Arts & Entertainment
THE MICHIGAN DAILY
Wednesday, April 6, 1977
Page Five
w
Tewkesbury talks
THE ROBERT ALTMAN Fes- tnr has to go in and out, addi
flUZ~Iil a.t.. Al
Blondie
rocks with
a1V
may singlehandedly
Swim,
7
en us
in
bleach
ng
tival continues, Thursday dialogue in each car. When Alt By DAVID KEEPS so big and fine. I really wanted Overboard." She sizzles in pop-
night with'the appearance of man gets to the environment, to go out with you, so when you'rockers, undercut with "I told
Joan Tewkesbury, an Altman he and the actors take over. WHAT COULD BE more in- smiled I laid my heart on the you so"cynicism in "Little Girl
screenwriter at 7:39 in Rack- I chose scenes that will create vigorating that shooting-up line." Lies" and the tribute to trashy
a part ar possiiy. peroxide? Listening to New Japanese monster movies, "At-
Tewkesbury, a former dancer, According to Altman, "When York's newest "class act," Drummer Clement Burke, who tack of the Giant Ants."
actress and stage director, first Joan and I work on movies we're Blondie, that's what. resembles a berserk Bay City.
worked for Altman as a script a creating team. It's a col- This stylish, photogenic quin- Roller, lets loose with a letter- Swooping, fger-snappg or-
supervisor for McCabe and Mrs. laborative art." tet, once dubbed "Blandie," de- perfect drum roll, while Jimmy gan notes ripple through the
Miller. She later collaborated on.y Destri's vintage Farfisa organ street-tough West Side Story
Altman films including Thieves Tewkesbury will discuss the ted recel n e drvte establishes a roller-rink hook epic, Shark n Jet's Clothing"
Like Us and was the sole au- screenwriter's role Altman's to abd n s ed n that skates figure eights through and thunder chords dominate the
thor of the 1975 hit Nashville.;films. Tickets, available through to broadewhe so-calle b ony the bold guitar slashing of Stein cataclysmic "Rifle Range" and
UAC and at the door, are $1.25. daries of what has previously and bassist Gary ValentineallKung Fu Girls. But the es
Tewkesbury explas her rector are constructs - like en ca punroc, leading to poor, wronged Deb- sence of Blondie lies in the extra
scripts for the innovative di- cars in a long train. The direc- 'ing misnomer. by's vow of revenge which soars production details that set off
"Progressive pop" is the term into a sweet Sopranic falsetto the punching, blaring, and intel-
,.......,..,...:*'....,... r lead guitarist Chris Stein pre- finale of 'Ooooh-ooooohs.' Catch- ligently commercial sound.
fCi O TB fers, and rightfully so. Blondie's ier than mono, and more funI Among them: the "Boo-hoo" r
Sfmusic borrows liberally from to get at the close of "Little Girl Lies"
Iubiquitous AM rock idioms, in- and put-downs that run contin-
,.eluding the "girl group" sound EQUALLY AT HOME with sin- ually through "Rip Her To'
MILES DAMIS By ALAN RUBENFELD popularized by the Shangri-las sere, if not wholly innocent bal- Shreds" and Debby's superla-
MILESDAVIS BCybGAA RENELD and early '6$s surf music, and lads, Debby sings/emotes her tive Gidget-crazed s h o u t of
aCter Babies (Columbia GRAHAM PARKER filters the catchy sounds through way through tender numbers' "Surf's Up!" in Blondie's danc-'
TC 34396) The Pink Parker (Hold Back a uniquely debauched 70s sen- like "In the Flesh" and "Man iest number "In the Sun," which
The Night) (Mercury 60611) sibility. -
By PAUL SHAPIRO ~~______iity
revive The
tunes, "I Didn't Have The Nerve "There was blood on every-
To Say No" and "Always Touch- thing, but I was into it," he
ed By Your Presence, Dear." added.
IN CONCERT, the band's
rougher sound perfectly matches
the frenzied atmosphere it cre-
ates and the catcalls it incites.
Supporting D e t r o i t' s reign-
ing hometown maniac, Iggy Pop,
Blondie magnificently endured a';
response that ranged from apa-
thetic to hostile, turning in a
professional performance that
was capped b ya cool display of
temperament that left the stage
littered with crushed beercans
and toppled drums and sound
equipment.
Spotlighted in basic black,,
Debby, a former Playboy bunny,
ex-junkie and future sex symbol,
took most of it in stride, occa-
sionally cutting loose with wild
dance routines, while the bandI
blasted their standards and new
Responding to boos and hisses,
Debby, who tossed her two-toned
bland hair wildly, deadpanned.
Simply, "So this is Detroit,"
illuminating her feelings with a
slender middle finger.
"JUST AS I pictured it," Stein
wisecracked, before tying off his
guitar with a fasihonably thin
tie, while bassist Valentine beat
on his guitar with drumsticks
and bounced around the stage in
a manner that, he says, has
caused people to ask him if he
was epilectic.
"When an audience gets vio-
lent, we reflect it," says organ-
ist Destri, who admitted after-
wards that his fierce playing
and knob-twisting cut his hand
open.
Btondie'
There is certainly no lack of
Water Babies is not exactly a Graham Parker material these
new album, but new releases of days. Within the space of one
Miles Davis recordings with his year G. P. plus The Rumour
late sixties quintet including' have released two critically ac-j
Herbie Hancock, Ron Carter, claimed records, Howling Wind
T o n y Williams, and W a y n e and Heat Treatment, an "au-
Shorter. This group put out some thorized bootleg," and now The
of the sixties best jazz with such Pink Parker, an extended play-
albums as Nefertiti, Filles De er collection of four of Parker's
IMlimanjaro, and Miles In The songs.
