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January 27, 1973 - Image 3

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Saturday, January 27, 1973


Page Three

Saturday, January 27, 1973 THE MICHIGAN DAILY Page Three


For the Roses (Asylum 5057)
is not Joni Mitchell's best album.
But it is good enough to be the
best folk album of 1972, and it is
the logical fifth album in a long
series of musical successes.
To analyze Joni's album, one
must look at her total music
concept; the cohesive nature of
one of her singular albums is
represented in the trend she has
established in all five albums as
a series. Songs for a Seagull is
90 per cent lyrics and 10 per-
cent music; Joni emphasizes an
incredible ability to explore a
theme compl y in a rhythmic,
patterned, lyrical way. In
Clouds, she begins to balance
her lyrics with more musical in-
fluence - the lyrics are signifi-
cant, but the music transports
the thoughts more easily. Ladies
of the Canyon is the height of
perfect balance between music

Joni*Mitchell surrounds
poetry with intense music

and lyrics. Here, each song in
itself is a total album concept,
and the poetry is so perfectly
surrounded by music as to make
the difference indistinguishable.
And in Blue, Joni's best album,
she goes one step further; she
simplifies both the lyrics and
the music, to make her purpose
so beautifully clear, so perfect-
ly understandable, that the lis-
tener is no longer an observer
but is now a participant. And
in making the album simplified,
she doesn't lose her depth or in-
tensity - rather she refines and
matures both.

So Joni patterns continuous em-
phasis on balancing music with
lyrics, and in Ladies and Blue,
she reaches the balance and sim-
ply intensifies each - but they
are still equally balanced. In
For the Roses, the musical im-
portance increases, but the ly-
rics only continue their steady ex-
cellence. So we hear intensified
musical compositions, and stable
lyrical complements - the trou-
ble being that the balance is tip-
ped and the transition and vary-
ing importance between words
and tune can be disturbing.
There are examples of the im-

Iwasaki creates new
musical world in concert


A great Saturday Night!
Lenny Bruce at
Basin St. West
The famous show that led
to his arrest on charges
of obscenity.
5 Betty Boop
Dir, by Kenneth Anger
Underground classic of
dreamlike homosexual
7 &9:05 $1

KO IWASAKI, cellist with Samuel
Sanders, pianist. Wednesday, Jan-
uary 24, Hill Auditorium. Choral
Union'Series of the University
Musical Society. Sonata No. 3 in A
Major, Np. 69-Beethoven; Sonata,
Op. 8 for Unaccompanied Cello-
Kodaly; Sonata for Cello and Piano
-Debussy; Elegy-Faure; At the
Fountain - Davidoff; Orientale -
Granados; Polonaise brilliante, Op.
Japan isn't only threatening
Western markets with superior
manufacturing, but in young mu-
sicians schooled in Western
music, largely foreign to Japan
up to the end of World War I.
Ko Iwasaki is one such musician
who promises absolutely nothing
in greatness, he plainly exhibits
it right now with his career
hardly begun! He is indeed rarer
than his Stradivarious cello.
Often, one may hear a certain
instrument for years played
similarly in various ensembles.
Yet when treated to such a di-
verse and undisputably virtuosic
display as were all who attended
Iwasaki's r e c i t a 1 Wednesday
evening, it is almost like hearing
a new instrument. In a judicious-
ly selected program, Iwasaki
demonstrated consummate fi-
nesse in several }musical styles
over all ranges of emotion and
sound. He utilized every musical
expression to its fullest and
wasn't afraid to liberally inter-
pret his selections for greatest
contrasts and depth. The few im-
perfect intonations and loss of
some notes served only to remind
us of Iwasaki's mortality.
The program opened and closed
with familiar works of the roman-
tic cello. Iwasaki displayed an
ardor of alternating ferocity and
throbbing lusciousness (particul-
arly in the high registers). San-
ders for the most part exercised
utmost discretion in mingling his
firm yet sensitively articulated
parts wth Iwasaki's dense sonor-
ity. The extensive use of rubato
and fermata (pauses) by the duo
were extraordinary but risked
treacherous re-entrances. The
cues could be nothing less than
perfect to avoid sore thumbs
sticking out, and they were per-
fect! The brisk Chopin Polonaise
gave Iwasaki an opportunity for

