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Page 12 The Battalion Thursday, May 4,1989 Reviews Sinister Front 242 album designed for dancing By Chuck Lovejoy ASSISTANT LIFE EDITOR Now that the semester is all but over, spring has finally pushed this semester’s wacky winter weather back north where it be longs. - > But now we have spring fever to deal with, and the best way to cure it is with some good music. One recent release is perfectly suited for those who are euphoric that they made it through the se mester alive, whether they’re graduating or not. Front 242’s Front by Front is an album that is sure to further lift the spirits and cure the listless feeling of spring fever. This fifth album (of original material) by the Belgian quartet is their best yet, and it already has charted three dance-format hits. The curtain rises on Front by Front with the sinister track “Un til Death (Us Do Part),” setting the tone for a masterpiece of digi tal recording technology. The compilation resonates with com puter-sampled voices, sounds and intriguing synthesizer noises. But the album is not com pletely computer mush, as seems to be the case with most dance bands today. Instead, the veteran band uses the technology to high light their musical intelligence, forcing the samplings into a back seat behind the songs’ melodies and themes. For instance, on “Circling Overland,” mumblings and whis pers abound, but the band all but silences them when the catchy chorus rolls around, and a gruff human voice takes precedence with, “One, one, 20, 29 — to night, the stars are shining bright.” This chorus brings to the sur face another interesting facet of the band — their lyrics. The “Cir cling” chorus seems to be a date, although one really cannot be sure, as the lyrics .are not printed in the package. Half the fun of the set is trying to decipher the song’s words. * v But the interesting phrase- twists don’t stop there. “Headhunter,” the album’s tightest song (it is already a night club smash) contains the passage that is the album’s most sinister: “I’m looking for this man to make us rich and famous/I’m looking for this man to sell him to other man,” which is followed by the screamed instructions, “One, you lock the target/Two, you bait the line/Three, you slowly spread the net/And four, you catch the man.” Religious overtones prevail on the most interesting song on the album — “Welcome to Paradise.” But buyers beware: the song is not included on the LP format, only on the cassette and CD ver sions. “Welcome to Paradise” is al most hilarious in its sincerity as phrases such as, “Hey poor, you don’t have to be poor anymore- /Jesus is here —Hallelujah!,” are chanted over driving synthesizer rhythms. The catch phrase of this decade (and maybe the future) is also voiced when the music stops and a piercing voice screams, “No sex until marriage!” Another example of the group’s social awareness occurs in “Terminal State,” a song concern ing a disease outbreak (most likely AIDS) which is spreading like wildfire. The mood of the song is exemplified in the chorus: “See it gaining ground/Digging in the wound . . . We’re in the dol drums.” But despite the quartet’s excur sion into social awareness, Front by Front is still an album in tended for the dance floor. The CD booklet contains two charts, one listing the time and BPM (beats per minute) of each song, and another that lists the tracks broken down into index numbers, which list where each song’s different passages start. These aid DJs in mixing songs for club play by allowing them to move directly to the portion in a song they desire without having to search for it. Another example of the work’s dance intentions is a trio of songs that are mixed together in the middle of the album. The triad begins with the album’s peppiest song, “First In/First Out,” the group’s third club hit this year. Lines such as, “You like to party — move the body,” personify the song. “First” is followed by the double shot of the powerful “Blend the Strengths” and “Headhunter.” The album’s last sounds are the most puzzling, making the lis tener reevaluate what seemed to be a trip intended purely for fun. Sure, the album hints at social problems, but the band members refrain from making a statement about what they