Hey, Jo.
Attention, all you male thespians out there. This could be your big break! An
open casting call for the upcoming movie "Joe's Apartment" (based on the
MTV short film) is being held tomorrow in room 2528 of the Frieze Building
from 1 to 3 p.m. Meg Simon Casting is seeking an actor who has excellent
comic timing and plenty of charm. No acting experience is required, but bring
a headshot or a recent snapshot. Good luck, future teen idols!
Page 8
Friday,
February 17, 1995
The Breakdown on the London Suede MTI
I
By Thomas Crowley
Daily Arts Writer
. Initially, the British Press likened
the London Suede's vocalist Brett
Anderson and its original guitarist
Bernard Butler to Morrissey and Marr,
Jagger and Richards, and a number of
other legendary songwriting partner-
ships that cultivated their art with a
combination of cooperation and ten-
sion. When Butler threw in the towel
during the recording of the band's
"Dog Man Star" this past summer,
many predicted the band's demise.
Fortunately, one thing Suede have
THE LONDON
SUEDE
Where: St. Andrew's Hall
When: Monday; doors at 8 p.m.
Tickets: $8.50 in advance
never been is predictable. Their sec-
ond album, the dazzling "Dog Man
Star" was released a few months later,
and Suede tried a curveball - rather
than disbanding, they recruited fresh-
faced, 18-year-old axeman Richard
Oakes. Now as they prepare to cap off
four months of recording and touring
in Europe by taking the States by
storm, the band is stronger and more
enthusiastic than ever before.
A fair amount of the band's revi-
talization stems from their return to
operating as a bonafide band with a
common focus. Recalled bassist Mat
Osman, "When we were doing 'Dog
Man Star,' in a day, we didn't do
anything. You'd do a bongos track in
a day, or sort out the pool tournament,
and we just decided we didn't want to
be like that anymore." Suede's new
work ethic has resulted in the record-
ing of a number of new Anderson/
Oakes compositions, all of which the
band is very proud of. For example,
Osman said their new single "To-
gether" is "not as rigid as some of the
stuff we've done before, and I really
like that it's got a bit of a feel to it. It
sounds like a band, rather than an
artifact."
Nonetheless, they are all extremely
satisfied with the way that "Dog Man
Star" turned out. One of the most
striking things about the album is the
way in that the band transformed even
the simplest of songs into epics. Du-
plication of complex instrumentation
- the 40-piece orchestra featured on
"Still Life," for instance-can present
a number of obvious problems on
tour. Suede, however, have not al-
lowed the complex arrangements to
impede the live versions of the songs,
although they're performed in a less
illustrious but equally impressive
manner.
"Richard plays acoustic guitar and
Brett sings," Osman explained. "A lot
of the songs, people often say, 'Aren't
they really orchestral or multilayered?
How do you do them live?' But they're
written on a piano, or they're written
on an acoustic guitar and they stand
up to that, because if they don't work
- if they don't make the hairs on the
back of your neck stand up when you
hear them like that - then we don't
play them. We start with the song and
work up, rather than the other way
around."
Suede are one in a long line of
bands that includes T. Rex, the Jam
and the Smiths; revered in their native
Britain, they go under-appreciated or
ignored across the Atlantic. While the
arrangements on "Dog Man Star" are
undeniably brilliant, they tend to be
viewed as "over-the-top" by Ameri-
can radio stations, which, along with
MTV, are more likely to put the
"Baywatch" soundtrack on heavy ro-
tation than to play anything
"quintessentially English." Osman
recognizes the problem that is Ameri-
can radio: "I don't like the way you
can actually listen to exactly the same
kind of music, 24 hours a day, virtu-
ally anywhere, because I think it's un-
American. I think it should be deemed
unconstitutional- it just doesn't fit
in with the mentality of the people. I
think every alternative music station
should be forced to play Snoop Doggy
Dog at least once an hour, just so that
people actually fucking listen to some-
thing, rather than just hearing cool,
aural wallpaper."
While the American airwaves,
along with Cheese Whiz ("that gets
on my nerves"), may leave something
to be desired, Osman is encouraged
by the predominant open-mindedness
of the nation: "I like the real openness
of the place and the fact that you can
suggest virtually anything to an
Suede, before the 'New Generation" guitarist Richard Oakes joined the 'Still Life.' Richie, he's 'So Young ...'
American ... You can actually con-
vince most of them to chop their own
heads off for a laugh, and I'm quite
impressed by that."
