Ufit £kIit Mg A Marvin Gaye for the '90s Fuzzy-afro R&B balladeer Maxwell is out to make the ladies swoon at 9 p.m. tomorrow at Pontiac's Mill St. Entry (downstairs from the Sanctum). Come watch him work the old school like a '90s Marvin Gaye. Call (810) 333-2362 for more details. Friday October 11, 1996 'Ducks 3': Disney shoots ... it scores! Third installment of popular kids' hockey series surprises with poignancy By Prashant Tamaskar Daily Arts Writer Given the success of the first two "Mighty Ducks" movies, whose legacy includes a professional hock- ey franchise, Disney's decision to crank out a third installment was inevitable. After all, the company's policy has always been: If you do something that people like, make sure to do it again (such as, the creation of Disney World and the other continental variants as a result of the success of RE California's Disneyland). Yet, O D3: what separates Disney from its 4. competitors is the consistent quality of its productions, which is strikingly evident in At B the surprisingly good "D3: The Mighty Ducks." Fresh off of winning the Junior Goodwill Games, the Mighty Ducks accept athletic scholarships to attend Eden Hall Academy, a prestigious private school, whose hockey teams have won the last 20 state championships. However, their old coach, Gordan Bombay (Emilio Estevez), does not follow them to Eden Hall. He has received a job offer that he can't pass up, leaving the freshmen Ducks in the hands of Coach Orion, an ex-NHL player. The first-year hockey players are told that they are now Warriors (Eden Hall's nickname), and not quack- ers. Following from this, Coach Orion tries to alter their flash-and-dash style of hockey to a more disci- plined defensive-minded approach, which is more suitable for the higher level of competition. But the team's resistance to the change produces disastrous results. Moreover, the EVIEW The Mighty Ducks riarwood and Showcase freshmen are struggling socially at haughty Eden Hall. Being of a lower socioeconomic status ,than the most of their class- mates, the Ducks do not adapt well to their environment where they are constantly being bul- lied by the elite of the school, the varsity hockey team. The first-year students' refusal to Having the Ducks realize that their way of doing things isn't always the most effective, is a risky, but ultimately successful decision by the filmmakers, who to their credit, are willing to deviate from the formula that has made this series so popular. The main characters of the movie grow up before our very eyes, with hockey being the manifestation of their maturation. They begin to realize the truth of the cliche: The way they play the game is more important than winning or losing. And, in learning this, the Ducks are refreshingly portrayed as uneven, confused adolescents, and not the lovable Ducks from the earli- er movies. Interestingly enough, the most glaring weakness of "D3" is the comedy, which features the typical array of physical and practical jokes. The humor, however, serves its purpose more in helping define the Ducks' personalities than simply as a means to amuse the audience. "D3" does an excellent job of dealing with issues that may affect the film's target audience, who have, in a manner of speaking, grown up with the Ducks. Although the use of sports as a metaphor for life may be a bit trite, the wonderfully choreographed hockey scenes manage to keep the audience focused on the central themes. I have to admit that I'm glad this movie was made - at least as long as there's no "Mighty Ducks 4." turn the other cheek simply exacerbates the situation. Unfortunately for the Ducks, losing hockey games leads to the possibility that their scholarships will be rescinded. Faced with these circumstances, the pro- tagonists are left to choose between maturing as play- ers and people or letting foolish pride negatively affect their future. It should be obvious from the synopsis that "D3" can best be described as a coming-of-age movie. The sincerity with which the film handles the growing pains of the young adolescents is truly commendable. Emilio Estevez has made another "Mighty Ducks" flick. He's pic- tured above with some of his new buddies. Modern folk wonder Larkin hits the Ark Under new direction, Cleveland Orchestra returns to Ann Arbor. By Mark Feldman For the Daily A woman and her acoustic guitar, taking on the world - it's such a com- mon practice these days that the mean- ing of it has been all but lost. Back when our parents were in college it was a simple choice: Joan Baez was politi- cal, Joni Mitchell was personal, Judy Collins was spiri- tual and Melanie was comic relief. P In between gen- erations, theP choice was even simpler: There was no choice. Sure, the occa- sional Roche crawled out from the crack above the disco ball, but for the most part we were 100 percent plugged. But now, of course, things aren't so simple. Like most extremely small genres in contemporary music, the woman-and-her-guitar genre offers more choices today than one could ever hope to listen to in a lifetime. And Patty Larkin offers merely as many choices on her five studio albums, from 1985's naive-but-beautiful "Step Into the Light" to last year's sophisti- cated, heavily produced "Strangers' World." On record, she effortlessly slides back and forth through styles reminiscent of each of the previously- mentioned godmothers of modern a folk-pop, always intelligent and tune- ful but lacking a singular vision. Like pizza or Whoopi Goldberg movies, even when this type of music is bad it's still good. But in Patty Larkin's case, her studio recordings often sound just a little bit too polished or stale, as if she were feeling stifled by the imper- sonal electronic equipment piled around here and were longing for EVIEW an animate audi- ence to sing to. tty Larkin Which she is. When she per- At the Ark. forms, the con- Tomorrow