*Road horse Fa
By Cohn Bartos
Daily Arts Writer
It's pretty amazing what constant touring can do for
=a band. Earlier this year, tour-happy 311 finally hit it
big after a few years in the underground. It looks like
Victorville, Calif., punksters Face to Face just might
- be the next ones to break out.
Touring does a lot for a band: It makes the members
*better musicians, it develops a big word-of-mouth fan
base and it gains the band respect. That's how Face to
Face has come up in the ranks of
the Southern California under- PR
ground scene. "We'd been touring
nonstop. Our fan base is all from F
touring" said guitarist Chad Yaro Tonigr
in a telephone interview with The at St. Andre
Michigan Daily. "We've toured souls
"our asses off ... so we sell
;records."
Sell records. Yes, Face to Face has done that. With
ttle or no commercial support, Face to Face's last
album, "Big Choice," sold more than 100,000 copies.
That's huge in indie standards. Even that level of suc-
Scess didn't come so easy, though.
'Vocalist Trever Keith and drummer Rob Kurth are
the only remaining original members of the band,
which now includes Yaro and bassist Scott Shiflett.
Keith and Kurth started Face to Face in 1991, and
added Yaro soon after to gain that two-guitar dynam-
c,a la Lagwagon. They started in a small town two
:lours out of Los Angeles.
Depressing PE
Continued f
group of pe
'Savage gmore deep
more quick
advantage.
*Love gripS "It's ha
Americans
things (I h
He reco
his book,
paraplegic
By Christopher Tkaczyk wheelchair
For the Daily d spoke the
Elif Celebi's portrayal of Sam out to be
Shepard's "Savage Love" proved to be -
a dark performance. Beautifully and
tragically telling the tale of love lost
and almost forgotten, the second play CH A
of the Basement Arts fall season con- Continued h
tinued the promise of gripping perfor-
mance. The audience was fully drawn steadfastly
cence. Mu
REVIEW Hall's strul
R EVIE Wand his con
Savage Love hinges on
his final a
Arena Theater James Fol
Oct. 10, 1996 downplays
ing instead
into the sad world of Celebi's character, family, wit
as she recounted the history of a past As Ca
relationship, detailing its conception, approaches
growth, conflict and end. (David M
The play, collaboratively directed by (Lela Roc
Celebi and Heather Anne Adams, (Bo Jacks
began when Celebi's character entered are thrown
her apartment with a cardboard box Unfortu
and began to pack away all her belong- mance as

The Michigan Daily - Monday, October 14, 1996 - 9A

ice to Face gallops to Detroit

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ght,,
ews

"The scene where we grew up, it was dead, it was
totally beat,'Yaro said. "It was a small town and what-
not, so I think that helped us to get a hold on our
music. That way, we don't sound like half of the other
Epitaph and Fat bands out there, because bands tend to
start sounding the same."
It's funny, too, because Face to Face released its
debut, "Don't Turn Away," on the Fat Wreck Chords
record label, yet they don't sound like your typical Fat
band. They're not goofy, and they don't plan on living
on bread and water the rest of
VIE W their lives so they can be "rad
punkers." Face to Face is more
ce to Face like a punch in the face: The
doors open at 7:30 music hits you hard, the lyrics
s Hall with Bouncing make you think about what just
nd Automatic seven hit you, and you might just be
kinda sore the morning after.
After touring nonstop for almost three years with
NOFX, Face to Face released "Big Choice" in early
1995 on Victory Records, which includes the single,
"Disconnected," from their debut album. The song
was put on "Big Choice" because it started to get
some radio airplay, of all things, almost two years after
it was released. "Big Choice" finally broke the band
after four long years on the indie circuit, but the album
didn't really turn out the way the band wanted it. That
was why when the new album came out, it would be
different. Different is an understatement.
Last month, Face to Face released their major label
debut, simply titled "Face to Face," which totally

blows anything the band has ever done out of the
water. "We just took a lot of time writing and we were
in the studio for a long time, you know, getting the
material to sound the way we wanted it to sound,"Yaro
explained. "The biggest thing for us on this album was
the production, 'cause last time, it sounded like crap,
you know? We didn't quite know ... we thought that
("Big Choice") was just gonna sound good."
"Face to Face" displays why the band has such a big
and loyal live following. The music is fast and loud,
with little or no down time to catch your breath. The
lyrics, courtesy of Keith, are intricate - they question
life, celebrate individuality, take a stand, and question
why others can be so shallow and closed-minded. The
production shines.
Now, Face to Face is taking it to the pavement once
again this fall, even after just coming off a whole sum-
mer of touring on the infamous Warped Tour, which
Yaro described as "controlled anarchy." This tour
won't be as big as the Warped Tour, but Face to Face
will have time to show its true colors. The band tries
not to get discouraged even though they've worked so
hard to get where they are, and some bands just seem
to make it right away on some kind of fluke. "As far as
the overnight success bands,"Yaro said, "I don't real-
ly wanna dis anybody, but I think it's totally unfair."
Don't expect Face To Face to change on anyone's
account, though. They'll just keep touring, making
great records, and moving ahead. "We're not trying to
be anything we're not,"Yaro said. "If you don't like it,
whatever."

