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October 06, 1995 - Image 9

Resource type:
Text
Publication:
The Michigan Daily, 1995-10-06

Disclaimer: Computer generated plain text may have errors. Read more about this.

-Iwmmmvh l2ft

Branford Marsalis
He's going to be at Pease Auditorium on the EMU campus, to help
celebrate the renovation and reopening of the venue. See the "Tonight
Show" bandleader tonight at 8 p.m. Tickets are $15 in advance at the
Quirk Box Office; call 487-1221 for more information.

--

Page 9
Friday,
October 6,1995

Bbwie and)
By Bri A. Gnatt
Daily Music Editor
Tuesday night's David Bowie and
Nine Inch Nails show at the Palace of
Aubuni Hills could have been great.
With all the hype between the dark
Trent Reznor and the eccentric Bowie,
the concert should have been one of the
best arena tours of the year ... but it
wasn't:-
As it turned out, Nine Inch Nails
seemed like they were milking the suc-
cess of their latest album, "The Down-
ward Spiral," for all it's worth. Looking
extremely tired and dragging, Reznor
and his band took the stage after open-
;ers Prick. The stage filled with smoke
and Reznor came wandering through in
his usual leather gear, looking like over
a year of incessant touring hadtaken a
hard toll on him and the band.
Opening with the classic "Terrible
Lie," and then ripping through the hits
like "Closer" and "Wish," Nails were
pretty ,darn OK. But more interesting
than the music was Reznor's game of
knocking over the mic stand and mak-

N4ails miss the mark live____________

ing the roadie come and stand it up,
over and over again.
Nine Inch Nails played their indus-
trial schlock for about 45 minutes, and
then Bowie and his band came out to
play four songs with them. With three
drummers, they ran through "Scary
David Bowie
with Nine Inch
Nails
The Palace ofAuburn Hills
October 3, 1995
Monkey" with Trent playing a little
ditty on the tenor saxophone.
Nine Inch Nails set concluded with a
Bowie/Reznor duet of "Hurt," and then
Trent & Co. left for Bowie to play for
about another hour.
Bowie, dressed in a paint splattered
beige tank top, beige pants, and a beige
shirt tied so skillfully around his waist,

performed his set of mostly new mate-
rial, while fans began to walk to their
cars. In fact, half-way through his set,
about half of the arena had emptied out,
leaving more patient Nails fans and
older Bowie fans.
Bowie did play a few oldies. "Under
Pressure" got a few yells, and "The
Man Who Sold The World" did too, but
overhearing little children say, "That's
cool he's playing Nirvana," was a little
disappointing.
The entire show was a bit weak.
Bowie was supposedly sick, and Trent
was probably tired, but the lack of true
enthusiasm in the performers was a bit
disheartening. The fact is, both per-
formers are performers. Their shows
are actually shows, with Bowie looking
like he belongs more on Broadway as
opposed to headlining an arena rock
concert.
But with his plea for teenage popular-
ity by touring with hipsters Nine Inch
Nails, David Bowie comes across as an
old man trying to associate himself with a
bit of coolness to save his falling career.

Trent Reznor of Nine Inch Nails. ""'""^i"t" m*"*a* "

Children of te Dream' rings unversally

By Stephanie Glickman
Daily Arts Writer
The setting is the children's house of a
kibbutz in Israel, but the theme and mes-
sage of Israeli-born choreographer Neta
Pulvermacher's piece, "Five Beds/Chil-
dren of the Dream" rings universally.
In conjunction with Hillel's annual
Celebration of Jewish Arts and the Uni-
versity Dance Department's guest artist
seriesPulvermacher's six member com-
pany will perform "Five Beds/Children
of the Dream" this weekend.
Dedicated to her son, Alon,
Pulvermacher's 55 minute work ex-
ploresithe conflicting emotions one has
towards home, growing up and one's
personal identity. Pulvermacher was

raised on Kibbutz Levahot Habashan
and wanted to autobiographically and
aesthetically describe her childhood to
her son. Pulvermacher explained how
stories have been left out at times and
facts have been changed in order to
most realistically imitate memories of
and images from the past.
Carefully crafted by Pulvermacher to
seem spontaneous, "Five Beds/Children
NETA PULVEMACHER.
Where: Betty Pease Theater, 1310
University Court (near CCR B)
When: Saturday'8p.m., Sunday 2p.m.
Tickets: $8 public, $ 5 students. At
Hilel in advance or at the theater on

of the Dream" is a collection of flash-
backs and bursts of songs. The work is
one woman's reflection on a period of
history full of kibbutz revolution and the
questioning of identities. Pulvermacher
described the piece as a patchwork quilt,
fragmented recollections joined to create
an overall picture of a childhood.
On a set of five metal beds,
Pulvermacher's dancers represent the
individual characters with whom she
shared her childhood experiences in the
house of the kibbutz. Pulvermacher, as
narrator and dancer, creates an oppos-
ing position as a woman telling her
story. The contrasts and tensions of her
story exist from the opening militaristic
music to the later sounds of middle

