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September 30, 1983 - Image 5

Resource type:
The Michigan Daily, 1983-09-30

Disclaimer: Computer generated plain text may have errors. Read more about this.

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The Michigan Daily

Friday, September 30, 1983

Page 5

Cooper makes


By C.E. Krell
ONSIDER, if you m
dollars (all in paper
perhaps in coinage). Then,
think about fifty cents. May
think about fifty cents too
here we will throw it into th
the aforementioned four d
what we have here is four
fifty cents.
What are we going to do w
dollars and fifty cents? Fi
give it a shorter name. P
"Fred." Fred is our friend,
demands our attention. T
because we like Fred. Fre
guy. Yay Fred.
To spend Fred foolishly
grave error in judgement
insomuch as there are just n
Freds around. There are a
ways to keep ourselves hap
waste the power of the
following study of Fredolog
have been found, in the past

(well, a lot anyway) appealing.
I know this will be hard, but we are
going to give Fred away for a measley
would, four piece of paper. It's tough, but you can
r money, or do it. Go ahead. Carefully place it in the
if you would, persons hand. It's okay to cry. There.
be you don't Breath deeply. You've done it!
much, but Take the piece of paper, and read it.
1e context of Conceptualize the characters, the num-
ollars. Now bers. "Eclipse Jazz presents Jerome
dollars and Cooper. Saturday, October 1, 9 p.m.
Univesity Club.
vith this four In order to understand any piece of
rst, we will literature, we must place it in the con-
We'll call it text in which it was written, i.e. under
and now he what circumstances was it written, and
hat's okay, when (history). It is also of key im-
d is a great portance (redundant) to select which is
the most importantly keyed part of that
would be a piece of literature. Owing to the fact
on our part, that our minds are intensely analytical,
iot too many we obviously deduce that the most
plethora of salient point in the piece of literature
ppy and not that we are studying are the words
Fred. The "Jerome Cooper."
gy is one to Jerome Cooper will be performing all
, to be most by himself at the U-club. But it is more,

Gwen Guthrie - 'Portrait'
The second Gwen Guthrie album is
produced once again by Sly and Robbie
of Reggae session fame, and it main-
tains the funk-meets-reggae bliss of
her debut. If anything, Portrait is more
interesting and cohesive, not to mention
more funky than its predecessor. Each
side begins with a top-notch Compass
Point funk jam - "Peanut Butter" (on
side one) and "Hopscotch" (on side
two), and continues in a varied, though
always danceable, vein. Of course, the
rhythm section is tremendous, and the
choice of songs makes this a real win-
ner. "Padlock," "Seventh Heaven,"

and a cover of Sly Stone's "Family Af-
fair" are other highlights.
Temptations - 'Surface
Thrills' (Motown)
Even when reunited with former lead
singers Eddie Kendricks and David
Ruffin on last year's Reunion, the
Tempts sounded out of touch. This
record lacks that one's novelty, and ad-
ds to its basic formula. "Love On My
Mind Tonight" stiffed as a single, and
most of the other cuts seem uninspired
and offhanded. Only "The Seeker," a
silly, naive, yet loveable narrativo
about being a veteran of the '60$.
upheavels, redeems this one.
-- Leizer Goldsmith'

Jerome Cooper brings down the house Saturday night at the U-Club.

Bodies never
the same
By Bob King

R ICK'S WASN'T seething with ska-
crazed students Wednesday night;
in fact you might even have found a
table. But it wasn't a weekend, and SLK
wasn't featured. The band was
Changing Bodies, a new-wave foursome
currently based in Detroit, that has
found a new way to mix reggae .and
new-wave music.
Listening to Changing Bodies is like
keeping an open ear at the diag; you
hear some mellow stuff, and then you
get hit with something really wild. Of
course the diag's barrage is never
coherent - Changing Bodies
sometimes is.
Songs like "Curiosity," for example,
begin with a mellow Marleyan rhythm,
which doesn't last long before


or actually promises to be more, than a
man, a chair, a pornographic
magazine, and a rag to clean up with.
Hopefully, Jerome Cooper, per-
cussionist, composer, et al, will create
a pleasing noise. I use noise here in or-
der not to unnecessarily give what he
does a stupid label. Though names like
Roland Kirk, Anthony Braxton, Art En-
semble, Revolutinary Ensemble run
through his past association like so
becoming an Elvis-like bop around.
Then it switches back. Frankly, the
music gets a little confusing, and
almost all the songs flow back and forth
in the same manner.
Their clothing follows the pattern of
their music - as exemplified by China,
their keyboardist-vocalist, who wore a
camoflage toga over black Danskin
tights. China's voice is grabbing,
ranging from the high-pitched vertigo
of Berlin's Terry Nunn to the harsh
monotone recently made human by
Exene Cervanka of X. On stage she
looks like a cross between the girl-next-
door and David Bowie.
The other band members - Tim
Bolong bassist, Skeeto on drums, and
China's husband, Bradd Ryan on guitar
- are all talented, and generate a

much gold leaf, Cooper's music tran-
scends even global distinctions; if one
listens to his records, one hears all or
A challenging method of Fred
spending, then. A man, and a bunch of
things to hit. Or more? I hope this con-
sideration and rumination of four
dollars and fifty cents will really be the
Big (percussive) Bang Theory in
clean, professional sound. Unlike many
Detroit area bands, Changing Bodies
sounds as artistic as it does energetic.
Some songs to look for on their next
stint to Ann Arbor are "Lost on Planet
Earth," an earlier-reggae-ska song that
got the crowd dancing, and "I Sur-
vive," a newer title with a more
sublime influence from the islands.
Both songs have real dance potential
and intriguing lyrics.
The discrepancies of Changing
Bodies makes their sound hard to
categorize, but then this ambiguity is
what made Men At Work the most
popular Australians since kangaroos.
To try to make sense of this disarray,
I'll pass on Tim Bolon's remark that the
major influences on Changing Bodies
are Miles Davis and Spiderman.


