OCR Text |
Show WEDNESDAY, JUNE 13, 2001 THE SUMMER UTAH CHRONICLE 9 continued from page 8 But most intriguing of the deviations from his regular style are Napia's two e human sculptures: "Ko Lo, The Maiden Formed From the Earth," and The Great Lady of the Night." Rased, as all Napia's works are, on Maori oral history (and other, more personal, stories), these two works capture the soul of the images on which they are based. "The Maiden Formed From Earth." for instance, was the first human creation by a pair of This woman is the mother of all humans, and is brought into existence through the breath of life, which one of the Gods blows into her. She sneezes and becomes a living being. Napia captures this character seemingly just before the first breath, in the calm heaviness of unconsciousness, Her deeply textured hair ordered, yet in its chaotic and asymmetrical waves seems still connected to the earth from which she was made. Her face is smoothed over, as if in the process of being formed, and her chin displays a tattoo-lik- e pattern, etched out, as it were, in the very flesh. Ostraff's "Five Squares One Cube" uses encaustic a beeswax-base- d paint that is kept molten on a heated palette. It is applied to a surface and reheated c to fuse the paint into a uniform, finish. The result is filmy, layered and with color in a translucent structure, as if trapped frozen in time and movement. This piece repeats uniform shapes and color to emphasize deviations. Art Access did well to couple the modern, abstracted art of Ostraff with what has been called the "folk art" of Napia. The combination adds depth and meaning to Ostraff's modern art and legitimacy in a contemporary world to Napia's, which has always been so much more than folk art and is finally coming into its own recognition. Cafch this show at Art Access Gaery (339 West Pierpont Avenue), on Gallery Stroll night for the artists' reception, Friday, June 15, from 6io) p.m. The exhibit, runs through July 27. kco wles (chronicle, utah. edu Hine-Ahu-O- face-lik- "Hine-Nui-I-Te-P- Ffi h &W9 lift lJ? tefe V si, r God-son- s. transitions between songs that's so great that you have to put both songs on a mix tape or CD just for 5 t vHj " sf . S Reluctant guitar god Doug Martsch plays for an awed crowd the space in between. In concert, it's almost a religious experience. Then, just when I'm really getting excited, when the band has warmed up completely and I'm starting d bond with the kids around to feel a decided who have I'm not really an undercover me, DV8 BTS it has 10 minutes from tells some cop, jerk left, even though it's only midnight. Martsch looks sad and disappointed. The crowd is positively dejected. BTS cuts the set list and plays a couple more songs, which are amazing, but sad because we all know the show will end soon. Martsch, despite his irritation, puts something extra in at the end it's hard to tell what. His pacing is different. His guitar harmonizes with the vocals like a second singer, the tone is clear, the rhythm line amazing. The man manages to make verses of the same song sound completely different musically, even though the foundational chords and notes are the same. Despite all his modesty ("I think it's really strange that people think I'm a great guitarist because I really am not even mediocre"), Martsch has something other guitarists only dream of a tangible connection to the music, an ability to get completely lost in a note or phrase. After the last song, the crowd has this crazy solidarity. Everyone claps and yells; the upstairs group stomps. We feel empowered. We want an encore. 5 ThursdayJ good-nature- KATHRYN COWLES RED Magazine Editor ogni2e him, I think angrily. Built To into DV8 Thursday for the sold-oSpill concert and can tell immediately I'm at an indie show or formerly indie, if you're a purist, since BTS signed with Warner Bros. Records a few years ago. Kids who remind me of myself in high school parade around, hardly listening to the opening bands. They dance the indie dance, swaying ever so slightly, then randomly jerking their heads forward. This has been my scene for years, but, at the ripe old age of 22, I'm starting to feel old particularly lower floor because I decide to listen in the of DV8 because the sound is better, while many of my counterparts are upstairs in the I walk ut all-ag- es area. This must be how my grandmother felt when I couldn't sing along with her Johnny Mathis records. The show starts, and the crowd members perk up as they realize those scroungey looking fellows on stage are actually in the band. Soon enough, I'm immersed in the beautiful, playditties in which BTS specializes, ful, guitar-drive- n and I forget the slights. "In The Morning," the opening track of the band's best album, there's nothing wrong with love, is exactly what it should be live. Martsch nonchalantly drags his fingers up and down the fretboard and miraculously manages to hit the perfect note every time. His characteristic, leads get everyone moving as much as is possible in a room. A rendition of "You Were Right," a song off