Tuesday, August 9, 1977 Tube talk* By NINA SHISHKOFF T'HE NEW CROP of summer replacements ° on television is a mixed lot. There's some- thing for everyone; a sense of deja vu, nostalgia, the mystery of life, and, of course, Norman Lear. "Szysznyk" is the title of a new Monday night show on CBS, about an ex-marine who be- comes the supervisor of a community center and has to deal with juvenile delinquents, wom- en's libbers, and other phenomena his military training hasn't taught him how to handle. It's a good idea, and it works up to a cer- tain extent, as Szysznyk ("say it Ziznik") stub- bornly tries to cope with his boss, a ferocious black woman (Olivia Cole), an old caretaker run a gas stat (Leonard Barr), and four young street hoods and anything. I (Scott Colomby, Barry Miller, Jarrod Johnson, look like "Mast and Thomas Carter). It works because Ned Beat- decide which i ty, as Szysznyk, and Cole play their roles con- g h vincingly and with warmth. The characte Archie Bunker, THE WHOLE THING breaks down with the maniac, their four kids, who must have been kidnapped from a moronic emp the classroom next to "Welcome Back" Kotter's; first episode, J. they're carbon copies of Washington, Barbarino, to Bobbi Lou's b and the other "Kotter" kids. a restaurant, wi the right light,' TUESDAY AT EIGHT, CBS made one of the antique. J.T. tI most brilliant moves of the season, and brought the boyfriend b back four of the old "Jack Benny" shows. Even turns out to rea for those who never saw it when it was originally said. shown from 1950 to 1964, it will bring back a NORMAN L flood of nostalgia. It's Benny at his best, and with a new con why don't they make 'em like that any more? the adult sit-co and now, as if It takes a lot of money to put a series on cal situation co the air, and a lot of worthy projects get scrap- CBS Fridays, pod because of the lack of imagination of the (Greg Evigan networks. devil's lisping, It seems like the cream of the crud gets into exchanging on, yet it's beyond all comprehension how a show top, as .a hit r like "The Kallikaks" ever got on TV (Wednes- Mickey Rooney days on NBC). Everyone tries posed by Don K It's about a poor Appalachian family who but the whole Chambel r m1usic fest' underw ay tonight THE ANN ARBOR Chamber Beethoven's "Trio, op. 11" Music Celebration opens Duparc's "Chansons" Paul today with a fine selection of Crestons "Saxophone Quartet" music and performers includ- and Jack Marshall's "Goldrush ing soloists from the National Suite". U-M Music School fac- Symphony, Detroit Symphony, ulty members performing in- and members of the U-M Mu- lude: Jerome Jelinek (vello) sic School's faculty and student David Shifrin (clarinet) Donald body. Sinta (saxophone) Ellen Weck- Three concerts are included ler and Nancy Hodge (piano) in the series, including this eve- and Leonard Johnson (tenor). ning's performance of Stravin- The third concert, scheduled sky's "L'histoire du Soldat" for Monday, August 15 includes suite and Schumann's "Fanta- Telemann's "Concerto Trum- sie Stucke, Op. 73. Other per- pet, Oboes and Continuo" and formances are .scheduled for Mozart's "Sonata in B major August 11 and I5. Series tick- fQr Violin and Piano, K.454." ets are available at 10 general Performers include Rafael admission, $6 for students at Druian (violin), Alfio Pignotti the Pendleton Room of the (viola), Jerome Jelinek (cello), Michigan Union. David Shifrin (clarinet), Sara The second concert of the Watkins (oboe) Treva Shifrin series carries the tradition of (oboe) Robert Williams (bas- chamber music from the Ba- soon) Gary Miller (harpsi- roque through the present. The chord) and Theodore Lettvin evening's repertoire includes (piano). TH-E M CHIGANy DA1LY Pine Five THE MhHIAvDIL ,grFv - Recrds i Brie Benny ion, and try to rip off anyone It makes the Beverly Hillbillies" terpiece Theater." It's hard to s orse; the script or the act- rs are J.T. Kallikak, a hillbilly his wife Venus, a cackling sex. daughter Bobbi Lau, and Oscar,- loyee at the gas station. In the T. trys to sell an old "junk car" boyfriend, head chiciken dipper at rho looks like Robert Redford "it " by telling him it's a valuable hinks he's made a killing when uys it, but (you guessed it) it lly be a valuable antique. Enough EAR has once again come up cept for television. First it was rm, then the comedy soap opera, anyone needed it, the first musi- medy. "A Year at the Top," on concerns two young songwriters and Paul Shaffer) whom the and apparently gay, son tricks their souls for a year at the ock group. If that isn't enough, plays the songwriters' uncle. sincerely, and songs are com- irshner, of "Rock Concert" fame, thing is a ridiculous mess. By KURT HARJU THOUGH only a handful have made it, those Canadians who've managed to slip into the American mainstream have created an impact far greater than their numbers. Folk ar- tists like John Mitchell and Gor- don Lightfoot have either trans- formed or perfected the idiom in a way American musicians would have been too self-con- scious to accomplish. Similiar- ly, rock underwent a strong dose of shock therapy when ex- posed to the Band, who put our heritage in perspective, and Neil Young, whose protests were somehow more authentic for being foreign when he spoke out in "Southern Man," On the Beach and "Ohio." But, with the irony and sleight - of - hand he's proven, he's always capable of, Young does not go after this culture or