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School of Music
OCTOBER CONCERTS!
Clip and Save this Calendar
For more information on School of Music events, call 346-5678,
or call Guardline at 485-2000, ext. 2533 for a taped message.
Thur. VIOLA & COMPANY
10/3 UO Faculty Artist Series 8 p.m., Beall Hail
$7 General Admission, $4 students & senior citizens
Fri. DOLLAR VALUE of CONTACT IMPROVISATION
10/4 Department of Dance 8 p.m., Dougherty Dance Theatre
$10 General Admission, $5 students & senior citizens
Sun. GYPSY FOLK MUSIC & DANCE *
10/6 UO World Music Series 8 p.m., Beall Hall
$10 General Admission, $8 students & senior citizens
Thur. OSIRIS PIANO TRIO
10/10 Chamber Music Series 8 p.m., Beall Hall
Reserved seats $12, $22, $27, available at the Hult Center
(682-5000) or EMU (346-4363)
Tue. FACULTY PRELUDE
10/15 Chamber Music by UO Faculty 8 p.m., Beall Hall
$7 General Admission, $4 students & senior citizens
Sun. MADELEINE FORTE, Piano
10/20 Guest Artist; Music of Chopin 4 p.m., Beall Hall
$7 General Admission, $4 students & senior citizens
Tue. STEVEN POLOGE, Cello
10/22 VICTOR STEINHARDT, Piano
UO Faculty Artist Series 8 p.m., Beall Hall
$7 General Admission, $4 students & senior citizens
Fri. HOMECOMING CONCERT
10/25 University Singers, University Symphony, Jazz Ensemble,
and Wind Ensemble 7:30 p.m., Beall Hall FREE Admission
Sun. UNIVERSITY SYMPHONY
10/27 UO Ensemble 3 p.m., Beall Hall
$5 General Admission, $3 students & senior citizens
Tue. OCTUBAFEST
10/29 UO Ensemble & Guests 8 p.m., Beall Hall
$5 General Admission, $3 students & senior citizens
For our complete calendar, check: music.uoregon.edu
Student Groups
Advertise your events in the Oregon Daily Emerald.
We have special university rates. Call 346-3712;
Drums & Tuba showcase
‘tight-knit’ arrangements
CD review
Aaron Shakra
Pulse Reporter
“I think the goal is to get people to
say ‘I’ve never seen anything like
that before in my life, and it fucking
rocked.'” —Brian Wolff, on the mak
ing of “Mostly Ape.”
Instrumental music can be de
scribed in a near infinite variety of
ways. It’s more malleable; listeners
are allowed to interpret and reshape
the music for a variety of their own
life situations, as opposed to those
that a singer or lyricist might explic
itly discuss. And then there’s the ad
vantage of being able to focus solely
on the music — notes, rhythm, et
cetera, which often allows instru
mental groups to become more tech
nically proficient.
“Drums & Tuba” is actually a mis
nomer. The band’s name implies a
duo, but the group comprises three
musicians: Tony Nozero on drums,
Brian Wolff on tuba and trumpet and
Neal McKeeby on guitar. “Mostly
Ape” is the band’s fifth album over
all, their second released on Ani
DiFranco’s Righteous Babe Records
label. DiFranco co-produced “Vinyl
Killer,” the band’s first release on
her label. No producer credit is as
signed for “Mostly Ape,” however.
The songs on “Mostly Ape” are
composed, tight-knit musical
arrangements. This means that
the band isn’t improvising or sim
ply jamming off a few chords and
then recording the results. Re
views of the band’s past work have
attempted to describe it as
“jazz/funk” or “post-rock/experi
mental marching-band funk.”
Based on the supplied press mate
rial, band members seem comfort
able referring to their sound as “rock
’n’ roll.”
The album has a narrative struc
ture and often comes across like mu
sic for a movie that’s never been
made. There are song breaks be
tween each of the 12 tracks. Listen
ing to the segue between “Superbee”
and “Breakfast with Miletus,” for ex
ample, shows that the band carefully
considered the track order.
The jacket notes that “Mostly
Ape” was largely recorded live in the '
studio, meaning there were minimal ,
overdubs or additions to the band’s .
original recording sessions. It’s sur
prising that a trio could create dense
pieces in such a manner. Interesting '
sounds pop up on every track, but i
who knows if they come from instru- ,
ments or other sources (Nozero is
also given credit for “electronics”).