eastern rock and a peacefuliy blowing
shofar. The dancers counter the score
with their sometimes violent expres-
sions of individuality confined within
their regimented system. Rebellion,
order and a search for identity co-exist
within the multi-sensory framework of
"Five Beds/children of the Dream"
Not meant as a historical study, but
rather as an exploration into the multi-
textured nature of memory,
Pulvermacher incorporates several hu-
man senses into the work, using words,
singing, recorded and live music and
musical instruments. Against the re-
corded score compiled by Yuval Gabay,
Pulvermacher narrates her story. The
dancers play flutes, sing, and incorpo-
rate the five beds into their movements.
"How I work with language is the most
interesting aspect of the piece,"
Pulvermacher said. Even though her
memories are all in Hebrew, she wrote the
text of"Five Beds/ChildrenoftheDream"
in English. The closeness of the stories
combine with the distance of the lan-
guage to create a feeling of"writing some-
one else's story." Picking out rhythms
and sounds of words, the choreographer
translated herspoken language intomove-
ment. "Everything is music - a dog
barking, a bird whistling," Pulvermacher
explained. It is from sounds that the physi-
cal content of her piece evolves.
Through the efforts ofdance professor,
Jessica Fogel, Hillel isincorporating"Five
Beds/Children of the Dream" into its an-
nual celebration of Jewish Arts. Shani
Lasin, program director at Hillel, was
impressed by the piece and said that
Pulvermacher's work "fits with our
[Hillel's] mission of bringing top quality
cultural arts to the community." The piece
combines the interests of the dance and
Jewish communities.
Hardly exclusive to these communities,
"Five Beds/Children of the Dream" speaks
toan yonewithachildhood, anurgeto assert
rvin-lwhuitu jnrthe will to, rememr.

Tiananmen Square Student Uprising Revisited
"Moving the Mountain," a gripping documentary - which combines footage
from the actual student uprising in Tiananmen Square in Beijing, China in 1989
with in-depth interviews with the protest's leaders - was shot by acclaimed
filmmaker Michael Apted ("Nell") over the course of several years. Combining
brutal visual imagery with riveting, personal testimonies, the film works not so
much as a documentary but as a standard and effective narrative. "Moving the
Mountain" will be playing at the Michigan theater tonight, tomorrow and Sunday.
TA TE THE AT RE
On State at Liberty - Adults $5.00 Students /ID $3.00
Afatinees - Mon - Fri 4:30 - A LL S EA T S $3. it
24 hr INFO 994-4024 Nw serving Coffee and .Cappucecino

ANTONIO BANDERAS
DESPERAIX
: ISTRIBUTEDLTHUGH
99 M SONY PICTURES RELEASING PCUE
1:30 4:30 7:00 9:00

T KIDS
?NE DEBUT IMm FlO, LABL CLAUK
. WANMING: NO ONE UNDER 18 WILL BE ADMITTED
9:30 11:30

Dance Hall Crashers
Lockaw
510 Records
While Seattle offered us the grunge
phenomenon, it seems that the East Bay
punk scene has taken over the Top 10 of
today's modern rock. Bands like Green
Day, the Offspring and Rancid continue
to sell out shows around the country while
paving the way for other, lesser known
bands like NOFX and Pennywise. And
now, direct from Berkeley, CA, we have
the Dance Hall Crashers.
The Dance Hall Crashers have been a
force to contend with in the Bay area for
some time. The group formed in 1989 as
a siderproject for Rancid members Tim
Armstrong and Matt Freeman, who were
then in the band Operation Ivy. Even
though the members of the Dance Hall
Crashers have changed over time, they
still will all agree to Operation Ivy being
a major influence in their music. In fact,
on the new album, "Lockjaw,"Armstrong
has even contributed the lyrics for the
track entitled, "Pictures." Unfortunately,
this is also the one song that does NOT
have the lyrics printed in the booklet.
Though "Lockjaw" hasnot yet received
much airplay, the first single, "Enough"
was chosen to be placed on the soundtrack
for the movie "Angus." Without a doubt,
this is also the best song that the Dance
Hall Crashers have to offer this time
around. An upbeat track describing a
relationship gone sour, "Enough" hits on
comments that nearly everyone has had

of ska, but if you're looking for diversity
within an album, "Lockjaw" isn't a prime
choice.
In addition, when you listen to the
Dance Hall Crashers, be prepared to hear
female vocalists. While this makes the
Dance Hall Crashers stand out from the
rest ofthemale-dominated Bay areapunk
scene, it also takes a little getting used to.
But, if you have an interest in the ska/
punk movement of today, check out the
Dance Hall Crashers. They're some of
the first females to do what they're doing
and do it pretty darned well.
- Lise Harwin
SNFU
The One Voted Most Likely To
Succeed
Epitaph

SNFU are a fast paced high pitched
band not unlike Bad Religion. They
seem filled with liberal guilt and one of
them is wearing a Green Day hat in the
band photo on the CD.
Still, they're not as bad as that de-
scription might seem. So what if on the
song "Rusty Rake" they sing that we
should slash the singer's face with rusty
rake if he complains and then has a
complaining song not two tracks later?
Maybe he's just a glutton for punish-
ment. The songs are all pretty damn
quick and therefore pretty inoffensive
since they aren't boring into you like a
cigarette in the eye. And there aren't
many sonic annoyances (such as the
voices of two singers of bands previ-
ously mentioned in this review) to make
you want to break the CD.
And hey, they've got a song about

mold, with the lines "I scrape my armpits/
each and every day/adding nicely to the
blue decay." For my money, that's cooler
than just about anything ever said at any
poetry slam in Ann Arbor. iViva la crud!
- Ted Watts
See RECORDS, page 10

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