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October 27, 1997 - Image 8

Resource type:
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Publication:
The Michigan Daily, 1997-10-27

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Check out "Evening Voyages: Tunes and Tales" at the Ann Arbor
District Ubrary tonight. A night of Halloween stories and scary
music, this event is meant for young and old alike. Let the festivities
get you in that spooky Halloween spirit. The event begins at 7 p.m.
The Ann Arbor District Library is located at 343 S. Fifth Ave. Free.
Call 994-2345 for more information.

Monday
October 27, 1997

8

Crows deliver stell,
BY Ryan Sherriff of their set, although they threw in one
For the Daily new song and several from their debut,
After almost two years of touring, the "August and Everything After."
only sign of fatigue in the Counting Dog's Eye View provided a brief, but
Crows crew is Adam Duritz. On several soulful prelude to the concert. The group

occasions during1
Thursday night, he
sat pensively on the
grand piano or on
the rear stage rise,
staring out at the
crowd with tired, yet
content eyes.
Since their last
album was released

the concert

last rattled off some provocative, unfamiliar

E VREVIEW
}r Counting Crows
Hill Auditorium
Oct. 23, 1997

material before and
after its staple hit,
"Everything Falls
Apart.'
The seasoned
headliners hit the
stage around 9
p.m., breaking into
Satellites.' Duritz,

early in 1996, the

"Recovering the

Crows have been a nomadic band, and
gauging from the material they played,
they still seem to be plugging
"Recovering the Satellites.' Songs from
the second album made up the majority

decked out in a tight, deep pink shirt
with spiral designs and down-home cor-
duroys, conservatively swayed in place
as lead guitarist Dan Vickrey roamed the
front of the stage and provided the initial

ar show
stage presence. It wasn't until the fol-
lowing song, "Angels of the Silences'
that Adam started to toss his dreads.
The band surged forth for several
numbers until the lights dimmed and
the solemnity shined through for "Time
and Time Again." Keyboardist Charles
Gillingham toiled over his B-3 Organ as
it drove the song. For most of the song,
Duritz hung out at the rear of the stage,
which was laden with bottled water,
Gatorade and a couple beers. The band
pushed through a few more high-inten-
sity numbers, then broke down into an
acoustic set. Bassist Matt Malley
dawned his distinctive upright while
drummer Ben Mize wheeled out a
standing bass drum kit.
The Crows eased into a delectable
version of "Mr. Jones," which was
dedicated to an old media friend of
the band named Tom Jurek, who cur-
rently resides at School Kids'
Records. The acoustic set ran for
another three songs, which included
two previously played electric ones,
"Angels of the Silences" and "Have
you Seen me Lately?"
The Counting Crows plugged back in
and dashed powerfully through several
more crowd pleasers until their mock
departure. During "A Murder of One,"
Duritz got the crowd jumping up and
down in Kriss Kross fashion. Although
the crowd's gesture appeased him, it
took its toll on him, as he refrained
from the human piston imitation
halfway through the song.
The encore included very sultry and
patiently executed versions of "Anna
Begins" and "A Long December," plus
the appropriate one-minute show-stop-
per, "Walkaways."
The Crows might be one the most
mainstream musical groups of the
time, which dims their appeal in many
people's perspective, but they can't be
denied the credit that millions of fans
attribute to them. The music may not
always be novel, but there weren't too
many unsatisfied customers at Hill on
Thursday night. Not only did Ann
Arbor appreciate Duritz and crew, but
there was also a strong sense that he
felt pretty lucky to be playing in this
town. In the middle of the concert, in
his unceasingly modest demeanor, he
paid homage to our college abode: "I
like any town where you have book-
stores and record stores." I'm sure it
went deeper than that, but it was
enough to leave an impression on the
attendees for days to come.

