THE MICHIGAN DAILY
Arts & Enterta inm ent Page Six ThursdayfMarch 31, 1977'

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'Idiot' brings Iggy

back into

orbit

By MIKE TAYLOR of "Raw Power". Within sec-
H O N E S T. EXPRESSION onds, Iggy, dressed in nothing
of emotions is what the ' but jeans, had bounced into
best rock'n'roll is all about. view to belt out the fiery vo-
bestrcA'n Arlrits allabou. cals. The crowd was up on its
Pop's new album, The Idiot feet almost instantly, to go
Po' e lum h do down onlyafe tisfoth
(RCA APL1-2275), and his tour,. w a few times for the
which touched down at Masonic rest of the show. Iggy, who used
Temple last weekend, are proof to get bottles thrown at him, re-
sponded to this new found pop-
that rock can convey feelings ularity by claspig his head,
David Bowie who helped bursting out with a marvelous
mix the last Iggy and the 'smile, and gasping, "Jesus
Stooges record, Raw Power, Christ!
produced The Idiot, wrote the THE ENERGY LEVEL con-
music for it, and played key- tinued as Iggy and his incred-
boards and saxes; on the tour, tinud atig g and westinhred-
he's playing keyboards and ibly tight band went through a
singing background vocals, series of fast hard rockers and
Thesho's penng as ne intense slower numbers, most
of ite ospowerfulmomentsone of them old Iggy and the
Bowie and the band, which in- Stooges tunes. Iggy jumped
Bwdie an tan d, whic in aaround the stage like a crazed
cludss Hunt and sony Sales ona mani ; ybest of all, you could
dm and Riy tell that it wasn't an act.
Gardner on. guitar, strolled onto
the stage and immediately Perhaps sensing that the
broke into the opening chords avante-garde sounds of The
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Idiot might not go over too well
with the crowd, Iggy performed
only two of its songs, "Sister
' Midnight" and "Funtime". Both
were done with exciting preci-
,sion, but they still seemed to be
gaps in the tension-filled fabric
of the rest of the concert.
The album is quite a depar-
ture for Iggy. Bowie's music
is rougher than his recent Low;
it emphasizes rhythm at the
expense of melody. Iggy's lyr-
ics have a stream - of - con-
sciousness feel to them; they
reach very deeply inside him.
His vocals are colorless, yet

intense and stirring. A couple of tunes are tributes
"Sister Midnight" opens the to two of Iggy's major influ-
record with a driving beat, and ences. "Baby", a sad love song,
pulsating, unrelenting key- sounds just like Jim Morrison
boards. The nightmarish lyrics and the Doors, right down to
are simple and repetitive, yet Bowie's- eerie organ playing.
dceply moving. Backed by "Funtime" is lifted right from
slow, complex instrumentation, Lou Reed's "White Heat/White
"Nightclubbing" is an amus- Light". It's a song of pure re-
ing expression of the joys of lease.
life, somewhat akin lyrically
to Bowie's "Kooks" of some THE RECORD'S most im-
years back. "Mass Production", pressive track is "China Girl".
which deals with the stamped- Filled with cheery instrumen-
out nature of people' today, has tation, the intensity builds to a
an appropriately mechanical closing line that is nothing
sounding backing track. short of terrifying.

Film critic Haskell speaks

By DOBILAS MATOLIONIS

wAf OLLY HASKELL, film critic
for tle Village Voice and
author of the critically ac-
claimed book From Reverence
to Rape, discussed women's
roles in cinema at Rackham
jAuditorium Tuesday night.
| Speaking to a small but en-
thusiastic audience, Haskell -
who calls herself a film critic
first and a feminist second -
traced the deterioration of wo-
men's roles in cinema from theI
thirties to the seventies.
Haskell explained that films
of the thirties had a great va-
riety of characterizations of wo-
men (some even had dominant
I parts), but that the forties and
Ififties saw the rise of the good
girl/bad girl concept which
strictly limited the"acceptable",
behavior of women in films. The
sixties and the seventies saw
the deterioration of the "woman
as movie star", and actresses,
like Liv Ullman began to see
___

their careers as separate from trayals of women's fantasies,
their lives. ! particularly rape f a n t a s i e s
Haskell had praise for some (Straw Dogs). Haskell allowed
contemporary films like 'I'hree that women do have rape fan-
Women, Robert Altman's latest tasies, but wryly added, "Rob-
effort, most of Bergman's films ert Redford not taking no for dr
and Truffaut's The Story of an answer is different from hay-
Adele H., which had an interest- ing a knife stuck in your back."
ing portrayal of "love as a ca-! Haskell ended her talk by
reer for a woman". sharing idleas with a questioner
about the rise of demonic roles
SHE ACCUSED Sam Peckin- !for women in contemporary! GLEN PRUETT dons the garb of that Immortal Bard, Shakespeare, in the PTP's current
pah of being overly misogynist cinema, allowing that it may production of Bingo. The, show runs each i ; hl through Saturday at 8 p.m. in the True-
and presenting inaccurate por- very well be a lasting trend. blood Theatre.
'U' Mahler performance: Satisfying

By KAREN PAUL Lorraine Manz, Joan Dudd,
James Russey, Bruce Hall and
THE SCHOOL of Music's per- Carlos Chausson, directed by
formance of Mahler's Eighth Thomas Hilbish - was the
Symphony proved to be exactly Michigan premier of the sym-
as expected: a performance phony composed in 1906-7.

