Page.Two THE MICHIGAN DAILY Wednesdav March 17 '1971 Page Two THE MiCHIGAN DAILY 1 f V-- -0--y, IY1Vf%-II 1 /I 1 l1 1 PORK: Beginning of something different By JOE PEHRSON Three composers from the Ann Arbor area, Kurt Carpenter, Rus- sell Peck and Robert Boury, now under the combinational heading "Pork", gave a concert at the Strata Gallery in Detroit. These composers presented the second set of three-the other two °sets were performances of the Contemporary Jazz Quintet, a group which will perform in this area as part of Black Liberation Week, Friday night. Pork will also perform in this area, with works of these com- posers plus visual works and works .in sound of other artists centered in the Ann Arbor vicin- ity. The concert marked a rather abrupt transition from the jazz set, although the "CJQ" play an advanced type of contemporary jazz which, at some times, ap- proaches the subtlety of contem- porary music. The first number the group per- formed was of really fine quality, and interesting to those whose orientation is generally centered about contemporary "erioso" art. At times the morphology of this piece would slowly change as one musician of the group would place a different type of sonority in front of the others. It would then be a time for a conscious- ness of this change until finally a change in form on the part of the entire ensemble takes place. This slower-paced jazz was en- joyable listening although I'm certain others who hold different esthetics than my own will ap- preciate the faster music which undoubtedly will be part of the performance in this city. The Performance by Pork was marked by some really exciting moments. Kurt Carpenter's new piano Piece is excellent-a type of wide spread clusteral work-a sort of dense ragtime. The per- formance I heard was remark- able for its clarity, and Carpen- ter reaches an intellectual level which is equal, at times to any contemporary music I have heard His piece is unarguable, although his esthetics may some- time be in dispute. The title First Come will give some indi- cation of this-I believe this is partially justified by his vitality -butt at some times an indication that some of his priorities are in the 'wrong places. ' A film by Reynold Lowe, an Ann Arbor based artist, was a critical appraisal of space, and one of the best films of this genre I have seen. The film was a jour- ney through a room of many in- teresting polyethylene objects. A wonderful film, although the juxtoposition of some of the sound moments of Carpenter's "Lone Wolf" was too liberal. This, and a following film which accompanied R o b e r t Boury's "Honk" were part of "the Ashley"-a theatre piece by Robert Ashley, a composer af- filiated with the "Once" group and who, incidentally, will be in Ann Arbor next weekend for the Saturday night concert of "Con- temporary Directions". The visual tape is a fine illus- tration of video tape technique, but only that. It is highly over- done and the form of the dancer, which is a continuous image- was much too pervasive. This technique, which permitted Boury to select from three cam- era views of a dancer as the dance was in progress-a visual editing and creation of a work in "real' time, might be used to great advantage, but it would have to involve a much greater' syntactical content than this film presented. Boury's rags seem much too literal examples of this form. A piece entitled "Varsity Rags" contained three of these which, while not in my estimation too interesting, were appreciated by the jazz-oriented audience. The intellectual content is not great, but they are relatively enjoyable listening. The performance by the Ann Arbor Mime Troup had a content which was, in stylistic terms, "cute". The activities tend to be situational, and the performance in general was inaccurate. A presentation of a piece by Terry Kincaid, "Spring Song" was elaborated by a dance per- formance by Linda Ellis and by background slides by Lowe. Terry's tape is good but relative- ly static in content, and while Linda's dance is very good, it tended to be too similar in this stylistic way when combined with the sound. As a still, a single frame, this combined media pre- sentation was good (a single visual situation) but in motion it took on some expressive conno- tations of "art" that are not my preference. George Cacioppo's "Informed Sources" was muddled by the in- troduction of Jazz elements (the string bass player joined the performance at the piano by Rus- sell Peck and Carpenter). It is good that the composer was not there to hear it. The freedom permitted by Cacioppo is not to be taken as stylistic unconcern. The visual organization of this score shows the type of esthetic which is Cacioppo's interest, and some liberties were taken with this which were clearly not part of this esthetic.C Carpenter's "Lone Wolf" is a curious compromise between ele- ments all of which must be seen in a serious vein, and a com- posite which attracts the atten- tion of persons outside this orientation. This is the real