Oscars
Continued from Page 9
ity” for the screen. (She was named
best actress for “Howard’s End” in
1992.)
The English actress told of visiting
Austen’s grave at Winchester Cathe
dral “to pay my respects and tell her
about the grosses.”
She concluded by dedicating her
award to Ang Lee, who directed the
film but was overlooked for a nomi
nation although the film was up for
best picture.
Supporting actor awards went to
Kevin Spacey, the verbal con man in
“The Usual Suspects,” and Mira
Sorvino, who played a hooker in
“Mighty Aphrodite.”
Spacey thanked his mother for driv
ing him to acting classes when he was
16: “I told you it would pay off, and
here’s the pudding.”
Sorvino thanked her father as the
veteran actor openly sobbed in the au
dience. “When you^ive me this award
you honor my father, Paul Sorvino,
who taught me everything I know
about acting,” she said.
The elder Sorvino, a character ac
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tor, has appeared in TV’s “Law & Or
der,” and the movie “Goodfellas,”
amongf others.
This year’s biggest controversy sur
faced immediately. Host Whoopi
Goldberg used her opening monologue
to defuse the Rev. Jesse Jackson’s call
to protest the show because there was
only one black out of 166 nominees.
Jackson led about 75 marchers out
side the Hollywood offices of KABC
TV across town from the award cer
emonies.
The academy passed over black
filmmaker Dianne Houston’s “Tues
day Morning Ride” in the live action
short film category, choosing
“Lieberman in Love,” from Jana Sue
Memel and actress Christine Lahti of
television’s “Chicago Hope.”
In other awards, “Restoration” won
for costume and art direction, and
“Apollo 13” for film editing and
sound. “Babe” took the visual effects
Oscar. “Antonia’s Line” scored hon
ors as the best foreign language pic
ture.
Two films about the Holocaust won
in their respective categories, docu
mentary short and documentary fea
ture — “One Survivor Remembers”
and “Anne Frank Remembered.”
Alan Menken and Stephen
Schwartz won two — for best origi
nal musical or comedy score for
“Pocahontas” and the movie’s top
song, “Colors of the Wind.” The origi
nal score statuette went to “The Post
man.”
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\ ^Music Reviews
ini ii i
The Afghan Whigs
“Black Love”
Elektra
Grade: A
The biggest danger of making an
album that is almost perfect is that
the next one—no matter how good
— always seems like a letdown.
Such was the case faced by the
Afghan Whigs after 1993’s
“Gentlemen,” a masterpiece that.
signified the culmination of Greg
Dulli’s years of tinkering with old
forms of soul music and new strains
of layered punk.
Enter “Black Love.”
The bad news is that it’s not as
good as “Gentlemen.” The good
news is that it’s still really good.
Starting where “Gentlemen” left
off, “Black Love” delves further
into the tormented mind and an
tagonistic love life of Dulli. And
- while this journey’s subjects aren’t
always pleasant, the approaches to
them contain a mysterious, dark ray
of beauty.
Dulli’s rants on the twisted paths
of love and hate would almost ap
proach misogyny if not for the
equally powerful elements of self
deprecation that back every word.
Juxtaposing lyrics such as
“come crucify my heart” with brash
inserts such as “I wanna get it on”
is a rarely assumed risk by most
songwriters, but Dulli takes the risk
and, fortunately, pulls it off.
That’s the lyrical side. Musi
cally, “Black Love” follows the path
its name might indicate. Just as soul
masters such as Sam Cooke and
Otis Redding moved tried-and-true
gospel music into the then-new
genre of soul in the 1960s, the
Whigs mix guitar rock and flashy
soul rhythm lines into a new genre
— white-boy soul.
“Double Day” runs along the
same path as Marvin Gayc’s con
fessional seduction in “I WantYou,”
taking the depravity of a desperate
individual and making it sound like
pure, innocent emotion.
At the very least, “Black Love”
is a brief oasis between Isaac Hayes
and A1 Green albums. At best, it’s
the top album of 1996 — so far.
