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Flash back 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 Theatre. 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, COVER STORY 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. HALLOWEEN V Deep The latest release frc Deep, and David Johanse by ourever vigilant recor BOOKS DISCS 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 weekend. FILM 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. THE LIST 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. THEATER Center stage Noted film director R production of The Rake's alumnus Mikell Pinkney di Amen Corner. MUSIC 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." RESTAURANTS 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. Previews This weeend we celebra Iggy Pop's Michigan Th sounds this side of heav Blegen, and golden notes I Bloom. Once again, Ann everybody. 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. t w Sweet sounds 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 creditably." 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 Gniewek. 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 --