Page 8- The Michigan Daily - Wednesday, November 6, 1991

opl10reasons why
Holocaust
Revisionism has not
Sppeared in the
'Music of Politically-
Correct artists
10. Bradley R. Smith's name is
not listed in the phone book, so it
has been difficult to reach him for
consultation.
9. N.W.A. does not condone the.
representation of people in their
music that could be construed as
offensive.
8. Politically-Correct musicians
feel no need to debate the issue:
they know the Holocaust didn't
happen.
7. The Scorpions are having too
much fun celebrating the new
Germany to rekindle glories of
the past.
6. Paul Simon has been busy with
something or other in Africa.
5. Neil Young is pissed off that he
did not think of protesting it
first.
4. Corporate sponsorship, for
some reason, has been unavailable.
3. Sindad O'Connor has been un-
available for consultation.
2. Guns 'N Roses wanted to in-
clude it in one of their songs, but
decided that revisionism is too big
of a word.
1. Politically-Correct artists re-
ally do write about Holocaust
Revisionism, but the Daily, with
its disregard for freedom of
speech, just censors them.
-Kim Yaged
DAILY ARTS NEEDS WRITERS
wIea--.ea uJ n d----..
Folk Jas Classical Music
Danme Books Art
Takphaoe 763-03779Jbr m"e Aibn~a
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who what where when

Brat Packer bloodied, beaten in
John Frankenheimer 's Gun

What does 89 cents buy you
nowadays? Maybe a cheeseburger, or
a soft drink, but how about the
chance to see a really cool young
band that has begun to make a stir in
the college radio charts? Yep, just
89 cents will get you inside the
Blind Pig tonight to catch Toad the
Wet Sprocket. Blending a solid
mix of rock, folk and country-
tinged "pop," complemented with
thoughtful lyrics, Toad is quickly
becoming one of a new breed of
American alternative bands worthy
of notice. This CIMX (88.7 FM)
promotion will afford fans a unique
opportunity to see a special band at a
special price. Doors open at 9:30
p.m.

Dan Fogelberg is a lot like Don
Henley, but a helluva lot less suc-
cessful. His new album, Wild
Places, is dedicated to figures like
Henry David Thoreau. But Henley
has an MTV contest to save
Thoreau's Walden Woods and hang
out with him. Fogelberg doesn't,
but he does really live in BFE
Colorado and Maine. Both were also
'70s rockers. Remember Fogelberg's
"Part of the Plan" song? Neither
do we, but who could ever forget
the Eagles' "Hotel California"?
Check out Fogelberg's has-been tour
at Hill Auditorium tonight. Tickets
are a whopping $23.50 (p.e.s.c.) at
TicketMaster. Maybe Henley will
show up, too.

Electronic
Electronic
Warner Bros.
Electronic is the brainchild of Bernard Sumner and Johnny Marr, a col-
laboration that has produced an album combining the artistic styles of two
of the most prominent alternative groups of the '80s - New Order and the
Smiths, respectively. In addition, several contributions made by the Pet
Shop Boys compliment the controlled artistic style Sumner and Marr have
created. Most of us have already heard the first few hits, "Get The
Message," "Tighten Up" and 1990's "Getting Away With It." The singles
alone serve up pure techno-pop, but the rest of the album offers us even
more.
Electronic is a welcome digression for New Order/Smiths/Pet Shop
Boys fans. New Order's bland Technique (1989) was an entire album of the
same rhythmic progression and lyrical mode - however, here we find
Sumner writing lyrics with Marr that easily surpass many of New Order's
post-1985 offerings.
Marr has been working with a variety of artists since the demise of the
Smiths, including The The and Kirsty McColl, and here he displays a full
range of talent that was restrained in the past. The inclusion of "The
Patience of a Saint" and "Getting Away With It," co-authored by Chris
Lowe, Neil Tennant, Sumner and Marr, provides a vocal and stylistic bal-
ance the album needed.
One of the album's most impressive songs, "The Patience of a Saint," is
a combination of the Pet Shop Boys' flavorful, hip style and the vocal har-
monization of Tennant and Sumner. Conversely, "Getting Away With It"
could have been a New Order tune with special vocal guest Tennant.
The diversity of the songs lends itself well to the overall feel of the al-
bum. "Some Distant Memory" recalls the misspent early mode of a rela-
tionship, while "Soviet" is a somber instrumental with strong classical
overtones, and "Idiot Country" is a scathing political commentary on ag-
gression and the lust for power.
The Sumner/Marr combination has produced an entire album of material
that promises a new era for these pop giants.
-Debra Power

