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COVER STORY
BOOKS
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Date rape Page 1
It is the most unexpected act of violence for
women. It's hardly discussed, ignored by most men,
yet can be even more traumatic an experience as
rape by a stranger. But, what begins as a casual
meeting with an acquaintance, as shown with the
cover photo by Brian Masck, might lead to a sexual
assault later in the evening.
THEATFP
I
_:uc
Improv
Page 3
From the same company that brought you all those
wonderful guys on the SCTV comedy show as well as
many alumnae from Saturday Night, comes the
National Touring troupe for Second City.
Poetry Page 12
Just because some kinds of literature rhyme
doesn't mean that it is boring. Here's a sampling of
some recent poetry, including one imaginative com-
bination of classic poems and comic books.
RECORDS
Folk tunes Page 13
Bruce Springsteen's latest release, Nebraska, ain't
exactly the kind of thing we've come to expect from
the Boss. But we gave it a listen anyway.
CLASSICS - -
Bohemia Page 14
All the way from the heart of Bohemia, the Prague
Symphony Orchestra performs at Hill Auditorium
Thursday.
RANDS
Cults Page 15
Find out what there is about a Cult Hero that makes
for some of the better music in the area.
MUSIC
Wild woman
Cult
worship..
Page 6
Bonnie Hayes and her Wild Combo come to town
next Tuesday. Some thoughts on her latest album and
a preview of what to expect.
THE LIST
Happenings Page 7-10
Your guide to fun times for the coming week in
Ann Arbor. Film capsules, music previews, theater
Kozderka: Soloist with the Prague Symphony
notes, and bar dates, all listed in a handy, dandy day-
by-day schedule. Plus a roster of local restaurants.
RESTAURANTS
Seva Page 11
If you're not into meat, Seva's the place for you.
There is vegetable fare for everyone, even enough to
please those steak-and-potato fanatics.
.~~ .~~~T h 1.:,...:...............
Muddled
movies
To Weekend:
Campus film regularly gets a bum
rap from just about every media outlet
in this area. Hordes of movie fans show
up at the wrong auiditorium because of
a University Record misprint, or at the
wrong time because the announced at
WCBN can't read the events info
correctly. Cinema Guide refuses to
print the film groups' blurbs unedited
"for lack of space," but finds room for
insipid reviews of such obscure filsm as
Casablance, MASH, and Psycho. Rick
Quackenbush and friends at the Ann
Arbor News are so nearsighted that
they can't see beyond the marquee of
the Michigan Theatre: they rarely
notice that there are also some good
films playing on campus.
But none of these minor calamities
can compare to the damage that one
uninformed, unprofessional Michigan
Daily film critic does. After reading
Christopher Potter's assessment of the
current film scene (Weekend, 10/1/82)
three words suffice to sum up his at-
titude: ignorant and unashamed.
Potter's main point is that film
groups have largely ignored '30s and
'40s Hollywood films outside of what he
calls "Ann Arbor's Golden 40," popular
well-worn titles that play every
semester.
Just one year ago during Septem-
ber/October 1981, one finds that 29
other classics from that era were shown
on campus that aren't on Potter's
list-from VonSternberg's Blond Venus
to Billy Wilder's Double Indemnity,
with plenty of films by Sturges, Capra,
Curtiz, and Lubitsch thrown in. 29 in a
60-day period (not including selections
from "the 40"), hardly constitutes
neglect. Granted, by
January/February 1982, the number of
offbeat Hollywood films shown had
dropped off from 29 to 19 (again, not in-
cluding selections from "the 40").
Neglect? Potter says, "Nobody shows
these films in Ann Arbor anymore.". I
say, "Chris Potter doesn't do his
homework."
Potter concludes his article with a
lament that certain of his favorite films
are lying forever in film vaults. Films
like Pride of the Yankeees, which Pot-
ter may not have noticed played on
campus 6/17/81. Films like The Post-
man Always Rings Twice (1946), which
probably slipped past the well informed
Daily critic when 'it showed 5/15/81.
Sure, that was last year. But I seriously
doubt that either deserves to be dusted
off every 2 or 3 years. Be patient. Cabin
in the Sky will be here-if not this
semester, maybe next. Or the next.
I've saved the best part till last.