Keep It Like A Secret, incorporates famous lines from various other songs (i.e., "We are all just dust in the wind," "Manic depression's a frustrating mess," "This is the end"). This is the first time I've heard it live, and I'm thrilled, even though I figure these babies around me haven't even heard half the songs it steals from "In Your Mind," a great tune off the new album Ancient Melodies of the Future (out July 10), begins with the words, "Symptoms of our getting older," and I relate immediately. The band starts into "Twin Falls," a classic tune with the simple, straightforward lyrics that make so much sense and guitar work so innovative it sounds backtracked and Then, the band goes right into "Some," the very next song on there's nothing wrong with love. On the alburn, it's one of those Suddenly, Brett Netson of Caustic Resin fame studio and touring guitarist for BTS steps out to set up his instrument and pedal. A big fan of his music, I clap automatically. The teenagers to either side of me look as if they think I'm an undercover cop and back away. of The Spinanes, Scott Plouf, formerly one-hastarts attaching cymbals to stands, and guitarist Jim Roth and bassist Brett Nelson meander in. Finally, the ever-sh- y Doug Martsch sneaks onto the stage to work out the cords of his pedal system. Some people yell "Go Doug," but most continue chatting, backs to the stage. See, Martsch, despite being an indie success story and the figurehead for an entire genre, looks more like a roadie than a rock star as do the rest of his band- - and And these kids don't even rec- lf tour-mate- s. EVOLUTION continued from page 7 miniature rain fojsi. Of course, the government wants to take over the operstionl Kane has an unfortunate past as a scientist for the armj', arid his former coworker, Dr. Woodman (Ted Levmc), is in charge of the new operation. Woodman is working with Allison Reed 0ulianae Moore), a clumsy scientist with sympathy for Kane and Block. After slJ, they discovered the aliens, and white the creatures terrify the town, tiiey might be able to help. The piot is pretty standard stuff, but the main characters are intelligent and witty, They're interesting enough to create fascination and laughs regarding what's going on around them. Jones, whb showed comic potential with the weak material of previous efforts like "Say it Isn't So," finally has something to work with. Dr. Block is proud enough to pretend he knows as much science as his partner. 5 ever-changi- ed jam-pack- a As Dr. Kane, Duchovny creates a fun but troubled character with an interest in Dr. Reed, who Moore plays with her usual high quality. Of the four leads, only Scott's dimwitted Wayne, the firefighter who lost his car to the meteor, leaves something to be desired. Of course, he still has to have moments of intelligence if he's going to help save the world from an alien ecosystem that wants to take over. Director Ivan Reitrnan uses fun special effects to create a wide array of alien species. As in his classic "Ghostbusters Reitrnan has fun with scares to heighten the oncoming humoi Sometimes the film is a little too reminiscent of the classic, however, as is the case with Dr. Woodman's sinister neglect. The overall result is a film that might be too scary for youngsters, too absurd for scientists, and ," for fans of is the .least But at plot sprinkled with jokes that will bring smiles to comedy lovers who have been starving all year. ng Bad. It's not going to happen. But even though it ended abruptly, the show was a success. If nothing else, I learned that when fans share a common love of the music, nothing else really matters not age, and not an inability to recognize the band members on the street. That's why I still go to these shows, and still will, even when I really am old. kcowleschronicle.utah.edu f o, cnam-cl-lik- three-dimension- THE University of Utah Fine Arts Auditorium (370 South 1530 East) Monday, June 18th 7 PM Author and Journalists Roberto Rodriguez and his wife, Patrisia Gonzales, have uncovered a series of maps which have located the "Ancient Homeland of the Aztecs" in what appears to be Utah. This is now the subject of a major national documentary "In Search of Aztlan" and two forthcoming books. le "Ghost-busters- Roberto Rodriguez, wili present their research regarding Aztlan, titled "Aztlanahuac: " Going Back to Where We Came From and will speak about its significance to the entire community. Contact Lou Marzulii for additional information: 587-9751. . jmathewschrorticle.utah.edu ''Roberto Rodriguez, along vith Patrisia Gonzales, vrite the Nationally syndicated weekly Column of the Americas, distributed by Universal Press Syndicate. He is also a I senior writer for Black Issues in Higher Education. In 1997, they were both inducted into El Paso 's Writers of the Pass Hall of Fame. The Albuquerque Human $ Rights Board awarded them the 1998 Human Rights Award Sponsored by: flovimiento Estudiantil Chicanao de Aztlan (M.E.Ch.A) 3 the University of Utah and Vencereaos Chicanao Latinao Student Newspaper- (C) 1938 Laura Rodriguez K3 ne |