Chrysler Corporation president Robert Lutz appears. Lutz will pre- sent a reading from his new book, "Guts," about his experience in the corporate auto industry. The bigshot will also sign copies after the reading. Borders Books and Music. 7:30 p.m. Zee fiRdOom Bait Tbmorrow in Daily Arts: U Come back kickin' your heels in a Daily Arts country line dance as we bring you a review of Travis Tritt's recent Detroit appearance. Monday October 19, 1998 5A PBS series chronicles slavery 'Stomp' to make noise in A By Rachel Knighton For the Daily "Africans in America: America's Journey through Slavery" is an intensely enriching and educational docu- mentary. This four-part series makes a journey from the h of slavery in America to its constitutional abolish- ment in the Civil War, and also explores the implications that slavery has had on current racial politics and race relations. "Africans in America" provides a wonderful historical analysis of the fricans in America PBS Tonght through Thursday at 9:30 p.m. origins of slavery. The documentary explores how slavery was not brought to America as a full-blown institution, but built up here law by law. America initially utilized a sys- tem of indentured servitude, but racial slavery proved a better eco- nomic resource because Africans could be easily distinguished from Europeans. Additionally, African children inheriting their parents' sta- tus made it a dependable source of labor. The narration and various readings in the series are made espe- cially moving by religious songs and words from native West African lan- guages playing softly in the back- ground. The series also utilizes beau- d landscapes from both America and Got to Do With It") serves as the narrator for the series. "Africans in America" also features interviews with for- mer chief of staff Colin Powell, and several notable his- torians. The series will focus on the fact that slavery was not just a horrific injustice to black people, but the paradox- ical burden on the soul of an entire nation. "When we realize that we've spent more time as a peo- ple with slavery than without it, we can begin to see it as a centerpiece of our national identity," Bagwell explained. Part one of the series, "The Terrible Transformation," describes how Africans were made into slaves - from 1641, when Massachusetts became the first state to move from a system of indentured servitude to one of legalized racial slavery, to 1750, when Georgia became the last state to formally legalize slavery. The second episode, "Revolution," uses the lives of two men - Venture Smith, a slave who would later buy his and his family's freedom, and President George Washington to describe America's struggle for freedom from British rule and the growth of slavery in America. The third part, "Brotherly Love," describes how America developed with the invention of the cotton gin, the strengthening of the black church, and the growing divergence of the North and South. The final episode, "Judgement Day," travels through the period just before the Civil War, highlighting events such as the landmark Dred Scott ruling. The four part series ends with the beginning of the Civil War in 1860 and Abraham Lincoln taking office. "Africans in America" provokes salient images of slavery for its viewers. This enlightening and informa- tive documentary exquisitely showcases how slavery was an institution that affected not only slaves and slave- holders but all Americans, past and present. By Jenny Curren Daily Arts Writer What do two hatchet handles, 30 pounds of sand, and five copies of "The New York Times" have to do with each other? They are all items expended weekly by "Stomp," the theater sensation that has astounded audiences worldwide for more than four years. Among performances in cities as diverse as Tokyo and Barcelona, it's credits include five sellout shows in Ann Arbor, and it's back for another round in Power Center tonight and tomorrow. For those lucky enough to have tickets to this sellout sensation, the group won't disappoint, as last year's spectators confirmed. LSA junior Lisa Kolodny remarked, "I was amazed at how they used everyday things like a lighter to make rhythm. They see the world in a different way, and they make you see it too." Kolodny's reaction reflects co-cre- ator Steve McNicholas' philosophy on the message behind "Stomp." "If courtesy of TMG Marketing Cast members of stomp walk loudly and carry big sticks. #1 scenery an Africa. Most importantly, "Africans in America" demon- strates how slavery is an indivisible part of American his- tory and how it still influences present day lives. The series was produced by Orlando Bagwell, who is known for "Frederick Douglas: When the Lion Wrote History" and "MalcolmX: Make It Plain." Academy Award-nominated actress, Anglea Bassett ("What's Love $tomp Power Center Tonight at 8 p.m. Tomorrow at 4 & 8 p.m. there is a mes- sage it is that you can make something out of nothing," he explained. "Using junk challenges the notion of cul- ture as being highbrow or detached." Certainly, Stomp shat- ters the defini- tion of tradi- Bacardi' tour too lax on laughs nite possibilities of everyday objects. Since its creators believe that absolutely anything can be used as an instrument, they try to consider an object's aesthetic value when incor- porating it into the routine. "It has got to have some internal logic to it, you know, whether that's a reason that makes it humorous or whether it's just dramatic, but there has to be something, because other- wise we could just tap away forever," said Luke Cresswell, the other co- creator of "Stomp." The irony of "Stomp" is that it has succeeded precisely because it breaks conventions formerly considered nec- essary for success. It's British creators started humbly as a street band ensemble in Brighton, England. In 1990, Cresswell directed the "Heineken Hove Lagoon Show," a drum, string and choral extravaganza in which the original seven-person cast