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February 16, 1998 - Image 5

Resource type:
The Michigan Daily, 1998-02-16

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Outspoken musician Henry Rollins reads from his latest book,
l"Portable Henry Rollins" tonight at Borders. Check out the erst-
while "Liar" as he spews his unique brand of wisdom. The book
may be "Portable" but Rollins is not, so catch him at 7:30 p.m.

t 1e£trf t ti~nDi[

tonorro in Daily Arts:
Don't miss Daily Arts' new weekly music release page.
Breaking Records. Tomorrow's section will feature a review
of Ani DiFranco's "Little Plastic Castle.
February 16, 1998

Swingin' Daddies pop in Pontiac

Alan Jackson points the way "down yonder" during Saturday night's Palace show.
Mellow Jacks on
.s tays a countr y. b oy

By Gabe Fajuri
Dri1ly rts Wrir.
Fron Lugene, Oregon, to Pontiac, Michigan, the
Cheny Poppin' Daddies rule the world (or at least the
nation) when it comes to swing music. You want proof?
Go to one of their live shows and become a converted soul.
The basement of Clutch Cargo's was packed with a
diverse crow d Friday night -- but not initially. Big Barn
Combo, a four-piece rockabilly outfit from Detroit,
opened the show to a room-filled to less than half-
capacity. The combo's set included Patsy Cline num-
bers. unidentifiable original material and a Johnny Cash
tune for a "big" finish. Frankly, I wasn't impressed
the DangervIlle Wildcats and The Reverend Horton
Heat do thejob 10 times better.
Since the show was an 18 and up event, there wasn't
the typical "middle-schoolialternateen' demographic in
effect, which was a nice change of pace. The Daddies
typically play all ages ska shows, where you know what
the crowd is going to be like. Not this show. As a mat-
ter of fact, the average age of
audience members was about 26
dor 27.
Apparently, swin dancing is .
Cherr bkz ,-asei ng gs
Cherry biw craze in Metro Detroit right
Poppin' now, and the crowd showed off
Daddies when the Daddies took the stage
Mill St. Entry around 10:15 p.m. They started
Feb. 13, 1998 things off right with four selec-
tions from their latest release on
Mojo records. "Zoot Suit Riot"
As the opening chords of "Doctor
Bones" filled the air, the crowd
launched into motion. There was-
n't an open space on the dance
floor for the rest of the night.
The remainder of the Daddies' set included the rest
of the "Zoot Suit" album and a few other select ska
numbers from tWi band's extensive repertoire. No mat-
ter what the band cranked out, the crowd loved it. Be it
ska or swing, the herd of dancers pranced around the
floor to it the best they knew how.

Cherry Poppin' Daddies frontman Steve Perry delivered a breakthrough perft)rmance Friday at Mill St. Entry.

By Curtis Zimmermann
Daily Arts Writer
The ghosts of country music were
definitely in the vicinity of the Palace of
Auburn Hills on Saturday evening.
Before a near sellout audience, Alan
Jackson proved it is possible to be a suc-
* ssful country singer without putting
on a show filled with the theatrics that
seem to categorize most of country's
current acts. This style of down-home,
oId-fashioned country jamming has
mrade Jackson a true industry legend,
and has helped bolster his "All
American Country Boy" image.
Before Jackson took the stage, how-
ever, up and coming superstar Deana
Carter gave a stellar opening perfor-

inance. Carter is
The Palace
Feb. 14, 1998
persona, making it

currently promoting
her debut album,
"Did I Shave My
Legs For This?"
which has
already spawned
such hits as "And
The Band Played,"
"Count Me In,"
and her trademark
Wine." These new
hits were deliv-
ered with Carter's
ful voice and
charismatic stage
t perfectly clear why

