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. * Research, Writing, Editing * Professional, Fast Two Separate Programs * Any Topic, All Fields Send $1 for Mail Order Catalog or STUDIOVTHEATRE A Write for free information Our services are sold for Research. and Referen.e pUp5Uri+Y , Danc 'uldig THE ACADEMIC Dn B il RESEARCH GROUP, Inc. Donation: $1 0 240 Park.Avenue ( Rutherford, New Jerwsy 07070sUs, Phone (201) 939-0189< < i(>._7t f) ()t-.'_ t- l ' .C t- t_"-- --_ " i yy . T l v 'I I ' V a . ., . . :, .... . ,.,,,. , . , - ' +...;?4 y' : .? .FPM " f ,'.; .,, :: : -F'1 Y. ! ; } (:i F' :ti i i :j f^', ~ ,. iY. l3 P yj . n GU 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