of "Stomp" was formed. The addition of Fiona Wilkes in 1991 marked the beginning of what even- tually evolved into "Stomp" in its present incarnation. The ensemble grew into a 30-per- son cast for the Brighton Festival, and soon spawned multiple touring productions. In addition to the origi- nal British cast, three American groups are currently touring the globe. . Appearances on "Oprah," the Oscars, and "The David Letterman Show," as well as numerous awards, have made "Stomp" a household name, but the production hasn't lost sight of its humble beginnings. Performers often have impressive theater or dance credits, but it's not a requirement. Cast biographies for performers include diverse partici- pants such as a former Army police- man and a Brazilian drummer. "I think you are looking for per- sonalities," Cresswell said. "You can teach someone to a level, how to drum ... but you can't bring out a personality or someone's charisma." He continued, remarking, "We've done shows ... where we've taken 15 or 20 extra people, from any walk of life, not as auditions, just people who are keen and worked them into the show." The everyman approach of Stomp leaves audiences uplifted and inspired. Cresswell summed up his expectation for the ultimate goal of the project: "I hope it's a positive injection of, 'Go and do it. Get up, get off your bum and do it."' By Eugene Bowen For the Daily By the time zanily hyperactive head- liner Michael Colyar trounced onto the Fox Theater stage to perform his come- dy routine, the attitude of the audience perhaps best reflected an "Are we there yO" attitude of a bored 5-year old on a to car ride. This is not to say that Colyar's act was bad. A former drug addict, Colyar had quite a few humorous blurbs to say about his not-so-funny past. "I used to do so much crack, I once broke into my own house," Colyar con- fessed. "And when you're on crack, everything small and white looks like worth paying attention to. Heightening the crowd's boredom even more, Detroit native Spanky Hayes made a surprise appearance onstage. Usually an insanely hilarious comic, Spanky fell flat on his face. He looked and acted like he had spent a little too much time that night with Bacardi in his hands; the show would have been the better off without him. TK Kirkland was the salvation of the show. A hardcore, underground comedian, his act isn't so much com- edy as it is a brotha just kickin' the real with friends. He says what's on his mind, he means what he says and he doesn't care if you choose to have attitude about the way he says it. Much ofTK's soliloquy revolved about men, women and their relationships. "First off, I can't stand women who purposefully give out wrong numbers," he said. "If you don't want to talk to me, then don't waste my time acting like you do. That's why I keep my cellular phone with me. When a girl gives me her num- ber, I call right then to see if it's real. And if it's not then I run up behind her and kick her in the back for wasting my time." TK Kirkland was the only comedic bad boy at the Fox Theater on Friday night. He was true to form, pumping up the audi- ence and raising the roof of the Fox Theater like no comic before or after him came even close to doing. Without him, the whole night would have been awash. tional theater. It incorporates ele- ments of acting, dance, music, and performance art, but can't be classi- fied as simply just one. "Rhythm comes first," McNicholas said. "Movement comes second and we try to make that mix- ture more interesting and more palat- able by adding levels of comedy to it." The items used to create rhythm in the show are carefully chosen to demonstrate the versatility and infi- BaCardi Comedy Tour Fox Theater Oct. 16, 1998 crack - a scrap of paper, a piece of lint, a poodle, whatever." By the time Colyar hit the stage, the audi- ence was just not in a good mood anymore. They'd been patient enough with many of the previously weak perfor- mances, and they weren't willing to extend that kind- i a I Be A Step Ahead Of Other Med School Applicants. :: ,. ,;,. , ... . _ f . ,.. VOW "W ' ow ness again. The "large and in charge" Bruce Bruce presented a series of jokes con- cerning his large size. "You ever see a policeman pull a car over, open the driver's door and just snatch the driver out? They like doing As@ But one time, a cop tried snatching me out. After about an hour he said, 'Just get out of the car.' I said, 'No sir, officer, I want you to snatch me out like you're supposed to."' Bruce Bruce's act, while decent, was full of old material already familiar to many in the audience, so people quickly lost interest in what he had to say; there was nothing new Find out more about our: . Nationally renowned faculty. * Numerous student research opportunities. * Prime location in the heart of Chicago. Call or write for more information and a viewbook today. The smartest med school candidates consider all their altematives. And many have already applied, to Scholl College of Podiatric Medicine. Where the profession is going. Scholl College of Podiatric Medicine 1001 North Dearbom Street Chicago. IL 60610 312-280-2880 http://scholl.edu Research Universities and the Undergraduate: Designing Education for the 21st Century The University of Michigan Faculty Forum Date: Tuesday, 27 October 1998 Time: 9:30 A.M. to 4 P.M. Venue: Gerald R. Ford Presidential Library, North Campus, Ann Arbor Inspired by the controversial Boyer Commission report funded by the Carnegie Foundation: Reinventing Undergraduate Education: A Blueprint for America 's Research Universities this Fall Forum was developed by Sigma Xi, the Senate Advisory Committee on University Affairs, AAUP, and the Academic Women's Caucus. A morning panel comprised of faculty members actively engaged with undergraduate education will address the question: "Does the Carnegie Foundation/Boyer Commission report represent the best vision for undergraduate _' ;. .. r ..fix Ah _. R:' .. ;. r ....;. t