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wlth great moments but with 
many flaws, some excusable,
others not.j
The concert - with the Uni-
versity Symphony Orchestra,J
Chamber Choir, University
choir, Ann Arbor Public Schools'
Youth Choir, and soloists Glen-
da Kirkland, Lorine Summers,
STUDY IN NEW YORK CITY
THK SUMMER
Columbia University offers over
400 undergraduate and profes-
sional school courses.
For a bulletin write:
Summer Session, Columbia
University, 102C Low,
N.Y., N.Y. 10027

In the performance of such an
enormous work, inconsistencies
can be expected. Difficulties lie
in the subtleties of interpreta-
tion and the exhausting de-
mands on the performer. The
missed notes of the horns and
trumpets and out of tune en-
sembles can be overlooked in
terms of the larger scope of
the symphony. However, insen-
sitivity cannot.
THE ORCHESTRA, especially
the horns and trumpets, needs
to learn that loudness and sen-
sitivity are not opposites - the
latter should never be missing
when Mahler asks for fortissi

mo. Sometimes the effect of chestra began a passage so
pure volume is appropriate, as loudly that it had no room to
at the end of each section, crescendo. Because Mahler's.
where, the orchestra certainly 1,performance directions are very'
demonstrated its power. All too explicit, they must be followed
often though, power took the faithfully.
place of music, and Hill Audi-
torium became filled with rau- THE HUGE CHORUS had ex-
cous, inaccurate noise. cusable problems with balance
Subtleties keep the piece fromi and clarity but effectively con-
being tedious. The woodwinds veyed the spiritual force of the
produced some lovely _Mahle- texts: a medieval Latin hymn
resque sounds, especially for the and part two of Goethe's Faust.
opening of the second part, and Perhaps the most unfortunate
seemed to be listening to each and unforgivedble flaw was
other to blend and contrast per- caused by the orchestra over-.
fectly. The oboe solos and flute shadowing the soloists. There;
and piccolo passages were a wel- were times when the soloists
come change to thinner texture looked like they were merely
and in like moments the solo mouthing the words. The solo-
horn, (and solo trumpet in one ists sang together with com-
instance) sang out expressively. plete balance and each. proved
The viol4, first violin and harp to be able as a solo performer.
each created peaceful con.
trasts and the contrabassoon TENORS Bruce Hall and
provided wonderful depth. James Russey performed musi-
Director Hilbish should have cally but the orchestra oftena
found more of these moments covered them and alto, Joan
by more tcarefully controlling Dudd's passages were almost in-
dynamics. Often the large or- audible.

In this performance a group
of brass players and soprano
soloist, Judy Gray added dimen-
sion from the balcony. An ex-
citing effect was created by the
antiphonal brass. playing and
Gray's pretty voice captured
the angelic nature of her solo.
The Eighth Symphony, called
the Symphony of a Thousand,
cannot help but be impressive.
The huge forces employed by
Mahler to express his spiritual
convictions certainly have an
impact. Though this perform-
ance caused many painful grim-
aces, it also caused shivers of
excitement. The organ playing
of Donald Renz added to the
sonority of the orchestra for a
conclusion which made up for
the inconsistencies in the per-
formance.
Join The Daily
Arts Department!

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Summer Jobs in Wisconsin
NIPPERSINK MANOR, alarge summer resort located in
S.E. Wisconsin-Thas openings for: WAITERS - WAIT-
RESSES -BUS PERSONS - MAIDS - KITCHEN - BELL-
HOPS - BARPERSONS - HOUSEPERSONS - LIFE-
GUARDS - LAUNDRY - COFFEE SHOP - SUMMER
PERSON FOR MANAGR'S FAMILY. Salary/ plus room
and board furnished for all positions.-f
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INTERVIEW DATES: Wed. & Thurs., March 30 & 31
CALL FOR APPOINTMENT: Mrs. Coper (SAB) 763-4117

