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May 24, 1977 - Image 7

Resource type:
Michigan Daily, 1977-05-24

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Tu~esday. May 24, 1977


1Page Seven

1r,,CSiA r r :Mavy 2. 177TH MCHGA DIL P.eSee

0 I



'Ars' season ends

Last Saturday evening, the
Ars Musica's closed its 1976-77
season with a concert at St.
Claire's Temple Beth Emeth.
A local ensemble, the Ars Mu-
sica performs only music com-
posed between 1600 and 1800.
By using period instruments,.
the group successfully captures
the flavor of an eighteenth cen-
tury performance.
The concert revealed both the
strengths and weaknesses of
re-creative performances. The
one thing marring the per-
formances was that due to the
heat, the strings of the vin-
tage instruments were constant-
ly going out of tune.
However, the concert man-
aged to come off in spite of this,

flaw. The program consisted of
Handel's Concerto Grosso Opue
6, No. 4, de Boismortier's Con-
certo in E Minor, and two piec-
es by Telemann, Overture and
Concerto in G Major for viola
and strings. The precision play-
ing of the group produced per-
formances that were steady and
The Telemann concerto high-
lighted the evening, as violist
Robin Wideman's energetic
playing enlivened the music
and engaged the audience.
The performances, in gener-
al, were controlled, but highly
musical and appealing, proving
once again that the Ars Musi-
ca is capable of bringing the
best out of the music they per-

'for real'
(Continued trom Page 5)
from releasing new material of
his own.
These efforts, "Little Girl So
Fine," "Love On The Wrong
Side Of Town," and the zany
"When You Dance," might
have never shown up on a
Springsteen album but they
are put to excellent use here.
Miami Steve Van Zandt, who
co-wrote them with Spring-
steen, is producing and he gives
them a well-defined focus and
VAN ZANDT'S direction is
invaluable. Without it, the As-
bury Jukes may have never
made it this far. He supplies
three of his own originals in
addition to the tunes he co-
wrote with Springsteein. Though
his strings get a little mushy
at times, he knows when the
tune should rock - and South-
side Johnny is more than ready
to let go with, one of his steam-
ing vocals.
That's the real rub I suppose.
Southside Johnny and the .As-
bury Jokes arent your ordi-
nary hardass rock band though
they go out of their way to look
like one. When they're actually
performing or recording, they
sound tight and right - even
tough - looking Johnny's sing-
ing is nearly romantic.
With material as varied and
interesting as this, and guest
appearances by such greats as
the Coasters, the Five Satins
and the Drifters, it would be
hard for this record not to make
its mark.
-Kurt Harju
$5 million worth of gear
NBC used $5-million-worth of
electronic gear in televising
Super Bowl XI at Pasadena,
Calif. The gear included 20
color cameras, five videotape
machines and seven slow-motion
replay and stop-action disks.

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Celluloid Storm

"WHAT I see. in my films is
never what most people
see in them", says Storm de
Hirsch, poet and experimental
film maker, who spoke and
screened three of her films at
the old architecture auditorium,
the initial offering of the Inde-
pendent Cinema Video Series.
de Hirsch started out as a
poet, but says that eventually,
it reached the point where "I
didn't have any words to ac-
commodate what I wanted to
say." Feeling that she needed
a visual medium, de Hirsch
chose film, and her resulting
works are among the most viv-
id and colorfully exotic films I
have ever seen.
The first film screened,
Third Eye Butterfly, utilizes a
split - screen technique. Pro-
jected onto a giant screen
draped across the front of the
auditorium, de Hirsch achieves
a strikingly large 70 millimeter
feeling. At certain points, the
screen is divided up into eight
"mini-screens", and the effect
of the multiple images and
colors is overwhelming.
SOUND IS an integral part
of de Hirsch's films, and she
creates all of her own sounds
and aural effects. In The Tat-
tooed Man, we hear a tabla (an

Indian percussion instrument)
throughout the 35-minute dura-
tion of the film, giving it a flow-
ing movement and extremely
sensual quality. de Hirsch
painstakingly m a t c h e s
the sound with every inch of
film (a process she says is a
"pain in the neck"), so that it
corresponds to every cut- and
intershot movement. -.
Like all experimental or in-
dependent film - makers, de
Hirsch is responsible for the
actual creating of as much of
the film as possible. Her vision
is planned out beforehand, but
is always subject to change. "I
know exactly what I want to
shoot", she explains, "but when
you go out and see a lot of im-
agery that you never expected
you were going to see, you
can't waste it."
de HIRSCH emphasizes that
in viewing her films, it is ab-
solutely up to each individual
to see what he wants to. 'I
don't want to put any labels on
my films," she says. "I never
impose on you; you need to
find what you have to find."
When asked if there were
any film - makers or artists
that she particularly admired,
de Hirscht replied "I can't say
who are my favorites because
there are too many good peo-
See STORM, Page 13

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Baked Flounder Dinner
We make Three Eaa Omlets Delicious Korean Bar-b-a Beef
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* +Monday-Friday, 8-7
Saturday, 9-7
x cSunday, 10-2
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1313 So. University

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COKE 8 pk (limit 1)...12 oz. cans $1.39
LAY'S POTATO CHIPS ..... (LG.) 59c
CHIP DIP (Wilson) . . . . . . . . 39c
May 23 thru May 28, 1977
Hours: Weekdays 8-8, Sunday 6-12

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