Face to Face likes to look scary.

r I


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ECH
from Page 8A
eople, I found myself drawn
ly into both communities
kly and I thought that was an
arder for walking-around
to discover the same kind of
ave)," he said.
unted one such incident in
detailing how he helped a
friend fashion a makeshift
, even though neither one
other's language. "He turned
the best friend of someone


who committed a horrible terrorist act
in 1989. And part of his motivation for
committing this terrorist act was the
anger and frustration he felt for his
friend, named Radwan, who had trou-
ble rolling around in the sands of the
Gaza Strip - an image he might not
have seen had Radwan and I not'come
up with this hot-shot chair for him to
get out of bed and get away from the
hospital where he was staying in
Jerusalem.
"You really get a sense that the social
fabric is fragile, subject to a variety of
inputs, none of which you can com-
pletely control or understand,"

Hockenberry added.
Hockenberry said he is looking for-
ward to addressing tonight's college
crowd, so he has a chance to "rant and
rave about the political implications of
the American Disabilities Act and
inclusion in America."
"This generation of college students
is very enamored of the cost-benefit
approach to all social issues,"
Hockenberry said. "My message is that
we do not have the option of rendering
our social priorities a function of eco-
nomic resources. America's freedom is
not based on capitalism. America's cap-
italism is based on freedom."


..
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IL d

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J t
llvalae at the
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ge at $10-645-6686.
ste theatre is located
115 Woodward Ave.
o call 313-961-5450


MBER
from Page 8A
tries to prove Cayhall's inno-
ch of the drama relies on
ggle between his filial bonds
nscience. The film's suspense
whether or not Hall will win
ppeal for clemency. Director
ey ("Glengarry Glen Ross")
the anti-racist theme, focus-
d on a beyond-dysfunctional
h Cayhall as its centerpiece.
yhall's date with death
s, a power-hungry governor
arshall Grant), a sneaky aide
hon), a candid prison guard
on) and rabid Klan members
in to make things interesting.
nately, Hackman's perfor-
a crusty old piece of, well,

immorality, is the only real interest
"The Chamber" offers. Hackman
makes Cayhall so repulsive that when
the script calls for his change of heart, it
seems very contrived. The writers aim
for major tear-jerking scenes of family
bonding and retribution, but they miss
the mark altogether.
Except for the work of Hackman and
Dunaway, whose talents are totally
underused, some of the acting is sur-
prisingly sub-par. Rochon turns in a
poor performance as Nora Stark, a gov-
ernment lawyer who switches over to
Hall's side. Her inconsistent Southern
drawl is almost as annoying as her weak
delivery. The scenes with Hall and
Stark are so ineffective that the film's
lack of romance seems like a bonus.
Jackson's smallish role as Sergeant
Packer is a plus in itself, though.
As for O'Donnell, who goes solo -

after hooking up with Minnie Driver in
"Circle of Friends" and Drew Barrymore
in "Mad Love" - this film signals his
shot at the big time. Yes, his eyes do mes-
merize, but his overly tense portrayal of
Hall distracts as well. Had the story given
more insight into Hall's life rather than
zeroing in on Cayhall, O'Donnell's stern
expression would have worked better. If
he intends to prove that the word "hot"
applies to his acting talent as well as his
looks, O'Donnell has a bit further to go.
Even though "The Chamber" fails to
reach its potential, this Loyola Academy
grad gets an "A" for effort.

I

==Nonni

I

ings in preparation to move. She sifted
through her clothes and shoved shirt
after blouse after pants into the box
until, suddenly, she came across a shirt
which evoked pain in her recollecting
t heart.
Slowly, Celebi recalled the distant
memory of her love affair gone, and
donned the shirt, causing even more
pain as she was enveloped into its
,heartache and misery. Once fully
bathed in the memory of the shirt, she
began her monologue. Celebi
. explained the way in which she first
met her love, and then of their romance
and hours spent discovering each oth-
ers passion.
"Using stream of consciousness,
Shepard's play explains, with very
human qualities, the pleasure as well as
the pain of love. Celebi's performance
defined the purpose of the play. Instead
of merely delivering her lines to an
attentive audience, she reached into her
soul and found the humanity of her
character and let it come forth. The
,character found herself doubting the
love she shared with her partner -
something which many people experi-
ence in everyday life.
An important part of the character
,' was the fact that she could not look
x directly into her lover's eyes. This
m.ould not only be viewed as a result of
shyness, but also of the way in which
9many people hide truths of emotion
and hindrance.
The audience seemed to respond
very emotionally to Celebi's perfor-
mance - especially when tears began
to drown the heartache that the charac-
ter was so willingly sharing.
Overall, the production seemed to be
very depressing, as it presented the bru-
tality of love in such a truthful manner.
Too many times love is presented as
only a vehicle of beauty and happiness,
but this time around, it is dark, painful
and emotionally disturbing.
As the monologue came to a close,
Celebi, now trapped and suffocated in
:the memory-inspiring shirt, started to

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