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March 24, 2000 - Image 8

Resource type:
The Michigan Daily, 2000-03-24

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Get your shine on
Okay, we lied in The List -"The
Shining" isn't free, it's $5.50. But it's
still at the Michigan Theater tomorrow,
at midnight, and it's still scary.

R rati

michigandaily.com I/arts

Guitar phenom Shepherd arrives
By Gautam Baksi ' album with established blues-rock writ
D~ail Arts Wnitea 1ers, he chose to turn over lead vocals tc

Courtesy of USA Flms
Billy Crudup practices sensual frenology on Jennifer Connelly in "Waking the Dead."

Faulty 'Dead'


contrived effort

Coltrane did it with Miles and Monk.
Clapton did it with the Yardbirds and y
Cream. In fact, almost all major virtuoso
jazz and blues artists of the 20th Century
paid their dues with contemporary per-iy
formers before rising into their own pio-
neering solo careers. So what does a 22-
year old guitar genius say to critics who
question his right to go on a national col-
lege tour with a self-titled group, the
Kenny Wayne Shepherd Band? "Well, I
signed a record deal when I was 16:'
Shepherd said, "so I'm not really sure I
thought about that."
Not exactly words of wisdom, but a
Shepherd is a young man of few words Courtesy of Giant/Repris
overall. Choosing Hailed by some as the next great guitar god, Shepherd is bringing blues to new masses.
to let his 1963
a F e n d e r and B.B. King as well as guitar maestros people who have screwed you over one
. Stratocaster speak Joe Satriani and Eddie Van Halen. or twice. The blues are natural."
Kenny for him, Shepherd Halfway through a tour of major col- A gross under-exaggeratior
is, without a leges and universities around the United Shepherd's sound is almost super-natur
doubt, an extraor- States, Shepherd took time from his al. He draws on all forms of blues rocl
Shepherd dinarily gifted Atlantic City sound check to speak with influences from traditional 12-bar blue
ichigan Theater musician. He was the Daily. Playing to almost continuous rhythms to wah-wah screaming solo
Tomorrow at 7:30 introduced to the sold-out venues, Shepherd talked about filled with plenty of high fret action.
blues and rock the tour schedule and taking time off. "I While most critics believe the blue
roots that formed like to lazy as much as possible. can only be learned by experience an(
the foundation of Sometimes it seems like every day is a age, Shepherd proves them wrong. Afte
his sound at the workday. A weekend is just like a week- two earlier albums filled with soul
age of seven when day to me. But I still would not give this searching, homage paying, young tunes
he first heard the up for anything." Shepherd is now paving a path of dis
late, great Stevie But what does a longhaired covery and the results are astonishing
Ray Vaughan performing at a show his Caucasian kid sporting Adidas warm- "You can take lessons, but there's jus
father had arranged. Since then, ups really know about the blues? "I don't something about playing from the hear
Shepherd has remained a completely think it is a foreign concept," Kenny and channeling it to the audience. It jus
self-taught blues guitar-rock artist who quickly retorts. "Everybody has had a can't be taught."
has played with the likes of Keb' Mo' girl break their heart and there's always Although Kenny co-wrote lyrics to hi
Coprieldflis itoDetroi
By Aaron Rich So when the master conjurer thirteen audience members whi
Daily Arts Writer stepped on the stage from a seeming- apparently never return (as th

By Erin Podolsky
Daily Arts Writer
There's so much to like about Keith
Gordon's "Waking The Dead" that it's a
bit of a mystery as to what happened to

the Dead
Grade: C+
At State

suck it down. Or
rather, there's one
huge thing to like
about "Waking
The Dead," which
unfortunately left
a lot of necessary
elements out in
the cold.
c a n d i d a t e
Fielding Pierce
(Billy Crudup)
sees dead people.
Actually, make
that singular: He
sees a dead per-

relationship it draws between these two
people, living and dead, is rendered
with such tenderness and detail that
there's never any question whether or
not Fielding is wrong, or crazy, or able
to move on. He is none of these, and he
is a better person for it.
"Waking The Dead" veers into con-
descension once too often for comfort,
though, losing credibility in the process
as it takes audience stupidity for grant-
ed. The movie jumps back and forth in
time from 1972-73 to 1982-83, cover-
ing Fielding and Sarah's love affair in
the former and Fielding's self-destruc-
tion in the latter. There's nothing wrong
with this - mixed up timelines are
often effective, haunting tools. Or at
least they are when the director recog-
nizes the intelligence of his audience.
Not so in "Waking The Dead" - every
single time we move back or forward in
time, Gordon pastes a cringe-inducing
year title on the screen, apparently
uncertain that the fade-to-whites
between each time period are enough to
clue us into the fact that we're in the
past or the present. It's a small thing,
but it's a symptom of a greater problem
with the movie. Instead of taking us for
granted, it takes us for simpletons. It's
See DEAD, Page 9

son, the love of his life, Sarah Williams
(Jennifer Connelly, who starred with
Crudup previously in "Inventing The
Abbotts"), who lost her life in a car
bombing while helping politically
explosive Chilean nationals. Make no
mistake, though: "Waking The Dead"
isi't about to break any box office
records, nor does it deserve to. But the

Before I first saw David
Copperfield live on stage, I was
skeptical of the magician's abilities.
Until that point I had only seen him
on television, mostly performing
some of the biggest and over-hyped
tricks I, or for that matter the world,
had ever seen. I always felt that his
continual pleas that there were "no
camera tricks" were just an invita-
tion for suspecting exactly the oppo-

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