The Rice Thresher (Houston, Tex.), Vol. 79, No. 9, Ed. 1 Friday, October 25, 1991 Page: 16 of 24
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16 FRIDAY, OCTOBER 25, 1991 THE RICE THRESHER
Best bets off campus
Festival
Texian Market Days will take place this weekend at the George
Ranch Historical Park in Richmond from 10 a.m. to 6 p.m. on
Saturday, and 10 a.m. to 5 p.m. on Sunday. This festival features a
variety of entertainments including re-enactments of historical
events and music, dancing and singing by numerous entertainers.
Call 323-0218 for more information.
Theater
La Boheme will open in the Wortham Center's Brown Theater at
7:30 p.m., Friday, October 25. Further performances will take place
on October 29 and November 2,5,8, and 10 at 7 J0 p.m., and on
October 27, at 2 p.m. The performance will be in Italian with
English surtitdes. Tickets range from $10 to $110. Call 546-0241
for more information.
The Tower Theatre will open its production of Breck Wall's
musical comedy "Las Vegas style revue" Bottoms Up '92. Perfor-
mances begin October 25, and will run Wednesdays through
Fridays at 8 p.m., Saturdays at 5 and 8 p.m., and Sundays at 3 and 7
p.m. Tickets are available at all Ticketron locations and are priced
from $9.50 to $21.50. Call 782-7883 for more information
Literature
Our very own Dr. William Martin will be honored at a reception
at the Brazos Bookstore, 2421 Bissonet St, celebrating the publica-
tion of his new bock A Prophet with Honor: The Billy Graham Story.
The reception will be held Monday, October 28,1991, from 7 to
8:30 p.m.
Dance
A free performance of Company B will be held at Miller Outdoor
Theater, tonight at 8 p.m. This got fantastic reviews at the
Houston Ballet. See them.
Exhibits
The Contemporary Arts Museum opened its Christian Boltanski:
Shadows exhibit October 23. The exhibit is scheduled to run
through January 5, 1992.
The Menil Collection announces the exhibition of Francois de
Nome: Theater of Light and Destruction. The exhibit will run
from October 18 to January 12.
COMPILED BY SHALA PHILLIPS
Prince's Diamonds a jewel
&
Prince mixes pop and rap and shows off his song writing skills in his new and long-awaited release, Diamonds and Pearls.
BY DOUG TAPLEY
I
tried; I honestly tried to
approach the new Prince album
with restraint. I promised to be
impartial in my review of the
latest masterpiece by music's
resident genius. It's been a week
now and I can't stand it any
longer—this album makes me
erotic!
Diamonds and Pearls, the
new album by Prince and the
New Power Generation, is his
most listener-friendly album
since 1987's Sign O' the Times
(which may indeed be the best
album of all time by anyone
anywhere).
As is always the case with
Prince albums, D &) P differs
significantly from any of his
previous work, but this time the
new album draws on all Prince's
past albums and successfully
meshes several sounds into a
thoroughly satisfying package.
In recent years, Prince has
explored various avenues of
artistic expression but seems to
have forgotten that the majority
of his audience (myself not
included) are more interested in
hearing good pop music than
receiving exposure to Prince's
spiritual and emotional revela-
tions. Lovesexy (in my opinion
the most underrated album of
Prince's career) and Graffiti
Bridge were saturated with
religious messages, while
Batman was probably Prince's
most unfulfilling, shallow, and
forgettable project to date (sorry
Prince, but since I heard you
made the album with previously
discarded songs from your vault, I
didn't think you'd mind—
anyway, it was about time
someone said it). D a) P, avoiding
these pitfalls, finds a happy
medium with lively, creative
tunes that flaunt Prince's gift for
pop song-writing.
Conversely, D 6) P is the first
album in five years on which
Prince has shared all the credit
with his band. Here one cannot
help but make comparisons
between the New Power Genera-
tion (N.P.G.) and the Revolution.
I'll get to the point—the N.P.G.
blows the Revolution away.
Rosie Gaines is my favorite
addition; this girl sounds like a
SEE PRINCE, PAGE 18
I ANS/I N
( Oi l
\ Mum
Anthrax top hit at combo concert
BY PAUL HOLSER
C.
rail me sheltered, call me a
mama's boy, call me what you
will—but I was a little shocked
when upon entering The Unicorn
on October 12 for the Anthrax/
Public Enemy/Primus/Young
Black Teenagers concert, I was
patted down by security person-
nel for weapons, drugs, the whole
nine. I didn't feel so bad after I
realized everyone else was being
inspected too, but the point is
that there was a real concern
about the possibility of violence
at the show. Thankfully, the
show ran smoothly and every-
body was safe.