think about the situation of the world. This practice is abandoned during the last few seconds of “Welcome to Paradise,” the set’s last song. Instead of the full phrase concerning the poor and Jesus, it is shortened to the cryp tic declaration, “Hey poor —you don’t have to be Jesus.” What does the phrase mean? Anyone’s guess is as good as '•Loverboy’ proves boring effort; iyJ studying for finals more enjoyable By Todd Stone REVEIWER “Loverboy” Starring Patrick Dempsey, Barbara Carrera, Carrie Fisher and Kate Jackson. Directed by Joan Silver. Rated R. ★ Now Playing at Plaza 3 Center Just when you thought the movie industry had run out of ways to ex ploit the teen market, along comes “Loverboy.” I was beginning to think it was safe to go back into a movie theater, but then, someone dropped this bomb. The film is about the sexual ex ploits of Randv (Patrick Dempsey), who has spent his last two years par tying and earning incompletes while in college. His frustrated father re fuses to pay for his education any longer, and Randy must enter the world of the minimum wage at the local pizza parlor. Randy quickly re alizes that being in college is much better than working in a pizza place. As luck would have it, Randy has an affair with a woman (Barbara Carrera) from Beverly Hills who owns her own clothing stores. She gives Randy $200 for delivering her pizza, and a little more, and tells all her friends about him. Soon, many wealthy women are asking for Randy to deliver their piz zas. At first, Randy isn’t sure if it’s the right thing to do, but he decides the tips he receives for his “services” are his only way to get back to col- lege. Throw in a girl who Randy sup posedly cares about and parents who suspect that Randy is a homosexual, and one has the foundation for the movie. The film has all the predictability of any mundane teen film. Will Randy get the girl he cares about? Will Randy earn his father’s respect? Will Randy get to go to college again? Pondering these questions will not strain one’s intellect, just one’s patience. Another problem with “Lover boy” is its message — it’s just not be lievable. Randy betrays the girl he loves, and gets paid for it — but somehow it’s OK because he always loved her, and he was unfaithful only so he could return to college. Further, Randy’s father has a sur prise change of heart and decides to start paying for his education again. Since money is suddenly no longer a problem, Randy begins to return the money he made from his “delive ries” back to the women he accepted it from. Then, all of a sudden,he isn’t such a bad guy. Randy decides that he really “delivered” because he cared about the women and their problems, and not because he needed the money. I love happy endings. The film was directed by Joan Sil ver, who also directed the charming film “Crossing Delaney.” Why she involved herself with this project is a mystery. Why did any of the actors get in volved with this film? Patrick Demp sey, who gained popularity in the film, “Can’t Buy Me Love,” has a bright future ahead of him. He must have had some time to kill until that But fc future comes along, and it mosl likely will despite this movie. Kirstie Alley appears in thefilmail a doctor who has an unfaithful k| band. Unfortunately, even heratil ing talents couldn’t rescue thebadtgbn th cript and the weak character she nilhf-tov given. Carrie Fisher’s appearance:: they r the film was quite forgetable, whie| kolacl Kate Jackson merely reprises herlthe £ “Scarecrow and Mrs. King” act aBured Randy’s mother. The only thing I found positivein the movie was the appearance ofVk ion o l ayback. l ayback, who played Mel ^nool on the CBS sitcom “Alice,” didn'tdo anything great in the movie —ljua thought he was dead, so it was nice to know 1 was wrong. For those who want to see a good teen film, try “Say Anything.” The film is natural, honest and fun. “Loverboy” is contrived, monou- nous and boring. If you are going to vhen spend five dollars, buy a polka clas-i nickel sics album or a book about the hv “W genic uses of baking soda. Either one bring of these, or even studying for finals open would be much more entertaining. ‘‘Sinci it was louri nool night he b :ustoi Lye :ry in its O] ‘Army ’ leader raises money for historical causes ri