~e £iicItigett 3 t~g Mama, I Want to Sing Eastside Productions presents the longest running black theater off- Broadway show. Evelyn Collins directs this passionate story of a woman's struggle on her way to international stardom. The show begins at 8 p.m. at Washtenaw Community College, Morris Lawrence Building. Tickets are $12. For more information, call 763-8587. The production runs through Oct. 27. Thursday October 24, 19969 STribe hip-hops into town with Fugees By Brian M. Kemp Daily Arts Writer Even after this summer's unprece- dented, yet very successful Smokin' Grooves Tour and an amazing new album, "Rhymes, Beats, and Life," A Tribe Called Quest hasn't begun to slow down. 1 Once again, Q- p the Abstract, PR Phife-Dawg, and All Shaheed Muhammad have packed up their bags, turntables At EMU s Bowen Fie and microphones to start on a college tour. It may disap- point you to hear that they are not grac- ing our University with their presence, lut fear not, because they are basically performing in our backyard. This Saturday night, A Tribe Called Quest will take the stage with their cohorts, the Fugees, at Bowen Field House on Eastern Michigan's campus. A Tribe Called Quest can be consid- ered the hip-hop group with the Midas touch, for every album they've put out has become an instant classic. This is astonishing because the style on their irst album, "Peoples Instinctive Travels Wnd the Pathways of Rhythm" (1990) is not even noticeable on their newest release just six years later. A Tribe Called Quest's key to suc- cess lies in the brotherhood of the group. Although the two emcees, Q-tip Ca ?ied and Phife, often seem to occupy oppo- site poles, somehow they balance out their styles to come through with rhyming of an unworldly nature. "Tip and Ali do their things, Phife does his thing. But, as Tribe Called Quest, we do it together," Phife said in an inter- view with The Michigan Daily. E V I E W Not surprising, A Tribe Q-tip and Phife have been together 3Iled Quest since they were 2 with the Fugees years old. They Saturday at 8 p m. attended the same fHouse. Tickets $25 schools, church, and even played little league together. "I started rhyming around fourth grade," Phife noted. He ended up going away during high school, while Q-tip attend- ed school in Manhattan with Ali Shaheed Muhammad and the likes of Brother J from X-Clan and the Jungle Brothers. After four years, Phife was reunited with Q-tip and All, and A Tribe Called Quest was born. It was at this time that a new style of hip-hop was emerging from the Big Apple. A Tribe Called Quest, the Beatnuts, Black Sheep, De La Soul and the Jungle Brothers were all compli- menting each other's styles. This spawned the creation of the Native Tongue Family. "The Native Tongues was just a group of friends who liked hanging around each other, and occasionally working together. The record labels blew it out of proportion back then," Phife said. Whether it was blown out of propor- tion or not, this set A Tribe Called Quest into motion with "Peoples Instinctive Travels ...", which combined house party music with insightful lyrics. "A lot of people say we were-ahead of our time," Phife said. One year later, they amazed the record industry again with what was coined "jazz-rap fusion" on "Low End Theory." "It's a hip-hop classic in a lot of people's eyes, which I am thankful for," Phife said. This may be true, but their 1993 release, "Midnight Marauders," sold millions of copies too. "A lot of people say that's their favorite album. It's a toss up between the two." A Tribe Called Quest always lets the past be the past and continues to evolve and progress. "('Rhymes, Beats, and Life') is way, way, way over a lot of peo- ple's heads. There's a lot of teachings going on," Phife said. This is partly due to Q-tips acceptance of the Islamic faith. Although Phife doesn't necessari- ly accept all the ideas. He remarked, "I can't condone the Muslim religion because I've never really read into it." One thing that he does respect about the belief is its followers soundness of body and mind. "Most Muslims I know are very healthy people." This change on "Rhymes, Beats, and Life" might not be so accepted, as in the past. The way Phife sees it, "People are still checking for A Tribe Called Quest, but some people aren't. ... This album is ahead of their time. They need time to catch up."Though Phife noted, "Tip and Ali might see it differently." Another big change on the new album was the production crew. The Ummah ("brotherhood" or "commu- nity" in the Islamic religion) consist- ing of Q-tip, Ali and J.D. from