ARTS Ice Cube heats up Motor City The Renaissance Man himself, Ice Cube, rapper, musician, actor. Wacky Tune Art Alert When was the last time you've en a musical body? If it's been too ong, go see visiting artist/musician/ lectrical engineer Christopher anney'slecture-demonstration featur- ghis"Heartbeats."Actually, the heart longs to dancer Maureen Janson. er own amplified heartbeats provide he rhythm for synthesizin' improvi- tors as she moves. How metaphori- lThe free performance is tonight nly at 7 p.m. in the Rackham Galler- es, 3rd floor of Rackham. Get a haircut If you're stranded in Ann Arbor ver break, be sure and catch "The airdresser's Husband" while it's in own. This atmospheric little stunner s the work of director Patrice Leconte, he filmmaker behind the great French e of unrequited love, "Monsieur ire." "The Hairdresser's Husband" ells the story of a man with an ardent ixation for hairdressers. One day, in e midst of a trim, he find himself roposing to his coiffeuse. This chann- ngly dream-like tale found its way to nany cities around the country last ear, even making both Siskel and %ert's otherwise pedestrian top ten ists for 1992. So while all your cam- us comrades are in warmer parts un- own, you can comfort yourself with he thought that they missed one of the ostmemorable foreign releases since The Best Intentions" hit Ann Arbor, riefly, in the fall. "The Hairdresser's usband" will begin playing Friday d continue through February 25 at e Michigan Theater. Call 668-8397 or more details. h Henry! Alert! Calling all alternateens, post- nods, pretentious philosophers and ybodythat dares to have their way of inking challenged. Intensely. The one d only Henry Rollins is coming to ur fair burg of Ann Arbor. But before ou get out those Doc's and a flannel or a crazed night in the pit, take heed: 's leaving the band behind, and oing the spoken word thing. Tickets or this intimate evening with Rollins the Michigan Theater Friday, March 2 go on sale tomorrow. It's reserved ating, and tickets are a paltry $10 at ebox office. Call 668-8397 for more nfo. If ya think his music is some- ing, wait 'til you hear this... Resurrected by Jon Altshul "Sometimes nothing's a pretty cool hand." - "Cool Hand Luke" More than just a cocky sound bite, Paul Newman's signature raison d'etre revolutionized the cinematic depiction of heroism. When contextualized, the rebuttal transcends the gritty wit of simi- lar egotistical appeals to machismo, serving instead as a watershed point which helped usher in the phenomenon of intra-genderal "camaraderie" as a central motion picture motif. Consider, if you will, Paul Newman slumped over a penitentiary card table. He is the idealized individual. Scraggly and unloved, he sojourns in a foreign work camp like an itinerant martyr, speaking in parables. The references to Jesus Christ are undeniable, if not over- bearing. Next to him sits George Kennedy, cherubic and proud, suppos- edly representing the outspoken opti- mism and fraternalism that Newman so much resents. Yet they befriend each other, mutually seeking in the other what they can not find in themselves. What a beautiful story. Where the hell By Scott Sterling Ice Cube had just stomped onstage atthejam-packed, sweaty Club Interna- tional to the thunderous beat of "When Will They Shoot?" Behind me, a huge guy in a sequined NY Giants baseball Ice Cube Club International February 13, 1993 cap was frantically dialing away on his cellular phone. "Hey!," he screamed into the phone over the roar of the crowd and music. "I'm at Ice Cube, and this shit is live!" He held the phone up over the mass of partying bodies so his friend could hear just a piece what he was missing. I too had to feel for his man, as well as everybody else that missed Cube's killer set last Saturday night. Not only is he hip hop's loudest and most poignant voice, he can kick one genre breaks, did it come from? Let's back up a few years to Spencer Tracy in "Bad Day at Black Rock," or Clint Eastwood in all those spaghetti westerns, or even Newman, himself, in "Hud." They were the anti-heroes. Tough, stoic, and rugged, they ravaged corrupt villages with iron fists and over- sized magnums. Disillusioned by the diminishing frontierandunencumbered by wives, families or friends, they si- lently gunned down every no-named, underdeveloped Joe that got in harm's way. The equation of sentimentalism with heroism was never more devoid