Leon Gast's documentary "When We Were Kings," a stirring
look at the 1974 Muhammad Ali-George Foreman heavyweight
title fight in Zaire, plays at the Michigan League. 8 p.m. Free.
January 19, 2000
Video Pick of the Week returns to Weekend, etc. with a
feature on Martin Scorsese's "Mean Streets."
play is an
3y Nick Falzone
D)aily Arts Writer
In many extramarital affairs, the
votive for infidelity is simply to
,scape a lonely life. But in Harold
,inter's comedy, "Betrayal," we dis-
cover that in addition to fleeing from
olitude through illicit liaisons, the
unfaithful characters actually wage a
psychological war against each other
in the hope of passing their loneli-
;ess off to someone else.
This weekend, Basement Arts pre-
about a woman's
affair with her
Betrayal husband's best
Arena Theatre director Tenley
Hardin, a senior
Jan. 20-21 at 8 p.m. Theatre concen-
° that although the
affair is the
backbone of the
piece, it is the
game that gives
the play its life.
"What seems obvious is not obvi-
ous; the fact that there's infidelity is
iot what Pinter's trying to tell you,"
dardin said. "The play is a game
about who can make the other one
The game ultimately centers on
Uobert, the husband, played by first-
'ear Theatre concentrator Ethan
(ogan, and his best friend, Jerry,
flayed by senior Theatre major
Discuss full-time and ii
organizations frorn acr
Meet with graduate/pro
Visit our homepage for
oreanizations and scho
Get an early start. Pre-
3200 Student Activities
The Univvr,ax u1 Michga -Jd;
Career Planning Placement
The Office of Academ
is now takin
positions for th(
Student Leaders are nee
which includes a two week
Leaders work with diverse
residing in the residence hal
Mos Def throws
down at League
W. Jacarl Melton
For the Daily
As DJ Carl spun '90s hip-hop classics
from artists like Main Source, Slick Rick
and Black Sheep, the sold out Michigan
League Ballroom crowd rocked and
recited lyrics from the favorite songs of
their younger days. However, most of the
energy in the room was stored for the
appearance of one of the most talented
MCs in current day hip-hop- Mos Def.
Def appeared in the "Solar Eclipse"
show, which also coincided with the
Martin Luther King Jr. Symposium.
Also involved in
the program were
word artists and
Mos Def the Ann
League Ballroom Arbor/New Jersey
Jan. 14, 2000 crew, the Athletic
three and a half
hours of waiting,
fans were delight-
ed when they were
given an added,
bonus to the show. This bonus came in
the form of De La Soul deejay Maseo
(Plug Three). After dedicating the show
to 14-year old convicted murderer
Nathaniel Abraham, the first song of the
night set the tone for the entire show. Def
flowed over Bob James' classic break
beat "Nautilus." Not only did Def excite
the audience with his rhyme flow and
beats, he also invoked the name of the
Native Tongues, a group which original-
ly consisted ofA Tribe Called Quest, De
La Soul, the Jungle Brothers and other
assorted acts. Though the original
Tongues are almost completely defunct,
Def's mentioning of the crew evoked
questions about if the new Tongues,
which have been said to include
Common, who are going to record any-
From this introduction, Def started
into material mostly from his latest
album "Black On Both Sides," leading
off with "Hip Hop." As Def rhymed
about the contradictions and issues in
hip-hop today, the high-energy track
caused the crowd to bounce to the beat.
When he got to his lead single, "Ms.
Fatbooty," Def asked for a little help
from the crowd, since he was still in
recovery from a bout with the flu. The
audience was asked to sing the high-
pitched chorus portion of the song.
Needless to say, the audience obliged the
request and sang, trying to match the
effectiveness of the original.
Later on, Maseo stepped from behind
the turntables and announced that the
audience would be privileged to hear
some of the material from De La Soul's
tentatively scheduled May 4 release
"Artoffical Intelligence, Volume I." Like
the rest of the show, the crowd got into
the song and was left craving more.