Detroit produced "Rhymes, Beats, and Life." J.D., of the local hip-hop group Slum Village, was first noticed by his demo tape that he gave Q-tip at the 1994 Lollapalooza show in Michigan. Since then, J.D.'s beats have gained much attention, and he produced the latest Pharcyde and De La Soul albums. Phife has fond memories of that tour. "It was definitely a different experi- ence, but at the end it was a success," he said. "I just couldn't get with some of the things they were doing, like throw- ing mud on stage and stuff like that. I couldn't understand that one. But, that's the way they do it." As for the future of A Tribe Called A Tribe Called Quest's Phife (left), Q-Tip (top) and Ali Shaheed Muhammed. Quest and hip-hop, Phife wasn't sure. "I - don't hate hip-hop, but I don't love it Phife's sights are set on the sports with the Fugees this Saturday nig right now. ... Hip-hop is 50 percent industry, especially in becoming a see what progressions are being positive and 50 percent negative." broadcaster, and opening a sporting in the hip-hop scene. "We'll b Although, Phife said he's sure he does- goods store. "I'm a big Michigan fan," this weekend. Just enjoy the shor n't want to still be doing hip-hop when he said. it real. Don't drink and drive he's 30. So go check out A Tribe Called Quest leave the mud at home. ght, and" g made e there w. Keep e." And Tharp! dances to Power Center By Stephanie Glickman Daily Arts Writer. Tharp!, choreographer Twyla Tharp's freshest company, invades Power Center this weekend presenting three new works. Tharp, the woman who got ballet dancer Baryshnikov dancing in tennis shoes, now brings to Ann Arbor a group of 14 diverse, young dancers to contin- PR ue her tradition of defiant, energetic, modern dance. A Today t rebel, innovator, At artist, Tharp's work has been everything from minimalistic to motion picture choreography. Tharp literally dove into her 30-year career as a modern dance choreogra- pher with her 1965 piece, "Tank Dive," in which, wearing a white cap, fencing jacket and tights, jumped from a set of steps, spun around a sub- way pole and hurled her bodysspread eagle onto the stage. This sort of ground-breaking work has propelled Tharp's career. Her pieces span all mediums and possibiikies. She has danced in silence, to Jelly Roll Morton, Frank Sinatra, Mozart and Chuck Berry. Tharp's early works, born out of the turbulent 1960's post-modern art scene, question the boundaries of performance, male authority and the making of "pret- ty" dances. Tharp began choreograph- ing just on herself and then for only a few other women. Not until 1971 did ny. She has worked with dance and film greats, from dancing in Paul Taylor's dance company to choreographing for Milos Forman's 1978 film, "Hair." Her newest grouping of works draws musical inspiration bracing a wide range of time, beginning with "Sweet Fields," a piece set to tradi- EVIEW Tharp!' hrough Saturday at 8 p.m. aturday matinee at 2 p.m. Power Center, Tickets $5 tional American choral music, including selec- tions of music by the 18th century c o m p o s e r, William Billings. Tunes in "Sweet Fields" also draw music, featuring works by Esquivel. Completing the show, and in the spir- it of a completely different musical genre, "Heroes," is a symphonic ballet composed by Philip Glass. Based on the recording of the same name by David Bowie and Brian Eno from the late 1970's, Glass strives to reintroduce the innovations and avant-garde techniques used in the original "Heroes," and com- bines these with his own material. Dance critic, Clive Barnes, has described Tharp's vision as seeing "choreography as an explosion of movement, a sort of centrifugal shout of joy that goes out and covers the stage." While her three newest dances alone will easily fill the Power Center stage, Tharp's performance contribu- tion to Ann Arbor extends further than the three performances this weekend. As part of a week long residency here, Tharp, with the help of ballet mis- tress, Shelley Washington, is recon- See THARP, Page 10A from the Shaker and Sacred Heart tra- ditions. "66," also set to American music, is a wander through kitsch-filled 20th century Americana. An homage to the popular highway that has carried trav- elers and created adventures for decades, Tharp creates the retro theme of the piece with 1950's bachelor pad 'men pose in fronty of a road sign on the way to the Million Man March in Spike Lee's latest film, "Get on the Bus." Bus highlights racial struggle " t vY i one of my favorite direcitor$" - Quentin Tarantino By Kristin Long Daily.Arts Writer Once