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. Monday 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. ADRIANA YUGOVICH/Daily 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 Alan Jackson 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 "Strawberry Wine." These new hits were deliv- ered with Carter's sweet-yet-power- 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- ments. 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 rinks. 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 arrested. "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. ;: ,,. :.. .: AP PHOTO 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. Registration 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 Breakfast 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