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October 29, 1982 - Image 15

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The Michigan Daily, 1982-10-29
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By Rob Weisberg
Iggy Pop
Michigan Theatre
8 p.m. October 30
IGGY POP'S gonna stagger back into
town for the first time in a couple of
years when he joins Toronto's Nash the
Slash for a Halloween celebration
tomorrow night at the Michigan
It could be a real sentimental night
for local oldtimers and maybe even the
Ig himself, since it will mark the fif-
teenth anniversary of the first gig of
Iggy's fabled protopunk band the
Stooges. Fifteen years-that means
Iggy's not twenty-one anymore (ac-
tually, he's thirty-five). That doesn't
mean we can't reminisce, though.
Iggy began his lifelong digression-
from reality right here in Ann Arbor. As
a kid, he said at the height of the
Stooges' popularity, he was "a very
unhappy person. A very schizoid person
when I was young. I had a full fantasy
life at all times, and then when I was
about 18 and I was really loony, at the
time I got into a series of tremendous
car accidents, unbelievable ones,
where everybody else got killed and I
never got scratched, and that was the
first time I ever felt anything like
it-like from drugs; such power and
such timelessness."
That must have meant something.
Iggy knew that he and his future Stooge
friends were set apart from the crowd.
They took a lot of abuse from their
rather staid peers at Ann Arbor High
because they were the only ones who
had long hair, among other things-just
goes to show that this town never was
as liberal as everybody thought.
Iggy began bashing the drums when
he was about fourteen, and still known
as Jim Osterburg. He became Iggy Pop
when he joined a band called the Prime
Movers (he called himself Stooge for a
while later before becoming Pop for
good). The name has to do with an old
habit he had-"I used to paint myself
with all kinds of colors, like .I was a

piece of art, but it was a stage I passed
through"-or something.
In the fall of '66 he took off for
Chicago, where he lived the street life
on the south side. He got involved with
the blues and soul scene there for a lit-
tle while, befriended by former Butter-
field Blues Band drummer Sam Lay
and drumming with the likes of Johnny
Young, Walter "Shaky" Horton, and J.
B. Hutto's Hawks. He got tired of what
was going on there pretty soon, though,
and headed back to Ann Arbor in the
spring of '67. That's when he began
playing with a noisy rock and roll band
called the Psychedelic Stooges.
The first Halloween gig that's sup-
posedly being commemorated
tomorrow night was actually just a big
party, but it was the start, and the
Stooges blew out all of their amps so
you know that they were headed in the
right direction. They gradually built up
a following, making their debut at the
now legendary (then it was just a
place) Grande Ballroom in Detroit
early in '68, then playing lots of little
towns around the state where people
thought they were pretty strange and
finally touring around the country.
They built up a decent sized audience
everywhere-big enough to do a couple
of records for Electra, the second of
which was produced by John Cale who
had recently left the equally-legendary
futurist Velvet Underground-but
always were limited to a somewhat
cultish following.
Iggy's actions anticipated those of
any punk idol from Sid Vicious and Stiv
.Bators on down: He damaged himself
regularly, descending on broken
glasses and various other objects and
subjects including members of the
audience who liked to pass around his
body-"the lean, suspicious body of a
young American hoodlum," as
somebody once called it.
- His onstage gyrations would leave
him many a bruise or burn from scrat-
ching himself with the microphone or
wrapping himself up in the mike cord.
The whole thing had a pervading air of
decadent sadomasochistic behavior,
and Iggy loved it.
"The music drives me into a peak
freak," he once said by way of ex-
planation. "I can't feel any Pain or
realize what goes on around me. IM just
feeling the music and when I dive into a
sea of people, it is the feeling of the
music, the mood. Nobody ever knows
how it's going to end up."
The original Stooges-Ron Asheton
on guitar, his brother Scott on drums,


After the gameepage 1
Down on the turf, all they had to do was follow Bo's
instructions. Now that they are in the real world,
most players believe that the same rules apply, and
the lessons they learned still work. Cover photo by
Brian Masck.

