Image provided by: Texas A&M University
About The Battalion. (College Station, Tex.) 1893-current | View Entire Issue (March 23, 1993)
TYLES / Tuesday, March 23,1993 The Battalion Page 3 Austin singer pays tribute to classic songs Griffith brings new grace to folk heroes 9 work Music Review By JENNY MAGEE The Battalion Nanci Griffith "Other Voices/ Other Rooms" Electra Records Nanci Griffith, who has long graced the folk music genre with her unique stories and beautiful voice, pays tribute to her mentors with her new album "Other Voices/Other Rooms." The Austin native has put together an al bum of 17 songs written by legendary folk artists such as Woody Guthrie, Bob Dylan, Kate Wolf and others. The album's title is tak en from Truman Capote's first novel, pub lished in 1948. The liner notes explain, "The novel was a product of a time of new voices in literature and coincided with a rebirth of in terest in folk music with an added twist of fo cus on the singer/songwriter." This album may seem a little off the beaten path of Griffith's previous albums, such as "Storms," "Little Love Affairs" and "Poet in My Window," that were so heavily depen dent on her song-writing ability. While Grif fith has no original compositions on this al bum, her respect and love for the musicians who helped define folk music and inspire Grif fith's work is so complete that the album be comes a celebration of folk music in general. Each song is a chapter in the life of folk mu sic, defined by its original artist and the story that it tells. Nanci Griffith holds a copy of the Truman Capote novel that gave her the title of her new album. Several songs do stand out; a peppy version of Woody Guthrie's "Do Re Mi" combines Griffith's clear country twang with Guy Clark's unmistakable accompaniment. Bob Dylan's "Boots of Spanish Leather" and "Morning Song for Sally," written by Jer ry Jeff Walker, are examples of how Griffith's distinctive voice gives a second life to this col lection of songs. "Other Voices/Other Rooms" by-passes the fault of imitation that many artists fall into when producing remakes. Griffith is not try ing to sing these songs for her own personal benefit, but to pay tribute to the people whom she respects. Such motives are the only real reason that musicians should do remakes. The most memorable single on the album is "Wimoweh" which is a collaboration between Griffith, the Indigo Girls, Kennedy-Rose, John Prine, John Gorka and Dave Mallet. Producer Jim Rooney even makes a vocal appearance. The song's up-beat, happy-go-lucky feeling is really in tune with the theme of the album bringing together folk artists in an effort to commemorate the hard work and love of mu sic these musicians have given to the folk mu sic industry. Griffith sums it up best in her liner notes by saying, "It was an incredible honor to be in the company of my heroes of such enormous talent whose mutual love of this music gave this project the heart and wings to fly." This album is an outstanding accomplish ment by traditional standards and as a new work. If you are just beginning to cultivate an appreciation for folk music, Griffith's "Other Voices/Other Rooms" is the perfect place to start. Fiery Fonda packs a wallop as killer in 'Point of No Return' Film Review By JENNY MAGEE The Battalion "Point of No Return" Starring Bridget Fonda, Gabriel Byrne and Der- mot Mulroney Directed by John Badham Rated R Playing at Post Oak III The fiery heroine of "Point of No Return," Maggie (Bridget Fon da), has mood swings that are governed by a force much more owerful than the worst case of MS could produce. She is fierce, savage, and has no qualms about blowing various body parts into a million little pieces. Fonda's Mag gie without a doubt outshines the rest of the cast. She is alluring to observe, not only because her character is so savage, but also be cause she is the next branch of the first-class wimps. Based on the French film "La Femme Nikita," this American version begins with Maggie and an assortment of her drug buddies rampaging through the streets of Washington, D.C. searching for someone to rob. An episode at a convenience store leaves the store owner and all of Maggie's drug friends dead. In addition a cop becomes a vic tim to the gun that Maggie just happens to find in her hand. As a result she is tried, sentenced, and executed. But, in the next scene Maggie wakes up in the stark white room of a "secret" government camp. Her execution was faked, and Maggie is pretty much worm food as far as everyone but this secret assassination bureau is concerned. Maggie is schooled in killing strategies as well as personal style and grace, all in the name of knocking off individuals who dare to mess with U. S. foreign policies. Her first assignment brings her She (Bridget Fonda) is fierce, savage, and has no qualms about blowing various body parts into a million little pieces. Fonda family tree, following in the footsteps of her grandfather, Hen ry Fonda, father, Peter Fonda, and aunt, Jane Fonda. Now, on the opposite end of the spectrum, Maggie s lover J.P. (Der- mot Mulroney) is the posterboy for passivity. Besides being a self- proclaimed graduate of the Keanu Reeves school of voice training, Mulroney gives a wimpy perfor mance of a wimpy character that all in all goes perfectly with his whiny voice. It is wonderful to see a film that utilizes such a strong female character because the movie industry has been stark ly void of such characters of late. However, the true spirit of femi nism does not demand that all the male characters have to become to Venice