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January 19, 1982 - Image 7

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Publication:
The Michigan Daily, 1982-01-19

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The Michigan Daily-Tuesday, January 19, 1982---Page 7
Festive mood for Folk Festival

imancial
Aid-

Deadline

By Steve Hook
HE WEATHER Saturday night, perseverant folk
review readers, was just about as wicked as the
weather ever gets. Ten below, the temperature was
at showtime; a knifelike gale whipped an endless
cloud of snow, horizontally, up Liberty Street in front
of the Michigan Theater,. The walk across campus,
for the desperate patrons on foot, became a life-or-
death undertaking. Consequently, the atmosphere in
the auditorium was conspicuously festive, as the
thawing 1,600 audience members reveled like sur-
vivors of a near-fatal arctic expedition.,
Happily, the ensuing concert proceeded as
smoothly and pleasurably as any in the festival's
five-year history. All of the artists gave rich, finely,
crafted performances, interacting with the audien-
ce--and each other-with impressive ease.
This spontaneity, this graceful flow, seemed
unlikely at first, given the Michigan's expansive,
foreboding layout. In direct contrast to the living
room setting of the Ark, to which the festival's ample
profits will be going, the Michigan Theater performer
stares into a massive sea of darkness and echoing,
anonymous crowd noises. Confronting a few dozen
admiring fans in a coffeehouse is substantially more
comfortable than 1,600 faceless strangers, but each of
the six acts overcame the spatial differences and
managed to grab the receptive patrons. (Kudos go
out to the folks at Eclipse Jazz, who brought well-
coordinated sound equipment, and thus, sparkling
acoustics, to the festival.)

All right, reviewer, so who made up the evening
bill?
Right. The following artists performed Saturday
night, in this order: Owen McBride, emcee, singer,
and humorist; Joel Mabus, traditional singer, string
instrumentalist; O.J. Anderson, mime,
schizophrenic; Billy Novick and. Guy VanDusen,
acoustic jazz interpreters; (intermission); Tom Pax-
ton, veteran American political songwriter; David
Bromberg, label-less folk-jazz-blues-country-pop in-
terpreter, aspiring violin manufacturer.
The previous reviewer described McBride, Novick
and VanDusen, Anderson, and Bromberg, so I won't
bore you with redundancy. Each of these artists suc-
ceeded with slick, professional appearances,
engaging the audience in each of their sets. McBride,
perhaps, was less enchanting than in previous local
efforts (his timing seemed awkward for some
reason). The intriguing jazz compositions of Novick
and VanDusen, and the outrageous mime techniques
of Anderson (1982 vaudeville in a 1922 vaudeville
house?) were quite entertaining.
Joel Mabus, in my opinion, provided the most
special moments of the festival. Joel is a. husky,
bearded flatpicker, currently residing in East Lan-
sing=(of all places), who unceremoniously took the
stage and launched into a crisp, finely textured
medley of Irish jigs. By many aspiring instrumen-
talists, a session like this would come off limply, but
Mabus' subtle, meticulous technique (and Eclipse's
crystal-clear reproduction) gave the music an
alluring substance. The audience, dead silent
throughout his compositions, responded en-

thusiastically at their conclusions.
Tom Paxton also gave an inspired performance for
the festival and the Ark. He represented the political-
topical element in this billing, an element indispen-
sable in any folk festival. Riding high during the
Reagan years (What a glut'of material!), Paxton
alternated between facetious, at times comic slams
against all-things-conservative, and deadly serious
tributes to ecological preservation, peace on Earth,
and good old common sense. Sarcastic and silly, dark
and profound: an emotional roller coaster. ,
Bromberg came on to play with Paxton (who was
originally a student-accompanist of Bromberg) for a
couple songs, including a pithy version of "Before I
give You the Morning (I'll dive You the Day)."
When Bromberg finally came An, for a set that was
sadly abbreviated because of an insane midnight cur-
few, he invited Paxton to back him up for a few,
Mabus for a few others, and clarinetist Novick for the
finale. Also supporting the prolific Bromberg were
Jeff Wisor and Gene Johnson, on mandolin and fiddle.
The question arises, despite the highly enjoyable
nature of Bromberg's music: Is this folk, music?
Where is the "transferral of culture" that
traditionally accompanies the genre? Nowhere,
that's where. But for lack.of a more adequate um-
brella, Bromberg has'been dubbed a folk musician
(by the folk clubs, at least), and his ambitious in-
strumental diversions come across well in this con-
text, as they did with the Folk Festival crowd Satur-
day.
Really sweet show. Three cheers for the Ark, and
its (welcome and generous) new lease on life.

