The Michigan Daily - Wednesday, April 2, 1997 - 9 Abstract themes make 'Streets' solid I Kiran Nandalur fr'the Daily Michael Jordan. "Crime and Punishment.' "Citizen Kane." "EZ Streets?" It has become cliche to classify some- thing or someone as the best, but in Oe case of "EZ R Streets," only this .superlative can cap- ture the greatness of the show. The Wednesday night CBS program transcends the mundane drama of sappy and artificial shows like "ER" to reach an unparalleled level of complexity and darkness. The show takes place in a mythical scaying city bordering Canada, where E w an established mob boss and the socio- pathic upstart Jimmy Murtha (Joe Pantoliano) are waging war for control of the streets. Meanwhile, the stoic cop, Cameron Quinn (Ken Olin), is investigat- ing Murtha for the death of his partner, VIEW who may have been EZ StreetS corrupt. In the major side plot, CBS Danny Rooney ednesdays at 10 p.m. (Jason Gedrick), a released ex-con who has done time covering for Murtha, is torn between rejoining the mob and going straight with his daughter and wife. The plot, however, is secondary to the ambiguous motivation of the characters. There is a perpetual state of mystery; as no player can be reduced to good or evil. For example, Jimmy Murtha kills coldly and cuts off the hands of his victims, yet he displays loyalty and concern when dealing with Rooney. His lawyer, Theresa Conners (Debrah Farentino), is also an enigma. She exhibits power and confidence when committing sexually masochistic acts, but she shows signs of torment when neglected or alone. Another element that makes "EZ Streets" intriguing is the theme of being entrapped in circumstances. The voli- tion of the characters is constantly lim- ited by external forces. For example, Quinn, whose policeman father was compelled into corruption, recently faced the choice of covertly removing a dead officer from his apartment or call- ing the police. Circumstances and sus- picion regarding his credibility coerced him into the former choice. The script and production of the show separate it from the pack. The set- ting is so dark and gloomy that you would swear it is in black and white. When there is color, like the color of Conners' dress, it is eerily reflective of the character's persona. Finally, the long scenes of silence and telling facial expressions give the show a certain con- tinuity and allow insight into the char- acters' angst. Overall, "EZ Streets" has the poten- tial to dethrone "Quantum Leap" as the best show of all time, but the public's demand for the concrete and dismay for the abstract may be the show's doom. i ;. Ft. f:5 .'; }- c-i. Danny Rooney (Jason Gedrick) is one of "EZ Streets"'s many complex characters. -_4 GRADUATION sommor- I/ ~,3 .'4 James scores with "Whiplash." IECORDS Continued from Page 8 James Whiplash Fontana/Mercury Nearly three years in the making, Whiplash," James' latest musical offering, marks a triumphant return for the Manchester, England, band. Given all the problems the group faced in making the album - slide guitarist and original founder Larry Gott quit tour- ingaltogether, the band found out it owed tons of money in back taxes and 'theremaining sextet nearly broke up - 4ltis a miracle "Whiplash" is remotely as good as its last proper studio album, @993's "Laid," let alone as stunning and 'compelling as it is. "Tomorrow," an absolutely brilliant song, commences the album. Lead singer Tim Booth, who recently collab- orated with "Twin Peaks" aural guru Angelo Badalamenti for its "Booth and the Bad Angel" record, enters the fold with his magnificent voice, passionate- ly singing, "I see you falling / How ,long to go before you hit the ground?" e song soon turns oh-so-pretty and inspirational, as Booth instructs the lis- tener, "Gotta keep faith that your path willchange / Gotta keep faith that your luck will change tomorrow." Complete with David Baynton-Power's powerful 'rumming and Mark Hunter's beautiful keyboard lines, "Tomorrow" might well turn out to be the best opening song on any album in 1997. "Lost A Friend" follows, another Snder, well-crafted song that is quite common throughout James' oeuvre. A 'uite dreamy tune, "Lost A Friend" finds Booth pondering, "Across the satellite beams / Across the oceans and seas, / To the lighthouse, I could be," before lamenting, "I see some soldiers with guns / And they are killing for fun I/They are killing to entertain me ... I lost a friend to the sea.' The first single of "Whiplash," l9She's A Star" may be James' ultimate pop song, with an energetic buildup to its cathartic conclusion. Booth once again delivers excellent vocals, boister- ously singing, "It's a long road / It's a good call /You got it /You got it / She's a-star," as the music winds down. The album's next few songs take an unexpected detour toward a more bass- 'driven sound. "Greenpeace" and "Go To, The Bank" are so-so, but "Play read" (originally entitled "Whiplash") Is a winner. It quickly shifts from the quasi-techno beats of its first 30 sec- 'onds into a much more intimate and gcrgeous number. After "Play Dead," the album returns to the style developed in the first four songs. "Avalanche" and "Homeboy" are.standard, up-tempo James material, the, latter just about as great and com- plete as a song can be in just over two ninutes. It would be better for all our sakes if MTV and the radio were to play "She's A Star" and "Tomorrow" ad infinitum. James' music puts a spring in your step, a smile on your face and makes your heart grow lighter. There's far too little U w Sunfire $400 Bucks of Incentive* Hot Looks Great Performance Land Big Job Raises .Summer Home Nobel Prizes Some Other Car Zero Incentive Drives Like a Shoebox Looks Like a Shoebox -r Interview After Interview Working I. ,t, 4 Two Jobs I Living Back With Parents Join Bowling Team 5< .g 5