flamboyant Paganiniesque tech-
nical and rhythmic fire for which
he was more than willing.
The other rarely-heard works
on the program demonstrated the
duo's awing dynamism in a
variety of moods and tonal
colors. Faure's Elegy was a som-
ber work in which Iwasaki's cello
weeped among the piano's plod-
ding chords of a funeral proces-
sion. Granados' Orientale, as its
title implies, was a short poetic
piece mixing exotic Iberian and
Eastern harmonic influences.
Iwasaki's refined nuances com-
plemented the work's lyrical sad-
ness and mystic quality. Yet,
Iwasaki didn't overwhelm the
audience with musical and emo-
tional profundity. The Davidoff
work was a delight in its bright,
frisky disposition which provided
"comic relief" to the other
serious selections. This piece
showcased Iwasaki's formidable
technique in tremeloes and runs
of blinding speed played so deli-
cately as to conjure up images of
scampering nymphs in a forest.
Iwasaki's astounding perform-
ances. of the two more modern
works (by Debussy and Kodaly)
clearly proved his expertise of
expression in more demanding
material. The Sonata by Debussy
was surprisingly atypigal of his
usual introverted, dreamy impres-
sionism. Debussy was near death
when he wrote this bitter work
and was experimenting in new
concepts of dissonance and
rhythm. This aggressive work
employed many striking (both
figuratively and literally) affects
including percussive horizontal
and vertical bowings, grating me-
tallic tones (from bowing near
the bridge), and violent pizzica-
toes. The constantly shifting
moods in the piece made it fas-
The Kodaly Sonata encom-
passed all the innovations and
fervor of the Debussy work and
far more, beyond anything I had
previously heard in the cello
repertoire. This work was a para-
mount virtuosic showcase in
murderous technical demand and
a landmark in the full exploration
of the cello's capabilities as a
whole. Every conceivable sound

the cello could produce was re-
quired by the piece, including
pizzacatoes on one to four strings,
frenetic arpeggios and runs, mul-
tiple harmonics, tortuous glis-
sandi, metallic grating, and trills
in single and multiple notes in
At many points, the work took
on two distinct parts (as in
piano music) and alternating
string and chordal plucking (as in
guitar music). Kodaly, leader of
the modern Hungarian school
since Bartok's death, shows some
influence of Hungarian folk
rhythms in this work (beginning
of the third movement), but very
little, unlike Bartok. '
Kodaly's Sonata is atonal, pos-
sessing no recognizeable melodic
or structural development within
its three sections. Thus, for the
uninitiated in modern music, this
work might appear to be long and
tediouslytacademic as an etude
of new technical, sonorous, and
compositional elements. But for
this listener, Kodaly's Sonata
didn't need recognizeable motifs
or structureto confirm the com-
poser's mastery and fiery emo-
tion in brutal dissonance. Iwasaki
revelled in this challenging work,
his bow almost smoking at its
winish. The few rushed pasages
and missing dynamics can be
wholly justified in light of the
technical difficulties and cer-
tainly Iwasaki's youth. The ex-
cellent usage of rubatoes and
silence in the fermatas by Iwa-
saki were especially effective in
the Kodaly Sonata.
Throughout the program I mar-
velled how well Iwasaki and San-
ders meshed with what I thought
to be two months of rehearsal (I
last saw Sanders accompanying
Itzhak Perlman at Hill Audi-
torium in late November). After
the performance I was informed
by Sanders that the two of them
had rehearsed together for only
three days! With an accomplish-
ment like Wednesday's recital
after three days of rehearsal to-
gether, I daresay that Iwasaki
and Sanders could probably
create the world in seven.
6:00 2 4 News
7 Golf Tournament
9 This Is Your Life
50 Star Trek
50 Star Trek
56 Thirty Minutes With
6:30 2 CBS News
4 NBC News
9 Untamed World
56 To Be Announced
7:00 2 Truth or Consequences
4 George Pierrot-Travel
7 News
9 It Takes a Thief
50 Hee Haw
56 U.S. Industrial Film Festival
7:30 2 Young Dr. Kildare
4 Adventurer
7 Town Meeting
56 Eye to Eye
8:00 2 All in the Family
4 Emergency
7 Here We Go Again
9 NHL Hockey
56 Movie
"Grand Illusion"
50 That Good Ole Nashville Music