Year of the Gun
dir. John Frankenheimer1
by Aaron Hamburger
Have you ever found yourself in
the streets of a foreign city, sur-
rounded by an angry rioting mob?
What would your reaction be?
According to the far-fetched script
of the new John Frankenheimer film
Year of the Gun, you'd probably say,
"Whoa! This is serious." This is just
one example of the many moments
that make Year of the Gun one of
the silliest, most contrived thril-
lers of the year, no small feat in a
year that has brought such lame-
brainers as Deceived, Dead Again
and VI. Warshawski.
Andrew McCarthy stars as
David Raybourne, an American
journalist living in Rome in 1978.
Raybourne is writing a novel about
a real group of vicious terrorists,
known as the Red Brigades, and their
plan to kidnap Aldo Moro, a leading
Italian political figure. Trouble is,
the Red Brigades are planning such a
kidnapping in real life. Naturally
(or unnaturally, as the case is in this
film), plot complications occur, in-
volving Raybourne's beautiful
Italian girlfriend (Valeria Golino)
and an American photojournalist
(Sharon Stone in a lazy perfor-
mance).
The plot isn't as much of a bad
idea as was the casting of Andrew
McCarthy in the lead role.
McCarthy never manages to con-
vince the audience that he is intelli-
gent or perceptive enough to write a
novel, let alone an intelligent
newspaper article. Mostly, McCar-
thy stands around smiling, as if he's
posing for a magazine cover, or
bursts into temper tantrums to
show Emotion.
Director Frankenheimer doesn't
do him any favors. After a slow
start, the pace of the film does begin
to pick up a bit after some mildly
interesting plot developments, but
by the end of the movie, you're hop-

ing for someone to kill McCarthy's
character, just so it'll be over.
Frankenheimer, the talented direc-
tor of the 1962 film T h e
Manchurian Candidate, has lost his
touch here. He indulges in far too
many unnecessary close-ups, and his
amateurish shots of men being sav-
agely murdered illicit laughter
rather than horror. The use of slow
motion in one of the final scenes,
which prolongs an already slow-
moving sequence, is not only regret-
table, but fatal.
Frankenheimer's worst choice,
however, was in using David
Ambrose's script, which contains
77 E

enough stupid wisecracks, half-
baked plot ideas and ill-conceived.:-
characters for dozens of horrible"
movies. Among the script's most:.
dubious accomplishments is its2$
stipulation that if a man shows any"
mark of affection to another man,;
then he is undoubtedly a homosex-
ual. Ambrose also manages to of-
fend in an ironic scene when
McCarthy's character unwittingly;,
tells his gay friend, "You'd make a
good wife." Year of the Gun may
succeed at perpetuating homophobia,
but that's about all.
YEAR OF TIE GUN is playing at
Fox Village and Showcase.
. o'er-
u4
34
1

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The Japan Exchange and Teaching (JET) Program offers you the opportunity to see and
experience life in Japan while being employed by one of various levels of government.
Help students to understand the English language and American culture or promote
international relations as you travel and enhance your knowledge of the world!
THE JET PROGRAM
Sponsored by the Japanese Government
For further information, please write:

Year of the Gun is no Weekend At Bernie's, but hey, Andrew McCarthy is
terrorized by the Red Brigades, so it can't be all bad.


LEE
Continued from page 5
photographs.
Lee's portraits are of the old and
the young, as well the dead..One of
the portraits in the exhibit is of a
child who died of strangulation and
suffocation when he became entan-
gled in the sheets of his parents' bed.
--For 50 years, we have
wished success & happiness
in your exams & well-being--
The Dascola Stylists
opposite Jacobson's
668-9329

Embassy of Japan
Office of the JET Program
2520 Massachusetts Avenue, N.W.
Washington D.C. 20008

Consulate General of Japan
Japan Information Center
737 North Michigan Avenue, Suite 1000
Chicago, Illinois 60611

The mother's vacant stare as she sits
near her baby's coffin raises intense
empathy in the viewer.
The moods conveyed by these
portraits are often those of sadness,
discontent, anger and frustration.
The only portraits in which there
seems to be any joy are those of par-
ents and their infants. The older;
children seem to have adult faces,
which reveal their disillusionment1
as they have become hardened to
such austere lifestyles. In one pho-
tograph, Lee's subject is a little girl.;
The lighting emphasizes that she is a
young child by illuminating her lit-
tle white flowered shorts and her
skinny legs. Yet her cold eyes deny
her youth by challenging the viewer
with a relentless stare.

Included in the exhibit are eight'
five-foot-tall facial portraits of-
Blacks in Southern Appalachia. Cut
off from their bodies and environ-a
ment, the faces practically explode
with anger and sadness.b}
Lee's portraits are very moving-
and unromanticized. He depicts his",
subjects' individuality with respect.-
His work should enlighten viewers
by bringing the reality of these peo-
ple's cruel poverty to then'
University Museum's comfortable"
gallery.
PHOTOGRAPHS BY BALDWIN"
LEE is now on exhibit at the Univer
sity Museum of Art and will remain-
on view through December 22.


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Consider This:
Overseas Travel
Language Training
Living Expenses
Medical and Dental Care

7.,
iCI
IrI'
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iStr
)lit

Student

Loans k

$5400'7
All this, and a better world to show for it.

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