gathered at the front of the stage for a
hootenanny-style jam. This was a bit of
a break from the rest of the perfor-
mance, but it succeeded in giving the
Palace a feeling of intimacy. During this
acoustic set, Jackson and company
delivered shortened versions of
"Wanted" and "(Who Says) You Can't
Have It All," and closed with the Eagles'
"Seven Bridges Road." While this par-
ticular element of the show didn't main-
tain the previous intensity, it did allow
the audience to experience a more per-
sonal side of the music. Before each
tune Jackson explained the background
and creation of each piece. His rich
vocals echoed through the arena, clearly
resonating above the acoustic instru-
The show was brought back into the
electronic age with an intense southern
rock style guitar solo performed by
Danny Grosh. This led into another
standard, "Don't Rock The Jukebox."
Following this, the pace slowed down
again with "Midnight in Montgomery,"
performed amidst a fog-drenched stage.
The piercing steel guitar reverberated
throughout the entire arena. Jackson
then closed out the set with two of his
newer tracks, "Little Bitty" and "Who's
Cheatin' Who," after which he accepted
numerous roses and then left the stage
while the band continued to jam.
After a momentary break, Jackson
returned to the stage once again for a
rousing "Gone Country," bending the
lyrics to sing "Detroit City's Gone
Country," which was met with an intense
roar of approval from the audience.
Jackson then broke into a rocking rendi-
tion of "Mercury Blues," during which
each band member was given an oppor-
tunity to solo, once again showcasing the
band's intense musicianship. What
seemed to destroy this musical outpour-
ing was Jackson's blatant butchery of the
words in the last chorus. Recently the
lyrics have been altered in a nationally
televised commercial switching the
words "Crazy 'bout a Mercury" to
"Crazy 'bout a Ford Truck." While the
new lyrics fit well into the song,
Jackson's motives for doing this should
be seriously questioned.
Despite these episodes of blatant com-
mercialism, Alan Jackson gave a solid
old fashioned country music perfor-
mance. Without much fanfare he has
taken a sound that has been around for
ages and given it a more modern twist
without compromising the style of his
predecessors. In doing so he has become
one of the most successful artists of the
'90s. But the duality of Jackson's show
demonstrated the pitfall of mainstream
success- while still giving a stellar per-
formance, it was masked by his com-
prising of lyrics for profit.

El's Olympic coverage places a distant second

By Ed Sholinsky
For the Daily-
Someone must have hurt E! Entertainmient
Television's program director in some horrible way In
the recent past. Otherwise. E!'s torturous coverage of,
the Olympics would never have made it to air.
Where CS shows the events as they haipen in
Nagano, F! treats its viewers to anything and every-
thing happening off the slopes, luge trails and sikatinL
E's coverage started last Sunday, Feb. 8, by airing
"E! on Ice" and "Gymnastic Superstars." While these
shows had the potential to add something relevant to
the Olympics, hour-long specials ended up as nothing
more than propaganda films.
"E! on lee" was hosted by Olympic gold mediast
Dorothy Hamill - who obviously needed the work -
and other former Olympic greats trying to regain the
spotlight. Much of the show's time was dedicated to
how money has become an issue in the sport after the
Nancy Kerrigan/Tonya Harding soap opera, and how
Olympic skaters. often lacking other marketable
skills, are turn to "Ice Capades" and "Stars onIee" for
work. E! manages to put a positive spin on all of this,
though. There was talk about how wonderful the
Olympics are for athletes. The show used Oksana
Baiul and how great her life is, conveniently omitting

the parts when she gets drunk, wrecks her car and gets
"Gymnastic Superstars" is no better. Another
Wheaties golden child. Mary Lou Retton, gives
examples of all of the positive things Olympic gym-
nastics do for prepubescent girls, leaving out the
stunted growth, physical and psychological injuries,
and malformed bodies are left out. Like "E! on Ice,"
"Gymnastic Superstars" condones little girls com-
peting in these physically
demanding contests without
concern for their well being. To
its advantage, though,
OlympiC "Gymnastic Superstars" does
Coverage include a small segment of the
frequency of eating disorders
E" Entertainment among competitors. But it in no
Television way blames the system that cre-
Daily until Feb. 22 ates this problem, namely the
push to have young girls com-
pete past their physical and
psychological maturity. Retton
adds her profound insight,
telling these young girls,
"Never let your goals take the