balances that is refreshing and
musically progressive, but the
few songs that this adversely af-
fects reduces the greatness of
the record.
For the Roses is a condensa-
tion of her thoughts of herself
as a woman, a composer, and a
writer, in that order. The title
cut, with out a doubt, is the best
song of the album. To under-
stand the story she sings, one has
to hear the lyrics in totality -
to take out sentences would be
to take her thoughts out of con-
text. But in this song she sum-
marizes her life at the moment
she wrote it: As a woman (It
seems like many dim years ago/
Since I heard that face to face/
Or seen you face to face), com-
poser (The lights go down-/
And it's just you up there/ Get-
ting them to feel like that), and
poet (Now I sit up here/ The
critic!). This is one of the best
songs Joni has ever written. The
lyrics are not a bare stripping
of the writer, but a portrayal of
what she feels about herself,
her life, and her career at this
moment in time. In perfect com-
plement, the music has steady
streams of notes, and then a dip
and rise, using the guitar as
steps to a higher level of thought.
The most obvious song reflect-
ing her thoughts as a woman is
Woman of Heart and Mind; a
truly touching commentary on an
emotional part of Joni's identi-
ty. "You think I'm like y o u r
mother/ Or another lover or your
sister/ Or the queen of your
dreams/ ,Or just another silly
girl/ When love makes a fool of
me." But she's confident about
herself and her feelings - she
questions the man: "Do you real-
ly laugh?/ Do you really care?/
Do you really smile/ When you
smile?". Hauntingly questioning
lyrics to go with the mellow,
smooth-flowed composition.
"See You Sometime" is a con-
tinuation of her womanhood
theme, questioning a situation
with a past lover. "O.K. hang
up the phone! It hurts/ But
something survives." With an ap-
parent reference to James Tay-
lor (Pack your suspenders/ I'll
come meet the plane", it's a
comment to any past emotional
involvement - even if the situ-
tion changes, emotions are still
there. And musically, she simply
follows her statements with tune-
ful answers.
"The Blond in the Bleachers"
is a different sort of woman.
"She flips her hair for you/!
She follows you home/... and
she says 'You can't hold the
hand/ Of a Rock 'n Roll man!
Very long." A lively guitar pro-
vided by Stephen Stills paces a
rock and roll tune in which she
simply describes a different kind
of woman, either in herself or in
The last touch of her theme is
found in "You Turn Me On I'm
A Radio." Though it touches on
a relationship, it's basically a
romantic tale: The country flavor
8:30 2 Bridget Loves Bernie
7 A Touch of Grace
50 Nitty Gritty
9:00 2 Mary Tyler Moore
4 Movie
"Play Dirty"
7 Julie Andrews-Variety
50 Black Omnibus
9:30 2 Bob Newhart
10:00 2 Carol Burnett
7 Assignment: Vienna
56 NET Opera Theater
50 Lou Gordon
10:30 9 Document
11:00 2 7 9 News
56 skating spectacular
11:15 7 ABC News
9 -Provincial Affairs
11:20 9 News
11:30 2 Movie-Comedy
"The Millionairess" (English;
4 News
7 Movie
"Some Like It Hot" (59)
11:00 2 Golden Gospel
7 Bullwinkle
9 Hymn Sing
50 Movie

"Man with the Synthetic
Brain" (69)
12:00 4 Johnny Carson
1:30 2 Movie
"The Crawling Eye" (English
4 News
7 Movie
"No Room for the Groom" (52)
3:00 2 7 News