from film as it was in the early '60s. Now fast-forward to 1968 and the release of "Butch Cassidy and the Sundance Kid." Though overrated and cutesy, the film, more than any of its successors, epitomized the so-called "buddymovie" genre. Like Luke and Dragline in "Cool Hand," Newman and Redford's rela- tionship is predicated on their oppres- sion / isolation. This theme undercuts The late '80s witnessed the decline of the buddy film and the simultaneous resurgence of the thriller and love story genres. Enter "Thelma and Louise." their ruthless crimes, ultimately imbu- ing them with dignity and plausibility. And only upon their realization that they are inescapably trapped within the cloistered confines ofabackwards soci- ety does the bond between Cassidy and Sundance become resolute. The moral is something like this: we are defined not by our acts, but by our friendships. I'll get to "Thelma and Louise" in a moment. Be patient. There's an apparent paradox here, however. Eastwood and Tracy were en- joying stardom during the height of the nuclear age, when camaraderie was seen as the strongest defense against the in- filtration of Communism. Meanwhile, the great buddy film of the late '60s and '70s - "Butch Cassidy," "Midnight Cowboy," "Deliverance," "The Deer Hunter"- were released simultaneous to the emergence of the so-called "me generation" which glorified communal apathy and refuted the importance of hell of a show to boot. Ice Cube(along with DaLench Mob andDetroitcrew Criminals ofAmerica) brought a strictly ghetto affair to this downtownnightclub. This gig hadnoth- ing to do with posing in House of Pain caps or Phillies Blunts shirts; This was a night for the true hip hop nation. Dee- troit was ot in full effect (it was the first time I've ever been to a show where Marijuana smoke hung thickly in the air instead of tobacco). Hell, there was even a table in back selling chicken wing dinners. Show openers Criminals of America hit the stage to a decidedly mixed reac- tion. Despite some nice beats and flow- ing rhymes, they had to battle a poor sound mix and the indifference of most of the audience throughout their set. You might want to watch out for this posse, 'cause they kindahadit going on. Da Lench Mob also had a lousy mix to deal with, but the crowd was all in new ground friendship. Perhaps my pointis that film is a reactionary medium which works contrary to cultural norms. Interesting idea. Let's figure this out. Eventually, grand larceny was re- placed by Vietnam, New York City and even rural Georgia as the milieu most conducive for the establishment ofrela- tionships. Despite trivial revisions, how- ever, anumberof constants run rampant throughout all "buddy" epics. The pro- tagonists, for example, invariably boast antithetically different personalities- i.e., Ratso and Joe Buck in "Midnight Cowboy" or Lewis and Bobby in "De- liverance" - suggesting that their friendships are not presented as tan- gents of compatibility, but as defense mechanisms against the imminence of death. Secondly, the films are intended for an exclusively male audience, as if to codify the masculine experience and establish a touching dichotomy between machismo and sensitivity. Or soit might appear... The late '80s witnessed the decline of the buddy film and the simultaneous resurgence of the thriller and love story genres. Enter "Thelma and Louise." Rich, powerful, and stunningly acted, "Thelma and Louise" romanticized the bonds of femininity like no film before it. Thoughmore politicalthanthe buddy epics of the '70s, "Thelma" played off the same charm that popularized its ancestors. Like "Midnight Cowboy" or "The Deer Hunter," the picture is inher- ently reactionary, with sexism replac- ing a more ambiguous narcissism as the variable in question. Hence, unfortu- nately, "Thelma and Louise" had its critics, and the likelihood of another so outspoken pro-feminist picture in the immediate future seems dim. But all Was not lost. The seeds that Ridley Scott fertilized in 1991 germi- nated this past year in the form of such gripping buddy sagas as "Of Mice and Men" and "A River Runs Through It" - albeit without any prominent female characters. At any rate, the genre has been resurrected. Let's make the most of it. Colorful exhibition by Charlotte Garry On a tattered and wom wall in the center of 200 West Engineering are the vivid colors of Julie Moskovitz's "Senegal: Recent Photographs" exhibition. This