its failures in ' his latest LP, American Stars in Bars, (War- ners Bros. MSK 2261) though the title seems to address itself directly to the topic. INSTEAD, HE DEALS with the life he has made in the States and the success that has befallen him here. For though his roots are in Canada( the "northern Ontario" he missed in "Helpless"), his career and music reflects the extent he's become the artistic property of this country. Once agaain draw- ing a bead on Southern Califor- nia but keeping it on a personal level, Young makes the connec- tion between stars and bars stick. Being a North American hero apparently hasn't been easy for him as his private misfortunes and occasional public rejections indicate. But he's been on a definite upswing the last three LP and, on American Stars 'N Bars, he's reached a new peak -a retrospective selection of 9 songs that offer a strong taste of the future and a firm glance at the past. It's probably precisely be- cause Young changet styles at the flick of a switch that made him decide to alternate old and new material for a public who became sometimes confused by his shifts in emphasis from album to album. Side 1 is Young as he is now, or was, with Crazy Horse this spring. In the opening number, "The ild Country Waltz" he sets the tone with the explanation "I ain't go no excuses/ I just want to play." By the amount of energy such songshas "Hey Babe" and "Bite the Bullet" generate, it seems the more he's a hit with the public, the better he is able to rise to the occasion. Though many reviews have come out in favor of this LP already, few mention how well Young can sing with a female partner. Linda Ronstadt joins him for a couple of the new ones and, with her vocal range, he can let her sing the high parts he usually attempts and concentrate on a fuller and more natural tone as in the wailing "Hold Back The Tears." YOUNG ONCE RECORDED a variety of material with Em- my Lou Harris and one of those takes surfaces on Side 2, from 1974, the haunting bal- lad "Star of Bethlehem" and its quietly - stated revelation: "Maybe. the star of Bethlehem wasn't. a star at all." "Will To Love" is Neil's shin- ing, totally solo spot that echoes such of his work throughout the years but especially the ly- rical approach he took his very first album - the keyboards are almost as perfectly under- stated as they were in "The Old Laughing Lady." If the song shows Young's fighting sirit in a gentle way, then "Like A Hurricane" displays it with all the fire and fury he can mus- ter. The two together are the best 15 minutes and 25 seconds the Young has ever laid side by side. "Homegrown," formerly the title cut of a defunct album, brings back the same off the wall county flavor that the new- er stuff leans towards though it was reworded two years ago, Coming full circle, the album is un unqualified success but it is because he's balanced his musical persona in a manner that discourages criticism of any particular style. By cover- ing all his bases, he's reached a point where probably any- thing he now records will re- ceive the acceptance and at- tention he found, lost and is striving for again. Have o lior ifr aetistic writiaw? I you are Interest- ed to celeatas poi Cry, and aat or writteg eattire starles aborut the drama, dance. Oiat arts: Contact Arts E d i t or. c/o The Micitegan Daly. S S Kin re By SUSAN BARRY IT'S DIRTY WORK for anyone with a feminist consciousness to knock Carole King. What could be more rpfreshing than watching a successful, energetic woman enthusiastically performing mu- sic that, whatever the technical expertise, is at least bringing more recognition to women in the professional world? And the opening set of King's performance at Pine Knob last Thursday night was complete-. ly entertaining. Through technical difficulties; King's voice kept cracking, the piano sounded tinny and there was an inordinate amount of feedback, Carole King just kept on trying. Play- ing nearly every memorable cut from her Tape-. stry album, King piled one hit on top of the other until she had the audience enchanted. WATCHING HER PERFORM is part of the attraction. She bobs her bushy head from side to side and rocks on her piano seat until her enthusiasm is projected to her audience. "Hey you people are neat," grins the subtle King. And the audience bellows back, "we love you The other attractive feature of her perform- ance is her lyrics and bouncing melodies. Even the saddest song has an upbeat rhythm. King performed her torchier compositions such as "So Far Away," "Been So Long," and "It's too Late," as well as such favorites as "Beautiful As You Feel," "Natural Woman," and "Only Love Is Real." From here however, her appeal began to wane. Introducing a band called "Navarro," King explained that they were not merely a backup band. Navarro then proceeded to dom- inate the concert with their soggy lyrics and mediocre musicianship. King played along with them but her contributions were lost. It seems as though lately most folk musicians feel they will lose their commercial appeal un- less they can prove themselves able to perform rock. At the sacrifice of their individuality most of them blend in rather well with large bands. But the effect is definitely not the same. As soon as she became one of the band King's concert became uninteresting. Her last finale, "You've Got a Friend," seemed anti-climatic. The audience left satisfied but far from thrilled.