fits her lyrics "I'm a little bit
corny" and in the tightest musi-
cal arrangement of the album,
she sings a happy/sad tale with
her guitar and voice.
"Let the Wind Carry Me" is an
example of her imbalanced mu-
sical/lyrical importance t h a t
comes off well. This saddened
balladeer-type song tells of a fa-
mily: a teenage girl who dresses
in a "kick pleat skirt", w i t h
"eyelids painted green" and
"staying up late in (her) high-
heeled shoes". Mama "thinks
-she spoilt me" and Papa "some-
how knows he set me free". The
song is hollow in a musical sense
- not incomplete but comple-
mentary to the story. Her music
allows time to view this family
situation since that's her emnha-
sis and should be our interest.
"Banquet" is her best social
commentarv since "Fiddle and
the Drum" from Clouds. "Some
get the gravy/ And some get the
gristle/ Some get the marrow
bone' And some get nothing'
Though there's plentytto spare."
Driving notes to drive home a
thoiieht. When Joni speaks of
starving, she makes you feel the
hunger in her pounding notes and
her striving lyrics. Her musiz
makes her thoughts positively un-
"Cold Blue Steel and Sweet Fire"
has the best guitar work on the
album, provided by James Bw-
ton. If one does not derive the
mesage of heroin by the title, the
"Looking for S w e e t Fire/
lyrics "Looking for Sweet Fire!
Shadow of Lady Release/ "Come
with me/ I know the way" she
savs/ "It's down, down, down,
the dark ladder" sells out Joni's
message. Her downtrodden pace
and taunting invitation to deatI
makes von fear the power of the
song as much as the heroin.
"Lesson in Survival" has in-
credible lyrical construction. The
words are loose and unclear, but
this snoradicness spells out the
confusion this story is meant to
convey. Back to back lyrics state
"Maybe it's paranoia/ Maybe
it's sensitivity/ Your friends pro-
tect you/ scrutinize me" and "I
need more quiet times/ By a riv-
er flowing! You and me! Deep
kisses/ And the sun going down."
The music is a marked contrast
to the lyrics, though a definite
bonus. The piano is constant, as
the notes spell out the questions
and confusion in a meloncholy fa-
The two sore spots of the al-
bum, and the examples of the
harm done by the musical/lyrical
imbalance are "Barangrill" and
"Electricity." "Barangrill" ap-
pears to be filler material, and
though Joni's fillers are far su-
perior to other folk singer's best
songs, it doesn't help her album.
The inadequacy is that the ly-
rics are insignificant though poe-
tic, and the music isn't aestheti-
cally pleasing. It's just not that
good. "Electricity" has good mu-
sic - its tune is indeed electri-
fying, really jumping and live-
ly. But the lyrics, though they
possess electrical terms, do not
complement an otherwise g o o d
composition, and thus is a dis-
appointing part of the side.
* "Judgement of the Moon a n d
Stars (Ludwig's Tunt)" is my
favorite song of the album. It's
not well balanced; except for the
second half, the composition far
outshines the lyrics. But the
whole song is so successfully ex-
perimentative, the imbalance can
be overlooked simply because of
its professionalism. She speaks of
Beethoven as if she was his best
friend, and just as you get to
know Joni personally in For
the Roses, you certainly discov-
er Beethoven after this song. The
tune possesses fantastic keyboard
work as befits Joni and/or Lud-

wig; Joni makes Beethoven her
central theme and surrounds him
with music, just as Beethoven
would in his works. First she
sees him in respect to other peo-
ple: "Cold white keys under
your fingers/ Now you're think-
ing "T h a t' s no substitute."
She follows with a moment's de-
dication to Ludwig in a piano in-
terlude; not one of his symphon-
ies, but one of hers. The wh o 1 e
song belongs to the second seg-
ment in which, like a personal
friend, Joni says "If you're feel-
ing contempt/ Well then you tell
it/ If you're tired of the silent
night/ Jesus, well then you yell

it." Musically and lyrically high-
lighting the second side, it com-
pletes the album on a perfect
For the Roses is a combination
of many things. It's technically
Joni experimenting with the bal-
ance of music and lyrics. But
thematically, it's an in depth
review of herself, primarily as a
woman, and secondarily as a
composer/ poet. It's not a bleed-
ing-heart, self-pitying analysis -
more of an independent look at
herself as an individual. Her sen-
timentality is that of a romantic,

and her introspection and state-
ments are probing and confident.
But if anything is true about
Joni's albums, it's that they are
for her more than for us. Joni
loves to tell stories, propose
thoughts, and make the listener
laugh, cry, and feel. Her being
a composer and poet achieves
this, but more importantly, it
enables her to see what she feels
about herself and her life. It's an
attempt to portray an individual
and convey the discovery to oth-
ers - For the Roses accomplish-
es both.