Tuba-plaver Wolff is at an advan
tage — despite all the interesting
things happening on some of the
songs, they might otherwise come
across as standard funk exercises
(“The Metrics,” for example) with
out the anachronistic instrument ac
centuating the groove.
“Mostly Ape” is too strange to
come to any final conclusions about.
People who buy the album will prob
ably end up listening to it many
times before deciding whether they
like it. This translates to “interest
ing” — although the question arises
as to whether it’s possible for listen
ers to dance to this stuff.
Contact the pulse reporter
at aaronshakra@dailyemerald.com.
“Read My Lips” balances
between complex, simple
Movie review
Ryan Bornhemier
Senior Pulse Reporter
The French film “Read My Lips”
has been described as “Hitchcockian”
by critics. The word is one of those
catch-all slogans advertisers love to
blast across posters and trailers.
But from the start, “Read My Lips”
fights that unfairly evocative and
misleading header, emerging as its
own unique beast — emotionally
complicated on the surface but
rather simple in the end. And that’s
a good thing.
The movie, directed by Jacques
Audiard from a script by Audiard
and Tonino Benacquista, does owe
its more obvious cinematic elements
to Hitchcock — the voyeurism of
“Rear Window” and the lush score of
“Vertigo.” But that’s about it.
“Read My Lips” tells the story of
Carla Bhem (Emmanuelle Devos),
an alienated secretary with an odd
disposition and a hearing aid in each
ear. After Carla faints from exhaus
tion at work one day, her boss lets
her hire an assistant, who arrives in
the form of Paul Angeli (Vincent
Cassel), a former thief fresh out of
jail. Perhaps recognizing a kindred
spirit, Carla continually covers for
Paul despite his somewhat obvious
ineptitude in the office.
Ultimately, Carla ends up drifting
into Paul’s world of dance clubs and
shady characters. The ex-con uses
her talent for lip-reading in a scheme
to rip off a crooked club owner, and
intrigue ensues.
The opening moments of “Read
My Lips” move along nicely. Bhem
and Cassel have an odd anti-chem
istry. One might think by these scenes
that a quirky love story would
follow, if it weren’t for the ominous at
mosphere that lingers. Audiard leaves
their eyes in shadow much of the time
and often shoves the camera in their
faces, revealing every crevice.
It’s this visual scheme that dis
tances “Read My Lips” from anything
easily described as Hitchcockian.
Audiard’s camera doesn’t float over
the story7 but keeps a frenetic vision
throughout. The camera is often in
the mix or darting all over to catch
bits of action. The style works
for about three-quarters of the movie.
When the story starts to shift from a
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character study to a low-key heist
film, the action needs a boost of
rhythm and style that never comes.
The lagging mid-section, however,
gives way to a simple yet satisfying
payoff. Some welcome suspense
kicks in, and the true nature of
Carla reveals itself. In the beginning,
Carla appears to be simply a bored,
lonely woman seeking a little excite
ment and a “special someone” —
the kind of sexually repressed odd
ball who spends Friday nights dress
ing up for dates that never happen,
just to see how she’d look if she were
going out. But by the end, we see
that we weren’t giving her enough
credit.
One could argue, perhaps, that
Carla ventures to the dark side for
the intimacy Paul offers or the ex
citement his lifestyle offers . But by
the end, her true motivations seem
less cerebral and more carnal. She
doesn’t play along for love or money
or even the rush — only the
prospect of good, old-fashioned sex.
“Read My Lips” is now playing at
the Bijou.
Contact the senior pulse reporter
at ryanbornheimer@dailyemerald.com.
The Princess and the Warrior
. _ A rum by Tom Tykwer
Thursday, October 3
TOO Willamette, 8p m.
$2 students, $3 general
(tickets available- at the door)
Bob Dylan
' The folk and rock legend In concert
Saturday, October 5
MacArthur Court, 8p.m.
$37.50 students, $50 general
llkkru uwxfaMe at ihk CMU 17<*M Officer
The Oregon Grind
Seven band rock festival
Sunday, October 13
Quad in front of Knight Library
FREE
cufoirattoruni.uoregon.edu
ERB MEMORIAL UNION, SUITE 2, 346-4374