Beach, California where she meets and starts a relationship with J.R the photographer (Der- mot Mulroney). Thus the film runs smack-dab into the "Taming of the Shrew" theme: Maggie, the once bitter and vengeful assassin softened by love, is ready to throw off her life as a killer. The only problem is that death is her only exit as far as the secret govern ment agency is concerned. "Point of No Return" is an en tertaining film. The storyline is vigorous; it contains a good amount of violence, but also there is just a lot of plot action. The film may lack consistent acting quality, save Fonda's performance, but it certainly does not drag. One man and his mandolin Indian shapes Western instrument to Eastern music By SHASHIDHAR C.N. Tlte Battalion Pioneering Indian musician U. Srinivas will perform in College Station this Fri day night at A&M United Methodist Church. Srinivas is the first artist to play Carnat ic (South Indian) music on the mandolin. Unlike Indian instruments such as the sitar and veena, the mandolin is not de signed for Indian music, and is not com patible like the violin. Like the sitar and veena, the mandolin is a pluck instru ment, a stringed instrument played with out a bow, but it lacks the resonance and continuity that are vital to Indian music. The notes on the mandolin are flat and often unhelpful for the Indian style, be cause in Western music the emphasis is on the contrast of notes with neighboring ones. The Carnatic style emphasizes smooth transitions and the continuous flow of one note to another. Although his tryst with the mandolin started out as an experiment, it is now widely acclaimed as a revolution in South Indian classical music. Rather than chang ing the Carnatic style, he makes the in strument compatible to the style, working in his own way to bridge the gap between East and West. Born in 1969 in a small town in South India, Srinivas started learning South In dian classical music at age four. He gave his first public performance on the man dolin at age 11. At age 14, he performed at the Jazz Fest 1983 in Germany and then performed an encore on a live national telecast. Srinivas has received honors and awards at state, national and international levels, and has performed all over the world, including a tour of the United States and Canada in 1987. Srinivas will perform this Friday at A&M United Methodrst-Chtirch. 'The' performance js^ponsored by the Texas A&M chapter of the Society for Promo tion of Indian Classical Music and Cul ture Amongst Youth (SPIC-MACAY), a non-profit organization active in sponsor ing concerts by renowned and upcoming Indian artists. The program is supported in part by the Arts Council of Brazos Valley (ACBV) and the MSC Jordan Institute for Interna tional Awareness. Indian-style snacks will be available at the venue for pur chase. Srinivas BUSINESS Job Interviewing M/W, April 5, 7, 12, 14 6:30-8pm $12/student $ 17/nonstudent ( UNIVERSITY PLUS WORKSHOPS 1 Int'l Bus. Success Thurs, March 25, April 1 6- 8pm $ 10/student $ 15/nonstudent COMPUTERS Intro to Macintosh Computers Sat. April 3 9-12am $ 15/student $20/nonstudent IntrotoDOS/IBMPC MWM, March 22. 24, 29 7- 9pm $ 15/student $20/nonstudent WordPerfect 5.1 T/Th, March 30 - April 15 7-9pm $45/student $50/nonstudent Lotus 12 3 M/W, March 29 - April 14 7-9pm $45/student $50/nonstudent SELF HELP Attaining Your Goals Thurs. April 1, 8, 15, 22 7:30-9pm , , $12/student $ 17/nonstudent CPR M/W, April 12 & 14 6-10pm $ 18/student $23/nonstudent First Aid T/Th, March 30, April 1, 6, 8 6-8pm $ 18/student $23/nonstudent Register Now in the University PLUS Craft Center Located in the MSC Basement 845-1631 SPECIAL INTEREST B&W Darkroom Tues. March 30, April 6, 13 6- 9pm $25/student $30/nonstudent Video Camcorder Techniques Thurs. April 1, 8, 15, 22 7- 9pm $15/student $20/nonstudent International Wines Wed. March 31, April 7, 14. 21 7-8:30pm $25/student $30/nonstudent Matting & Framing Wed. March 31, April 7, 14 6- 8pm $25/student $30/nonstudent Bike Maintenance Tues. March 30, April 6, 13, 20 7:30-9:30pm $20/student $25/nonstudent Beginning Guitar Thurs. March 25 - May 6 7- 8:30pm $40/student $45/nonstudent DANCE Adv C&W Dance Wed. March24, 31, April 7,14, 21 6-7; 15pm $20/student $25/nonstudent Ballroom Dancing Tues. March 23, 30, April 6, 13, 20 7:15-8:30pm $ 18/student $23/nonstudent Jitterbug Wed. March 24, 31, April 7, 14, 21 7:30-8:45pm $20/student $25/nonstudent LANGUAGES Japanese M/W, March 29 - May 5 6:30-8pm $35/student $40/nonstudent Spanish I T/Th, March 23 - April 29 6:30-8pm $35/student $40/nonstudent Spanish II T/Th. March 23 - April 29 8-9:30pm $35/student $40/nonstudent English as a 2nd Language (ESL) T/Th, March 23 - April 29 6:30-8pm $35/student $40/nonstudent Sign Language II T/Th, March 30 - April 29 6-8pm $35/student $40/nonstudent Call us at 845-1631 for more info on classes or schedules. ARTS & CRAFTS Stained Glass Thurs. March 25, April 1, 8, 15, 22 6-9pm $30/student $35/nonstudent Potpourri Tues. March 23 6-8pm $12/student $ 17/nonstudent Painting II Thurs. March 25 - April 22 6-9pm $30/student $35/nonstudent Drawing li Tues. March 23 - April 20 6-8pm $20/student $25/nonstudent POTTERY Beg. Pottery Thurs. March 25 - April 29 5- 7pm or 7:30-9:30pm $30/student $35/nonstudent Pottery Glazing and Deco Techniques Tues. March 30 - May 4 l-3pmpm $35/student $40/nonstudent WOODWORKS Woodworking I M/W, March 22,24, 29, 31 6- 9pm $30 / student $35 /nonstudent Woodworking II M/W, April 5, 7, 12, 14 6-9pm $30/student $35/nonstudent Adv. Woodworking Sun. March 28, April 4, 18, 2£> 6-8pm $30/student $35/nonstudent