Page 8-The Michigan Daily- Wednesday, September 16,1992

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Lunch culture
They just painted the walls
green (and oooh so tastefully, too)
so we know you want to get in to
the Museum of Art, and now
you've got a good reason -
ArtVideos at Noon. As one might
expect, it starts at noon and,
incidentally, these things happen
every week. In fact, a friend tells
us that they're going to get even
btter awfully soon. Regardless,
this week's offering is about
Mexican mural artist Diego
Rivera, who muraled (if we might
invent) in the '20s and '30s. Did.
we mention that they're free? A far
cry from a PB&J in the hall before
class, don't you think? Call 747-
0521 for details.
Hail Mary,
full of grime?
We don't really know an awful
lot about them, but who could pass
up watching a band called "Glen
Armstrong and the Dirty Clergy?"

He (or they?) will perform with
Legion Hall at the Blind Pig
tonight. Call 996-8555 if you feel
like confessing.
School daze
If getting back to classes is
really getting you down, and those
assignments seem a little more
daunting than they used to, tune in
to the wonders of Community
Access Cable. At 8:05 tonight
(synchronize your watches)
"Homework Hotline 39" airs on
cable channel 9. OK, we admit
that we haven't had a chance to
see it yet (have you ever tried to
get cable at the same time 40,000
other students are?) but dear, oh
dear - the possibilities are
endless.
Sleeper hit
And hey! You! Yeah, you! The
one that thinks Woody Allen is a
pretentious twit. Get over to the
Michigan Theater at 9 p.m. -
"Sleeper" is still showing. There's
still hope for your miserable soul.

Old cowboys have last
fling in TV's 'Dove'

by Michael John Wilson
Has Clint's "Unforgiven" fired
you up to watch your favorite
Westerns again? Here's one you
may have missed - it was a
made-for-TV movie.
Yes, one of the greatest
Westerns ever made was produced
for television. But "Lonesome
Dove" has none of the cheapness
Lonesome Dove (1989)
Directed by Simon Wincer; written
by William Wittliff based on Larry
McMurtry's novel; with Robert
Duvall and Tommy Lee Jones.
that the phrase "made-for-TV"
connotes. With a budget of $16
million, a first-rate cast and a
script based on a Pulitzer-Prize
winning novel, this is no ordinary
miniseries.
Making "Lonesome Dove" for
TV accounts for part of its suc-
cess, since it allowed the film to
be six hours long - something'
that never would have happened
on the big screen. The length al-
lows the script to take its time,
slowly introducing us to the
richly-drawn characters. After six

hours, you know them so well that
you don't want to leave them and
their world - it's like losing a
friend.
McMurtry , story is akin to
"Unforgiven" in that it deals with
old cowboys who go out for one
last binge. In Eastwood's film, it
was one more bloodbath for
William Munny; here, it's one
more enormous cattle drive for
former Texas Rangers Gus McRae
(Robert Duvall) and Woodrow
Call (Tommy Lee Jones).
The contrasting characters of
McRae and Call make "Dove"
seem on the surface a buddy
movie, but actually, it's much
more. An entirely different plot
concerns a sheriff whose wife
(Glenne Ileadly) takes off myste-
riously while he's away searching
for a criminal (Robert Urich), who
happens to be a friend of Gus and
Woodrow. Meanwhile, McRae
and Call have their past to deal
with (which includes Anjelica
Huston, Diane Lane, and Ricky
Schroeder). Gradually and bril-
liantly, the plots become clearer
and eventually converge.
Where they all meet is in the
character of Gus. Duvall gives one

Jones

x
is now accepting applications
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high school students in the Martin Luther King, Jr./Cesar
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needed to facilitate bi-weekly presentations at high schools in
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Application Deadline is Monday, September 21,1992
A non-discriminatory, affirmative action employer.

of his greatest performances as the
endearing, mischievous, reflective
old man. He's fabulous when he's
just talking to pigs, but when he
meets the woman he loved but
who rejected him (Huston), their
scenes are deeply moving.
Don't miss out on the chance
to get to know some unforgettable
companions. And without com-
mercials and interruptions, it's
one of the few films that will ac-
tually look better on video than in
its original presentation.

