainy is so nonchalant that they
effortlessly out-mack countless per-
petrators who "be claimin' P-I-M-
P." Clever enough to usurp the
throne without falling into simple
boasting, they utilize unique voices,
captivating first-person tales and
their own distinctive style to destroy
the conscious wall between the rap-
per's role and the role he plays. With
their purple hats and hilariously ugly
sneers the Geto Boys actually be-
come characters, falling into a car-
toonish, slapstick, textbook render-
ing of evil.
Check out Ready Red, Bushwick
Bill, Scarface and Willie D. on "Do
It Like a G.O.," basically a
spontaneous release of pseudo-mili-
tant "Too: black, too strong" rage.
Although the makeshift groove does
not achieve the divine zenith of infu-
riated, funky rap rage with Curtis
Mayfield's "Superfly" bassline, their
group delivery still burns like Chuck
D.'s Hollywood. Otherwise, the
most righteous track on The Geto
Boys is "City Under Siege," a
provocative declaration of war
against the powers that relentlessly
pump narcotics into the inner-city.
The Geto Boys are at their best
however, when they plumb the core
rupt depths of psychosexual deprave-
ity and perversity with the misogyny
of Richard Wright's Bigger Thomas
and the calculating will power of
Dostoyevsky's Rodya Raskolnikov.
Both Jesse Helms and Luther Camp-
bell might as well eat shit and die
when they hear "Gangster of Love,"
the most brutal depiction of sexism
See RECORDS, Page 8
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International
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Time
Newsweek
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USA Today
Because they
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