Ir

The Ann Arbor Film Coopertiv presents at ML 4
FRIDAY, NOVEMBER 10
WERNER HERZOG NIGHT
Herzog has justifiably been called "the greatest filmmaker alive making films
today" by both Francois Truffaut (400 BLOWS) and Milos Forman (ONE FLEW
OVER THE CUCKOO'S NEST). He is certainly the most distinctive director of
this era. He has brought to the cinema its best images: bizarre; captivating,
and totally his own. At the heart of his work is an almost irrational compassion
for man, which manifests itself most deeply when his characters live on the
fringe of existence. Tonight we present the saga of two such marginal char-
acters. Two of the best works of the German New Wave.
AGUIRRE, WRATH OF GOD
(Werner Herzog, 1972) 7 & 10:20-MLB 4
Not enough can be said of this great movie. Features some of the most haunting
moments and breathtaking photography in all cinema. In sheer beauty and
subtlety of expression it can be compared to BARRY LYNDON. A 16th-century
conquistador (Klaus Kinski is amazing) descends into madness as he goes
deeper and deeper into the mysterious Peruvian jungle, searching for gold and
El Dorado. Highly recommended. In German, with subtitles.
SIGNS OF LIFE_
(Werner Herzog,1967) 6:45 only-MLB 4
An intense, remarkable film about the Titan-like revolt of one man against the
world. The story concerns a German soldier assigned to guard an ammunition
depot in a crumbling fortress on a Greek island toward the end of WWII.
Paralyzed by the monotony of his life, he suddenly runs amok, threatening
to blow up the fortress, and in one last gesture of defiance, bombards the
town with fireworks. In German, with subtitles.
Tomorrow: OUTRAGEOUS
U-

Page 6-Friday, November 10, 1978--The Michigan Daily
Beefheart in

the suburbs

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By MIKE TAYLOR
At age three, Don Van Vliet told his
mother that "mother" was a cold word,
and insisted they be on a first-name
basis. He also told her he had no inten-
tion of ever going to school, so when
other kids were happily attending kin-
dergarten, Don was at home sculpting.
Some twenty-five years later, Don
became known as Captain Beefheart.
Together with his Magic Band, he
began to release albums like Trout
Mask Replica, Lick My Decals Off
Baby, and Clear Spot, albums of intense
passion, filled with a compelling blend
of blues, avant-garde jazz, and
visionary lyrics. It was everything pop
music was not supposed to be: chaotic,
furious, dissonant. Yet the Captain cap-
tured quite a sizable following, and
when he disappeared from the music
scene four years ago, his absence did
not go unnoticed.
WEDNESDAY night, Beefheart was
back - in mind, spirit, and soul. If his
tremendous new album on Warner
Bros., Shiny Beast (Bat Chain Puller)
was not enough to prove it, then his diz-
zying concert at Grosse Pointe's Punch
& Judy Theatre surely was.
Captain Beefheart's music could
easily upset a listener not familiar with
it. He tends to tell his stories, which are
more often than not visions of madness,
rather than sing them, and he does so in
what usually approximates a grunting
'snarl rather than a human voice. His
back-up, a completely new edition of
the Magic Band, provides swirling,
frenetic accompaniment, adding syn-
copated rhythms and burnt colors to the
Captain's tales. Occasionally,
Beefheart picks up his harp or soprano
sax, and the alchemy is complete. The
band, a delightful exercise in precision
anarchy, unleashes torrents of sound,
just enough to send the crowd Wed-
nesday night into repeated fits of ec-
stacy.
ERIC DREW Feldman doubled on
keyboards and bass, Richard Redus
and Jeff Tepper offered mesmerizing
guitar styles, and Bruce Fowler injec-
ted his own lunacy into the proceedings
each time he blew into his trombone.
But Robert Williams was clearly the
star of the band. Only a drummer of
considerable talent and genius could
bring Beefheart's innovative ideas
about rhythm to the stage, and
Williams pulled it off time after time.
On stage, they were a motley crew,
dressed in old, floppy clothes, Captain
Beefheart leading the pack looking like

a deranged father, spewing forth wild
narratives:
The floppy boot stomped down into the
ground
The farmer screamed
'N blew the sky off the mountains
Eye sockets looked down onto chestbone
mieadow s
'N the sun dropped down
'N the moon ran off

His heels 'n elbows pale as chalk
'Nall the comets collided 'n blew t' dust
For fear they'd be seen
'N the sky turned white in the middle of the
night...
Beefheart filled his 90-minute show
with most of Shiny Beast (Bat Chain
Puller) and a lively selection of gems
from albums such as Trout Mask
Replica. The band seemed to find its
groove most easily with the new
material, although -the finale, his
classic "Veteran's Day Poppie," and
the encore, another oldie, were nothing
short of terrific. I found myself closing
my eyes to better picture the lyrics,
swinging my body to the poly-rhythmic
beat, and making peace with the music.
To my surprise, I once opened my eyes
to see that guitarist Jeff Tepper was
doing the same thing.
A HALLUCINATORY "Tropical Hot
Dog Night" led off the show, followed
by the bittersweet "Owed T'Alex."
"Harry Irene;" a lovely music hall


The door was smokey grey
Their tuna sandwiches
Would turn the dark into day
They sold wine:
Like turpentine to painters
They took to social life
Like props to aviators
Harry Irene
Were a couple that ran-a-canteen
Harry Irene
Were a couple that lived in the green
Ran-a-canteen...