I' >

My favorite moment of the night was the Daddies'
cover of the O~peration Ivy Classic, "Sound System."
The version was in true swing style, but what was inter-
esting was that no one in the crowd, save yours truly,
knew what the hell the band was playing. OK. that's
something of an exaggeration,. but thlose damnil sw ing
idancers didn't know what was going on and I loved
every minute of it.
Thie Cherry Poppin' (Daddies turned in a strong-, per-
fornance across the board. Never mind the crowd. Lead
Vocalist Steve Perry's (no, not that Steve Perry) constant

mugging and constrtnt novemlent made for an enjoyable
spectacle on stage. Whe three horn players (one of which,
looked strangely 1ik Chris O'Donnell) played a perfect
show --- nary a sour note was heard from the trio. Props
to the trumpet player, Dana Heitman, for his chop-bust-
ing solos and incredihly wide range.
The three-song encore brought the evening to a fitting
close. One ska tune and two "Zoot Suit" tracks weren't
enough to satisfy the swi g-crazy crowd, but had to suf-
fice. For those who didn.'t make it to the show, "Zoot
Suii Rio,' the Daddies' *ew album, is in stores now.

;: ,,.
:.. .:

If it's happening with Tara Lipinski, it's happening on
El - it's just not being well covered.
ing the Olympics from an entertainment stand point.
On its news and gossip shows. E! focuses on the rat-
ings the Olympics are getting and turning athletes
into celebrities. As we've seen time and again, even
the supposedly earnest athletes of the Olympic
games can be exploited for commercial gain.
For those who enjoy pain, E! will continue covering
the Olympics games untii the closing ceremony.
Lucky us.

she is one of country's most promising
young stars.
A somewhat mellow Alan Jackson
finally took the stage and launched into
his signature hit, "Chattahoochee"
:midst a hallowing audience. The
Palace crowd seemed to personify the
stereotypical image of country music,
ranging in ages from seven to 70, many
pf whom were adorned with the cus-
tomary cowboy boots and hats. The
audience even grew a little rowdy as
hoards of females attempted to evade
the security guards, trying desperately
to. get a closer look at the singer.
__One of the things that has made
4ckson such a star is the fact that his tunes
vary in tempo and style. With upbeat
humorous songs like "I Don't Even Know
Your Name" mixed with bluesy hits like
"She's Got The Rhythm (And I Got The
Bjues)," Jackson kept the crowd enter-
tained throughout the evening.
- But Jackson also performed his love
songs, which were met with ear bending
shrills. Slow tunes like "I'll Try" and his
most recent hit, "Between The Devil
knd Me" showcased not only Jackson's
diverse abilities as a performer but also
as his dynamic vocal range.
The show also contained an intrigu-
ing interlude when Jackson and his band
switched to all acoustic instruments and

place of good health."
In addition to its documentaries.,

E! is also cover-

Friday, February 20, 1998
3:30- 4:30 p.m.
Hutchins Hall, Room 236
4:30 - 6:00 p.m.
Presentat i
Student Notes
Hutchins Haft Room 2.36
Saturday, Febri ary 21, 1998
8:00 - 9:00 a.m.
Registration and Continental
Hutchins Halt, Room 236
9:00 - 9:10 a.m.
Welcome Address
Dean Jeffrey S. Lehman,
University of Michigan
Law School
Hutchins Hall, Room 250
9:15 - 10:45 a.m.
First Plenary: lnmigration
Hutchins Hall, R on 250
11:00 a.m. - 12:45 p.m.
Secondary Plenarq:
Affirmative Actionl
Hutchins Hall, Roohnv 250
3:00 -4:45rp.m.
Third Plenary:
Gender and Sexualty
Hutchins Hall, Room 250

A N !t A R A O R
Derric<k May
From the father of Detroit Techno,
the sound that changed music forever,
comes his first comprehensive retrospective.

Open House
University of Mlchign
Family Housing Child Development Center
Come & visit the classrooms, meet the teachers


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