The highlight of the night, hqwever,
was when Def performed his track
"Rock N' Roll." The song started off
rather smooth as Def rhymed about his
love for real "rock n' roll" (Chuck Berry
versus Elvis). The flow abruptly ended
when Def began screaming into the
microphone with the conviction that
may have led some to believe he was
recreating a scene from the movie
"Scream." The crowed enjoyed it,
though, and even attempted to form a
quasi-mosh pit, but to no avail.
Def has been working on a few pro-
jects, most notably the new Yo! MTV
Raps. Unfortunately, the program fell
through due to legal problems and he
states that "it wasn't meant to be true."
In the brighter side, Mos is working on a
"It will be out in early fall, God will-
ing," he said.
School of Music students Thomas Foster, Dave Jones and Ethan Kogan perform in Basement Arts' 'Betrayal.'
Thomas Foster. Since the play moves
backwards through time, from the
end to the beginning of the affair,
Robert is cognizant of his wife's infi-
delities in every scene but the last
one. As Kogan describes, much of
his character's dialogue consists of
subtle attacks against Jerry.
"In every scene, I know about the
affair, so I'm playing a game with
Jerry, trying to make him feel as bad
as I do," Kogan said. "But I go after
Jerry with puns and anecdotes, little
bits in each scene."
Hardin adds that the puns and
anecdotes utilized by Robert and the
other cast members are evocative
both of the play's setting, upper class
England, and of Pinter's signature
"There are definitely sharp attacks
toward the other characters but
they're not obvious all the time,"
Hardin said, adding that the British
are generally less forward than
Americans when speaking to others.
"But there's all this double meaning
behind the words; the way they've
been written is so brilliant, so intelli-
Hardin said that since his style is so
intelligent, "no one does Pinter at the
University of Michigan because it's
very scary" to perform. She attributes
this fear to the complicated language
that Pinter employs throughout his
work, adding that the four actors in the
play have had to rehearse a great deal
to master his words.
"We've spent a lot of time just read-
WANT TO REVIEW
ing it and reading it; it's taken time for
them to become comfortable with the
language, which is very important to
the show," Hardin said. The words
"aren't necessarily big vocabulary
words - it's not Shakespeare - but
there's so much meaning behind
Kogan adds that in addition to mas-
tering the words, he and his fellow
actors have had to contend with the
unconventionally large amount of
pauses in the dialogue.
"There are a lot of pauses in his
writing, so much that they've named
the stop 'the Pinter pause,"' Kogan
said. "Even though it's a pause,
though, you still have to act it, so
we've spent a lot of time with facial
expressions and movements."
Influential musician Chilton
visits St. Andrew's Hall tonight
I Career Fair
...... mm.. m
y 25, 2000
Noon - 4:00pm
nternship positions with
oss the country.
fessional school programs.
a list of participating
src~ onine i tihrough C'P&(P's
ONLY $4.75 Matinees before 6 pm,
Kids, Seniors, & Everyone all day Tuesday
$5.50 with Student ID after 6pm
By Christian Hoard
For the Daily
While bands like Badfinger and the Raspberries tried
in vain to live up to their "new Beatles" hype in the early
'70s, Big Star, the Memphis group led by Alex Chilton,
did as good a job as any of reviving the Fab Four.
Granted, Big Star's version of the Beatles was a bit
'70s-centric: There's plenty of Bowie-esque glam rock to
be found on "#1 Record" (1972) and "Radio City"
(1974). But if you've ever heard a
Chilton-penned classic like "Back of
..f3r< a Car" or "September Gurls," you
Alex realize that what really made Big
Alex Star tick was the same stuff that
Chilton Lennon and McCartney did so well:
St. Andrew's Hall Perfect harmonies and gorgeous
Tonight at 8 p.m. melodies - the sort that stick in
your head for days.
Big Star's penchant for charming
pop songs somewhat disguised
Chilton's Memphis roots. With the
Box Tops, Chilton's first group,
those roots were more apparent, as
hits like "The Letter," "Cry Like a
Baby" and "I Met Her in Church"
(all sung by Chilton) blended Brit-pop tunefulness with
healthy doses of soul and R&B.
