The Battalion. (College Station, Tex.) 1893-current, July 09, 1991, Image 4

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    Page 4
The Battalion
Tuesday, July 9,1991
Varga finishes Music Fest ’Judgment Day' for Schwarzenegger's 'Terminator 2'
Continued from page 3
twangy, however, and overpow
ered the delicate melody in the
piano.
The two demonstrated exquis
ite trade-offs in the Adagio, and
Tomfohrde exhibited varying tone
colors in solo and accompaniment
passages. At times, Varga's upper
register was too loud, and almost
harsh, but when he played piano it
was breathtaking, and the final
chords floated oft into sublimity.
The highlight of the evening
was the Dvorak, with violinists
Fredell Lack and Albert Muenzer
and violist Lawrence Wheeler join
ing Varga and Rose.
Differences are bound to
emerge when musicians from dif
ferent stylistic backgrounds come
together, but the quintet overcame
most of these problems and
blended well. The somewhat thin
sound of the group can easily be
attributed to the hall.
Often, strong teaching and
strong performing do not go hand
in hand, but not so with Lack. Her
reputation as oneof the finest teach
ers in the country has not adversely
affected her playing. Her sound
was like delicate crystal, and the
phrases silky.
Rose maintained constant eye
contact with the others (a critical
action in chamber music) and he
was always sensitive to the others.
In the Dumka, his expressive solos
were beautiful, and he let the final
note linger, which retained the at
mosphere.
Wheeler is the sort of violist
you dream about playing with, and
nis solos projected beautifully. He
suffered a few slips in intonation
in the Dumka, but they can easily
be forgiven.
The group's unison passages
were really unison (a difficult feat),
and each person played as both a
chamber musician and a soloist.
Ritards and dynamics were to
gether, and the group's phrasing
was delicate.
The overall musicianship of
this performance was at an all-time
high, and the concert was wholly
satisfying and impressive.
Rock-A-Fellas perform
rock'n'soul at Equinox
Continued from page 3
board, guitar, vocals), James
Kirkpatrick (drums) and Renn
Carson (bass, vocals, guitar and
keyboard) reunited witn Mann in
1990 to continue playing the rock
and soul scene. Part of the Rock-A-
Fellas success on stage came from
not only a good selection of oldies,
but the band's enthusiasm and an
obvious love for their moonlight
ing job.
The Rock-A-Fellas are all-
The Battalion
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Lost & Found
Continued from page 3
one believes her story. Everyone
just thinks she's crazy, even her
own son, whom she has been rais
ing as a future warrior and leader
of the war against the machines.
Ten-year-old John is in foster care,
but due to his unstable family life,
has resorted to larceny to get his
kicks.
Things are in this sorry state
when two visitors arrive from the
future, both of them Terminators
eager to find young John. T-1000
(Robert Patrick), the aforemen
tioned liquid metal hit man, is a
new, sophisticated model sent back
in time oy the machines to destroy
John. T-800 (Schwartzenegger), an
identical version of the same basic
model Sarah crushed in the first
adult John to protect his boyhood
self. As Sarah intones in a solemn
voice-over, it's just a matter of who
reaches him first. Butbeing chased
by a killer juggernaut isn't the
Connors'only problem. They must
also destroy the microprocessor
technology being designed by sci
entist Miles Dyson (Joe Morton),
before he invents Skynet, the com
puter destined to start WWIII.
The ensuing game of cat and
mouse, played as John, Sarah and
T-800 attempt to thwart the deadly
T-1000, is an unremitting, edge-or-
your-seat roller-coaster ride, full
of surprises, and guaranteed to
leave you breathless and perhaps
a bit nervous as you head out to the
parking lot afterwards.
Filmed mostly in shades of
cold, steely blue, 'Terminator 2"
presents a familiarly pessimistic
view of the future, but tempers
such statements as, "It's in your
nature to destroy yourselves," with
a sly, often wicked sense of humor.
Schwartzenegger, ever the Teu
tonic wundermensch, turns in an
impressive performance as the cy
borg devoted to saving John's life.
