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September 10, 1992 - Image 12

Resource type:
Text
Publication:
The Michigan Daily, 1992-09-10

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Page 12-The Michigan Daily/New Student Edition - Thursday, September 10, 1992

BASEHEAD
Continued from page 11
that's cool."
Play With Toys is more of a
freeform dialogue than just words
thrown over music. It's peppered
with conversations between Ivey and
friends on a variety of subjects. They
discuss everything from getting
dumped by a girlfriend ("Not Over
You"), to the state of being Black in
America in the 1990s ("Evening
News"),to the sincere affections
they have for beer ("Ode To My
Favorite Beer"). The whole thing is
just so personal.
Says Ivey, "It's not so much au-
tobiographical, so much as the atti-

tude I have in certain situations. It's
personal in that sense. I really didn't
think of it as an exorcism or any-
thing."
While Ivey tends to downplay his
contribution to the language of hip
hop, he will concede that it's not like
anything else happening today.
"I wasn't sure if it was good or
not, since I was trying to just do
something I liked, and I like various
types of music. It came out sounding
different because I listen to a lot of
different stuff. I didn't have anything
to compare it to."
Playing live is another factor in
the world of Basehead.
"It's different in the fact that
there's people other than me playing,
so they'll put their own personal in-

terpretations to it. It isn't quite as
laid back as the record, just because
of the nature of live performance,"
he says.
This was more than evident when
they recently opened for the Beastie
Boys. Live, the songs have an almost
jazzy feel, with some Hendrix
touches courtesy of guitarist Keith
Lofton. The show ranged from a
sublime rendition of "Play With
Toys," to bizarre open-ended jams
that were made up on the spot, and
christened with titles like "Kiss My
Black Ass" and "Do You Wanna
Fuck Or What?"
Basehead has, definitely made
their mark. The overwhelmingly
positive critical response to Play
With Toys has put Ivey in the cat-
bird seat for now. Respected music
critic Greil Marcus called the record
"One of the most suggestive and al-
lusive recordings in all of pop." But
Ivey takes it all in stride, in his cus-
tomary mellow manner.
"I'm looking to improve soni-
cally, and to keep it personal. I'm
avoiding all of the bullshit of having
to find a producer, and making some
slick record. I'm trying to stay true
to the artistic aspect of my music,
whatever that is."

Ulu

Deee-Lite
Infinity Within
Elektra
I was so ready to hate this record.
If one more pretentious, Pucci-clad,
pseudo-club kid with a bad haircut
snapped their fingers in my face
yelling "Deee-groovy!" somebody
was gonna die. Granted, Deee-Lite's
debut, World Clique, was a genius
amalgamation of everything that was
good about dance music, the
decidedly undeee-licious overkill
that followed ripped the groove right
outta my heart, and planted it firmly
as a pain in my butt.
But lo and behold, Infinity Within
is nothing less that pure brilliance,
surpassing their debut by leaps and
bounds. The grooves are deeper, the
songwriting tighter, and the already
luscious voice of the deee-gorgeous
Lady Miss Kier has become what
dreams are made of. Best showcased
on seductive ballads like "I Won't
Give Up" and the spine-tingling
"Love Is Everything," Kier's voice
is pure aural ecstasy.

StUdies
Program in Film and Video Studies
Available Courses - Fall 1992

Placing more emphasis on social
commentary this time out, Infinity
Within comes packaged in the spiffy
(and waste-free) Econo-Pak, and
features the funkiest PSA ever on
"Vote, Baby, Vote." Guest
appearances by Arrested
Development and the Disposable
Heroes of Iliphoprisy only sweeten
this already deee-perfect record. A
club classic. See you on the dance
floor.
- Scott Sterling
POIVO
Cor-Crane Secret
Merge
If Sonic Youth would've come
blazing out of the hills of Chapel
Hill, North Carolina, instead of the
urban jungle of NYC, they might
have sounded a whole lot like Polvo.
Dissonant guitar gymnastics, crash-
ing cymbals everywhere, lurching
tempo changes, blurry, fractured vo-
cal stylings - In other words, pretty
happening stuff.
Polvo has a way with noise,
twisting and shaping it into eerily
catchy near-melodies. "Can I Ride"
has that cerebral, scream-along
quality of Swervedriver, "In The
Hand, In The Sieve" is a paralyzed
scorcher, and "Vibracobra" has a
fuzzy, psychedelic thing going on.
Simultaneously ascending and
descending, brimming with dynamic
tension and some seriously raw en-
ergy, Cor-Crane Secret is yet an-
other reason to make that road trip to
Chapel Hill.
- Scott Sterling

BOOKS
Continued from page 11
one another. They prove that human
beings do not cling to misery,
though misery may cling to humans.
Do people always do things because
they want to do them?
Although, the novel may begin
on this stubborn and self-interested
note, it ultimately sets out to prove it
wrong. It seems that there is more to
free will than making up ones mind.
As the narrator says in the closing
pages of the novel, "Something is
missing there. Something rogue.
Something else you have to figure in
before you can figure it out." That
something is the past.
In some ways Jazz is about not
trying to figure it out. It is about re-
membering the tragedy of oppres-
sion so that we can allow it to pass.
And it is about change. Joe and
Violet let their bitterness fade and
they became happy. But that is only
allowed them in old age. The forces
which temporarily held Joe and
Violet from embracing themselves
still prevent the narrator from realiz-
ing an individual freedom.
The novel ends in the sentence:
"Now." With that, Morrison reminds
us that these forces are still at work
today.
As we move through Jazz, we see
a recognizable situation made com-
plex through an increasingly detailed
history. The reader is made to iden-
tify with the plight of these charac-
ters and is then forced to see beyond
the surface and to confront the
complexities of the past. But don't
let the setting fool you, Jazz is about
the present.
- Robert Mertz

Film\Video 400
Filmmakinq i
16mm film production.
Permission of instructor.
T/Th 1:00-2:30 pm
Instructor: Rayher
Film\Video 413 Sec 001
Film Genres (Film Noir)
The gender politics of film noir.
Lecture: T/Th 12:30-2:00 pm
Screening: T 4:00-6:30 pm
Instructor: White

Film and Video\CAAS 420
Documentary Film
Non-fiction film, 1920s-present.
Lecture: T/Th 12:30-2:00 pm
Screening: T 7:00-9:00 pm
Instructor: Ukadike
CAAS\ Film and Video 470
Cultural Issues in Cinema
The cross-cultural use of media.
Lecture: T/Th 10:00-1130 am
Screening: T 4:00-6:00 pm
Instructor: Ukadike

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