Pardon the little digression—
let's talk about the show. The
bill of Anthrax, Public Enemy,
Primus, and Young Black
Teenagers was assembled with
the same aim as the Sisters of
Mercy/Public Enemy/Gang of
Four/Warrior Soul tour from this
past summer: to expose different
styles of music to other, wider
audiences. Anthrax's lead singer
expressed during the show his
hope that the tour would bring
people of all races and colors
together in friendship. The
Sisters and friends wound up
cancelling their last few tour
dates because of poor ticket sales.
However, the success of
Anthrax's cover of PE's "Bring
the Noise" this past summer
evidently made another tour of
this sort seem more auspicious.
The Unicorn's box office wasn't
exactly overwhelmed—the crowd
was just about at half capacity—
but I think more people were
deterred from the concert by the
$20 price tag than by the lineup
of performers.
Young Black Teenagers
opened the night's festivities
with mercifully few minutes of
on-the-comer, "yes-yeS-y'all"
rapping. In a day and age in
which dense, complex mixes and
thoughtful, socially conscious
lyrics are pointing the way for rap
sionally taking time out to do a
quasi-Chuck Berry duckwalk. In
my book, Claypool ranks among
"the finest bassists around today.
As de facto leader of the band, he
also led the crowd in the tradi-
tional "Primus Sucks" chant. I
felt really sorry for drummer Tim
I was patted down by security for
weapons, drugs, the whole nine. I
didn't feel so bad after I realized every-
one else was being inspected too, but
the point is that there was a real possi-
bility of violence at the show.
SPEND A YEAR IN JAPAN!
The Japan Exchange and Teaching Program
If you have an excellent knowledge of English, hold a
bachelor's degree (or will receive one by August,
1992), and are a U.S. citizen, the J.E.T. Program
needs you! Opportunities are available
in Japanese schools and
government offices.
For an application and brochure, please contact Consulate (ieneral of Japan. Office of the J l. /
Program. 5100 f irst Interstate Hank Flara. 1000 l.nuisiana Street. Houston. Texas 77002
(71.1-652-2977).
DIAM INE IS l)i:ci:MHFM 20. 1W1.
in the future (N.W.A. and the
Geto Boys notwithstanding), the
doo-ragged, leather-jacketed,
Donnie Wahlberg-lookalike
Teenagers' sauntering and
posturing seemed to be little
more than a joke. Aside from
some mildly interesting (though
not entirely original) turntable
work, the YBT set struck me as
unremarkable and unnecessary.
Their appearance wasn't much
more than publicity for Bomb
Squad-produced acts.
Primus was up next, promot-
ing their latest album, Sailing the
Seas of Cheese. Their humorous
funk-metal quickly ignited the
largely teenaged crowd. Notable,
tunes included "Jerry Was a Race'
Car Driver," "Tommy the Cat,"
"Those Damned Blue-Collar
Tweekers," and Pink Floyd's "In
the Flesh?" (the opener from The
Wall) leading into "Here Come
the Bastards." Bassist/vocalist
Les Claypool played wonderfully,
executing unbelievably busy funk
riffs with stunning ease. His
hands flew over his instrument
(he boasts a six-string fretless
bass) cleanly and accurately, yet
he never struggled or appeared to
concentrate really hard—he just
bobbed along to the beat, occa-
"Herb" Alexander and guitarist
Larry LaLonde—they could
hardly match their bandmate's
skills. Still, they contributed
solidly to a terrific-sounding,
energetic Primus set.
After a brief collage of sound
bites, "Lost at Birth," the leadoff
track from Public Enemy's recent
release, Apocalypse '91...The
Enemy Strikes Black, came over
the speakers and Public Enemy
gradually filed onto the stage—
the SlW's, Terminator X behind
the turntables, Flavor Flav cold
1 ampin' in screaming yellow, and
thundering lead voice Chuck D
in White Sox/Raiders gear. They,
as always, made it clear that they
meant business. PE's game plan
consisted mostly of songs from
their first three albums. Often
one song led directly into the
next with no pause, and some-
times they would do only part of
a song before launching into
something else—their medley
attack kept me on my toes
indeed. The crowd was most
familiar with the Fear of a Black
Planet cuts, such as "Welcome
to the Terrordome," "Who Stole
the Soul?," "Fight the Power,"
"Meet the G That Killed Me,"
SEE ANTHRAX, PAGE 18
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Zitterkopf, Ann & Howe, Harlan. The Rice Thresher (Houston, Tex.), Vol. 79, No. 9, Ed. 1 Friday, October 25, 1991, newspaper, October 25, 1991; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth245794/m1/16/: accessed July 18, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu.; crediting Rice University Woodson Research Center.