Here's the part that really makes Pot-
ter look utterly foolish. Potter fancies
himself a Garbo fan, a fan who's really
brokenhearted about that "You never
see a Garbo film in Ann Arbor
anymore." Potter goes on and on about
it, particularly passionate that Garbo's
greatest work-Queen
Christina-should not be forsaken.
Apparently Potter, blinded by his un-
dying devotion to Garbo, didn't notice
that three Garbo films have played on
campus already this year (1/20/82,
6/2/82, 7/16/82). Or that Queen
Christina comes to campus next mon-
th! Good work Chris.
--Michael Frieson
Ann Arbor FIlm Co-op
Oct. 14
Reggae
To Weekend:
Krell's preview of the Rita Marley
concert in the October 1 Weekend
Magazine was disgusting and in very
poor taste.
The article, questionably entitled
"Reggae lives," dwelled on the death of
Bob (Marley) with lines such as "...
isn't that pushing it, a little, singing
about what killed your husband?" Fur-
thermore, if it wasn't bad jokes about
Bob, it was negative criticism of Rita
without giving her a chance.
Everyone at Hill Auditorium Satur-
day night witnessed Rita Marley
proving Krell's preview wrong. In my
mind and many others, Bob Marley will
live forever. And after seeing Rita,
most will feel the same way about her.
It's a shame a few of us will continue to
dwell on the past.
-TonJones
Oct.3
By Rob Weisberg
W E'VE GOT rock 'n' roll bands in
this town-Non-Fiction, Steve
Nardella's band, Ragnar Kvaran, the
Gene Pool Band-and they're all good.
Bands like The Flexibles and Destroy
All Monsters are pleasant when they're
around. Newer folk like It Play, VVT,
and Euthanasia strive to defy creeping
conservative trends. But there is only
one rock 'n' roll band that brings people
to their feet every time they hit the
stage, and the name of that band is the
Cult Heroes.
The Cult Heroes are hot, and they
know it. They didn't plan it any other
way. They had a gig in Detroit a few
days after the band was formed-with
only a few hours of practice behind
them. Soon they had a manager in Gary
Dimitrie, and a 45 ("The Prince" and
"The Showgirl" backed with "Berlin
Wall"). They have received favorable
reviews from many of the major music
magazines; even Variety praised their
"high decibel drive."
Dimitrie's making sure people know
about them too. Any rock 'n' roll gig in
town is bound to have a few people in at-
tendance with Cult Heroes t-shirts or
buttons. And Dimitrie has booked the
band on several east coast tours to help
establish a national following.
Onstage they look like a band trying
to be stars. In front of stocky and tough-
looking drummer Larry Steele, who
joined the group after the original
drummer, kept fainting, punkishly coif-
fured guitarist James Conway wails out
riffs that contradict his usual
sedateness offstage. Bassist Bradely
Northrup is identifiable by his painted
camouflage pants and dangling head-
band-he was supposedly the first rock
and roll star in Ann Arbor to don those
now-cliched vestiments, for what that's
worth. They all provide support for the
focus of the band, lead singer Hiawatha
Baily. Baily, a rather lanky black man
with straight steel-woolish hair, tries to
keep the audience's attention by
wearing skin-tight suits and snaking to
his impassioned elucidations.
The Cult Heroes' music definitely
follows in the straight-ahead rock 'n'
roll footsteps of the '60s Detroit bands.
Indeed, when they first appeared on the
scene four years ago they were the only
decent band playing in that vein that
wasn't loaded with oldtimers: Bands
like Destroy All Monsters with the
Stooges' Ron Asheton and MC5's Mike
Davis or Sonic Rendezvous Band with
ex-Stooge Scott Asheton and ex-
Rational Scott Morgan (who ironically
has helped write several songs for the
Heroes and recently appeared with
them on stage) were great, but only the
Heroes were young the way rock 'n' roll
stars are meant to be. They parlayed
their youth and energy into a good local
following while beginning to branch out
lyrically and musically, taking care not
to cater specifically to one audience.
"People like to categorize bands,"
notes Baily, anticipating the previous
paragraph. The Heroes don't want to be
easily categorized, partially because,
as Baily says, they "want to be more
than just a cult band." Thus at a Cult
Heroes show you may hear a few songs
and say to yourself, 'oh, that's what
they sound like'-until the gears sud-
denly shift.
