ARTS The Michigan Daily Wednesday, December 2, 1992 Page 5 To 'folk' or not to 'folk' - a handy guide A mellow ti through the gentle world of the best offolk music Attention Losers Are you a complete loser? Have you been dying to change your life? Here's your chance to make a brand new start, or at least pretend. The Virtual Reality Seminar is coming to town to demonstrate the latest in virtual reality, that glorified video game. You can even participate in the fun and games yourself with an advance reservation. There's also a lecture by Steven Aukstakalnis, who wrote a book about virtual reality. The illustrious event takes Brenda Kahn plays the acoustic guitar in a dress by Scott Sterling O.K., let's draw a picture. Imagine. A woman. With a guitar. A big, clunky, acoustic guitar. You get to fill in the blanks. Thin, close-cropped 'do, combat boots, ripped jeans perhaps? Kinda that Michelle Shocked meets Chrissie Hynde thang? Now pull a Sinead, rip it up, and meet Brenda Kahn. "It's the biggest challenge for me as an artist, to be taken seriously, but not going the 'guy' route," she says from her New York digs, moments before heading to a Soul Asylum gig. "It just won't work for me," she comments on the androgynous look of so many guitar-toting females. "I don't look good in short hair, and I'm not skinny or flat- chested. But it's really hard for us to get over in this so- ciety while still being feminine. You end up like Marilyn Monroe or something." At the forefront of the burgeoning "Anti-folk' scene, the twentysomething Kahn's acoustic-soaked rock and roll is filled with 'grrl riot' spirit and plenty of attitude. Her major label debut, "Epiphany In Brooklyn," is an estrogen-powered collection of angst- ridden introspection that utilizes a cynical sense of hu- mor to it's definite advantage. "We slammed the new record out after only a few rehearsals, much like my first one" (the hard-to-find "Goldfish Don't Talk Back" on Community 3 Records). It's much more introverted and reflective of me than "Goldfish..," Kahn intones. "I listen to the first one now, and it's just very young. I was so political back then," she laughs. Kahn quit her day job and hit the road following the release of her debut, playing anywhere and everywhere she could. "It was a year of experiences, playing, and sleeping on floors," she remembers. But constantly changing circumstances are a catalyst for Kahn's music. "I've always done that, sort of run away, ever since I was sixteen and spent a year in France. You're so influ- enced by your surroundings. It's like drinking a cup of coffee in New York compared to drinking one in Tunisia. Or even New York compared to the Appalachian Mountains. Two thousand miles is two thousand miles," Kahn says. Gearing up for a tour in early 1993 (that will be her first with a band), Kahn is also excited by her new sin- gle, "60-Second Critic," a duet with Soul Asylum's dreadlocked boy wonder, Dave Pirner. Oldman Kahn by Andrew Cahn Have you ever been mellow? In case you haven't noticed, folk music is cool again. Did you just ask, "When was it ever cool?" When my parents were in college in the early sixties, Peter, Paul & Mary, the Kingston Trio, and the Bobster made Greenwich Village the Seattle of their time. If you want to be part of the '90s folk music revival, here are ten records you must buy. Michelle Shocked, "Arkansas Traveler," Mercury. This record is much deeper than it sounds at the surface. At first, it seems like a "Graceland"-esque survey of folk music styles from around the world. Listen a bit more carefully, and you realize that Shocked has re-invented a few fiddle standards with updated socio-political subtexts. John Gorka, "Jack's Crows or Temporary Road," High Street. Gorka graduated from college in the early eighties overeducated and un- derqualified for real work. It's a great thing he has a sense of humor about it. When he sings about not letting your own disillusionment dis- tract you from falling in love, he means it. These records don't put you in any moods, but enhance whatever one you are already in. Chris Smither, "Another Way to Find You," Flying Fish. Chris Smither, not John Hiatt is Bonnie Raitt's favorite songwriter. She has covered two songs which appear on this disc, "Love You Like A Man" and "I Feel the Same." This solo, acoustic mix of originals and tributes invited the listeners inside his emo- tions, leading them to investigate their own. "Don't It Drag On" is my life story. Bill Morrissey, "Inside," Philo. Many literary types compare him to Raymond Carver. His songs describe scenarios with minimal lyrics, but his most poignant lyrics might be the ones he doesn't even sing. The gaps he leaves open fill themselves. Strength In Numbers, "Tellur- ide Sessions," MCA. Is it jazz, bluegrass, or new age? Whatever it is, it's fuckin' cool. Sam Bush, Bela Fleck, Mark O'Connor and Jerry Douglass are not only the finest mu- sicians to ever play their instru- ments, but they have respectively set the mandolin, banjo, fiddle and do- bro free from genre prison. Cowboy