DRAMA--Professional Theatre Program presents Godspell
today at the Power Center at 3, 8; Junior Light Opera
shows Mousetrap tonight at Mendelssohn, 7:30.
FILM-Cinema Guild shows Lenny Bruce at Basin St. West
tonight in Arch. Aud. at 7, 9:05; Cinema II presents a
Clint Eastwood double feature: Fistful of Dollars, The
Good, the Bad, and the Ugly tonight at 7, 9 in Aud. A;
Couzens Film Co-op shows Hotel tonight in the cafeteria
at 7, 9:15; UAC-Mediatrics presents My Fair Lady to-
night at 7, 9:30 in Nat. Sci. Aud.
MUSIC-The Musical Society presents Michael Lorimer play-
ing guitar tonight at 8:30, Rackham Aud.; the Music
School presents Robert McFadden playing piano tonight
at SM Recital Hall at 8.
WEEKEND BARS & MUSIC-Blind Pig, Okra (Fri., Sat.)
cover; Golden Falcon, Majo Boogie Band (Fri., Sat.) cov-
er; Mackinac Jack's, Ramble Crow (Fri., Sat.) cover;
Mr. Flood's Party, Brooklyn Blues Busters (Fri., Sat.)
cover; Odyssey, Store Front (Fri., Sat.) cover; Bimbo's
On The Hill, Cricket Smith (Fri., Sat.) cover; Rubaiyat,
Iris Bell Adventure (Fri., Sat., Sun.) no cover; Pretzel
Bell, FFD Boys (Fri., Sat.) cover; Del Rio, jazz combo,
(Fri., Sat.) no cover; Ark, Steve Goodman (Fri., Sat.,
Sun.) admission.
romb e rg fulfill

Wednesday night's concert
sponsored by UAC-Daystar, at
Power Center brought back viv-
id memories of two years ago
when David Bromberg did the
warm up set at Hill Auditorium
for a group called Sea Train.
Anyone who saw him had a fore-
taste of even finer things to
come. Time has passed, Brom-
berg has been back in Ann Ar-
bor several times, and he has
lived up to the promise of even
finer things. Last night's aud-
ience greeted him like an- old
The night opened with a warm-
up set by Tery Tate, one of Ann
Arbor's local musicians. About
the only reason anyone w o u l d
put Tate on the same bill with
another artist is to make that
artist look good, and Bromberg
doesn't need that kind of build-
up. Coupled with the fact that
Tate is almost completed devoid
of talent - his guitar-playing
consisted of strumming, which
got to be pretty monotonous, his
harp-playing was crude and un-
original, and his yodelling made
me cringe - was the fact that
he didn't have enough regard for
himself or his audience to make
sure he knew his songs before
performing them. His singing con-
sisted of miscellaneous groans
and long held semi-screams that
brought laughter from the aud-
He .went from one song to t h e
next without a break, punctuating
them with long series of 'hum,
hum, hum's." It was a good
thing he stuck those in, because
everything he did sounded so
similar that without them you
would hardly have known where
one song ended and the next be-
gan. Besides turning a series of
fine songs - "TB Blues." "Me
and Bobby McGee," "The Mid-
night Special," "Winding Boy,"
"He's in the Jailhouse Now" -
into parodies of themselves, he
was pretty repulsive to watch,
too. Apparently in an attempt to
be more "bluesy," he went
through a series of facial con-
tortions calculated to make him
look wasted and agonized.

___________________ A



"Some of my favorite movie moments of the year!
Sophisticated, Biting and Droll. Donald Sutherland
again demonstrates he is one of our most extra-
ordinary contemporary actors."


-William Wolf, Cue Mag

"At least I know who I was
when I got up this morning,
but I think I must have
changed several times since
then!"-Alice's Adventures in
Wonderland-Lewis Carroll
open 11:05-start 11:15
not continuous with
"Travels ,...

