How High... Go to University Activities Center and get free tickets to "How High," starring Method Man, for Monday night at the Natural Science Auditorium. michigandaily.com /arts MtcjiWn ati ARTS FRIDAY NOVEMBER 2, 2001 5 White Stripes to perform at the DIA Preston School of Industry 'Spiral' into Detroit tomorrow By Keith N. Dusenberry Daily Arts Writer There's a rumble in the Motor City. A throaty purr that seethes with tension, as White Stripes Detroit Institute of Arts Tonight at 6:30 p.m. '- ( if any minute the great growl could come barreling down its pipe. Detroit knows this noise. It's the sound of a late- '60s Ford sitting at a traffic light, all style and threat, potential and anticipation. When the lights change and feet push pedals, it comes - the sings while ex-wife Meg White bangs the drums. Though Jack and Meg are in their mid-20s and the band is only four years old, the White Stripes sound simultaneously ancient and modern. Jack's songwriting combines his appre- ciation of the Delta Blues with his garage and indie rock sensibilities. He plays a menacingly toned, hook-laden electric guitar and sings about girls, boys, love and leaving town. Driving the music home are Meg's super hard, fill- free drum parts that leave little room for question. When she hits the drums, she hits the drums and does so with confi- dence and primal power. But the White Stripes aren't only an all-out assault on the listener's gentler sensibilities like many neo-garage bands. They have a softer side as well. Jack sometimes breaks out his acoustic guitar (and often his slide, too), Meg tones things down on the drum kit and the White Stripes woo the audience with gentler guitar strumming and crafty little melodies. They have released three full-length albums in as many years and their latest, White Blood Cells is getting them much national and international attention. As well it should, since (like their other two albums) it utilizes the most fundamental of rules for rock and roll innovators: Ignore what's currently cool and look to the blues for a sound you can appropri- ate, electrify and build upon. It's a classic move that every rock and roll pioneer has used from Chuck Berry and Buddy Holly to Jimi Hendrix and Led Zeppelin. sound of 100 years of sweat and study and accumulated knowledge barrels out a of little two-inchpipe, and now, a little two-man band. The White Stripes are the humble muscle car of rock bands - stylish, powerful and made in Detroit. They take a love for 80 years of the blues, 40 years of garage rock, a slightly out-of-sync sense of style and a little of the old Dee- troit snarl, lube it all with sweat and screaming and fire it through the two stroke rock engine that is Jack and Meg White's petite aural explosion. Though comprised of only two peo- ple, the White Stripes are more powerful and dynamic than bands three times their size. Jack White plays guitar and Courtesy oFlying Bomb Records Ex-spouses get it on for a dollar. But ever since Hendrix died or Elvis got fat there have been purists who won- der when the next musical messiah will come to save rock and roll. But rock never gets (and never got) saved, it just gets lazy and gluttonous and consumes pieces of its surrounding genres until it gets too fat to fit on a record (that means you Pink Floyd), and that's when the innovators come and rebuild it from the blues up. The White Stripes aren't saving rock and roll - they're remaking it. Tonight, the White Stripes are playing a soon-to-be-legendary show at the Detroit Institute of Arts. Rivera Court, with its famous mural of industry and Detroit assembly lines, will shake and roar. At only S 1 for students (yes, you read that correctly), no excuse will be good enough when you- grandchildren ask why you weren't at this show. Hitch- hike through the Delta or sell your soul at the crossroads, just make it there tonight or spend an eternity wishing you had. By Luke Smith Daily Music Editor After Pavement disbanded in late 2000 co-founders Stephen Malkmus and Scott Kannberg went their separate ways. Malk- mus manifested the Jicks and recorded his eponymous solo record, which tar- ries in the same turf Pavement did. Kannberg (a.k.a. Spiral Stairs) was left Preston to his own and formed his solo project,' School of the Preston School of Industry. The Industry shadows Kannberg stood behind in Pavement have been lit and Spiral Stairs Magic Stick was spotlighted. Tomorrow at 8 p.m. Since the release of Preston School of Industry's debut All this Sounds Gas, Kannberg and company have been tour- ing virtually non-stop across Europe and now are deep into their U.S. tour which stops in Detroit tomorrow. After coming back from Europe, Kannberg chatted with The Michigan Daily. THE MICHIGAN DAILY: With Preston School of Industry you're forced to step to the forefront, while in Pavement you and what you were doing was hidden by a series of effects and guitar playing, now it's basically you and your voice up there all by your lonesome. Was this an adjustment for you? SPIRAL STAIRS: Well, it's kind of an adjustment. In Pave- ment, that whole approach leading to the final outcome was because of how we made records. We made them in a really frenzied fashion and state. When it came time to do my songs it was always the last day, it'd be really hard to do. Now, I have all the time in the world to work on my songs and make sure I'm happy with them. I don't think I was ever that happy with the way my songs with Pavement were recorded, except maybe in the beginning when it was a little different. It is an adjustment for sure. TMD: How is the adjustment crossing over live? You just got back from Europe, how'd that go? SS: Yeah, it was great man. It was easy in Pavement to sit back, play guitar and belt out a few songs every night. But now, there's a lot more responsibility. I'm kind of surprised I'm able to do it. It wasn't as hard as I really thought it was. I mean it's fine, it seems natural. TMD: Where exactly in Europe were you guys touring? SS: We went to the U.K., Ireland, France and Germany. TMD: How was the fans' response? SS: It was great. I don't know, the world's pretty weird right now, people aren't as excited about music, not yet, they will be eventually. People overseas are a little more serious about music, they always have been, but more so now. People who are going to shows are going to them for the love of music and not just a reason to go out and get drunk, which is alright (laughs). TMD: Which would you rather have your audience do, dig the music or get really drunk? SS: (Still laughing) I guess a little combination of both. TMD: A good even share of the drunk kids? SS: Yeah, I mean it's kinda hard. In Germany, you play and people will just kind of stand there and you'll get some hand claps. Then you'd be like, 'What's going on?' and you'd play your songs and at the end they'd want you to come on for like three encores. So it's just different. The perception is different. TMD: The shoe-gazing Germans are a tough crowd. (SS: laughs) Did you learn a couple of German catch phrases like ,'Ich spreche kein Deutsch?' SS: Yeah, like where's Brathouse. Where is the good brat in this town? We only played one show, in Germany so it wasn't that big of a problem though. I love Germany anyways. TMD: I want to talk about the record, All This Sounds Gas. First of, what's "Whalebones" about? (SS: laughs) there's one line in the song, "played their final show, of a lifetime," I think it's really telling of the whole record. Is this song your assertion of Pavement's conclusion? Is this you saying you've moved on? SS: It's the story of Pavement, each verse is like a tour. We did a tour. We'd come back from tour driving the 'whalebones,' (our tour bus). In Pavement we always did these huge long tours, and by the end of it people were just drained, we never even thought we'd do another record, let alone how many we did in Pavement. Even after Slanted and Enchanted, we were like, "oh, we don't want to do another record" it's just kind of the story of Pavement, that moving on and finally they played their last show, that kind of "how does it feel" question, when really you shouldn't feel bad a bit. That song should be last on the record, but it's kind of the end of the story (Pavement's story). TMD: How important is maintaining Preston School's 'indie' credentials, Pavement had quite an 'indie' oriented audi- ence, are you trying to maintain that? SS: It doesn't mean anything to me. Cred is cred, you know, I don't think that being 'indie' means anything. I mean, I think it limits you in the long run, you know? Emo and nu-metal collide at Halfway Inn with PopProject By Sonya Sutherland Daily Arts Writer The word popular, abbreviated pop, is making a com back. Whether used to describe the targets of school shooter or Britney Spear's last lusty endeavo what better place to discover the mean ing of pop than the suburbs o The Po Motown. The Pop Hard at work in the student slumsc Project Ann Arbor, The Pop Project ha Halfway Inn become more than a simple an exper Tomorrow at 8p.m. ment. Fresh off their debut Let' Ea Green Beans, a 14-track record tho was named after a strange Intern encounter, The Pop Project provide the essential bubble gum listenin experience. Devoid of any heavy mes sages of torment or misdirected ange The Pop Project demonstrates tha there is a place for melody in betwee the growling trends of emo and nu-metal, and their catch omeo and hooks invites one too easily to sing along. Described as "basically we're a band that likes to say poop on stage," by bassist Christopher Graves, the boys' major ne band philosophy is simply to have fun. "We get up on stage, rs say a few things, play our songs and talk some more. We just r, want everyone who is out there to just have a good time,' said n- guitarist Dave Lawson. of Encouraged by such groovers as Apples in Stereo, the Bea- tles, later Beach Boys and Steely Dan, The Pop Project of explores such pertinent pop subject matter as unobtainable is girls, confusion and crushes in an eclectic mix of jazz, classic i- and hard rock. "We are influenced by lots and lots of drugs. at Just kidding. We are very welcome to sharing ourselves," said at Graves. "Instead of talking about emotions, we just write et about them. Our songs are meant to be meaningful," contin- es ued vocalist Zach Curd. g With evocative lyrics and appealing tunes, it is no surprise s- that The Pop Project has already been dubbed "The Future of r, Motown." Their unique sound provides breezy entertainment at and their light-hearted lyrics give everyone something to ;n smile about. When asked about the future of pop, Graves .y responded quite confidently "We are man, that's the answer." let sees a retun Sweeps starts with NBC drama of Warsaw Ghetto Up rising' By Jennifer Fogel Daily Arts Editor Inspiration. It's a word that we hear quite often nowadays in the wake of America's tragedies. Often we assume that inspiration can only come from idealism or charity. Almost 60 years ago, a group of ordinary people wrought with extraordinary strife took it upon themselves to start a revolution against an indecent foe. On Sunday, t Uprising NBC Sunday at 9 p.m. to Shakespeare's original text inspiration can- not encompass the overwhelm- ing outpouring of emotion when NBC airs the first of its two-part mini