at 8 p.m. cert itself becomes Larkin's singular vision; she doesn't make ded- ication, tell tedious personal stories or beg us for sympathy. Unlike most of her contemporaries, she recognizes that she is first and foremost an enter- tainer. She plays off of her audience like a stand-up comic, keeping them on the edge of their seats with every chord and every word, whether the song she sings is supposed to be funny or serious. She has even written songs specifi- cally for performance - once in the Boston area she sang "The Hub," a timelessly hilarious ode to all the towns in Eastern Massachusetts with similar names. She'll make fun of almost any- thing, from the pop icons we all love to By Emily Lambert Daily Arts Writer Fans of classical music know what it takes to earn an encore. Faced with enough clapping and whistling, even the most exhausted artists return to the concert stage for one last go-round. But the encore on this year's University Musical Society orchestral program comes first, not last. This weekend the Cleveland Orchestra, one of the best in the land, returns for its second extended visit in Ann Arbor in as many years. The 1996 affair includes everything from concerts to classes to a private lunch with conductor Christoph von Dohninyi. When Ann Arbor hosted the orches- tra for three days in February 1995, the weekend had \ PF its unexpected twists. The concert discussions, master classes and forums are all on the roster. Tonight's guest soloist, Olaf Baer, began a master class marathon yester- day as he taught an afternoon class for voice students. The educational events held will number 25 by Sunday's epd. Today's rehearsal of the University Symphony Orchestra will be led Cleveland's assistant conductor, Ja, Ling. And tonight's performance in, Hill Auditorium will be under the baton on Christoph von Dohnanyi, the sixth Music Director in the history of, the Cleveland Orchestra. Dohnanyi is the latest in a line of Patty Larkin plays at the Ark this weekend. hate to multi-disc changers (I remember her saying "I have an acoustic CD play- er" as part of an amusing anti-con- sumer-convenience rant). After two hours or so of great music, unpreten- tious and unoffensive fun, and the biggest hair-to-height ratio of any singer in recent memory, she has the audience begging. What it all comes down to is that any- one can enjoy a Patty Larkin show, regardless of how much of her music one has actually heard. Somehow, after hearing her perform one of her songs, one is able to feel like one has known the song for years. Her 1990 live album, "In the Square," is testimony to her uni- versal appeal, and if you miss her at the Ark tomorrow night you will be miss- ing an opportunity to enjoy music for its own sake, without any $25 T-shirts, reunion tours, elaborate light shows or traffic jams. This doesn't have to be the type of music that only people over 35 listen to - why should you let them have all the fun? such legendary Szell and Pierre REVIEW Cleveland Orchestra tomorrow at Hill, 8 p.m. , 4 p.m. Student tix $10. conductors as GCorge Boulez. Assistanti:on- ductor ,when Lorin MaazelI for the Vienna State Opera, Dohnanyi has directed the group since 1984. Creative pro- scheduled soloist, pianist Emanuel Ax, was caught Tonight and Sunday at Rackham __________________________________________________________________________________________ 'I Intern and Study in Washington, D.C., or Another World Capital Visit Our Representative in the Michigan Union! Michigan Room Crowfoot Room 1 to 5 p.m. 12 to 4 p.m. Monday, Oct. 14 Tuesday, Oct. 15 INTERN with a government, business, organization, or interest group. DISCUSS issues with leaders and policymakers during classroom and on-site seminars. EARN a full semester of university credit. GAIN a competitive edge after graduation, with a resume that shows experience in a world capital. Washington Semester Program areas: * Ameican Politics Economic Policy Foreign Policy I ttrn ir D] Piicnac 2. Tr'.A-.airip " t rr I ~nnal ironmpnt R& in a New York blizzard and had to cancel a morning master class at the School of Music. Meanwhile, piano professor Anton Nei spent the day practicing the Brahms D Minor Concerto, preparing to solo with the orchestra if Ax could not make it to Ann Arbor. Ax finally arrived around 3:30. That night, the symphony graced Hill Auditorium with the second of two nights of top-notch music-making. Sunday showcased a smaller group of orchestra members in a chamber set- ting. And between concerts, orchestra musicians led 18 classes at the School of Music. Overall, the 1995 residency was a resounding success. And the 1996 event packs even more happenings into one weekend. Pre-concert lectures, post gramming is one forte of Dohninyi's, and Ann Arbor heard a samplein 1995. The Friday evening concert began with a solo for the 12th second violin player in Alfred Schnittke's "(K) Sommernacht-straum." The same pro- gram paralleled the seemingly diver- gent composers Schoenberg and Brahms. This weekend's programming fea- tures well-known favorites along with lesser heard works. Schubert songs and Debussy's "La Mer" follow "Canzone per Orchestre" by Bernard Rands. On Saturday, the group will play music " Wagiier, Tchaikovsky and Vict Herbert. Principal cellist Stephen Geber is the evening's soloist. The weekend rounds out, as before, with a Sunday performance of chamber music. Sandwiched between a Brahms sextet and Stravinski's octet is "Suite for Alto Trombone and String Quartet" by the living composer Corrado Saglietti. For ticket availability and a complete schedule of public events, contact@$ UMS Box Office at 764-2538. Student rush tickets can be purchased today at the Michigan Union. I I I - -- __________________________________________________________ ____________________________________ DI TM Deadlines move fast... 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