Page 10-The Michigan Daily - Friday, June 13, 1986 Records 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. FRIDAY Campus Cinema 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 American Cafe. Footloose - The Ark. 1st Annual Great Lake Map of the World - The Blind Pig. Championships: Recreation Center, 8:00 THE LIST* Arbor 'Y', for more info., call 663- 0536. 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 Cafe. Speakers 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 Rackham Building. SUNDAY 0 Campus Cinema No films. Performances Doug and Mary: Weber's Inn West Ballroom, 3 p.m., Ann Arbor Silent Film Society. Bars and Clubs Uncle Bonsai - The Ark. Speakers Spirituality and Sexual Ethics - 8:00 p.m., Dignity Inc., Lower Chapel at St. Mary's. MONDAY 0 Campus Cinema . No films. Bars and Clubs The Fugue - The Blind Pig. Steve Nardella Rock 'n' Roll - Rick's American Cafe. TUESDAY Campus Cinema Bars and Clubs 66 Spy - Rick's American Cafe. LL-V-L Orchestra with George Bedard - The Blind Pig. WEDNESDAY Campus Cinema No films. Bars and Clubs Open Mike Night - The Ark. The Force - The Blind Pig. Detroit Panic - Rick's American Cafe. THURSDAY Campus Cinema 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 Cafe. 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.