series, "Uprising." "Uprising" chronicles the compelling story of a group of fighters within the "Uprising" a far cry from the likes of "The Diary of Anne Frank," though as gripping as "Schindler's List." The_ entire miniseries is emotionally charged, leaving little room for the viewer to catch his breath. From point- ed shots of executions to the wheelbar- rows of lifeless bodies, "Uprising" actually puts the viewer backing into that time frame, refusing-to forgive or reduce the truth of the tale. While most will say that "Uprising" is just a star-driven vehicle'for Novem- ber sweeps - the cast includes: Hank Azaria ("Tuesdays with Morrie"), David Schwimmer ("Friends") and Donald Sutherland ("Space Cowboys") - it is important to look past the uneven acting and ratings-hungry net- work and "consider the unspeakable 'tragedy that you are watching. In an outstanding performance, Sutherland portrays Adam Czerniakow, the moral- ly conflicted head of the Ghetto's Jew- ish Council. For Czerniakow, total submission to the Nazi decries would lead to better conditions, but even his greatest intentions and efforts were thwarted by his own naivete. Azaria takes on the role of the ideal- ist Mordechai Anielewicz, who with Yitzhak Zuckerman (Schwimmer), leads the resistance fighters through a heroic battle against an insurmountable enemy. Although their accents could use a little work, these two stars portray their respective characters with deter- mination and emotion. "Uprising" is a sea of gut-wrenching action that will take your breath away. This is not a miniseries to take lightly, nor is it one to miss out of fear of seri- ousness. "Uprising" gives a voice to the thousands that died and it seems quite poignant today, bringing perspective to our own ongoing crisis. As we yearn to deal with our own acts of heroism and terror, maybe taking inspiration from the past will help. By Autumn Brown Daily Arts Writer Would a rose by any other name smell as sweet? According to the Bard, proba- bly not. This is why the Rude Mechani- cals have chosen to present "Romeo and. Juliet" in its origin Romeo and Juiet Mendelssohn Theatre Tonight through Sunday lal form - doublets and all. The Rude Mechanicals are an independent theatrical student group under the University Activ- ities Center. "We are geared towards people who are not the- ater majors," said co-producer Devon Seybert. all about the audience. They got much more involved by yelling things at the actors. In a sense, it was more like a rock concert," said Aaron Sherry, direc- tor of the production. "Today's audience sit politely in their seats and refrain from talking once the curtain has been raised."' Sherry's audience preference will hopefully experience the same passion he had for the story from an early age rather than just be interactive. "The real reason I chose 'Romeo and Juliet' was because I have been in love with this play for a long time and the play is a personal purging of my own Romeo and Juliet story," he said. Although these reasons would have sufficed, it may not be enough for reluc- tant theater goers (read: The boyfriends of Shakespeare fans). For them, Sherry offers the confidence that he too is a fan of action and in this case, the sword fights. As one proficiently skilled in sword fighting, Sherry guarantees that a high level of professionalism that will go into each choreographed sword fight. Some would say, however, that the sword fights are but an added bonus to the com- pelling and romantic imagery found in the Bard's masterpiece. "Each day I realize something differ- ent in the play," said Senior Dan Krauth, who plays Romeo. "For example, every time Romeo and Juliet meet, it's at dawn and this says something about love being fresh. Then there is the reiteration of allusions. In other words, one character's speech will echo another character's speech. Occasionally I will hear my character say something which alludes to one of Mercutio's lines or one of Juli- et's lines." Not only is the language of the text unique and beautiful, Krauth contends, "It is one of-the most lustful plays Shakespeare has ever written," he said. "More than anything, we want the audience to realize that the story per- tains to today; fighting about something that is not important," said Seybert. ,Warsaw Ghetto during the Nazi occu- pation of Poland during World War II. After the German invasion of Poland in 1939, 350,000 Polish Jews were round- ed up and forced to live in dire circum- stances, surrounded by walls and secluded from the rest of the city. Fac- ing starvation, mass executions and relocation to concentration camps, the Jews of the Ghetto clung to the hope that human decency would prevail upon unspeakable tragedy. Out of the depths of human cruelty, a small group took it upon themselves to create the Jewish Fighting Organization. "With no food, supplies or arms, these brave men and women could no longer rest on hope, instead turned to the only thing that they could believe in, their honor. It is easily possible to be over- whelmed by "Uprising" and it is not for the faint of heart. Even those familiar with the other Holocaust texts will find Jewish resistance1 Morrie, I could use some help here! The student-based group says that their aim is to remain as true as possible to Shakespeare's First Quarto. "When the play was originally performed, it was Criteria: Smart, energetic, friendly personality, physical features similar to recipients (57" or above; slender/athletic build), non-smoker/drug free, good health Compensation: Donor will be provided exceptional compensation for time and inconvenience Reply ASAP to 1 -800-484-9326 pin #7760 i THE %imp AN OPERR BY GIRN CRRLO MENOTTI I