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December 13, 2006 - Image 5

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The Michigan Daily, 2006-12-13

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The Michigan Daily - michigandaily.com

Wednesday, December 13, 2006 - 5

IClipse
art
DUO'S FURIOUS SECOND
DISC A MASTERPIECE
By BRIAN CHEN
Daily Arts Writer
After lawsuits, label politics and frustrating
delays of the Clipse's soph-
omore effort Hell Hath No ** *
Fury,it's easytounderstand Cljpse
the inspiration behind the
album's title. But what's Hell Hath No Fury
surprising is the degree of Jive
influence their anger has
had in the outcome of the final product.
In the opening track, the Ezekiel 25:17 pas-
sage from "Pulp Fiction" offers clarification
- Samuel L. Jackson waxing poetic about "the
path of the righteous man" and "the finder of
lost children." It's grandiose, but it's just orna-
mentation of two guys laying "vengeance" upon
their enemies. Likewise, underlying Malice and
Pusha T's brilliant lyrics and the Neptunes'
impeccable production is the raw sound of fury
and vitriol, unifying the album's variegated
tracks and establishing Hell Hath No Fury as a
cohesive classic.
Lyrically, the duo operates on a previously
untapped stratum of emotion. It's the same
drug-dealer subject matter as in their debut,
Lord Willin', but now the content is more caustic.
There are still the memorable one-liners ("Open
the Frigidaire, twenty-five to life in here"), but
this time around the Clipse have infused their
deft wordplay with a searing wrath - every
word and syllable is meant to draw blood.
In "We Got It For Cheap," Pusha raps, "No
serum could cure / All the pain I've endured

Film students gear
up for bi-yearly fest

We're a little worried about those sunglasses, but the album is still pretty damn good.

By JEFFREY BLOOMER
Managing Editor
A being makes a cake with a
strange ener-
gy. Apparent- Lightworks
ly the moon is
involved. And Festival
so, I'm told, Friday and
are dancing Saturday at 6 p.m.
people. At the Natural
All this for Science Auditorium
a class proj-
ect. As you Free
continue to ignore that term paper
on the aesthetics of neo-Platonism
this weekend, maybe it's time to
consider a change in major.
Screen arts and cultures stu-
dents are here to tempt you.
The film in question, "Moon
Dance," is just one of a wealth
of student productions that will
screen this Friday and Saturday
at 6 p.m. as part of the Lightworks
Festival, a bi-yearly event that
brings a close to each fall and win-
ter semester with a free showing of
student films.
"It's a fun piece," LSA junior

Marty Stano said of the experi-
mental six-minute short, a project
he was involved in as part of his
300-level filmmaking course. The
piece will be shown in its original
16 mm format along with other
student productions that will
include animation and documen-
taries.
Still digging that history of art
degree?
Stano said he first attended the
two-night festivities when he was
a freshman and has been involved
(including small roles in films and
stints as a crewmember) ever since.
He is also on the board of the Film
and Video Student Association,
which is presenting the event.
He described the Department of
Screen Arts and Cultures - which
is cosponsoring the event along
with Apple and Arts and Michigan
- as a "nice, friendly community."
He said the department's collabo-
ration with students is paramount
to the event's success.
Both screenings, which also
make fantastic diversions from
finals, are free and begin at 6 p.m.

/ From crack to rap / To back to sellin' it
pure." For further elucidation, brother Malice
explains, "Pyrex and powder, it was back to the
norm / Through all the adversity the fury was
born." Later, in "Ain't Cha," Pusha churlishly
sneers, "Oh, you just gon take without asking,
ain't cha? /You just grabbing, you ain't earning
for shit, that's too old fashioned," while Malice
Clipse is doing angry,
and doing it very,
very well.
taunts, "If it seems like the walls are closing in,
it's only cause they are, motherfucker." If this
isn't the livid rap of the wrathful, nothing is.
The Neptunes produce the entire album, pro-
viding a singularly eclectic collection of beats.
From the hellish rapture of "Keys Open Doors"
to the throbbing 808s in "Trill," Pharrell Wil-
liams and Chad Hugo run the gamut of musical
inspiration. To list briefly some of the instru-
ments: organs, steel drums, accordions, tam-

bourines - the production can be challenging,
but it's always rewarding, as the beats' abrasive
dissonance complements the Clipse's vengeful
verses.
But while the Clipse never fail to impress lyr-
ically, there are often glaring contradictions in
their meanings. In "Trill," Pusha states, "Rare-
ly do I toot my own horn," belying his opening
boast, "Fear 'em, as soon as you hear 'em, upon
my arrival the dope dealers cheer 'em." Mean-
while, the nefarious machinations of "Chinese
New Year" provide a stark contrast to the guilt-
ridden admissions in the album's closer "Night-
mares." These inconsistencies are dismissible
nonetheless, if only because the duo sells every
shameless boast and inward confession with
unflinching conviction.
Whereas most rappers rush their sophomore
album to ride the wave of success from their
debut, the Clipse were left in label limbo, forced
to simmer to the point of explosion. Now the
moment of catharsis has come, and the result
is one of the most exciting releases in rap's his-
tory. At a point when the genre needed it most,
Hell Hath No Fury is an adrenaline shot to hip
hop's failing heart, reviving the rap game to a
state of consciousness.