This half-pop, half-R&B amalgam has also bled into
Chilton's more recent live performances and solo
recordings, with mixed results. "Stuff" (1987) and "A
Man Called Destruction" (1995) combined Big Star-@
style songs with some decent rock and R&B covers,
while albums like "Bach's Bottom" (1975) and "Like
Flies on Sherbert" (1979) sound like half-hearted throw-
Still, it's for his work with Big Star that Chilton is best
known nowadays. Chilton has, in fact, become an icon of
sorts for critically-lauded, commercially-ignored pop
music, with countless post-punk bands - everyone from
power-poppers like Teenage Fanclub to alternative-rock
groups like R.E.M. - having cited Big Star as a prima-
Paul Westerberg even paid his respects via song with*
"Alex Chilton," a track from the Replacements' "Pleased
to Meet Me" album on which he claimed that he "never
travels far/without a little Big Star."
In recent years, clamor among Big Star fans has led to
a few reunion projects, including "Columbia," a live
album culled from a concert that featured Chilton and
original Big Star drummer Jody Stephens performing
with members of the Posies, and "Nobody Can Dance,"
which pulls together a series of studio demos as well as a
bootleg of a 1971 live show.
"Set," due out Feb. 15, is Chilton's first release since
1996's "1970," a collection of previously-unreleased solo
material recorded just after the Box Tops' demise.
$5.25 Late Shows Fri & Sat
No passes or Tuesday discounts
Unlimited Free Drink Refills & .25t Corn Refills
Stadium Seating Gives YOU
An Unobstructed View :.
Handleman Company - INROADS
Dayton's/Marshall Fields/H udson's
nic Multicultural Initiatives
g applications for
ALL SCREENS DIGITAL STEREO
ALL THEATERS STADIUM SEATING
a HURRICANE (R)
1:00, 3:55, 6:45, 9:30
0GIRL INTERRUPTED (R)
11:30, 1:30, 3:30, 5:30, 7:30, 9:25
0NEXT FRIDAY (R)
12:0, 2:10, 4:35, 7:00, 9:05
MAN ON THE MOON (R)
11:50, 2:20, 7:05
oMAGNOLIA (R) 11:55, 3:35,7:25
CIDER HOUSE RULES (PG-13)
11:00, 1:30, 4:00,6:55, 9:30
GALAXY QUEST (PG)
12.50, 2:55, 5.05, 7:20, 9:25
TALENTED MR. RIPLEY (R)
11:05, 1:45, 4:25, 7:10, 9:55
ANY GIVEN SUNDAY(R)
STUART LITTLE (PG)
11:00, 1:00, 3:00, 5:00, 7:05, 9:00
BICENTENNIAL MAN (PG)
11:25,155,5:05, 7:25, 9:55
ANNA AND THE KING (PG-13)
11:00, 1:45,4:30,7:15, 10:00
DEUCE BIGALOW (R)
1: 55, 3:45, 5.40, 7:35, 9:30
GREEN MILE (8)12:00, 4:00, 8:00
TOY STORY 2(G)
11:15,1:15, 3:15, 5:15,7:15, 9:15
REIN JN MALKOVICH (R)
The Washington Post
Two riffs on resourcefulness "Bud, Not Buddy," written by
Christopher Paul Curtis, and "Joseph Had a Little Overcoat,'
illustrated and written by Simms Taback won the 2000
Newberv and Caldecott medals Monday.
The John Newbery Medal is presented to the author of what
is deemed the best children's book published in America the
previous year. The Caldecott Medal honors the most distin-
guished American picture book for children.
Notably absent from the prize roster was J.K. Rowling,
author of the astonishingly successful Harry Potter books -
widely credited with attracting scads of young people to read*
ing. Because Rowling's books were first published in England,
explained ALA President Sarah Long, they are ineligible for
any of the ALA awards. "The thing that was so stunning," said
Long, "was that on Martin Luther King (Day) - and for the
first time in 22 years - an African-American writer won the
award.""Bud, Not Buddy" is the story of a 10-year-old moth-
.. ,., ,..... . l« A. , , :.1, , le lia.inr la l c f er -es o I
ine is January 21, 2000.
ded for a 6 week commitment
July 21, 2000)
paid training program. Student
groups of high school students
Ls with the students and serving as
1 1- - - -. ..I.. ~- ...