s {
f'


But my favorites of the evening were
"Ice Rose," a bright, Zappaesque 'in
strumental, and "When I See Mommy I
Feel Like a Mummy," a carefree aur-
ber with an eminently danceable beat.
But all too soon it was over. Captain
Beefheart's characters spun off the
stage, the band came to a halt, the cur-
tain closed, and reality returned. I was
sitting in a Grosse Pointe theater, and it
was time to go home.

number about blissful nothingness was
a big hit with lines like:
The f log. was made of oak

A2s own dance company

By PAULA HUNTER
* Very few people hurrying down State
Street in rhythm with Ann Arbor's
quick-flowing traffic notice a door
among all the store fronts with the wor-
ds "Dance Space" neatly printed
across the front. For those who have
discovered that entrance, a world
removed from the bustle of State Street
unfolds as they climb the stairs to the
space where Dance Theatre 2, Ann Ar-

bor's new dance company, holds
classes in modern dance technique and
rehearses its growing repertoire.
Every day, members of Dance
Theatre 2 enliven the loft known as
"Dance Space" by teaching dance
classes to anyone from the most advan-
ced dancer who has already experien-
ced the exhilaration and demands of
dance, to the beginner who has come to
dance for a variety of reasons and is

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has changed their name to
The Tux Shop, Ltd.
(SAME OWNER, WITH THE SAME FRIENDLY, PROFESSIONAL SERVICE)
To Celebrate This Event, We Want To Give You A

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4b.

Pictured are members of Ann Arbor's Dance Theatre 2; who will perform in the
Canterbury Loft November 10th and 11th.

SWEDDDING PRESENT...
A. 50* U.S. SAVINGS BOND
No gimmicks. No catches. You simply come in November 1 through 18 and register
your upcoming wedding with the rental of five or more tuxedos.
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formal/wear specialists
TWO LOCATIONS TO SERVE YOU



"Misty
Beethoven"

quickly hooked on an art form that
already has many "addicted"
followers.
IF CLASSES are not being given by
Dance Theatre 2, the company is busy
rehearsing for its upcoming concerts
November 10th and 11th, tobe perfor-
med in the Canterbury Loft, Ann Ar-
bor's new intimate performing space
above Saks on State Street. The com-
pany is comprised of dancers who
received degrees in dance from the
University and wanted to stay and
develop a dance company that would
serve the community of Ann Arbor,,as
well as students and other people in-
volved with the University.
"We all love to dance and wanted to
perform and teach on a professional
level," explains company director
Christopher Watson. "But we didn't
want to follow the rest of thedancersin-
the United States to New York City -
we want to prove that New York is not
the only answer to those vho want to:
dance professionally."
It is not an easy task to build -a
professional dance compamy in a city
like Ann Arbor. The University has a
concert series which offes big name
companies, generally fron New York.
Although it is important b see perfor-
mances given by the Nev York cm,-
panies, Dance Theatre 2 feels that it is
equally important to see )erformances
by Ann Arbor's own tlented, no-
commercial artists. Witball the trained
dancers coming out of the University
and the various privat studios, it is
time that Ann Arbor has its own
modern dance company which an
begin t give these dances a chance to
teach, perform, and creae works.
DANCE THEATRE 2'saims are tb
reach into the communitl by offering
classes and by becoming permanent
part of Ann Arbor's culural scene.
Although the company hops to do some
touring, it wants Ann Arbq audiencs
to recognize it as their on modern
dance company. After a sucessful per-
formance at Liberty Plaza lat summer
as part of the Liberty Sunet Series,
Dance Theatre 2 is ready to prform on
a regular basis in Ann Arbor With the
upcoming Canterbury Loft peforman-
ce series DT2 wants to show sne of the
works that have been in themaking
since the company's incepton last
May.
Company members who ire in-
terested in choreography, creati dance
works for DT2's repertory, ant other
are choreographers have expresed in-
terest in working with the conpany.
Choreographing, taking daily tecnique
classes, and teaching, are all part of
being a member of the organiation,
and each company member is
dedicatedto keeping tt challenge
alive. The company is node up of a
close-knit, group of experieced dancers
who work together six daysi week.
Director Christopher V tson, who
received a Master of Fine Ats in dance
from the University of Micigan in the
spring of 1978, envisioned a modern
dance company that would ake up the'
tradition left by the formeiAnn Arb -.
Dance . Theatre, but wouli have an
ongoing permanent repetoire. I
hopes to build a repertoire hat wovli#
allow the company to perform
regularly in Ann Arbor an one that
could be used for tours and reldencies.

Ann Arbor ................ 973-9300
- 3382 Washtenow Avenue, 48104

Brighton .................. 227-1677
8692 West Grand River, 48116

* ' Introducing
Constance Money
with Jame Gillis Jaquells" Beud t
Terri Hall/Gloria Leonard/Casey Donovan/ Ras Kean
Directed by Henry Paris



Nov. 10 & 11-7:00 & 9:00
RM. 100 HUTCHINS HALL
$2.00

Michigan Stadium isn't
the only place
Michigan meets
Purdue on

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November 18

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U-M Men's Glee Club
.. . A WO

friday
Worshp SOeAiSe

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