Page 10-The Michigan Daily - Friday, June 13, 1986
Naked Raygun - AlRise pealing in a pop kind o' way, the sinister. lyrics more typical of Big
(Homestead) choruses have started to become Black's Steve Albini than Raygun's
stagnant, repetitive, and annoying, Jeff Pezatti).
This second full-length offering from appearing in 5 of the record's 11 tunes. While this record is far superior to
Chicago's hardcore heroes finds the Still, the songs are of high quality, if much of what is being passed off as
quartet treading water following last not great originality, with "Home of "the new hardcore movement,"
year's outstanding Homestead debut. the Brave," "I Remember", and compared to last year's Throb Throb,
For starters, Camilo Gonzalez has "Backlash Jack" leading the assault. all rise sinks.
taken his bass and songwriting skills "Those Who Move", "The Envelope", -Mike Rubin
and left the band, the umpteenth line- "New Dreams", and "Knock Me
up change for the group. Pierre Kezdy Down" are uptempo rockers with
is a fair replacement, but the band no seamless pop harmonies, but "Dog At Nikki Sudden and
longer cuts as wild and loose like they Large," "Mr. Gridlock," and "The Dave Kusworth:
used to with former line-ups. Also, in- Strip" are much slower, droning ef- Ja bite he
stead of Throb Throb's all-over-the- forts. "Peacemaker" is something acobes-The
place versatile approach, this record different from the band, but not Ragged School
settles down to a more formulaic aP- necessarily better: slow, grinding, (Twin Tone)
proach, most songs coming complete back-breaking force that seems rip-
with the Raygun's trademark "Oh Oh ped right from fellow Chicagoans Big The Ragged School is a compilation
Ohh" chorus. While melodically ap- Black's songbook (with violent, of cuts from several singles and
albums worth of material by the "Shame for the Angels" is just
prolific Nikki Sudden and Dave exquisite. With guitars on the verge of
Kusworth-a.k.a. Jacobites. For the feedback and a cascading, hissing
uninitiated, this "new" swatch of rhythm its enigmatic lyrics take on a
songs is sure to spark, if not ignite an ghostly quality. And "Kings and
interest in this talented duo. Queens" is a gentle ballad which reels
Sudden and Kusworth's trick is an into a roaring chorus before
ability to create simple, well thought- ending with the line, Where the
out lyrics that are sung soul-deep over rivers turn to sand, I will hold your
raw and gutsy folk rock. There's bits hand. Instead of sounding sappy or
and pieces of Dylan's, Reed's, and whiny, the Jacobites are capable of
even Neil Young's influence in the turning sensitive lines like these into
material, but their sound is powerful, beautiful songs, especially
nonetheless original, and at times in- on the touching "It'll End in Tears."
spirational. "Big Store" - their Sudden and Kusworth are an in-
original recording (completely dif- telligent and refreshing act.
ferent from their later, re-written Hopefully its (new found) healthy
version) - is a gloriously haunting availability will afford them the suc-
song of longing with a big, albeit cess in the U.S. they well deserve.
sparse, minimalistic sound. -Beth Fertig
'Laundrette' puts love above race/sex
his way in the British capitalistic to their friendship, despite some ad- couple. plots, Frears weaves the intricacies
By Alan Markiewicz world, and Johnny (Daniel Day versity, as they turn out a successful LAUNDRETTE'S performances together and moves the film along
Lewis), his friend and business par- business venture. are virtually flawless. Warnecke and rapidly. During the laundrette
T he film My Beautiful Laundrette, tner. With the help of his shrewd uncle The movie's main message seems Day Lewis make quite difficult roles opening scene, for example, there is
now being shown nationwide, was Nassar (Saeed Jaffrey) and a to say something important: that per- look easy, even though this is the for- an atmosphere of excitement for an
originally created for British TV. At relative, Omar resurrects a rundown sonal devotion has priority over class mer's first part in a motion picture. event that in reality could bore may
points this movie shines so brilliantly "laundrette" (the British word for or race conflicts. Watching the film Perhaps a cut above the stars' splen- people.