I

Psst! Need
new fart
slippers? i
byAnnette Petruso
Want more proof that American
culture can be really stupid and
downright weird? Just check out
what this Harriet Carter catalogue
pushes.
A wasp trap (p. 3) that promises
"no unpleasant bug spray odors or
electricity to burn" - fun for the en-
tire family, I'm sure. Would yo
wear a pink tee that says "I have
P.M.S. and E.S.P. That Makes Me A
Bitch Who Knows It All" (p. 4)
gents? I thought so. And this is one
Harriet Carter
(Distinctive Gifts Since
1958 ...)
Catalogue
of the weirdest things I've ever seen:
the Super Kegel resistance exerciser
(p. 9) claims to "help strengthen
pelvic muscles to end embarrassin'g
accidents, improve bladder control
... aids sexual enjoyment." All from
some little machine.
Who buys this stuff any way?
(They even hock the notorios
Thighmaster (p. 13) with Suzanne
Sommers' picture. You know she's
waiting for the Three's Company re-
union show with bated breath just
like the rest of us.)!
As with any good catalogue
though, there are the usual orna-
ments for the house to celebrate
Christmas, Halloween, and Thanks-
giving. I mean, without Santa Porch
light covers (p. 26) how could, you
enjoy the consumeristic, yet family
oriented days of joy? While getting
ready for such events you can put qn
the netted beauty hood (p. 18) that
protects your stylish do and make-up
while you dress. To make sure
you're on time, slip on the watch
with Jesus's picture on the face and
Roman numerals for numbers (and
irony), encircled by the names of the
Apostles (p. 19). Do a quick dusting
of the living area (in your beauty
hood of course) with a genuine
ostrich feather duster (p. 22) before
the in-laws descend. For your single
brother, buy the click and strip pens
(p. 28), whose pictures strip when
you click - how ingenious.
Of course, there are numeros
Elvis items for the obligatory fan in
the family- the towels (p. 30) and
calendars (p. 37) are especially nice.
My favorites of the whole shebang,
however, have to be the boxers that
say NO! in the light, but YES! in the
dark (p. 48) and, the perfect gift for
grandpa, old fart slippers (p. 81)
which, well, fart when you take a
step in them.
For more interesting, and I use
that term loosely, products, check
out the catalogue yourself.

Why ask 'Why'? V
by Kim Yaged
"Why," the first single off Annie Lennox's debut
solo album, "Diva," is as flawless as the lipstick she
sports on the album's cover. The piano sparkles around
her lyrical anxiety while a brushed cymbal highlights
her emotion. The bass is the incessant droning of her
anger and plucks on strings touch each absence she
enumerates. It is a keyboardist's wondrous creation and
Lennox's voice is a religious cantata. The preceding
track, "Walking on Broken Glass," is nearly as immacu-
late in its mainstream appeal as "Why" is in its com-
plete perfection. A song later comes "Legend In My
Living Room," a bluesy demonstration of chaotic re-
straint demonstrative of Lennox's vocal trademark. The
remainder of the tracks fall at. least loosely under these
three categories.
"Precious" is pop with rolling lyrics and a savior in
the form of its chorus. The bass gives it power and the
flicks and falters of Lennox's vocals spice the whole.
"Money Can't Buy It" and "Little Bird" have similar
appeal. Of course, each song has its own moments, es-

Vhyt'y Wy?
pecially when they return to the almighty refrain. Annie
even includes a rap-esque stanza as the final verse of
"Money Can't Buy It." What can you say to that?
"Cold" and "Stay By Me" are almost direct returns
to "Why." "Cold" begins with a paralleled perfection to
"Why," but, as Lennox leaves the wrapped together
REC'OR1IEVIE
Annie Lennox
Diva
Arista
musical-lyrical combination behind, the absence of
something intangible renders the song hollow. She re-
turns to the form later, but it is insufficient. "Primitive"
and "The Gift" are her best returns to the "Why" for-
mula. Significant lyrics with sparse musical tainting en-
ter in a subtle crescendo until you are surrounded with-
out realizing it.
Lennox's rendition of "Keep Young and Beautiful,"
by Al Dubin and Harry Warren, struts Annie in the
classic Irving Berlin genre she is doing with "Legend In
My Living Room," and, to some extent, "Precious,"
"Money Can't Buy It" and "Little Bird." It's more
comfortable to listen to her in "Keep Young and Beau-
tiful" because the music is self-explanatory. Lennox's
tracks sometimes get lost in the mood swing of the
music, such as on "Precious," where tempered blues are
washed out by a dance beat. She belongs lying down on
a black baby grand showcasing the outfit she sports on
the album cover - yellow eyeshadow, frock and all.
Annie Lennox's biggest flaw with "Diva" is not
saving the best for last. After "Why," and even
"Walking On Broken Glass," she leaves nowhere else
to go. These two songs are a culmination of the others,
iot an introduction. Still, Lennox's lyricism and vocal
acrobatics make the CD worth its weight in polyfibers,
and "Why" makes it worthy of just about anything.

*I

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RESTAURANT." BAR & GATHERING PLACE
OPENING SOON
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