exhibition imparts not only the beauty of the land and people of Senegal, but attempts to educate the viewer on the culture. Moskovitz, a fourth-year student at the University, is concerned not only with the aesthetic, but with the societal constructions, traditions and problems of the Kaparan tribe of Senegal. Foremost when one walks into the R E ACenter for Afro-American and Afri- Senegal: can Studies is "The Eldest Women." Recent Photographs This photograph tries to reconstruct Center forAfro-American for the viewer the greeting Moskovitz and African Studies received from the oldest women of Kaparan, Senegal upon entering their village. One is firststruck by the bright, contrasting colorsand intricate patterns within the costumes of these women. The clothing, head wear and beads are steeped in a cultural tradition which Moskovitz outlines in photo text accom- panying the work. Although this native garb, in culmination with expressive faces, imparts a strong sense of powerful individuality, the group as a whole evokes a very energetic, spirited welcoming. This vivacious spirit infiltrates the entire exhibition. A photograph where this spirit is challenged, however, is "The Wise Men." This photograph illustrates the strong contrast between the young and the old of the Kaparan tribe. On the base level one can see the difference between the two age groups by taking an accountof theirclothing; the oldermen are dressed in traditional robes, whereas the younger men are dressed in the modern day standby of t-shirt and jeans. Yet the difference between the men stems fare deeper than clothing. As Moskovitz states in the explanation for "The Wise, Men," "The younger people are drawn to the capital city for work and university education. This movement away from the village places a great strain on those who remain behind." The movement from the village also serves to weaken the pulsing spirit of thenatives. This spirit becomesinfiltratedor taintedby the youthful driveaway from the culture and tradition ofKaparan. Therefore a basic paradox is formed within this portrait, a paradox between the diverging forces of the somber old men and the curious, searching youth. In her artist's statement, Moskovitz writes, "I fear for the survival of Kaparan." She cites not only the youth movement away from the village, but the lack of "wells, irrigation systems, health care, and education" as factors causing the tribe to diminish. Moskovitz's fear seems to be the motivation behind her desire to not only illustrate the surface beauty of this place called Kaparan, Senegal, but to completely immerse the viewer in the culture. Julie Moskovitz's SENEGAL: RECENT PHOTOGRAPHS will be on display in 200 West Engineering through February 26. from thefirstbeatsof "Buck Tha Devil." They ripped through about half of the tracks from their debut, "Gorillas In The Mist," hyping the crowd into rush- ing the stage and lustily rapping along. But this night belonged to the man, the myth, the legend himself, Ice Cube. He received a hero's welcome as he kicked tunes from all of his albums, pulling mostly from the current "Preda- But this night belonged to the man, the myth, the legend himself, Ice Cube. tor" and last year's brilliant "Death Certificate." Between songs, he would ask what the crowd wanted to hear, new songs or "old school shit." He didn't disappoint as he mixed it up nicely, going from "Check Yo Self' to "Now I Gotta Wet'cha" with ease. When some gangsta wannabe's started scuffling in the middle of the floor, Cube reminded everyone that any violence would just be used as fodder to discredit him as well as rap music in general. "Some stupid muthafuckas went buck wild out in Seattle, and now I can't go back there. Don't fuck it up so I can't come back to Detroit," he ad- monished. Then he slowed it down by playing the mellow "Today WasAGood Day" back to back with "Stay True To The Game," which had everyone sing- ing along (as well as chilling outa little). But it was the anti-N.W.A. diatribe "No Vaseline" that really turned it out on this night. A little over an hour later, the show was over and the satiated audience left still dropping rhymes in the parking lot and pulling phone numbers. A goqd time had by all, And there wasn't a single gunshot. Imagine that. Davis BIG Eleanor Roosevelt/Social Activist 1884 - 1962 Create a better University. APPLICATIONS NOW AVAILABLE Create a better World! I i I