yARTS
The Michigan Daily Thursday, April 9, 1981 Page 7

* Rick's eats up

Duke Turnatoe

Discover flying
See the airplane on the Diag
Thursday and Friday
Anyone can fly for $20 by taking a Discov-
ery Flight with the Michigan Flyers. If you
are affiliated with the University of Michi-
gan call for information. 994-6208.

d

By DAVID SELDIN
Duke Tumatoe and the All-Star Frogs
are a fun-time bar band, pure and sim-
ple, and they're very good at what they
do. If you like R&B, and you weren't at
Rick's Tuesday night you should be
very upset, because Duke and the
Frogs played an evenings' worth -of
classy, exciting R&B.
The Duke and the Frogs are a very
talented band with a standard line-up
consisting of guitar, bass, drums, and
keyboards. Bassist L. V. Hammond,
who looked like a suburban Nick Lowe,
played simply and skillfully, all the
time fulfilling the bored bassist
stereotype wonderfully. Drummer
Robin Styeele complemented him per-
fectly with precise, energetic, no-frills
*playing. And keyboardist James Mit-
chell Hill was a decd ringer for Booker
T. Jones, both.visually and musically.
a BUT IT WAS the Duke himself who
stole the show. A balding, sly-looking
man, he rolled his eyes, made-faces, did
the splits, and repeatedly yelled,
"Who's crazy?," all to the crowd's
rowdy delight. As if the showmanship
wasn't enough, he could also play.
Sounding like a B. B. King played
through Jimi Hendrix (with a touch of
Andy Gill), he lead the band through
hours of high-energy R&B.
The songs themselves were mostly
classic R&B stuff, with several of the

1

Duke Tumatoe and the All-Star Frogs
got the crowd bopping madly at Rick's
Tuesday night. Pictured at left is the
group's charismatic leader, Duke
Tumatoe.

Duke's own efforts thrown in. One
highlight was a radical version of
"Jonny B. Goode". It was jazzy and
slick, but like everything Else, very
dancable.
The Duke seems to have some kind of
cult following here in town, 'cause this
crowd obviously knew what to expect.
And they weren't disappointed. Duke
yelled and they yelled back, Duke said
"dance" and'they danced. Near the end

of the evening, one rabid fan, drunk and
happy, pulled aside a friend and yelled,
"I've been telling you about the Duke
all week, and now, here he is!" He
laughed, and rolled away towards the
dance floor, bopping and wiggling as he.
went. It felt good just to look at him.
Musically, the band is nothing
unique. They follow in the tradition of
the great R&B Bands of the past - B.
B. King stands out as a particularly

Daily Photo by JOHN HAGEN
large influence on their style. They
haven't made any substantial in-
novations, but they sure play the old
stuff well.
That's what the night was like; a lot
of bopping, wiggling, and shouting.
Duke Tumatoe and the All-Star Frogs
are A + students of Rhythm and Blues.
Rick's was the place to be Tuesday
night. Learn your lesson: you should
have been there.

More than sex in 'Stay As You Are'

By ANDREW BARON
The film Stay As You Are first came
out a few years ago but quickly passed
out of sight, . dismissed by literary
pacesetters, e.g. Playboy Magazine, as
being merely "sensuous". Most
Americans thought it was just another
nonsensical, European skin flick and
shied away from it. Alas, it was cast
upon the already overflowing pile of
films deemed worthless by a set of anal-
retentive, puritanistic values com-
monly associated with the US of A.
Yes, there is nudity in this picture
and perhaps the film has some erotic
tendencies. But there is so much more
to it than the sensuous Natassia "Tess"
Kinski and her rippling flesh. One
might expect Americans to approach
sex and sexuality with a healthy at-
titude, but that is not the case. Sex is
still a "dirty" concept for us, even with
our seemingly liberal exterior.
ALL PAST judgment aside, Stay As
You Are remains an interesting,
thought-provoking work for a number
of reasons. Marcello Mastroianni,
presently one of Italy's leading male
actors, is one of them. Mastroianni
plays an affluent 55-year-old landscape
architect, who lives in Rome but

frequently travels to Florence on
business. On one of these visits he
meets the stunning 20 year old Fran-
cesca (Natassia Kinski). Consequently,
rudimentary alliance starts between
the two which develops into a full
fledged affair.
Shockingly, Mastroianna finds out
from an old friend that Francesca is the
daughter of an old lover of his, and it
becomes entirely possible that she is
also is daughter. This, of course. puts a
stint in their relationship, for she is
unaware of the perhaps incestuous
nature'of their bond. When she does find
out, she is affected severely, and this
adds even more complexity to their in-
terrelation.
The great reward from this film
comes from watching the relationship
between Kinski and Mastroianna
develop. The story of a man going
through mid-life crisis and his young
mistress is hardly a new idea. But this
film offers new insight into the age-old
predicament.
It does not make an objective
statement about "relationships"; what
it does do is provide characters that are
strikingly three-dimensional. Our in-
terest is spurred on by the intricacy of

Kinski and Mastroianna's coupling.
Plot and setting become entirely secon-{
dary.
SUBTLETY IS the greatest asset of.
Stay As You Are. Not so much in terms
of the story, but rather the actors and
the direction. Mastroianni is perfect -
refined and polished, yet full of life.
Kinski is less constrained, but that
reflects the nature of her Lolita-ish
role. The photography possesses a
quiet, almost mundane element, but
deep within' that lies a certain vitality,
which is symbolic of the film as a
whole.
Director Alberto Lattuada has suc-

ceeded in creating a film with a
relaxed, natural quality. Stay As You
Are will not emotionally rip you high
and low, but it will stick with you long
after you leave it. It is not the sort of
movie to view and assimilate because
the emotions it deals with are, in their
natural state, confused and muddled,
and very real.


TMrunni I

Needsa ride
out of town?
Check the 43
classifieds under
transportation


DAILY CLASSIFIEDS

1

(Continued from PagJ 6)

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