Junkies, "Black Eyed Man," Capitol. "Trinity Sessions" broke down many walls in 1989, but their latest release may be even more captivating. Michael Timmins has perfected that po-mo, reluctant genius look while top notch country rock players jam around him and his babe sister takes all the credit. Listen carefully to the lyrics on "Oregon Hill." Subdudes, "Subdude," Atlantic or Lucky/EastWest America. Singer/ guitarist Tommy Malone is Radiator Dave Malone's brother. The basic idea behind this band is four guys from New Orleans who moved out to Colorado and got real mellow. They blow you away by not blowing you away. Not only are they the only band of white guys you can cover Al Green's "Tired of Being Alone," but their drummer grooves harder than any white funk wanna be and the guy only plays a tambourine. Life According to Four Bitchin' Babes, "Buy Me! Bring Me! Take Me! Don't Mess My Hair," Philo. Christine Lavin and Patti Larkin are two well known solo folkies, but when they joined up with Sally Fingerett and Megan McDonough, they created the female CSN&Y of the '90s. Their next album, with Julie Gold instead of Larkin, will be out soon and should as fine as this live set. Iris Dement, "Infamous Angel," Philo. She is so rural, she makes Nanci Griffith sound like Ice Cube. Each song here is like a chapter from the memoirs of a young girl from Arkansas, who might have never left the state. This is one of the most genuine records of the past year. Peter Holsapple/Chris Stamey, "Mavericks," RNA. They invented college rock in the early '80s when they were the Db's, but then they took their own advice and changed with the changing times by going acoustic. The recording is overdub heaven and the tunes have more to do with Liverpool tradition than the La's or Teenage Fanclub do com- bined. place tomorrow at Chrysler Center Auditorium on North Campus. It's free. Call 747-1844. Short Plays If you think plays are fun but just too damn long to sit through, you're in luck. The RC Players are putting on two, count 'em, two one-act plays. The first, 'Grandma Duck is Dead," has a weird name. The second, "The American Dream," is written by Edward Albee, who wrote that great Liz Taylor/Dick Burton vehicle, "Who's Afraid of Virginia Woolf?" The double bill debuts tomorrow night and runs through Saturday, 8 p.m., at the Residential College Auditorium in East Quad. Call 741-0599. Cox & Sid UAC's M-Flicks has finally gotten their act together. Instead of spending the University's billions on dreck like "Die Hard 2," this weekend, they're showcasing that fine British auteur, Alex Cox - known for directing Emilio Estevez's one good movie, "Repo Man," and the ultimate in disgusting, drugged-out, overlong, rock biopic extravaganzas (except for "The Doors"), "Sid and Nancy." Catch Gary "Dracula" Oldman in a good movie, as the venerable Sid. The movies are showing, Friday and Saturday at 7 and 9:15 p.m. respectively at Aud A. For more information call 763-1107. "We were at this Sony convention, completely trashed, and somehow we ended up in his hotel room, determined to write a song. I found this questionnaire thing on the night table called "60-Second Critic," and I was like, 'Here's our song!' We just started throwing lines back and forth. It was so fun and crazy." Recording the tune turned out to be a very similar experience. "We got trashed, went into a studio, and just did it. The best part is that at like four in the morning, Dave looks at me, totally serious, and says, 'Should we call the banjo player?' I thought I was gonna die. But it was so fitting." Gorka A film gone to the 'Dogs' Written and directed by the brash 27-year-old filmmaker Quentin Tarantino, "Reservoir Dogs" packs a visceral punch unmatched in 1992's weak crop of dramatic films. Don't miss any opportunity to see this revisionist heist movie as it makes its painfully slow way to the Midwest. "Reservoir Dogs" chronicles a diamond robbery gone wrong and stars what might be the best assemblage of character actors since the "JFK" cameo fest, including Tim Roth (above right) and the greatest character actor of them all, Harvey Keitel (above left). Wildly violent and wickedly funny, "Reservoir Dogs" brims over with the in-your-face style of early Martin Scorsese. It isn't scheduled to hit Ann Arbor until mid-January, but it is playing in Detroit at theaters like the AMC Abbey (254- 7400) and the AMC Woods (884-6186). Find a way to see it, if only to hear Tarantino's off-color interpretation of Madonna's "Like a Virgin" - destined to be a classic moment in film history. - Megan Abbott ARTY'S MADNESS SAVEi$100 On the purchase of any suit Also save -$50 off all $50 off all' ANNOUNCEMENT AN EXCHANGE PROGRAM WITH RUSSIA FOR STUDENTS IN PROFESSIONAL SCHOOLS For the 1993-1994 academic year it will be possible for 16 B.S. and M.S. U of M students to study at professional schools in Moscow, St. Petersburg, or Krasnoyarsk. Most of the credits will be transferable as free or technical electives. Expenses incurred in Sportcoats Top Coats $50 j off all Retail Tuxedos