Institute ushers in new home at Thayer

By ABIGAIL B. COLODNER
DailyArts Writer
An exhibition of artworks exem-
plifying intellectual dialogue and
collaboration,
the tenets of French
great research Artists'
schools like Books
the Univer-
sity, christens Running through
a building that Dec.20
itself brings At the Institute for
together three the Humanities
academic
departments and one interdisciplin-
ary powerhouse. That powerhouse,
the Institute for the Humanities,
gathers graduate students, fellows
and faculty from various disciplines
to research in a collaborative set-
ting. It features lectures, sympo-
siums and exhibitions, such as the
current one, that reflect this empha-
sis on collaboration.
The institute's new home is the
recently completed Thayer Build-
ing, which also houses the Center
for Jewish Studies, Near Eastern
Studies and Asian Languages and
Cultures.
The new space opens with an
exhibition of "artists' books" from
French artists and writers of the
late 19th and 20th centuries. Their
subjects range from reinterpreta-
tions of works from antiquity to
biographical tributes to their con-
temporaries. Softly cradled by can-
vas supports under their glass cases,
most books lie open, but some are
closed to display notably creative or
striking bindings.
The books seem to promise
exceptional versions of that infinite-
ly pleasurable experience, reading a
book. The limitations of a museum
setting, of course, prevent this,

bringing the medium's power to
evoke to the fore.
"This exhibit is about the synergy
between word and image, which is
central to the Institute's concerns,
making it a perfect openingshow for
us in the new building," said Daniel
Herwitz, the institute's director.
In addition to givingthe institute
a more central location than its for-
mer offices in Rackham, the build-
ing allows for a superior exhibition
space, one with excellent lighting
and climate control.
"Thanks to LSA we now have a
proper museum space that allows
for the presentation and security of
museum-quality objects," Herwitz
said.
Books as collaborations between
writers and visual artists may strike
most visitors as exotic or a thing of
the past, and to some extent, both
are true. As the works displayed and
the exhibit's pamphlet make clear,
these books are a phenomenon
mainly of European artists, from a
tradition that began in the last quar-
ter of the 19th century. Only about
250 copies were printed of most of
the books, making them valuable
limited editions and of more prac-
tical interest to art dealers and col-
lectors than to someone browsing
Shaman Drum.
The visual art to be seen here
offers a rare opportunity to see the
range of popular artists, as many
of the pieces are in mediums and
styles atypical for greats like Picas-
so, Matisse and Manet. One book
from 1930, a play, features etchings
by Pierre Bonnard, an artist famous
for his busy and bright oil paintings.
The spare black-and-white etchings
are an illuminating contrast to the
works for which he is best known.
Books are often grouped in their

'.P lt

Alum-backed 'Fury' to
screen at the Michigan
By JEFFREY BLOOMER documentary "Freedom's Fury,"
ManagingEditor which will screen at The Michigan
Theater tomorrow and Friday only
Two decades ago, Lucy Liu at7 p.m. The film's writer/director,
was a far cry from the ceremoni- Colin Gray, is an Ann Arbor native
ous decapita- and University alum who befriend-
tions and Josh Freedom's ed Liu on the set of "Superstar"
Hartnett-chas- Fury duringcthe 19Sf production.
ing her recent Tomorrow and The film pivots around the 1956
film roles have. Hungarian Revolution and subse-
prescribed. quent Melbourne Olympic games,
In 1988, she At the Mchigan where the Hungarians faced off
starred onstage against the Soviet Union in what
at the Power Center in a produc- was called "the bloodiest game in
tion of "Jesus Christ Superstar." Olympic history."
This weekend, Liu will return Regular ticket prices apply,
to Ann Arbor in a small way. The with the customary $6.75 discount
actress served as producer on the given to students with ID.
thel
dafly
ef tIidtaf tProduction Department
' is hiring ad designers!
E-mail Chelsea at chelbh@umich.edu for more information

Courtesy ofltheInstitutefor the Humanities
The Institute for the Humanities' display of French artists' books will run until Dec. 20.

cases b
or a vis
Paymal,
explaint
decision
Firs
m
Fr
thing, bu
haps mo
An ex
book by
Prevert,
der Calt
offered
the pleas

y similarities in subject

display quality of the current exhib-

tual component. Elisabeth it.
the Institute's curator, An 1875 printing of Edgar Allen
d some of her curatorial Poe's poem "The Raven" with illus-
s: "Chronology is some- trations by Edouard Manet, is the
most prominently displayed work.
According to collector Jim Beall,
exhibit since from whose extensive collection the
works are drawn, it's this book that
ove looks at began it all. "Thisfis the granddad-
dy," he said, wielding a facsimile of
'ench artists. the large text, for visitors of the Nov.
29 public opening reception to flip
through. "This started the move-
ment of artists' books."
it affinities of work are per- Eugenie Beall, the wife of Mr.
re relevant," Paymal said. Beall and his partner collector,
chibition last March of an described the singular quality of
the popular artists Jacques this art form: "The tactility of a
a French poet, and Alexan- book is something you cannot get
der, an American sculptor, from a work hanging on a wall. It
similar insight, but lacked is yours, it is part of your life, your
sing scope and professional daily milieu."

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