Applications for Spring/Summer term finan-
Cial aid (grants and work-study) must be re-
ceived in the Office of Financial Aid by.no
later than Wednesday, January 20, 1962

Office Hours
8:15-12:15
1:30-4:00

Address
2011 S.A,B.
763-6600

J

WOMEN'S
WESTERN BOOTS

BY

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CQppola toils to finish

~w ... ..

NEW YORK (AP)-Francis Coppola
watched his latest movie, One From the
Heart at, Radio City Music Hall and
loved it. A middle-aged lady called it
"wonderful, charming," and an elderly
man said the ending "hits you right in
the heart."
But some younger viewers inter-
viewed after Friday night's preview

used words like "terrible" and "the
worst."
So the burning question-will the $23
milion film save Coppola's Zoetrope
Studios or be its swan song?
-remained unanswered as more than
11,000 people packed the hall for two
screenings to see what all the shouting
was about.

Joiffrey' captivates

(Continued from Page 6)
the performers seemed uncomfortable
with the discipline of classical ballet,
which is probably due to a lack of early
Cecchetti training.
The most disappointing choreography
was Threads From a Piece of String, a
* chunk of '30s "Americana" dance to a
jazzy Glenn Miller orchestration. This
was an extremely easy, well-performed
piece, but it came across like a bad
cliche. It is sad that even Joffery has
followed many other dance troupes,

from Piblobous to the Royal Winnipeg
Ballet of Canada into a boring gim-
mickry of American genre dancing. It
was tolerable when Agnes De Mille, the
first to popularize dance, presented us
with Rodeo, but we have been inun-
dated since then. The shocking thing is
that people seem to enjoy this type of
piece, not for its aesthetic value or
message, but for its accessibility.
Still, Joffrey II was well-received at
its first appearance on campus. It is
clear that the members of this corps of
dancers-as soon as their talents fully
develop,-will be snatched up by major,
companies for our future enjoyment.

The shouting erupted into print last
week when the director of "The God-
father" and "Apocalypse Now" ran
newspaper advertisements to announce
the previews without notifying
Paramount Pictures, which had plan-
ned to open the movie in various cities
on Feb. 10.
At a news conference between shows
Friday night, Coppola denied that he
had insulted the.:Paramount executives
personally, but restated that he had
been upset by the "sloppy way"
Paramount had shown an unfinished
version of the film in San Francisco to a
group of West Coast exhibitors, who
reportedly were not impressed.
Coppola also repeated his fears that if
the film isn't a commercial success, he
will lose his studio. "I really have run
out of gas," he said.
But the plump, bearded filmmaker
then turned on an optimistic mood for
the more than 100 reporters gathered to
question him.
He said when he saw the completed
film in London he "felt good about it,"
and after watching it at the sold out
Music Hall, "I personally enjoyed' the
film."
"You may not think it's exciting," he
told one aggressive questioner, "but

Jeart'
maybe somebody else thought it was
exciting ... I think the audience really
loved it. I felt really good when I was
watching the film ... Then I came to
the news conference."
The film, starring Frederick Forrest,
Teri Garr, Raul Julia and Nastassia
Kinski, has been described as "a new
kind of old-fashioned romance."
Paramount had planned to release
the film Feb. 10, but delayed it because
of Friday night's preview, saying it had
not obtained a finished print.
Last Wednesday, Robert Spiotta,
president of Zoetrope Studios in
Hollywood, said Coppola did not want to
show the film first to exhibitors-who
were to bid on rights to show the
film-because of the previous San
Francisco showing.'

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