As a machine, his character is lim
ited with respect to emotion, but
he skillfully deadpans some of the
funniest lines in the movie as he
trades banter with his pint-sized
co-star. Edward shows promise as
the beleaguered John, who is des
perate for a father figure he can
respect and who will spend qual
ity time with him. Here, the film
makes a kind of ironic comment on
the current state of fatherhood. To
John and Sarah, only a machine
has the kind of unswerving com
mitment and dedication needed to
be a good father.
Like the original, the film also
lets Sarah, played sans make-up,
get into the thick of the action in
stead of relegating her to the side
lines as a cowering, helpless dam
sel in distress or a mere ornament.
No shrinking violet, this Mama
kicks butt with the best of them. I
hope to see Linda Hamilton, who
acquired some major muscles for
this role, as the star of her very own
action flick sometime in the near
future. In the meantime, if you
think you can handle it, get thee to
a multiplex, and prepare for the
action blowout of the summer!
American boys, who prefer to per
form in blue jeans ana their logo T-
shirts. Their past Fourth of July
performance at Olsen Field was
the perfect setting for their good ol’
rock'n'roll.
The Rock-A-Fellas will make
you wish for a red convertible
Cadillac, headed down a long high
way, with huge furry dice hanging
from your rearview mirror and
Jimmy Buffet's "Margaritaville"
blaring in the wind.
The show is far from over
when the Fat Lady Sings
the fat lady sings
By Rob Newberry
With the rut of dance-pop
crap flowing out of the U.K. these
days, the Fat Lady Sings keeps
my hopes alive that new music
isn’t going to get continually
worse. In fact. Twist has got me
thinking that the state of pop
music might not be so bad after
all.
The simplest, most obvious
comparision of this Irish band's
debut sound is Hothouse Flow
ers. Vocalist-songwriter Nick
Kelly sounds so much like Liam
O'Manoli it isn’t funny - that's
not to say the music is unoriginal;
far from it, Kelly's lyrics are more
painful and searching, where the
Flowers' songs can seem preachy
at times.
Twist as a collection of Kelly
tunes is a statement of searching
and longing. Each song de
scribes the void created in a
person’s life when other people
refuse to see an individual as a
whole. From "Broken Into" to "Who
Wants You" to "Love Turned Up
side Down," Kelly depicts the emp
tiness of the self-searching and
soul-searching of humanity.
Several orthe songs from Twist
have been previously released as
singles while the band was a thriv
ing independent in the U.K. Now
that these songs have been put to
gether for an album, it’s ratner ob
vious why the Fat Ladies' have
caused such a stir in the English
scene.
" Arclight" is a song of inspira
tion that takes joy in tne fact that
humanity can't ever reach a set
goal, yet always keeps on striving.
In "Dronning Maud Land, " Kelly
imagines himself in the "loneliest
place in the world" - the song was
inspired by Antartica, and yet, the
only coldness recollected in the
songwriting is the coldness be
tween people.
"Contact," another of the pre
released singles on Twist, cries out
for the physical touch between
people that is emotionally neces-
saiy. Kelly's lyrics are straightfor
ward and plain, but when they’re
set against the moving accompani
ment of the rest of the band, "Give
me that contact" rings like an an
them.
The rest of the band - Dermot
Lynch on bass and keyboards, Tim
Bradshaw on guitar and several
other traditional instruments, plus
Robert Hamilton on drums - pro
vides a strong, traditionally Irish-
folk background to the music,
while still sounding full of integ
rity and raw energy. The band
doesn't feature all the complex ar
rangements that some of the Flow
ers' songs do - but these guys are a
four-piece, and they stick to a four-
piece sound all the way through.
Kelly’s lyric writing is still
the band's strenght. The title cut
sums up the frustra tion of empty
relationships that are kept alive:
"What do I do when the love of
you makes me hate myself, and
makes me hurt everybody else?"
And Kelly doesn’t give many
answers; instead of a message-
ridden sermon about dealing
with life's crises. Twist is a
straightforward plea for help in
the midst of misunderstanding.
Tivist is an extremely intelli
gent and exciting album, and one
helluva project for a debut. If the
show isn't over until the Fat Lady
Sings, I know I'll be there scream
ing for more and more encores.
BECAUSE EVERY AGGIE
DESERVES THE BEST...
.UNIVERSITY
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CALL TEXAS
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