that it puts to shame most American laundromat). closely, one can trace an air of did acting is that of co-star Roshan
films, let alone television drama here. While aiding Omar, Nassar pushes hesitancy in Omar and Johnny's af- Seth, who plays Omar's decrepit, Such is the way some might
The script features a web of subplots the young man to try to marry his fair; each is concerned that his peers socialist father. Seth gives dignity to a prejudge My Beautiful Laundrette: as
dealing with subjects from racism to ravishing daughter Tania (Rita would disagree with the relationship. role for which other actors might a movie with a less than thrilling
homosexuality. Screenwriter Hanif Wolf), unaware that Omar and John- However, their personalities blend present a sense of shame. premise, yet an infusion of genius
Kureishi pulls off this difficult task ny are lovers. Tension touches their together too well to let any obstacles, marks nearly every aspect of the
with few hitches, and he is backed up relationship, though, because Johnny such as Johnny's scornful former Director Stephen Frears adds a project. The film seems to end before
by fine acting and apt direction. is a member of the poor white class in friends, get in the way. It is the personal touch of style as well. enough matters are resolved, but this
Loundrette is primarily the England, which generally resents the audience which proves to be the most Though one might believe it is dif- fault is tolerable. If only more
story of Omar (Gordon Warnecke), Pakistanis who are better off than scornful, that is, of the blatant racism ficult to keep the audience riveted American productions were this
a young Pakistani who tires to make themselves. The two young men cling that surrounds the harmonious amidst the movie's numerous sub- thoughtful.
Heaven Can Wait (Ernst Lubitch,
1943) CG, 7:00 p.m., MLB 3.
Midnight (Mitchell Leisen, 1939) 0 Speakers
CG, 9:30 p.m., MLB 3.
The Terminator (J. Cameron, 1984) Interdisplinary Con
AAFC, 7:30 &9:30 p.m., MLB4. Netherlands Studies,
Hush Hish Sweet Charlotte (Robert Building for a.m. session
Aldrich, 1965) Alt Act, 7:00 p.m., Nat of the Dutch Language an
Sci. and politics, Bentley Libr
Whatever Happened to Baby Jane th Campus for the aftern
(Robert Aldrich, 1962) Alt Act, 9:30 on The Nineteenth ce
p.m., Nat. Sci. Beyond, and The Dutch in
Witchcraft Through the Ages (B.
Christensen) C2,7:30 p.m., Aud. A. SATURDA
Eraserhead (David Lynch, 1977)
C2, 9:30 p.m., Aud. A. Campus Cinema
E Performances And Now For Some
pletely Different (Ma'
Concerto Finals of the 6th Annual 1972) AAFC, 7:30 p.m., Na
Piano Competition: Young Keyboard Jabberwocky (Terry G
Arts Association, Power Center, 7:00 AAFC, 9:30 p.m., Nat. Sci
p.m. On the Waterfront U
Judgement: Suspension Theater, 1954) C2 7:30 p.m., Aud. A
Kerrytown Concert House, 8 p.m., 415 Guys and Dolls (
N. Fourth Avenue, for reservations Mankiewicz, 1955) C2, 9:3
call 769-2999. A.
Shoot the Piano Player
Truffaut, 1960) CG, 7:00p.
Stolen Kisses (Franco
* Bars and Clubs 1969) CG, 8:45 p.m., MLB:
Tracy Lee and the Leonards-Rick's Performances
Footloose - The Ark. 1st Annual Great Lake
Map of the World - The Blind Pig. Championships:
Recreation Center, 8:00
Arbor 'Y', for more info., call 663-
Sky Rambles /Through the Eyes of
Giants: U-M Exhibit Huseum
Planitarium, 10:30 & 11:30 a.m., 1:30,
2:45, & 4 p.m.
Bars and Clubs
Leon Redbone -the Ark.
Skyscrapers - Rick's American
Draft and Registration Information
Session - 1-1:30 p.m:, Wesley Lounge
of the Wesley Foundation First
United Methodist Church,
Interdiscrplinary Conference on
Netherlandic Studies continued at the
0 Campus Cinema
Doug and Mary: Weber's Inn West
Ballroom, 3 p.m., Ann Arbor Silent
Bars and Clubs
Uncle Bonsai - The Ark.
Spirituality and Sexual Ethics -
8:00 p.m., Dignity Inc., Lower Chapel
at St. Mary's.
0 Campus Cinema .
Bars and Clubs
The Fugue - The Blind Pig.
Steve Nardella Rock 'n' Roll -
Rick's American Cafe.
Bars and Clubs
66 Spy - Rick's American Cafe.
LL-V-L Orchestra with George
Bedard - The Blind Pig.
Bars and Clubs
Open Mike Night - The Ark.
The Force - The Blind Pig.
Detroit Panic - Rick's American
The Boys in the Band (Friedkin,
1970) AAFC, 7:30 p.m., MLB 4.
Querelle (R.'W Fassbinder, 1983)
AAFC 9:40p.m., MLB4.
Bars and Clubs
Charlie King - The Ark
Juanita McGray and Her Motor
City Beat-The Blind Pig.
(Bob) Harvey - Rick's American
The Year of Living Dangerously
(Pete Weir, 1983) AAFC, 7:30 & 9:30 Meetings
p.m., MLB 4.
News From Home (C. Akerman, U-M Sailing Club - 7:45 p.m.,
1977) Eye, 8:00 p.m., 214 N. 4th St. Room 3 - West Engineering.