again, Spike Lee has created a film of the times. In its latest venture, "Get on the Bus," the emotional and com- plicated aspects of modern society are reflected in the tension and enthusiasm of African American men on their way to support their race. The plot focuses on 20 men whose lives have converged on a bus to Washington for the Million Man March. They come from all walks. of life, but are all bound by a common RI goal. The clash in their personalities make the story far from the standard 21 Get cross-country tale. They have had no *rior knowledge of each other, and the A way their lives change through the coUrse of a six-day trip from Southern California to the nation's capital is amazing. When the men initially "get on the bus, they bring extra baggage from their home lives. They first encounter the dri- ver George (Charles Dutton) whose stability keeps the riders under control. He hesitantly welcomes Evan and his son Junior (Thomas Jefferson Byrd and DeAundre Bonds) who axe joined by handcuffs; a court order has linked the two together because of Junior's delinquent habits. They undergo uch criticism when their fellow riders attempt to judge the orality of the situation. The leader of the criticism is an older man whose only rtotivation is to arrive in Washington to support his people. Jeremiah (Ossie Davis) is the elder of the group whose wis- dom and experience proves to be the bonding link among the battered souls. His battle to reach the capital is the most endearing. In the midst of one of Jeremiah's prayers, Flip, an arro- gant actor (Andre Braugher), interrupts with a speech on how the bus could hardly have left without him. His egotis- *cal attitude is indicative of the diversity on the bus, and his persona stimulates the tension that makes the film worth- vhile. Although the bus is comprised of all men of the same eth- t1 1 nic origin, there is also much diversity. A fight between the homosexual couple initiates much antagonism from fellow travelers, especially the self-absorbed Flip. The couple's open communication raises many eyebrows, but their overall rela- tionship is extraneous and only deters from the point. Flip also questions Gary's (Roger Smith) motives for mak- ing the excursion, he is the only man of mixed background, and the fact that he classifies himself as black despite his white mother receives even more skepti- cism. His need to conform to rules brings E V I E W many of the underlying issues to light. The other riders contribute additional on the Bus character to the lifeline of the Spotted *** k Owl. The Muslim, Jamal (Gabriel State and Showcase Casseus), brings his values to the group, who do not understand his lifestyle and priorities. The characters are defined through the lens of a UCLA student's video camera; Xavier's (Hill Harper) role is the hope for the future. He only observes, but it's obvious that he absorbs the different opinions. He asks everyone why they are on the bus, and his questions reveal aspects that might have been left misunderstood. The diversity among the men alleviates the boredom that might have developed from watching the trip. The major flaw, however, is that the excursion tends to be a drawn-out tale of human relations. The character conflicts do keep the plot stimulating for the most part, but after an hour and a half of watching the interactions, "Are we there yet?" begins to cross our mind. Despite the various conflicts, "Get on the Bus" has an over- all mood of compassion and understanding. It reveals a less extreme version of a rather complicated event. Lee manipu- lates the camera perspectives to alter the mood, and as a result, avoids the harsh tones that might limit audience appre- ciation. He also does a remarkable job of avoiding the one- sided perspectives of his previous films. "Get on the Bus" deals with 20 men with one objective. It is a story of struggle, but not of whining. Overall, the film successfully highlights all sides of an important racial issue. ® I SaturdayQoipler 26,1096 at the MICHIGAN THEATER ii:30 p.m. 603 r. LIB BYY A1 ml TISSOT PR 200 DIVER'S F J f t L ' w a t t ch h e w o r ld " stainless steel case itb screwed back and protected Croun " tuithb stainless steel bracelet . scrabtc-resistarit sappbire cnstal FOR JUNIOR NURSING STUDENTS A NURSING EXPERIENCE AT MAYO FOUNDATION HOSPITALS - ROCHESTER, MN Here is your opportunity to work at Mayo Medical Center for the summer. Summer Il is a paid, supervised hospital work experience at Saint Marys Hospital and Rochester Methodist Hospital, both part of Mayo Medical Center in Rochester, Minnesota.