Lyrically the same is true-listening
to the post-modernist teenage laments
of their recent single ("American
Story" b/w "Don't Like It") you'd think
they were aiming dead on at the high
school audience. Theprevious single,
though, speaks to a broader contingent.
"You're grandmother could listen to
it," says Steele.
Which brings to mind a question:
What does a person think if he or she
only knows the Heroes through one of
their singles? The band feels that the
listener probably won't have much of
an idea of what the Heroes are about.
"Our singles don't really represent
what we sound like," says Baily. To
help remedy this problem, the Heroes
have decided to release a six-song EP
sometime around Christime.
"To get out of your region you need
something more than just singles,"
says Dimitrie. "Singles had, their day a
few-years ago," adds Northrup. "Now,
unless you're Joan Jett or something
and you're in the top-40 they're not wor-
th it."
The band feels that singles have lost
their appeal and thus aren't being
bought anymore, so even though an EP
involves a much larger investment the
return is likely to be proportionally
larger. Besides, explains Baily, an EP
is "bigger (than a 7"), easier to
package, fits in the racks at the record
store better; you can put more artwork
in it, more songs in it, stick more pic-
tures on the cover . . ."
And give people a better idea of what
you can do. "We'd like it to be primarily
a sampler of what we sound like," says
Northrup.
The record, like the previous two
singles that represent all the band has
recorded, will be released on the
groups' own label. Doing it themselves
reflects both the desire of the group to
work on their own terms as well as the
more practical problem of getting a
deal with a larger label.
"We may eventually have other ban-
ds on the label," adds Baily. Such a
move would be far from unpreceden-
ted-bands from the Beatles to the
Dead Kennedys have had varying
degrees of success in such endeavors.
Record distributors, says Dimitrie,
like the Heroes because "they are very
interested in bands that appear to have
everything together and we've got it
together." Good distribution may make
all the difference: If you'rea band or a
small label, you can't do it by yourself,
but if you work out a deal with someone
like Rough Trade-a label very
familiar both to independent record
dealers and buyers-your record is
bound to appear in every major market
here and possibly even abroad, with an
instant stamp of credibility courtesy of
the distributor's name on the lable.
They'll also get the record to college
and independent radio stations most
likely to make good use of it-they've
got statistics on hand that few bands
have the resources to compile on their
own.
Of course to distribute a record you
have to have music to put on it, and so
far the Heroes have laid down four
demo tracks and should be back in the
studio soon working on two new songs.
The band hasn't decided yet whether to
use an outside producer,-although Baily
says they've talked to a couple. The
band is wary of bringing someone in
because, as Baily says, "we've seen
what producers have done with other
bands. They like to put in a lot of their
own ideas," he says, thereby posing a
threat to the Heroes' proclaimed goal of
sounding the way they want to sound.
On the other hand, as Baily mentions,
"you need someone in between the band
and the engineer" in the studio to insure
that each side knows what the other
wants to do. Baily suggesfs that the
Heroes therefore may bring in someone
as a go-between who won't be a
producer per se.
The band's willingness to take this
big plunge into the market was en-
couraged by the success of their tour of
the east coast and the southeast this
summer. They didn't really make
money-no one does on tour-but they
did make some good impressions.
"They asked us back everywhere,"
says Steele.. They even got the
Eurodisco new wave-chic trendies at
New York's Danceteria on their feet.
"We'd been there the night before and
seen a band play, and people just stood
and watched," says Steele, citing a
common fear-of-the-new phenomena
that afflicts the I
does Ann Arbor
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Then again,
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Wee kend Assistant Editor.................Ben Ticho sity year and is avilable for free at many locations
around the campus and the city.
Vol. I, Issue 4
Friday, October 15. 1982 Weekend is edited and managed by students onW
the staff of The Michigan Daily-at 420 Maynard, Ann Weekend, (313) 763-0379 and 763-0371; Michigan
Magazine Editors ............ Richard Campbell Arbor, Michigan, 48109. It appears in the Friday Daily, 764-0552; Circulation, 764-0558; Display Ad-
Michael Huget edition of the Daily every week during the Univer- vertismg,764-0554.
2 Weekend/October 15, 1982
common fear-of-the-new phenomena
15 Weeke