V Deep
The latest release frc
Deep, and David Johanse
by ourever vigilant recor


Dead-eye Dick

That's scary

Page 4

There's more fun on the evenings before Halloween
than on trick of treat night itself. Here's a rundown of
parties, madness, and other mayhem for this holiday
Sacred Page 8
It's a bird; it's a pope; it's Superpriest. Christopher
Reeve stars in the fairly innocuous tale of a young
priest clawing his way to the top of the Vatican
pecking order.
Happenings Page 9-12
Your guide to fun times for the coming week in Ann
Arbor. Film capsules, music previews, theater notes,
and bar dates, all listed in a handy-dandy day-by-day
- schedule. Plus a roster of local restaurants.

Vonnegut writes about
Thompson writes about
looking at the same thing.
Center stage
Noted film director R
production of The Rake's
alumnus Mikell Pinkney di
Amen Corner.

Robert Altman: The Rake's Progress

Pop: Aging gracefully

and Dave Alexander on bass-were a
band that didn't have a hell of a lot of
experience when they were together
but got by with Iggy's charisma,
tremendous volume, and occasional
chord changes. They succeeded with
that formula for a couple of years,
breaking up once and reforming with
James Williamson on guitar and Ron
Asheton moving over to bass. That
lineup produced the Stooges' most
commercially successful recording,
Raw Power-the last studio record by
the band.
Thereafter the Stooges were together
from time to time-they didn't break up
for good until '76. By that time Iggy had
,developed a thoroughly antagonistic
rapport with his audiences-on Metallic
Ko, a scratchy record of their last gig,
you can hear the band being pelted by
glasses as Iggy taunts the audience. He
had also developed a smack habit, but
he committed himself to the UCLA
hospital before it was too late.
There he was given encouragement
by David Bowie, his only regular
visitor, who offered to take him along
for his "station to Station" tour if
Iggy'd get his act together. He did, and
he hung out with Bowie in Berlin for the
next three years where he mounted a
pretty successful comeback working
with various different musicians, in-
cluding Bowie.

His first few records as a solo artist,
particularly the Station to Stationish
The Idiot and the rockier Lust for Life
showed a more serious and thoughtful
introspection on the part of Iggy,
although like all of his productions they
stayed firmly on the dark side. He lap-
sed into a self-parody spree for a while,
culminating in last year's fun but
decidedly throwaway "Iggy Pop Par-
ty." Now his sarcasm seems to be get-
ting a little les campy again, as eviden-
ced by his new disc Zombie Birdhouse.
Zombie Birdhouse, released on Chris
Stein's Animal label (Stein also plays
bass on the record) also features a new
sound for Iggy. It's a lot less rock
and roll than most of what he's done, so
it ought to be interesting to see how
Iggy works the new stuff in with his
older staff and how the audience takes
to it.
And of course, it'll be interesting just
to see a part of the legend fifteen years
later-whether or not you like what he's
become. Ah hes, nostalgia: As Iggy did
once say: "It means a lot to me that
something I did was worth something.
It was all replacement for "I love you.'
It all comes to getting laid, anyway.
Dope, whatever. It means a lot to me to
have the curtain open up and see all
those people there. Because . . . the
crowd doesn't love you."


Afternoon Delight Page 13
They may have started with the idea of serving just
yogurt, but Afternoon Delight has turned into an
eating establishment specializing in all sorts of good,
fresh food.


This weeend we celebra
Iggy Pop's Michigan Th
sounds this side of heav
Blegen, and golden notes I
Bloom. Once again, Ann