An MGM Presentation in METROCOLOR [
EIt'TH u"''U11


I can only say, if he was, in
that much pain, he should have
gotten off stage and spared the
audience the agony he was put-
ting them through. There are all
kinds of musicians, but he does-
n't fall into any familiar cate
By the time, David Bromberg
came on, the audience was rest-
less and impatient, and a lesser
musician could probably not have
held their attention for long. But
Bromberg was in complete con-
trol from the moment he stepped
on stage. He began with a hard-
driving country song, "H a rd-
Working John," that was the per-
fect attention-getter, and from
there went on to "You've got to
Suffer to Sing the Blues," both
his own songs. His band, whih
he described as "a Salvation
Army band with strings," back-
ed-him up on bass, fiddle, man-
dolin and a variety of wind in-
strments, with generally fine re-
sults, although there were times
when I wished he would have
toned down the back-up music
and put more emphasis on his
By now he knows Ann Arbor
audiences well, and enjoys them
as much as they do him. He car-
ried on a running conversation
between songs, about the pres-
sures of being on the road -
"If you were to travel with us
for about a week you'd under-
stand Alice Cooper"; about his
cautiousness in introducing "Jug-
band Song" as a song about "a
terible woman" - "I have to
be careful what I say in Ann Ar-
bor. Listen, there are terrible
women;" and about why he
doesn't follow requests - be-
cause in order to give his best he
has to do the songs that fit the
state his head is in, rather than
what someone else wants to hear.
Bromberg usually does several
new songs on each trip to Ann
Arbor, and last night wastno ex-
ception. He dugup an old blues
from the Bessie. Smith era,
"Judge, just send me to the 'lec-
tric Chair," and performed it
with a very effective back-uon
trumpet. Another old blues piece,
'Statesboro Blues," was also new.
He performed it without back-up
band, as he did several things
during the evening. It's always
nice to hear Bromberg alone, be-
cause the emphasis is then to-
tally on his fine picking and his
voice, not a great voice but one
that grows on you. His picking
on band pieces was also excel-
lent, especially on "Six Days on
the Road," and his mandolin
playing, introduced with the com-
ment, "I just like picking a man-
dolin. We ain't got nothing work-
ed out for it," about wiped out
the audience.
"Sharon," the song with which
Bromberg closed, was about the
heaviest rock he got into. The
band lengthened it from the re-
corded version, added material,
and produced a masterpiece that
the audience responded to with a
standing ovation. The song, about
a belly-dancer, went from o n e
extreme of Bromberg alone on


The University Players
Proudly Announcea
Jan. 31 - Feb. 3 by Sir Arthur Wing Pinero Lydia
nd. Tickets $3, $2. Theater
"Riotously Funny Piece of Classic Farce"
-London Daily Telegraph, Dec. 21, 1972
Lydia Mendelssohn Box Office opens Mon., Jan. 29, 12:30 to 5:00
Dept. of Speech Communication and Theater
Magistrate Mail-order Coupon
o*l mm = m m m m m m mmm

C/uc'S k.44Ahp iengice4

1833 Washtenaw Avenue
SUNDAY: 10:30 a.m.: Worship
Services, Sunday School (2-20 yrs.).
Infants' room available Sunday and
Public Reading Room, 306 E. Li-
berty St.: Mon., 10-9; Tues.-Sat.,

502 E. Huron St., Phone 663-9376
* * *
On the Campus at the corner of
State and William Sts.
Rev. Terry N. Smith, Sr. Minister
Rev. Ronald C. Phillips, Assistant
*I * *

2580 Packard Road, 971-0773
Tom Bloxam, Pastor, 971-3152
Sunday School, 9:45 a.m.
Worship: 11 a.m. and 7 p.m.
Training Hour: 6 p.m.
CHTTRiH(AT.LC LCA) (frmerly

1432 Washtenaw Avenue
Services of Worship at 9:00 and
10:30 a.m.-Sermon: "A Sense of
Urgency." Preaching: Robert E.
Bible Study - Sundays at 10:30
a.m.; Tuesdays-12:00 to 1:00.
Holy Communion - Wednesdays
5:15 to 5:45.
Supper Program - Wednesdays
* * *
1236 Washtenaw
V_ n_.._-__


Name ------- -

JAN. 31 FEB. 1 FEB. 2 FEB. 3,




10-5; Closed Sundays and Holi- FIRST UNITED METHODIST I b A ) 1U\1111WLI
days. CHURCH and WESLEY FOUNDA- Lutheran Student Chapel)
For transportation, call 668-6427. TION -State at Huron and Wash. 801 S. Forest (Corner of Hill St.)
S* * 19:30 and 11:00 a.m. - Worship Donald G. Zill, Pastor
UNIVERSITY LUTHERAN Services. "Christ's Purpose for the Sunday Folk Mass-10:30 a.m.
CHAPEL (LCMS) Church." Sunday School-9:15 a.m.I
1511 Washtenaw Avenue Broadcast on WNRS 1290 AM, Sunday Supper-6:15 p.m.
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