Julianne Moore and "Marky" Mark Wahiberg get personal in Paul Thomas Anderson's "Boogie Nights."
A few inches too short:'Booge'
doesn't measure upto expectations

The Counting Crows played Hill Auditorium last Thursday night.
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By Laura Flyer
Daily Arts Writer
Perhaps the future of the film industry is traveling toward
digging up people's most buried emotions and plopping them
in a crudely honest way on the screen,
While this behavior can be so abhorrenta RI
to moviegoers, it triggers the mind as we
say to ourselves: "This is what I never B
want to see, but nevertheless, it happens
and it is the truth."
"Boogie Nights," a sweeping film
endeavor from youthful director Paul
Thomas Anderson, depicts Los Angeles in the late-1970s and
early-1980s as a time and place of unbridled promiscuity,
drugs and violence, all of which converge in people's lurid
dreams and desires.
"Marky" Mark Wahlberg is Dirk Diggler, a boy who knows
that his only aspiring future rests in his most prized posses-
sion: an enormous penis. He becomes engaged in the ironi-
cally classy, yet low-class porn industry, mingling with the
creme-de-la-creme of an otherwise disrespectful business.
He finds that making sex flicks is not so seamy after all: A
family "bond" exists among those in the business, where
everybody's problems and tensions are intertwined.
Eventually, though, stardom affects Dirk, and jealousy
develops as another sexy porn star takes his place. He sinks
into his old desperate habits and engages in illegal practices
that bring serious trouble. Yet he still knows where his talent
rests, and he is reluctant to give up.
With clever artistry, Anderson masterfully engages the
audience in the action of his film. The camera sways from
one idealized person to the next, and zooms in on the shim-
mering neon lights, the elaborate costume garb and that indif-
ferent, "groovy" look that absorbs everyone's faces.

1

Supporting actors and actresses also really shine in
"Boogie Nights." This can be attributed to their obvious tal-
ent, as well as the emphasis Anderson places on them.
Actor Philip Seymour Hoffman, for instance, could not
have done a better job in portraying an
E V i E W insecure, envious counterpart to the con-
fident, upwardly mobile Diggler. There is
ogie Nights an outstanding scene in which Scottiy
(Hoffman) releases his homosexual
*** desires upon Diggler, and completely
At showcase breaks down after making a fool of him-
self. In embarrassment, he repeats to
himself: "fucking idiot; fucking idiot." Movies usually depict
such side characters as having relatively flat personalities, b*
Anderson dares to illuminate the depth of their emotions,
brutally exposing a continuation of their problems, as if truly
looking "behind the scenes."
This technique is a major part of Anderson's introspective
style. As the characters in the second half of the movie deal
with some pitiful downfalls, Anderson continues to seize par-
ticular moments in a blatantly honest fashion.
Buying food for his pregnant wife, Buck, a cowboy-
dressed stereo salesman, witnesses a robbery that causes 'a
chain of murders. Buck's blood-covered face is shown for
about 30 seconds, emphasizing the horror of the situatior
just witnessed. The scene just underscores Buck's overal
problems (beyond his series of fashion dilemmas). Like many
of the actors, Buck struggles to make something of his lift;
he strives to achieve a normal lifestyle, even though he 'will
forever be discriminated against because of his ties to the
porn industry.
There are no complaints about Wahlberg's performance -
he portrays Diggler as ignorant, innocent and coy. The ex-rap-
See BOOGIE, Page 10A

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Call Hillel now at 769-0500

Dickinson
relives his
Iron age
Bruce Dickinson
Accident of Birth
CMC records
If, like me, you were a heavy-metal
child in the late, '80s, then you'll
remember Iron Maiden. The band's
music, a solid mix of glam rock and
death metal,resulted in some grey
tunes that would quell rage in even"th
most passive teens. The group's music
partly inspired bands like Metallica and
Danzig, which eventually brought the
hard sound mainstream.
Bruce Dickinson, former lead singer
of the band, has tried to continue this
tradition with his own solo career, and
he has failed miserably.
Accident of Birth is a relic of a style
that is now extinct. In its prime, Iro
Maiden was a great band that even g
a plug from Bill and Ted - while they
were in medieval England. At one point
in his career, Dickinson played before
sold-out crowds across the country. It's
a shame to see how desperate he has
become to recapture some of his for-
mer glory.
Dickinson's album has absolutely no
place in today's musical climate." His
songs are similar to Maiden's. Trc N
such as "Freak," "Toltec," "Man oW
Sorrows" and "The Magician" all fea-
ture the death-metal sound that was so
popular long ago. Lyrics like "In your
hour of darkness be not afraid / As the
moonlight shivers upon your grave"
remind listeners a little too much of
Dickinson's days with Maiden. If there

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