Early last year, a folksinger who
used the "Suede" name decided that a
lawsuit would make her stay in ob-
scurity more pleasant. Hence, the
forced addition of the "London" pre-
fix to the band name, which Osman
refers to, with its "territorial over-
tones," as "obvious crap." Then came
Butler's departure. So Suede have
had an ordeal here and there, but half
a year later, after having landed on
their feet, they're still strong. Their
intentions for the future? To continue,
unhampered by difficulties, making
thoroughly good music that answers
to the best of their convictions and
stands as a true alternative to the ster-
ile sounds of the status quo.
"We've always wanted to be a
pretty tight little band," said Osman.
"We wanted everything to be 100%
about the band, from the songs to the
sleeves to the B-sides to the art work
to everything. I want it to be a band
that actually matters - that's not just
the latest bit of product."
King
By Brian T. Armbrust
For the Daily
When scrutinizingt
our nation's leaders in W
assume that their insanit
extreme, although quiteui
The entertaining "The M
George," however, a
poignantly notes the efi
The M
of King
Directed b,
with Nigel1
unstable ruler has on hi
vice versa. The historica
recounts the later years
George III. Set in the lai
just after the successful
the American colonies,.
screenplay (based on h
"The Madness of Georg
a complex protagonists
an undiagnosable afflici
As King Georg
Hawthorne) degenerate
state of lunacy, his qu
George' deser
(Helen Mirren), finds herself increas-
ingly isolated from her husband. Mean-
the actions of while, George's son, the Prince of Wales
Vashington, we (Rupert Everett), plots to usurp the
y might be a bit throne from his father. As a myriad of
understandable. doctors, politicians, pundits and pages
[adnessofKing further exacerbate the King's unstable
musingly and condition, mental health practitioner
fect a mentally Willis (Ian Holm) arrives and begins to
sort through the chaos.
vaaW Hawthorne, in a role that earned
him a deserved Oscar nomination for
ladness Best Actor, proves a most diverse actor.
George While many of the King's actions do
indeed invite laughter through their
y Nicholas sheer lunacy, Hawthorne carefully tem-
Hynter pers a distinction between comedy and
Hawthorne slapstick. Hawthorne handles dramatic
scenes skillfully as well, presenting a
is country, and monarch tormented by a loss of control,
ally-based film both at home and abroad. Anyone who
of England's simultaneously evokes chuckles and
te 18th century thematic significance while reading
l revolution of aloud from "King Lear" merits extraor-
Alan Bennett's dinary commendation. Hawthorne
is stage work clearly earned his nomination.
e III") presents Although "George" showcases a
suffering from single performer, other elements cre-
tion. ate a richly furnished backdrop for
e III (Nigel Hawthorne to act with. Mirren (also
s further into a in an Oscar-nominated performance)
een, Charlotte provides intelligence and grace in her
ing of all th
scenes, while Holm offers a perfor-
mance captivating in its subtlety.
Everett, fiendishly and delightfully
wicked, accommodates the story with
the arrogance, ego and camp expected
of an oligarch. Mark Thompson's
While many of the
King's actions do
indeed invite
lau hter through
their sheer lunacy,
Hawthorne
carefully tempers
a distinction
between comedy
and slapstick
costumes and Ken Adam's produc-
tion design work nicely, never be-
coming too opulent or extravagant (a
serious concern and enticing tempta-
tion when filming a period picture).
The only flaw comes from the some-
what overextensive historical minutiae
e awards
of Bennett's screenplay. At times, the
proceedings become so detailed that
they risk alienating audience members
who do not hold a degree in British
history. However, Bennett makes
amends for this by deliciously jabbing
royalty at large, including the current
Prince of Wales and the rest of the gang.
King George exclaims, "We must be a
model family for the nation to look to!"
and elicits laughs from a contemporary
audience all too familiar with tabloid
recountings of ribaldry at Buckingham
Palace.
Similarly, a caption preceding the
end credits notes that medical schol-
ars now believe King George suf-
fered from porphyria, a physical ill-
ness affecting the nervous system that
is, yes, hereditary.
Commonfolk need not snigger too
loudly, however. As noted, the title of
the film slightly differs from the origi-
nal stage play. The numerical digits
were dropped from the movie's sobri-
quet, lest audiences avoid the picture,
fearing it a sequel ("Ah didn't see
them first two 'Madness of George'
movies."). The producers ordered the
alteration, doubtless noting the box-
office boffo of "Dumb and Dumber"
and others. Who could blame them?
