Korean film "Bitter and Sweet" screens at the Michigan. Check out director Myung-Se's urban satire that compares a subway platform to a war zone. Random musical numbers express a busi- nessman's daily adventures. Myung-Se is expected to attend the reception following the film, which is in Korean with English subti- tles. Michigan Theater. 7 p.m. $5.25 for students. Mg a- de St I .p ldat L-RT l'omorrow in Daily Arts: Come back to Daily Arts for a preview of the controversial new film "American History X." Tuesday November 10, 1998 5 PBS builds Lloyd Wright By Chris Cousino Daily Arts Writer "Early in life I had to choose between honest arrogance and hypocritical humility. I chose honest arrogance." Frank Lloyd Wright. Egotist, genius, monster, rebel, artist, eccentric, self- indulgent, legend, visionary. While he's been called many things, to anyone and everyone who knew him, he was simply Mr. Wright. And he saw to it that they called him that, not even Frank or Frankie for that matter. The famous, infamous larger than life architect extraordinaire Frank Lloyd Wright has captured the attention of men and women worldwide since his busi- ness initially boomed in the first decade of the 20th Century. His tumultuous escapades and symphonically beautiful designs are finely captured in the intriguing documentary film, "Frank Courtesy of PBS Fallingwater, a home in Mill Run, Penn., is one of Wright's most famous creations. B.B King dazzled the crowd at Hill Auditorium on Sunday, B.B. crowned By James Miller Daily Arts Writer Church this past Sunday was held a little late. We had a special guest preacher that evening. He was from Indianola, Miss., and he's been preaching for nearly 50 years. It's not too much hyperbole to say that a B.B. King con- cert is like church Sunday. People come dressed in their fin- ery. Everyone knows most of the words, and what's going on. Most importantly, everyone who goes feels a little bit taller when they walk out. The evening's program at Hill Auditorium got underway with acoustic blues champion, the Great White Hope of the country blues, John Hammond. Hammond plays risky 'nusic, especially in these times. The delta and Piedmont styles of the blues, with aggressive guitar parts and high, tor- tured singing, are not the most accessible kinds of music, even with a crowd as open-eared as a B.B. King crowd can be. But Hammond is a fine player, and an absolute magician at singing and playing at the same time. The problem was the sound guy, who had the harmonica miked loud B.B. King enough to play a gravel pit. The Hill Auditorium sound, especially in the high register, was too shrill and strident. In an effort Nov.8, 1998 to make Hammond heard in the cav- ernous auditorium, they over-ampli- fied everything. Songs such as "Preachin' Blues" by Son House and the ever-present "Walkin' Blues" require a light touch, and Hammond's light touch was obscured by the heavy handed sound work. His shuffle tunes were fluent and soulful, however, and with better sound, the rest of the tunes would'have been more so. The guy can whup some behind at the Ark and smaller venues. It's a shame that his talent was obscured this particular night. But on to the preacher. At any B.B. King concert, the band comes out and plays a few songs to warm the crowd up a bit more. Other than just a lip-loosener, this vamping gives the crowd a chance to realize the caliber of musician that King carries with him. All three of his horn players are excellent and tasteful, and the keyboardist James Toney is a phenom- enal blues player. We got one of the traditional King openers, Louis Jordan's "Let the Good Times Roll." Always the showman, King entered the stage in a brilliant, albeit huge, sequined jacket. After holding the blessed Lucille above his head for the audi- ence's adoration, he went into "Why I Sing The Blues".and the recently recorded "I'll Survive." The last tune was made with the Rolling Stones, much to King's amusement, calling Mick Jagger "the world's oldest teenager" before the song began. For the next tune, "Payin' the Cost To Be the Boss" King pulled himself up a seat. "Not because I'm tired," he said. "But because this is how we reminisce, back over 50 years." King was getting serious. When B.B. King sits down during a concert, you know it's time for the sermon. The songs take longer, and he talks to the crowd. It's always about love, and he always segregates. First, the fellas get their speech, about how to treat their ladies, then the ladies get one about the care and feeding of their men. "Payin' the Cost ... " was one of these instructional songs. The classic "The Thrill is Gone" was one of these too. Apart from being the grittiest and funkiest song of the night, the homily within the song should have been called "How To Make Him Wish He'd Stayed Awake Saturday Night." In between verses, King gave the ladies instructions on how to how to fake like you're leaving and scare him in being more "awake" for you. Dig? No B.B. King concert is complete without getting the audience into the act, and it joined him on "Since I Met You Baby" singing one of the verses with him. Besides King's genuine enthusiasm about getting the crowd to sing, the band turned in beautiful solos; with special snaps to "Mighty" Mike Doster, the bassist, who managed to quote Charlie Parker's "Au Privave" in his solo. The last two songs "How Blue Can You Get?" and "Please Accept My Love" are special tunes in the B.B. King canon. The first has the famous lyric "I gave you seven children/Now you want to give them back" and the second is just one of the prettiest and most emotive blues songs. After a quick run through of Howlin' Wolf's "Rock Me" and a few guitar picks thrown to the crowd, he was gone. People say a lot of things about B.B. King concerts, and his music in general. Music journalists like to fall all over themselves in their praise of King. So much