Drink and swing at

pub sing

I p
8pm Oct. 29 Crisler Arena


By Deborah Robinson
A ND NOW for something completely
' different - this weekend you can get
drunk at The Ark. Under a big-top on
the front lawn of this Hill St. club,
Guinness Breweries will be co-
sponsoring the first annual Ark Pub
In efforts to emulate the atmosphere
of a British Isles' sing-along, bottled
Guinness Stout, Bass Ale, and Harp
Lager will be featured along with the

musical entertainment.
There will be two groups performing
both Friday and Saturday nights. John
Roberts and Tony Barrand form the
English contingent, and Gerry O'Kane
sings ballads from the Shamrock shore.
Also, Gerry O'Kane is backed up by
three young men from Detroit, who
play in a traditional band called Tanis.
They are Brendan and Terrance
McKinney, on flute and Irish pipes, and
Jim O'Callaghan on bazouki.
Roberts and Barrand are old
acquaintances of Ann Arbor folk

audiences. Having released one entire
album of drinking songs, and included
countless baudelin rants on other discs,
they are a logical pair to be introducing
a new chapter in programming at the
folk coffeehouse.
Though alcohol has been available at
several Ark events, including the Ann
Arbor Folk Festival, the Pub sing will
be a first at their Hill St. location. Dave
Siglin, manager of the coffeehouse,
hopes it will not be the last.
Siglin thinks people will enjoy being
able to have a drink while listening to
this kind of music. Serving alcohol was

brought up last spring during
discussions about the Ark's future. The
club faced possible eviction from the
church-owned and supported building
- one alternative was to move into a
place with a liquor license.
An agreement was reached with the
church, and the Ark did not have to
move. But new ideas were not cast
away, and the new board of directors
came up with the Pub Sing.
Shows will begin at 8 p.m. Tickets are
$5. And don't worry if it's a little cold,
Irish Coffee will also be available.

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k $ F
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On sale September 30 at the
Michigan Union Ticket Office,

San Francisco video festival comes to town

By Byron Bull
F or those of you who think Ann Arbor
is a little "different," think again.
After you sample a little bit of San
Francisco video art, you may think Ann
Arbor is Boringville, U.S.A.
Tonight the Performance Network
begins its fall season with some par-
ticularly interesting fare, the first
midwest showing of the 1982 San Fran-
cisco Video Festival Traveling Show.
San Francisco is one of the country's
leading centers of video experimentation
and the annual festival, one of the coun-

try's first, is an important showcase for
this most recent but rapidly developing
art form.
The Performance Network's selec-
tion of eight pieces from the show is
meant to be a representative show case
of the varying stylistic aproaches to the
medium and the technical and aesthetic
grounds that are being borken. Witty
and unconventional, they are often am-
biguous but always compelling.
N, a tape by Cuban Tony Labat, is a
challenging series of flowing images.
At times mystical, then brutally harsh
and then just as quickly quiet and tender,
they are a personal and idiosyncratic

commentary of American culture
through the eyes of an immigrant. N is
a complex and multi-layered piece not
easily forgotten.
More approachable is Jason
Danielson's electronically animated
political cartoon called Get That
Strike! The title itself is a sly pun and
the film a short commentary, reducing
the political strife in Poland to a fast,
painfully hilarious video game. The
tape is pointed satire at its streamlined
Most likeable of the pieces is a

tongue-in-cheek documentary by Ilene
Segalove titled What IsBusiness? Here
Segalove attempts to dissect not so
much the nature of business as our
many different attitudes about
business. She wonders what happened
to her own generation, when "MBA's
replaced LSD." "Business is something
you get into to get out of..." is the an-
swer she gets from the man on the
street. Corporate presidents offer one
view, a dress-for-success clothing mer-
chant another, and an old retired black
See SAN, Page 6

CTC Outlets.


C 4: J48



October 20
Hill Auditorium
Tickets are $9.50 and
$8.50. Available at the
Michigan Union Ticket
Office and all CTC Outlets.
Call 763-2071. A Major
Events Presentation.
Some proceeds from this
concert will benefit


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- -
Advice t

CIDER (1/2 gal.). . . . . . ..
DANNON (pints)...........
1/2% MILK (gal.)...... .
LETTUCE (Iceburg)....... .
LEAF WHOPPERS (13 oz.)..
TRISCUITS (13 oz.)..... .
SURFINE TUNA (6 1/2 oz.). .
HOFFMAN SODA (1/z liter).

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Costs YOL
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