ASSOCIATED PRESS Bob Hardy is at home, and at peace, among the tombstones. He touches them gently and talks softly, all the while looking out over a valley lush and green, dotted with the white of flowering dogwood after a spring rain. It is all out there in the valley, and on the hills, down red dirt roads and across barely flowing bayous. It is in old stores that are gone and houses that are only memories and it is in the graves beneath his feet. It is family, and Hardy is going back to a place he never has left — southeast Walker County — and it is here he says he found the reason for the New Army of the Republic. Last weekend, at the second an nual East Texas Folk Festival, Hardy took on his role as chifef of staff of the New Army. As chief of staff, he will be recruiting new members and trying to raise money for the Sam Houston Memorial Museum. Hardy is a retired banker who for years headed Huntsville’s First Na tional Bank. But always, in the back ground, there was southeast Walker County and New Waverly — all those streams and hills and valleys and pine trees and finally, all those cemeteries where his family rests and where he says he will go. In the early days of Texas, the Hardy branch of his family and the Winters branch came as farmers. Hardy isn’t sure where some of the Winters family is buried. There is a small park, created and ded icated by the state, on Farm Road 2778, just yards from the San Jacinto County line and in it are plaques tell ing of his ancestors. The plaques tell the stories. Old John Freelan Winters had fought with Sam Houston in the War of 1812 and when it was time to march against the Mexican Army, he wanted to go. When Hardy visits the memories and ghosts of his past, he travels red dirt roads to places like Gourd Creek and Hawthorne, to old Waverly, to Elmina. He talks of old logging trams that brought the pines out of the forest to the mills, of tracks'that crisscrossed the land and ^created small towns now gone. His grandfa ther, who engineered a tram, dying under a pine log. Several years ago he inherited some of the original family land and it was then he realized what had been lost. At one time, it would have been hard for him to have walked off Hardy land. It seemed to run forever. A fellow banker, John Birkner, asked Hardy to join with others in creating the folk festival. Birkner, a ; vice-president at Huntsville National Bank, made it clear the fight was going to be a hard one. Hardy agreed, but when Birkner asked him to lead the army, he hesi tated. “I was retired,” he says. “I had plans. But then at some point I had an aunt visit me and our history came up. We were talking about the family and the land. All of a sudden I got interested. “Suddenly it dawned on me the kind of contribution they had been asked to make, and they made it. Here were these people who had given up jobs, their crops, home and families to make history and all I’m being asked to do is a little job,” Hardy recalled. He called Birkner back and he said “yes.” “I had a lot of help,” he said. Terry Scott Bertling, former Item editor who is now managing editor of the El Paso Herald-Post, wrote a story about a New Army qf the Re public being formed to save Sam Houston’s past. Her story was dis tributed statewide by The Associated Press. “We got contributions from all over the state. My wife, Gwen, and I started sending out letters to every one we could think of.” The army and festival raised $65,000. Of that $6,000 was held back to fund this year’s mailings and re-enlistment efforts. Hardy doesn’t know how army recruitment will go this year. “Last year the fight was to save the museum. Now that the Legislature has agreed to fund it, and Clements agreed to support it, we doni the has have that selling point,” Hardy says Most museums need funding ov« and above base budgets that comi hand- frorn government or grants, mainl' only to operate special programs, and' Hardy says the army can play a cm custoi ical role in providing those pro: “W grams. |be wo Fat ige si ecipc opt pies, i dies a lar at are th In This year any current members can re-up in the New Army by par ing 10 percent of their original en listment fee, plus $10, if they bring in a new member. Otherwise, it’s full price. Enlistments go for anywhere from $25 to be a private up to $ 1,000 to be a general. Regardless of how many people sign up this year, Hardy intends to continue leading the army. “I was treated awfully nice by thir community,” he says. “When I loot back at my family, my ancestors did a lot more than I’ve ever done. This is what I can do now. The army isa way of doing what’s best for Hunt sville.” And, when he walks the hills and valleys around New Waverly, when he stands among fading stones is small cemeteries and drives red din roads lined with mail boxes that tell him his blood goes on, it’s probabl' best for him, too. From a dirt farm on top of a hill atop unmarked and unfound graves to a checkbook New Army with a cause, Bob Hardy has come fullcit cle without ever leaving home. says. Around Town Live Music Brazos Landing Brazos Landing is at Northgate. Everyone is admitted. Beer, wine and mixed drinks are served. For more information, call 846-3497. Friday — Spy vs. Spy. Reggae from Austin. $5 cover. Saturday — The Brew. Jazz/B lues. $4 cover. ers. For more information, call 696-9191. Thursday — Hank Townsend and Mark Lee. Easy Listening. No cover. Friday — For Cryin’ Out Loud w/ White Bread. Rock/Comedy. $2 cover. Saturday — Starvin’ Marvin w/ The Dexitrims. Rock. $2 cover. p.m. Ends Friday. Say Anything. Rated PG-13. Showtimes are 7:15 p.m. and 9:30 p.m. Field Of Dreams Rated PG. Starts Friday. Two Screens. Schulman Six In Bryan at 2002 E. 29th Street. Call 775-2643 for more informa- Cow Hop Annex Next to the restaurant at North- gate. Those 18 and older ad mitted. Alcohol served to legal drinkers. Call 696-5522 for more information. Friday — The Texas Twisters. Classic rock ’n’roll. $3 Cover. Saturday — Sneaky Pete and The Neon Madmen. Rock. $3 Cover. Wednesday — Sneaky Pete. Solo acoustic. $ 1 cover. The Zephyr Club In College Station at 913 A Har vey Road in The Woodstone Cen ter. Those 18 and over are ad mitted. Beer, wine and alcohol served to legal drinkers. For more information, call 693-1989. Saturday — X-It. Rock.Cover. Movies All movies and showtimes are provided by the theaters and are subject to change. tion. Dead Calm Rated R. Showtimes are 7:20 p.m. and 9:55 p.m. Lean On Me. Rated PG-13. Show- times are 7:10 and 9:25 p.m. Leviathan. Rated R. Showtimes are 7:15 p.m. and 9:35 p.m. Bill and Ted’s Excellent Adven ture. Rated PG. Showtimes are 7 and 9:45 p.m.. Mississippi Burning. Rated R. 7 p.m. and 9:35 p.m. Working Girl. Rated R. Show- times are 7:05 p.m. and 9:30 p.m. Cinema Three Plaza Three Emiliano’s In Bryan at 502 W. 25th St. Beer, wine and set-ups served. Call 775- 9539 for more information. Saturday — Yayo Castillo y Rumours. Spanish and Variety. $6 cover. Frank’s Bar and Grill In College Station at 503 E. Uni versity Drive. All ages are ad mitted. Beer, wine and liquor are served to legal drinkers. Call 846- 5388 for more information. Saturday — Don Pope and Friends. Jazz and Variety. $3 Located at 315 College Ave. in the Skaggs Shopping Center. Call 693-2796 for more information. She’s Out of Control. Rated PG. Showtime is 7:20 p.m. Ends Fri day. K-9. Rated PG-13. Showtimes are 7:10 p.m. and 9:10 p.m. Criminal Law. Rated R. Show- times are 7:00 p.m. and 9:30 p.m. Speed Zone. Rated PG. Showtime is 9:20 p.m. Ends Friday. 976-Evil Rated R. Starts Friday. In College Station at 226 South west Parkway. Call 693-2457 for more information. Rain Man. Rated R. Showtimes are 7 p.m. and 9:35 p.m. Major League. Rated R. Show- times are 7:10 p.m. and 9:50 p.m. Loverboy. Rated R. Showtimes are 7:20 p.m. and 9:45 p.m. Manor East Three In Bryan in the Manor East Mall. Call 823-8300 for more informa- Kay’s Cabaret At Post Oak Mall. Those 18 and over are admitted. Beer, wine and liquor served to legal drink- Post Oak Three Located in the Post Oak Mall. Call 693-2796 for more information. Chances Are. Rated PG. Show- times are 7:10 p.m. and 9:20 p.m. Ends Friday. Dream Team. Rated PG-13. Showtimes are 7 p.m. and 9:25 tion. Pet Sematary. Rated R. Show- times are 7:15 p.m. and 9:30 p.m. Dangerous Liaisons. Rated R. Showtime is 9:45 p.m. The Rescuers. Rated G. Show time is 7 p.m.. See You In the Morning. Rated PG-13. Showtimes are 7:20 and 9:45. Stylish rendering of old tunes makes Ross a hit in New York ASSOCIATED PRESS Steve Ross performs the