so that they stop trying to get across the real meaning of the performance. So I'll say this: Riley B. King is 73 years old, and he can still hit the gorgeous high note in "Please Accept My Love." He still plays a Gibson guitar like an angel of God and he still sings the blues like his throat was made to do nothing but that. All hail the King. Lloyd Wright." Directed by Ken S '4 4 Frank Lloyd Wrigt PBS Tonight and Tomorrow at 9 p.m. Burns ("The Civil War," "Baseball") and Lynn Novick, "Frank Lloyd Wright" chroni- cles the life of the architect from his 1867 birth in Wisconsin to his death in 1959; on the eve of the opening of his final opus cre- ation, the Solomon R. Guggenheim Museum in New beauty of Wright's designs is evident in the smooth, ethereal direction as the camera traverses through the passage- ways of his Unity Temple in Illinois. "Frank Lloyd Wright" engages the vis- ceral sense of Wright's genius in touring the spiraling ramp encircling the interior of the Guggenheim. While the Guggenheim was Wright's ultimate triumph, his career began in the early 1900s after he dropped out of the University of Wisconsin with aspirations to work professionally at achieving his philosophy. He wanted to convey designs that show his belief that "the out- side was there chiefly for the inside." Through the film, Novick conveys that, "He had a total vision of what this envi- ronment would be" As Wright's visions attained increas- ing popularity and critical acclaim throughout the early part of the 20th Century, his infamous scandals and live-on-the-edge mentality fueled the legend of Mr. Wright. The complex Wright, who once poignantly said, "I've had the father feeling about a building but never once for my children"left his first wife with six children and bills to go off to Europe with his mistress, Mamah. While Mamah, whom Novick feels "was the great love of his life;' Wright would have other wives and illegitimate affairs after her more than slightly suspi- cious death. But ,rumors of Wright's affair with Ayn Rand and that he was the inspiration for Howard Roark in Rand's "The Fountainhead" aren't true. "He did- n't like Ayn Rand at all," Novick said. As Wright's love life bounced up and down, so did his career. His practice hit rock bottom during the twenties and then rocketed back to prominence with his fellowship program, Usonian house designs, and one the most famous exam- ples of his organic architecture, the Fallingwater house. While Wright's designs had their fal- lacies, such as faulty ventilation or leak- ing roofs, his genius has been forever heralded. For "what mattered to him was aspiring for something greater." Although the film lacks commentary of critics discrediting Wright's work, Novick explains, "We tried to find them. But we couldn't." Novick firmly believes in Wright's genius. "Sometimes, something is just true." While Novick directed the majority of the filming, she worked closely with Burns to construct the film. As this is the first time Burns shares a director credit, Novick has worked closely with Burns in production of "The Civil War" and "Baseball;" not to mention her position as producer for Burn's upcoming series, "Jazz." Such a wonderful portrait of an artist could only come from the creative com- bination of Burns and Novick. With "Frank Lloyd Wright;" we have the per- sonal journey of a man who believed in what he was doing and put himself first, and so come one step closer into the nature of a true genius. York City. Through rich cinematography of many of Wright's buildings and a series of personal interviews with archi- tecture critics, colleagues, his 100-year- old son and grandson Eric Lloyd Wright, "Frank Lloyd Wright" tells a tale that provides more than just historical facts - it lays out a deeply human story about the life of a single man, one which Novick feels, "engages the subject on a lot of different levels." Rich in controversy and filled with passion, the story of Frank Lloyd Wright cuts across many boundaries of success, failure and the journey of a genius. Novick explains that, "It's a really com- plicated story and that is what I love about it." Novick's passion in bringing a true SPECIAL ADVANCE SCREENINGi EDWARD NORTON EDWARD FURLONG 'Horse' put to pasture By Matthew Barett and Aaron Rich Daily Arts Writers Bill Clinton and his political band- wagon storm the big screen in the new video "I Went Down" Well, not really, but this film set in Europe, is the story of two strangers thrown together by fate, a just out of prison and the other one away Giddy-up horse fans, cowpokes and other farm folks for the release of "The Horse Whisperer." Robert Redford stars and directs this gritty horse drama about a man, a prosthetic leg and a wild buck- et of oats. Golden Boy "Bob" Redford sparks up the screen with Kristin Scott Thomas, a cowgirl a few years his junior. Comedian Phil Hartman's last movie is in the special effects comedy mall Soldiers." Taking a page from "Toy Story" the makers used computer Singers, Singer/Dancers, Musicians & D.J.'s Kalamazoo, Michigan Wednesday, November 18, 1998 Western Michigan University Dalton Center Lobby Auditions: 2:30 -5:00 p.m. Lansing, Michigan Thursday, November 19, 1998 Michigan State University Kellogg Hotel & Conference Center Auditorium Auditions: 6:30 - 8:30 p.m. Ann Arbor, Michigan Friday, November 20,1998 University of Michigan The Michigan League- Kalamazoo Room Auditions: 400 - 6:00 p.m. -P^O'1if IO AL I UWLAULE- * Technicians. * Costume Shop Personnel. w . .1. I.. r . , . r/ i' 4, y 0-04 graphics to make the toys come to life. Buzz and Woody beware, there's a new AMERICAN HISTORYX NEW LINE CINEMA PES A TURMAN-MORRISSEY COMPANY PRODUCTON A TONY KAYE FILM EDWARD NORTON EDWARD FURLONG "AMERICAN HISTORY X" FAIRUZA BALK STACY KEACH ELLIOTT GOULD wi AVERY BROOKS AND BEVERLY D'ANGELO B VALERIE McCAFFREY,c.sx ANNE DUDLEY MDOUG HALL | New On | F Ii