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12B - The MichiganDaily - Wefkealoe i -.(a - Thursday, February 13, 2003
A',
SECRETS OF THE PROS
CHEF CHERYL HANEWICH FROM LA DOLCE VITA
PRESENTS ..
CHOCOLATE MELT CAKES
s
INGREDIENTS
INSTRUCTIONS
1 LB. BITTERSWEET
CHOCOLATE
1 CUP UNSALTED BUTTER
6 LARGE EGGS
FLOUR
OPTIONAL:
CHOCOLATE SAUCE
Preheat oven to 350 degrees.
Butter and flour six eight-ounce
dishes.
Melt chocolate and butter in a
metal bowl over simmering water
while stirring occassionally until
mixture is just melted.
Put eggs in electric mixer bowl
and whip until volume triples. Fold
in melted chocolate and butter and
spoon into prepared dishes.
Place dishes into roasting pan and
fill with hot water half way up the
dishes.
Bake for 25 minutes until iust set
and let cool for five minutes.
Run blade of knife around the
edges of dishes to loosen cakes.
Unmold each cake onto plate.
Makes six cakes.
Serve cakes warm with ice cream
and chocolate sauce on top if
desired.
La Dolce Vita is located at 322
South Main Street and is open
Monday - Thursday 5 p.m. - mid-
night, Friday - Saturday 5 p.m. - 1
a.m. and Sunday 4 p.m. - 10 p.m.
NICUL iTRWILLIGLE/Daily
ICE CREAM
An easy treat for Valentine's Day.C
Police to be enshrined in Rock and Roll Hall of Fame
By Alex Woisky
Daily Arts Writer
One of my favorite rock and roll sto-
ries of all time took place at Gordon
Sumner's wedding in 1992. Sumner, bet-
ter known to the world as Sting, was
chanted on stage with his former band
mates for a friction-filled version of their
1979 hit, "Message in a Bottle."
Throughout the
entire performance, Rock and
the three men were Roll Hall of
within a split-sec- Fame
ond of throwing induction
their instruments series.
down and throwing Part 1 of 4
fists up. There were
glares and stares and curses galore.
Needless to say, the tension was vibrant.
f
I
However, this angst wasn't at all a new
thing. In fact, it has always been preva-
lent between the three, ever since the
start of the Police's run in the late 1970s.
But at that time, they shared that type of
feud between brothers, not the type of
feud between enemies. In the end, the
same spark of anger that drove them to
greatness led to an indefinite hiatus.
They were born of a generation bent
on demise. The Cold War was within
sight and causing people to panic world-
wide; classic rock was painfully being
ushered out the door; and the under-
ground was slowly becoming the main-
stream. The generation before them was
growing up and trading their jeans and
LPs for leisure suits and briefcases.
The three members of the Police all
came from different
directions when they
converged upon each
other in the summer
of 1978. Sting was
busy playing in a
jazz-rock fusion
band called Last
Exit. Stewart
Copeland was an up-and-coming percus-
sionist out of London's underground.
Guitarist Andy Summers was busy with a
mid-'70s incarnation of the Animals.
Copeland approached Sting after a
show in Virginia and soon after they
were playing together regularly. They
later brought Summers into the mix and
completed the Police's lineup.
Together, they finished a stunningly
original debut album and a short but
energetic tour, and were on their way
back into the studio in the summer of
'79, where they would complete what
would undoubtedly become their most
prized work to date in Regatta de Blanc,
a culmination of their raw skill and
punk emotion that would later become
their trademark.
They fused reggae grooves with a
deep jazz influence over this lingering -
rebel aura of sonic
fury that had the iner-
tial power of a freight
From train to pump out such
hits as "Message in a
Vault Bottle" and "Walking
on the Moon."
Copeland's distinct hi-
hat punches created an
overpowering rhythmic wall that is to
this day unmistakable. Along with
Sting's unusual and remarkable voice
and Summers' sparse guitar sound utiliz-
ing a flanger with echo, a sound he not
only created by perfected, the Police
were in a category all their own.
However, they weren't without their
critics, and Regatta de Blanc became
their ultimate response to those who
wouldn't give them the time of day.
They were told that their sound
became too corny, to which they candid-
ly responded with the song "On Any
Other Day," where Copeland casually
states " ... you want something corny?
You got it," before singing a humorous
tale of a suburban nightmare. Effectively,
they stuck their tongues out to their critics
and the world by showing that they didn't
give a damn what anyone said.
The critics scoffed at the idea of three
white British boys playing reggae. The
Police responded by naming their album
Regatta de Blanc, meaning "White
Reggae," in spite of criticism and, in turn,
emphasized their "I'm-a-rock-star-and-
isn't-that-a-drag" attitude later popular-
ized by Kurt Cobain and Eddie Vedder.
But history aside, there were arguably
two factors which contributed to the
sheer greatness of Regatta de Blanc.
First and foremost, there has never been
a group of musicians more talented than
the three members of the Police. Each
member was not only a perfectionist but
his instruments and his own capabilities
better than any other musician alive at
the time. Because of this, they were all
bringing aspects of their musical pasts to
the table when completing their studio
work. They transcended the concept of
genre to a point where their music
became so distinct that you couldn't cat-
egorize it anymore.
But skill and knowledge alone didn't
take them to this peak of excellence that
is displayed throughout Regatta de
Blanc. In fact, it all returns to that angst
people witnessed on stage that wintry
wedding night in London. From the
beginning, there was always this feud
between the three of them which not only
caused their rise but eventually their fall.
There were big egos in the band, and that
led to competition, which pushed the
quality of the music to an incredible
level. Throughout every track on Regatta
you can hear each member constantly
attempting to outdo the others. And
because of this, they made a classic.