in- terest. in this piece, and Carpen- ter's success in this combination is amazing. Again, one may not care for Carpenter's stylistic con- tent, but it is definitely arguable and sensible music. Carpenter, Peck and Boury will have, it seems to me, a greater freedom for the esthetic which is their own when shown separately from the CJQ. The CJQ is, how- ever, excellent in its own right. and those interested in Contem- porary Jazz should look forward to their approaching concert. O-- Hawk By GAIL LENHOFF VROON In the good old days, when film buffs came to blows over what was to be shown on cam- pus, Howard Hawks was a topic of heated discussion. Longtime popular success obscured h i s talents. He joined the ranks of_ directors dematerialized by the peculiar communalism of t h e Hollywood studio. Serious crit- ics dismissed his classical, al- most invisiblenstyle in favor of the stylization so apparent in the films of Eisenstein, Von Sternberg and Bergmann. For it is the dynamics of perform- ance and public that attract Hawks rather than the discrete units of script and preplanned mise en scene. He feels at home in noisy channels. Cinema Guild's festival pre- sents a rare opportunity to re- construct the unique amalgam of style and motif that consti- tutes the world of Hawks. For. all its realism, it is a bizzarre world. While in the context of established genres the heroes appear as familiar types, they emerge as haunted, even per- verse figures in the gallery of Hawks' filmic constellation. The works in two broad cate- gories - adverture and com- edy. This results in a binary op- position where every hero is countered by his own inverse proportion. Humphrey Bogart in The Big Sleep shows his oth- er face, then, as Joe Malone, that unfortunate detective in Gentlemen Prefer Blondes who is unceremoniously stripped, doused with water and s e n t staggering out the door in a negligee by the combined talents of Jane Russell and Marilyn Monroe. Only Angels Have Wings il- lustratesHawks' characteristic adventure film. A select group of mail pilots, bound by a need which they cannot explain, fly nightly missions over the Andes. The dominant here is their in- stinctual fear of what might be termed metinomization. The men are defined not so much by their surroundings, as by their horror of becoming static ele- ments 'of those surroundings. That is, man becomes an object when he ceases to move toward. danger . .. when he isn't 'good enough.' The Big Sky, set in pre-white man Missouri, studies the rela- tionship of two men, Jim Deak- ins (Kirk Douglas) and Boone. Boone worships Jim who takes the place of Boone's brother, festival at killed by Indians. This is carried to the point where Boone, who hates Indians and is indifferent to ladies, marries the Indian girl Teal Eye for whom Jim has ex- pressed an attraction. A striking- ly Hawksian touch occurs when Boone hesitates to 'pay' for the guild' girl with his rifle. Clearly it is the more valued possession. Boone too is bound to objects; Jim as the memory of a dead man, the scalp of the Indian who killed his brother (which he car- ries around with him), the rifle. He is freed only when he divorces himself from Jim and accepts the girl as a living thing which must be cared for. At this point, he burns the scalp in a ritual of emancipation into the world of Hawks code.. This film also contains a rath- er notorious scene in which Kirk Douglas' finger is amputated. The scene, where Douglas and his pals clamber around the camp searching for the severed finger because the Indians be- lieve that you have to have all your parts to get into heaven, is played for comedy. Hawks ad- mits that his first reaction to any story is to look for the comic angle: "A comedy is virtually the same as an adventure story. The difference is in the situation ..." Bringing Up Baby features Professor David Huxley (Cary Grant) whose life work is the re- See CINEMA, Page 7 WATERBEDS $39.95 Twins, Doubles $44.95 Queens, Kings with 10 year guarantee at ALBATROSS 524 E. William at Maynard MON.-THURS. 10-6 FRI. 10-8:30 SAT. 10-7 * HIGHEST" DOORS OPEN 6:45 SHOWS AT 7 AND 9 -Wands Hale. New NEXT: TRUFFAUT'S "THE WILD CHILD" RADICAL FILM SERIES TONIGHT OLIVER T WIST WITH ALEC GUINESS as fagin ANTHONY NEWLEY as The Artful Dodger Director--DAVID LEAH (Bridge on the River Kwai and Lawrence of Arabia) 75c Canterbury House 7-9 1 pm. The Michigan Daily apologizes to the patrons of Radical Film Series for the Daily's inaccurate advertising of last week's film. The mistake was the Daily's. -Daily-Jim wallace AMIRI BARAKA (Leroi Jones) at Hill Aud. last night as part of Black Liberation Week. . HELD OVER! I ROBER'T MICAK4LJ. WEFORD POLLARD I ,~NALa NMAL MON., 37 .MA . FRI. THUNDERBALL-7:00 FIGHT-9:20 TWICE-10:00 TL mFAUSS. AAD BIG HALSY ;4::txA ?.f :::;: }44 .+i Uff.;};i 4F'< } }, )}: >.v.. rf . ,xr::"" .;: :{T. {: #'t .s.'rv,: M1Y : .: : 3{ .,+$ .," \ , S{i :}' f/ y1 {'" +i[ M ? : f.{.ii. ;x;:R kti). ; :: f'iC { + ia _. 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