Robert Altman
SATURDAY, APRIL 23-HILL AUDITORIUM
Reserved Seats: $3.50, $2.50, $1.50
Tickets are available at the UAC Ticket Central
in the Michigan Union beginninq Thursday, March 31.
Mr. Altman will screpn a film at 7:30 sharp and will answer questions
from the audience following the film,. Watch for more details.
IMPORTANT NOTE: People who have lecture passes and have not yet picket up their
reserved seat for Altman may do so beginninq Monday, March 28. This will entitle you
to priority seotinq,

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Summer Jobs in Wisconsin
NIPPERSINK MANOR, a large summer resort located in
S.E. Wisconsin is looking for talented, qualified young
people to fill these positions for the entertainment and
d'njoyment of our gue'sts: SOCIAL HOSTESS-ATHLETIC
DIRECTORS / SOCIAL HOST-PLAYSCHOOL TEACHERS
-TEENAGE DIRECTORS-TEEN & YOUNQ ADULT' Dl-
RECTORS. Background in music or drama and/or pre-
vious experience desired. Salary plus room and board
furnished for all positions.

The Ark: Unfettered folk
(Continued from Page5) roots. The white middle class nations and benefit'concerts ev-
get to know the people being has no roots." ery now and-then. For example,
played to. David, who some- iAccording to the couple, the performer extraordinaire Kenny
times seems like he should have Ark attempts to restore a cultur- Bloom played for free in Febru-
been a stand-up comedian, calls al background to the rootless ary, and the ever-popular Mi-
the audience back together for ; masses of Ann Arbor, a vital chael Cooney will do the same
the second half show. Between I need for the community. later this month. In addition,
jokes, he announces forthcoming "OUR PURPOSE is to help when high-priced, well-establish-
acts.,, students get their heads togeth- ed artists such as David Brom-
The Siglins love people as er, and also to help the musi- berg perform, they usually low-
much as they love folk music. cians." ,er their fee substantially.
"MUSIC IS so perfect on rec- David, who always anted to The Ark's precarious financial
ord that most people don't get be in repertory theater, has had situation would be alleviated
o ol mi n r Ia pay increase of only $150 a were they to sell liquor and food
off on live music anymore. I month over the level he was as most other clubs do. But then
lihe toearsve usiw i a ll first paid in 1969. the atmosphere that is the Ark
the squeaks, guffaws, and mis- "We're not here to get rich," would be destroyed. As autoharp
takes. Live is live,"' claimed Da- laughed David. virtuoso Bryan Bowers put it
vid as Linda nodded in agree- Linda works over forty hours not too long ago, "It's so great
ment. "Excitement is on the a week and doesn't get paid any- not to have to perform with
grassroots level - that's where thing at all. clinking glasses and heckling
the people are," they concluded. UNTIL five years ago, the Ark drunks."
"Roots is teaching people what i was receiving $10,000 per year T E hOOTENANNY a n d
their culture is all about. We'reI from the First Presbyterian "TursdyEnihOtENshows arencel
modern society we have no Church, as well as smaller con- Thursdaynght shows are excel-
tributions from the other chruch- opportunities for local per-
UNIVERSITY es participating. In 1972, this formers to get a good start in a
SHOWCASE level of funding had to be slash- musical career. They are also
PRODUCTION ed severely. The First Presby- good times to witness in a com-
BINGO terian now contributes $1200 per fortable environment artists who
year, and the other churches might be stars tomorrow. Ann
by Nkick in $200 each. Due to rising Arbor audiences have seen at
EDWARD BOND kiki 20ec.Det iigthe Ark such struggling folkies
2 .expenses for the general upkeep
March30 thru April 2 of the house, refreshments, and as Maria Muldar, Leon Red-
8:00 other operating costs, David and
Linda must now raise $12,000 Wainwright III, Tom Waits, and
Trueblood Theatre over, and above door receipts Kate and Anna McGarrigle. To-
(Frieze Buildinq) each year just to break even. day, regulars are waiting for lo-
$2.00 admission in an identity crisis because in cals such as Peter "Madcat"
PTP Box Office For this they've been relying Ruth, Martha Burns, and Dick
764-0450_on a combination of private do -Siegel to rise to fame, if not
fortune.

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INTERVIEW DATES: Wed. & Thurs., March 30 & 31
CALL FOR APPOINTMENT: Mrs. Cooper (SAB) 763-4117

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A Public Service of this
newspaper &The Advertising Council
OU NI
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The Siglins would like to offer
more than they do now, but they
just can't afford to as yet. Noted
groups such as the Penny Whist-
lers cannot come because they
are either too far away, or too
expensive. They would also like
to be able to bring in performers
such as Ann Arbor's oldtime
practitioners of folk art, who
might not be big box office at-
tractions but would still be well
worth having. They would love
to be able to offer once again
the abundance of programs they
started out with when they ha
more money to work with. Un
fortunately, unless the mone.
starts flowine in .the hone


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