music of Cole Porter and Noel Coward with a wit, style and sophistication that those two masters of song would ap preciate. Most nights you’ll find him be hind the piano at L’Omnibus de Maxim’s, the Madison Avenue wa tering hole modeled after its famous Paris namesake. Maxim’s, with its elegant charm, is the perfect setting for someone who plays and sings the songs of not only Porter and Coward but other musi cal geniuses such as Gershwin, Rodgers and Hart, Aden, Kern and Sondheim, too. It was one of those types of num bers — “Don’t Go in the Lion’s Cage Tonight” — which became the first song Ross sang in public, warbling in what he calls his “cracked baritone voice. Before the rock era took over, Ross dabbled in classical music and played in little dance bands in the Washington area. But then Manhat tan beckoned, and Ross didn’t say no to jobs in small clubs in New York anything else. I kept doing the sonf that I liked to do.” Audiences really began discover ing Ross in the late 1970s when lit played a now-disappeared dub and restaurant called Ted Hook's Backstage, located just west ol Eighth Avenue in the theater dis trict. Wi With his slicked-back hair and im peccable tailoring, Ross evokes an other era, a time when men dressed for dinner, wore tuxedos to opening night at the opera, drank martinis instead of mineral water and had seen every hit Broadway musical at least twice. Ross has been a part of the New York cabaret scene since the late ’60s when he arrived from Washington, D.C. But his love of music, partic ularly popular music, started much earlier. As a child, Ross remembers listening to Beatrice Kay who sang songs of the Gay ’90s, old-fashioned ditties like “Heaven Will Protect the Working Girl” and “She’s Only a Bird in a Gilded Cage.” “They were real numbers,” Ross recalls. “The seeds were being plan ted even back then for that kind of vaudeville performing. The cabaret stuff that performers do now is really an outgrowth of what vaude ville was. There’s the idea of build ing a number or getting to an end ing.” ith his slicked-back hair and impeccable tailoring, Ross evokes another era, a time when men dressed for dinner, wore tuxedos to opening night at the opera, drank martinis instead of mineral water and had seen every hit Broadway musical at least twice. Audiences also discovered RoS passion for obscure good songs. A ! enthusiastic sheet music collector,!'* searches everywhere for new ON material and has resurrected man' an unknown Porter or Coward raij ity. The title of his new album, “Mo* of Every Day,” is a rare Cowar*: song. Now people bring him song*I new and old. How does Ross pick the songs b*! sings? “The words have to work first,’ I* says. “When it’s just me and the a • ano, I want to have good words can’t make it on a high note. I’m n<*| Pavarotti. So the words have to b important.’ and teaching voice to students. At first, he didn’t sing. But when he discovered nightspots were more eager to hire a singer than just a pi ano player, he would. “I started singing funny little songs, patter songs,” he says. “So I started taking lessons and still do, to keep me on the straight and nar row.” Even then, he was carefully culti vating his image as urban sophisti cate. “I always wore my little tie and I always sang Cole Porter songs,” Ross says. “People said, ‘Keep doing that.’ And fortunately that kind of music came around again. I didn’t know In 1981, Ross became the performer in 40 years to playtheA gonquin Hotel’s famed Oak Roort He stayed for four years. Since the' he hasn’t given his passport a re London. Venice. Hong Kong. A"' tralia. Even Kenya, where he wowf* them in Nairobi. Now he’s ready 1 * hang his hat in New York for ; while. It’s the city that suits himbf* Its possibilities are endless. “The essence of romance is po# bility,” Ross says. “That’s why N e ' York is such a romantic place. An 1 thing can happen: you cross lb f | street, something comes to town,) 05 ! go into a place. That’s why I car leave this city. Anything can happ° here.” C AS t the Pol mu sec mu felt yot goi mij bei pre rea wel nes He bus thii rec wh pla ofi Go fro ric; is 2 am tar on hi fl 0 ' Soi am tha nin cei- pic the the I’rr the Tit Go ant gio Tr sea cin goi I Si wii He Su: ke’ Yo pla me km tra as. for “T sor Hi me