reasonable, workable solution to the woman for casual sex. deemed dc
Z a ta probleml I have dated approximately 15 dered who
To call casual sex 'rape puts a dif- women here at the University, half of followed ti
ferent light on it. If a female were to them have been sorority women. I think propositior
label her actions as casual sex, she my data therefore is pretty represen- have "ral
would be outcast and condemned for tative of Michigan women. 85% of these had pursu
her values. Unfortunately, society per- women have made rather strong physical cc
To Weekend, mits the male to do so without suggestions-verbally and physically- Perhaps
Your article on date rape in the fourth destroying his reputation. about casual sex to me, before the follow the e
issue of your Weekend magazine, to say Today, calling casual sex "rape" is a possibility of such an encounter ever know what
the least, served as an explosive fuel good alibi, but I don't buy it. Date rape crossed my mind. I've been fed many know how
transforming my sparks on this issue has become a convenient excuse for lines-some with sincerity and others nothing me
into roaring flames. I have had many women who cannot compromise their with intent. Nevertheless, had I acted realize tha
conversations with friends and personal values for the values of on them, I could potentially, by your tise of put
acquaintances concerning this issue, society. Men and women have different definition be charged with rape. Lines are going
however,and I never thought I would reasons for having casual sex. When like: prospectiv(
sethoeverandwIenevheMthug ild those expectations are not fulfilled, the " I'm a virgin, but I'd still like to see The last I
the student newspaper of this highly in- action begins to take on a different how you are in bed. an easy an
tellectual and cultured institution, name-rape. " I'd like to feel you inside me. rape. If a 4
woeulnd tredinttisamsc on- Furthermore, if a woman has casual And conversations like: though, bot
would print this article from such ne- sex, there is only one "acceptable" way Girl: I don't believe we're doing this. to alter th
sided, highly opinionated, and slanted to clear her reputation-that is to call it I just met you tonight. tations of N
viewpoint. rape. Unfortunately, it is the men's Me: Well, shall we stop? dos as well
Perhaps your article should have ad- reputation that suffers from this prac- Girl: No. In summ
dressed the whole problem of sexual tice, but, oh well, somebody has to pay Lines like these could easily have sex, not da
abuse-not just the plight of women. the price and if possible, the lady's resulted in casual sex, and for one
Your article did have many good poin- record should remain unharmed, right? reason or another in a rape charge. As
ts, but unfortunately, because it failed Wrong. Society simply does not yet the editorial article pointed out, there
to address both sides of the problem, it punish the man as it punishes the are instances of casual sex that can be
subsequently failed to provide a
weekend Weekend is edited and managed by students on the Weekend, (313) 763-0379
Vol. i. Issue 6staff of The Michigan Daily at 420 Maynard, Ann Ar- Daily, 764-0552; Circulation
Friday, Octoiber 29, 1982 bor, Michigan, 48109. It appears in the Friday edition tising, 764-0554.
Magazine Editor ..... ......... Richard Campbell of the Daily every week during the University year
Assistant Editor....................Ben Ticho and is available for free at many locations around the Copyright 1982, The Mich
campus and city.


By Jane Carl
Judith Blegen
Hill Auditorium
8:30 October 30
HAILED AS "a candidate for
greatness in the field," by the'
New York Times in her New York
recital debut in 1974, coloratura
soprano Judith Blegen has continued to

amaze audiences at the Metropolitan
Opera House and numerous other
stages around the world with her ex-
traordinary vocal skills.
Born in Missoula, Montana, the
diminutive Blegen began her musical
career as a violinist. Dual majoring in
violin and voice at the Curtis Institute
of Music, Blegen found that during her
last year at Curtis she was only opening
her violin case at lessons. Instead, she
chose to concentrate on singing which
she insists is easier.
Nevertheless, Blegen's violin skills
have been useful to her. The part for a
violin-playing soprano in Help! Help!
The Globolinks! was written by Gian
Carlo Menotti with Blegen in mind..
Commenting on the piece's American
premier, the New Groves Dictionary
said that she '"played the violin

Much in demand as a soloist with or-
chestra, recitalist, and opera diva,
Blegen turns" down about half the
engagements she is offered. She likes to
sing no more than twice a week, and
does not like to be separated from her
husband, Metropolitan Opera Or-
chestra concertmaster Raymond
Blegen also refuses roles she feels
might damage her voice. Excelling at
lighter roles and French opera, she'in-
sists that she will never sing a Traviata
for the simple reason that she has no
desire to do so.
Judith Blegen will appear in recital in
Hill Auditorium on October 30 at 8:30
p.m. under the auspices of the Univer-
sity Musical Society. Tickets are'
available at Burton Tower.

18 Weekend/October 29, 182-J --

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