Sky, and this album is no excep- The Rumour, a collection of
tion. All but one of the compo-, British pub-rockers, are as vi-
sitions are by Wayne Shorter, brant a group of musicians as
and the album's weakest cut is can be found anywhere. Hhey
the piece that he didn't write. really know how to "kick it
Water Babies is not as tight 'out" for Parker. G. P. himself
Watr Bbie i no astigtis simply the possessor of one
as some of the other recordings of the earthiests rock and roll
of the quintet (most likely it is voices to be found anywhere.
made up of out-takes from re- This bold claim is also justified
cording sessions for those al- on side two's live versions of
bums) but contains good music, "White Honey" and "Soul
particularly the title cut and an- Shoes." Both songs, simply
other entitled 'Capicorn,' If you put, cook. If Bruce Springsteen
really dig Miles, Water Babies is the future of rock and roll,
is worth your time. then Graham Parker is certain-
;
;
AMPLE PROOF of their prow-
ess for tuneful musical perver-
sion is displayed in the opening
cut, now a collector's item 45,
"X Offender," whose title was
changed from "Sex Offender" to
protect the innocent.
Lead singer Debby Harry, re-
viving the sock-hoppy monotone
of countless jilted lovers, dead-
pans the saga of a prostitute who
falls for her arresting officer,
beginning with, against the bar-
est backbone of heart-throbbing
drumbeats, "I saw you stand-
ing on the corner, you looked
all a"ffi0l,
TONIGHT
j t"3CXM ENERGY
}
i
By ALAN UE Lits soul. Get this one now. [611 C4lCH A2 9955985
AMERICA
Harbor (Warner Bros." ""e ee
BSK 3017) +i Li V lV i VI VI LI I VI .i VI i
When you combine aimless
lyrics, dull three-chord progres- TONIGHT is
sions, uninspiring and sloppy STUDENT
musicianship, ndthe former'
producer of the Beatles, you STUDENT ADMISSION ONLY 50c
have one of America's most AT
popular bands - America. SECOND CHANCE
America does represent much
of pop music in our country Appearinq Thru Sunday-
these days - simple, "mel- SWEET THUNDER
low," and easy to digest. Un- 994-354 516 E. IBERTY
doubtedly, the band feels itself' e""
in contention for the Farrah +i4+ ii , +VIV Vi + yV I + +,
Fawcett award for mass ap-
peal. Harbor amply keeps -
America in the running for this
coveted title. Slickly packagedA E M
with full color portraits of Ha-SA LEM
waii (where it was recorded), 1
the album is a testimony to the ITR
secret ingredient to America's THURSDAY APRIL 7
success -- the catchy melody.T RS,
However, even this factor is Sweet Crystal Fri.-Sat.
not enough to save the record -
from being an example of er- Every Thurs., Fri. & Sat.--10 p.m.
satz music. George Martin did Drinks less than .,rp rice
a noble production effort to p
make Harbor reasonably palat- T'S A SURE THING
able, but the material he had'E ITSH
to work with made this task 327 E MICHI
an impossibilitys
There is no use writing about o -o4 o oo
the songs individually, because THE UNIVERSITY DANCERS present:
you've heard all the music be-
fore on America's older albums. -
Maybe your twee - year old
sister w ill like t. -R-EearAldC H
.. April lth ,&ir9thI
at 8:00 P.M.
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11
This is the month!
ANN ARBOR MAY FESTIVAL
FOUR CONCERTS, APRIL 27-30, IN HILL AUDITORIUM
EUGENE ORMANDY & THE PHILADELPHIA ORCHESTRA
GUEST-CONDUCTOR JINDRICH ROHAN & THE FESTIVAL CHORUS
GARY GRAFFMAN, Pianist
NORMAN CAROL, Violinist
JEROME HINES, Basso
MARTINA ARROYO, Soprano
%oan Tewfesbury'
Joan Tewkesbury has worked as an
actress, a dancer, and a theatre direc-
tor. She was script girl on McCABE
AND MRS. MILLER, and is the author
of the screenplays for THIEVES LIKE
US and NASHVILLE. She will discuss
the role of a screenwriter for Altman's
films.
screenwter'
Th ursday n Al .7 1977
During the last four days of this month, Hill Auditorium will be filled with magnificent strains of music as
performers of the highest caliber gather in Ann Ar bor for this 84th annual spring festival. Seats still remain
for all concerts, so purchase tickets now to be certain of hearing your favorite artists and compositions.
-FESTIVAL PRELUDE-
A Cocktail & Dinner Party p receding Wednesday night's concert
Wednesday, April 27
EUGENE ORMANDY,
Conductor
GARY GRAFFMAN, Pianist
All Rachmaninoff:
"The Isle of the Dead"
Piano Concerto No. 2
Symphonic Dances
Thursday, April 28,
EUGENE ORMANDY,
Conductor
NORMAN CAROL, Violinist
Wagner: "Die Meistersinger"
Overture
Bruch: Violin Concerto No. I
Shostakovich: Symphony No. 5
Friday, April 29
JINDRICH ROHAN,
Conductor
JEROME HINES, Basso
THE FESTIVAL CHORUS
Smetana: From Bohemia's
Meadows and Groves
Mussorgsky: Excerpts from
"Bors Godunov"
Boito: Prologue to "Mefistofele"
Saturday, April 30
EUGENE ORMANDY,
Conductor
MARTINA ARROYO, Soprano
Beethoven: Symphony No. 2
Barber: Andromache's Farewell
Verdi: Arias from "La Forza del
destino" and "Macbeth"
Ravel: "Daphme et Chloe"
Suite No. 2
m