— Jeff Randall
The Wrens
“Secaucus”
Grass Records
Grade: B
British bands make me nau
scous.The Wrens, however, present
a nice version of Jolly Old England
via New Jersey. The band’s efforts,
coupled with those of Guided By
Voices, make the blokes a bit easier
to stomach.
So as to avoid any confusion, it
should be noted that despite its
sweet harmonizing and bouncy
tempos, the band is thankfully noth
ing like Oasis. Rather, Gregory
Whelan and the boys are rooted in
punk ideology and blessed with a
creativity that escapes hacks like
Blur.
Riding a wave of college radio
interest with the hooky “Rest Your
Head,” its newest release,
“Secaucus” arrives on the heels of
1994’s 23-track dynamo, “Sliver.”
For the most part, the skyline is
dotted with the same sneering,
sometimes interesting rock that
populated songs like “Darlin’
Dariin’,” “Behold Me” and
“Kevin’s Hell.”
I he banging, swerving con
struction that captured the interests
of the like-minded Saddle Creek
scene is reborn in tracks like
“Luxury.” Furthermore, the sensi
tivity toyed with on “William” also
reappears in “Jane Fakes a Hug”
and “Destruction/Drawn.”
This 60-minute offering, how
ever, is lacking in its variety. It could
be argued that the Wrens are solidi
fying their sound, concentrating
their talents on ditties like “Yellow
Number Three.” Whatever their
motivations, by eliminating the
cuteness of “Minion,” the quirk of
“Dakota,” and the jazzy flavor of
“Grey Complexion,” they’ve less
ened their appeal. Sebadoh’s “III”
is Lou’s best album for a reason —
it’s the most diverse.
Overall, this release is a bit of a
disappointment. Though the band
only loosely adhered to the indie
sound to begin with, it has strayed
even further, indulging even more
in slick overproduction and Beatle
esque pop formulas. The subtlety
of the band’s music has dwindled
even further, widening the rift be
tween its mediocrity and genius.
Whatever the case, unlike
“Sliver,” at least this record refrains
from lyrics such as “any clitoris
down below.” That’s definitely a
plus.
— Matt Kudlacz
Too Much Joy
Finally”
Discovery Records
Grade: A
“... Finally” is a very appropri
ate title. It’s about time Too Much
Joy released a new record.
If you aren’t familiar with TMJ,
it is one of the best power-punk-pop
smart-aleck bands in America. It
has, however, been sadly absent for
almost four years.
During that time, it has changed
labels, lost the bassist (he’s now a
big-wig over at Atlantic Records)
and drafted its producer into the
band.
All that’s really important, how
ever, is that the band’s back, with
its first new album since “Mutiny.”
Finally, TMJ released a new album;
and it is good.
Thirteen songs make up the fun
filled album. The first single, “The
Kids Don’t Understand,” shows
both where TMJ has come from and
where it is going.
The only non-TMJ song on the
record is a cover of Billy Bragg’s
“A New England,” which seems al
most custom-made for TMJ’s
rewcd-up style, but also makes you
wonder if the members have
changed their mind since they re
corded “Long-Haired Guys From
England,” back on “Cereal Killers.”
“You Will” is definitely the best
song on the album, however, paro
dying the AT&T commercials that
are on television all the time. “Have
you ever known such bliss? / You
will — and you will not be scared /
Seen our logo on the moon? / You
will — and will you not be
thrilled?”
There’s no “In Perpetuity” (an
all-acoustic song from “Mutiny”)
on “... Finally” though. If you find
yourself craving a little calmer
TMJ, you can count on “Mutiny”
to provide the perfect counterpoint.
What makes TMJ so successful,
besides the catchy melodies and
brain-tickling lyrics, is the disarm
ingly charming voice of lead singer
Tim Quirk. He comes across as hon
est and friendly, if not a little pecu
liar. He’s just... you know, Quir -
ky.
“... Finally” is definitely an al
bum that grows on you. The first
time through, it’s overwhelming,
almost too much to handle. But af
ter repetitive listening, the brain
becomes convinced there’s no such
thing as too much Too Much Joy.
— Cliff Hicks
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