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Hallowed Hall of Comedy
Rich Hall is one of the most fortunate alumni of the once-funny, now
forgettable "Saturday Night Live." That he was only on the show for one
year may have something to do with his luck in escaping the career
disasters that have befallen other SNL members. ("Billy Madison"
hopefully marks the final seconds in Adam Sandler's 15 minutes.) But
Hall's talent is indisputable; he won an Emmy as a writer for David
Letterman back when he pushed more envelopes than a post office, and
created "Not Necessarily The News," for which he won five Ace Awards
for excellence in cable television. These credits epitomize Hall's
thoughtful-yet-warped sense of humor. He graces the stage of the
Mainstreet Comedy Showcase tonight and Saturday night at 8:30 and at
10:30; $12 Is chump change to see a man with such a pedigreed sense of
humor. Call 996-9030 to reserve tickets an amusing show.
Are you upset because your
man has been keeping a secret
relationship with his ex?
i M .Is your husband
upset because you haven't lost
the weight you gained when
The Silver Jews
Starlite Walker
Drag City
For all you Pavement fans out
there (and there's certainly plenty,
this is a college town, after all), here's
something to tide you over until that
new album is released in April. While
it's reductive and insulting to call the
Silver Jews a Pavement side project,
the two bands are certainly inter-
twined. Pavement's Steven Malkmus
and Bob Nastanovich join the Jews'
leader David Berman (and many other
"Auxiliary Jews") for this full-length
debut album.
Happily, much of "Starlite
Walker" lives up to the Silver Jews'
brother band's work. Songs like
"Trains Across the Sea" "New Or-
leans" and "Living Waters" shamble
and stumble but have their feet
firmly planted on a solid pop foun-
dation. While instrumentals like
"The Silver Pageant" and "Intro-
duction II" are perhaps too loose for
their own good, on the whole the
Silver Jews have crafted a relaxed,
comfy debut. "Starlite Walker" is
the "Crooked Rain, Crooked Rain"
for the people that think that Pave-
ment are mainstream.
- Heather Phares
INXS
The Greatest Hits
Atlantic
The Aussie sextet INXS was one
of the many bands who really never
recovered from the '80s. After their
1987 smash "Kick" sold over nine
million copies, no one would have
guessed that every album afterwards
would end up in bargain bins every-
where. For one reason or another,
they did, and now the band has just
released a greatest hits package, which
will be their last release with Atlantic
Records.
Although their popularity decreased
into the '90s, INXS' music kept on
growing and expanding, and may have
veered off too far from the rock 'n' roll
formula for their mainstream audience.
Even without current popularity, "The
Greatest Hits" proves INXS recorded a
numberofpowerful pop androck songs
that have the ability to stand the test of
time.
With the collection relying heavily
on the late '80s and early '90s, most
of the song selection was fairly pre-
dictable. Songs like "What You
Need," "New Sensation," "Devil In-
side," "Never Tear Us Apart" and
"Suicide Blonde" are no surprise.
However, there are a few earlier ones,
like "The One Thing" and "Original
Sin," that pioneered the way for the
band in the earlier '80s. The collec-
tion goes through 1992's "Welcome
to Wherever You Are," but doesn't
feature any tracks from 1993's "Full
Moon, Dirty Hearts."
After recording together for 16
years, INXS and vocalist Michael
Hutchence are still able to write po-
tent rock songs. Two new tracks ap-
pear on the collection: "The Strangest
Party (These Are The Times)" and
"Deliver Me" were recorded in Lon-
don last summer with longtime pro-
ducer Chris Thomas.
"The Greatest Hits" is a good ret-
rospective of INXS' numerous Top
10 hits released over the years, but it
leaves out a bunch of great songs
there wasn't space for on the disc.
The album is a safe bet for curious
listeners and also true fans, but don't
forget to check out the bargain bins
for a real gem like "Welcome to Wher-
ever Ynu Are"
to the throne and they stake their
territory amazingly well. Led by ex-
Pontiac Brothers guitarist/songwriter
Ward Dotson, the Giants offer up
yearning vocals, familiar chord pro-
gressions and charm in the form of
their second album, "Here."
Those who long for a Replace-
ments reunion and dream of the day
when Paul Westerberg will call upon
the lost harmonies of Chris Bell and
Alex Chilton and share the micro-
phone with Tommy Stinson will flip
over the driving "Stick Around," the
rollicking "An Arm Around You
Too," the snide "Everybody's a Ge-
nius" and the poignant "Wanna Be-
long." To call the Liquor Giants a
knock-off, however, would miss the
point. The Liquor Giants blend the
Kinks, the Beatles, Big Star and the
'Mats so effortlessly that "Here"
emerges as every garage rockers
dream: a rough and.tumble pop record
that embraces the spirit of rock 'n'
roll while you revel in the inspired
contradictory feelings of "Hey, Icould
do this," and "God, Ward Dotson is
an untouchable genius."
- Dirk Schulze
Sick of it All
Scratch the Surface
EastWest Records
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tL~hiII'K*
SUMMER JOBS
Junne 18-Aunut 1 1
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