ARTS
C
_ _
Sunday, October 23, 1983
"age"
The Michigan Daily
,"
Stamey goes
in his head to deve
By Larry Dean System." Founded
the Groovegate co
OUND ABOUT this time last year, REM came to the playing of one
Joe's and played an exhiliarating set for a very sparse Wonderful Life, it
house. One special attraction of that show was the inclusion "Never Enters M
of Peter Holsapple, half of the dB's songwriting team "Winter of Love."
Holsapple played a few songs by himself with the acoustic On vinyl, the
guitar, and then joined with REM for, amongst other lessened part of th
collaborations, "Neverland," a rocking cut off the second overshadows the r
dB's album, Repercussion. It was a great and memorable which is, of course,
show, especially being in such intimate quarters. way in and out of t
Chris Stamey is the other half of the dB's-who-write. In my - in unison - enu
opinion, he is the finer half, although Holsapple is not to be coaxes you into the
chastised in any way for being a slouch. It's just that It's A Wonderful I
Stamey's approach is a tad more experimental than his com- dB's as a bypass
patriate's - a bit ballsier. The story is told on his first solo the end, it's a bias
outing, It's a Wonderful Life, and Stamey has decided to For live perform
bring the experience to Joe's tonight. essential chums:
The dB's' specialty is hummable and melodic pop, but with drummer Ted Ly
a warped veneer. Their songs, like "Amplifier" and "Hap- Faye Hunter anc
penstance," gleefully proclaiming the assets of suicide, un- whom play with n
civil disobedience, and self-denial, are some of the best pop The "band," b
tunes being written today. Such is not proper radio fare for playing club date
American airwaves, however, so in due order, they signed but now they hay
with British Albion Records, who released their debut, Stan- Lounge is the sto
ds For deciBels, as well as the afore-mentioned Reper- the effort to see
cussion. For their third and as-yet unreleased LP, the dB's unique show, equa
have finally signed with an American label, Bearsville. the sum of its par
Between Repercussion and Bearsville, Stamey got the idea be garnered by ph
solo
lop this little item called the "Groovegate
d on the principles of a noise gate device,
onnects keyboards and percussion so that
signals the playing of the other. On It's A
s effects can be heard in the title track,
y Mind," "Brush Fire in Hoboken,' and
Groovegate System is an integral :it
he songs; Stamey's songwriting skill often
merits of it when just listening to the music,
, wonderful. Brittle guitar riffs worm their
he mix, stocatto keyboard and drum bursts
nciate the attack, and Stamey's warm voice
e webwork of sound with utter facility. The
Life music isn't so much a far cry from the
of it, or a refocusing onto its integrals; in
ted whole new experience.
mance, Stamey has enlisted the aid of some
Pat Irwin on guitar (late of the Raybeats),
yons (who played on the LP), and bassist
d percussionist Sarah Romweber, both of
ditch Easter's outfit, Let's Active.
ince dubbed It's A Wonderful Life, ws
s on a strictly local status as of last autunin,
ve embarked on a national tour. Joe's Star
p Sunday night, and it would be well worth
Stamey and crew, as it should be quite a
alling perhaps much, much more than even
ts. Joe's is at 109 N. Main, and more info can
honing 665-5637.
The Beaux Arts Trio doesn't play just your ordinary chamber music at Rackham this afternoon.
Trio's music defies norm
PBy Gordon Jay Frost
C HAMBER ENSEMBLES look
very serious in their publicity
photos. This would seem to imply that
there's no room for passion. For-
tunately, in the case of the Beaux Arts
Trio, the image doesn't represent the
players. And although the nature of a
trio, and the music available to one, is
not as overpowering as a symphony's,
it may be argued that their dynamics
are as powerful. In essence, anyone
could stop into Rackham this Sunday
and enjoy this concert - it is accessible,
well executed, and fun.
The Guarneri Quartet may have sell
out crowds, but the Beaux Arts Trio is
almost their musical match right down
to their period instruments. And what
makes these men so good is their
background as able soloists. Menahem
VPressler, for example, began his career
in the United States at 17 by winning the
First Prize in San Francisco's first in-
ternational piano competition.
Following this he acted as a soloist with
orchestras ranging from the Cleveland
to the New York Philharmonic and the
London Philharmonic. Still a soloist,
as well the Trio's pianist, he represen-
ts the spirit of the group - intelligent
and passionate in performance, well
blended sound and awareness of the
other players while maintaining his in-
dividuality.
Isidore Cohen, violinist, began
serious study only after he spent time in
the armed services. He is not the com-
mon "late bloomer." A former member
of the Juilliard String Quartet,
Schneider Quartet and appearances
with the Budapest Quartet, Mostly
Mozart Festival and the Music from
Marlboro, Cohen also makes frequent
solo appearances.
Bernard Greenhouse, cellist, has also
gone a long way since his recital debut
at Town Hall in New York. A student of
Pablo Casals for two years, Casals
wrote of him, "Bernard Greenhouse is
not only a remarkable cellist, but what
I esteem more, a dignified artist."
Frequently soloing and often in the
recording studio, he plays the
"Paganini" Stradivarius cello, dated at
1707.
But the Beaux Arts Trio's credentials
simply don't stop. They are prodigious
workers in the recording studio as well
as fine solo artists with recognized ex-
cellence in the chamber ensemble. To
date they have recorded 38 albums.
They have received the Prix Mondial
du Disque, the Grand Prix du Disque,
the Union. de la Presse Musical Bege
and even the Gramaphone "Record of
the Year" award - all for their recor-
dings.
Although they are not ground
breaking and have remained within the
Haydn/Beethoven/Mozart veign, they
are respected as fine, exact musicians
and interpreters of this repertoire.
Sunday's concert will represent the
more languid side of their work. The
tentative program reads: Mozart's Trio
in G major; Smetana's Trio in G minor;
and Mendelssohn's D-minor Trio.
Thenk god they have left their Haydn
scores at home. In general, this concert
should be an event, of sorts. They are
well received in virtually all places by
all circles. Come to Rackham
Auditorium at 4 p.m. and discover why.
Recordsi
John Hiatt - Riding with the
King (Geffen)
What makes good pop music today?
I'll give you a hint - it's not funny hair-
cuts or leather pants, fashionable
nihilism or chirpy remakes of the
classics. What makes good pop music
today is what always made good pop
music: good songs, solid performances,
and soul. And that's just what you get
from John Hiatt's newest LP, Riding
with the King.
Don't be surprised if you haven't
heard of Hiatt - he probably hasn't
heard of you either. His three records
Slug Line, Two Bit Monsters, and 1981s
All of a Sudden - also filled with good
pop music, and available in cut-out bins
everywhere) have failed to ignite the
public's imagination or garner much
radio airplay.
Hiatt is best known in critical circles
as The American Elvis Costello, a
pigeonholing that works so long as you
don't look too closely. Yes, Hiatt writes
good songs, and yes, he is less-than-
satisfied with the world around him
(read: angry), but there the com-
parison ends. Because, while Costello
may kid about it, circling the mobius
strip of emotional paradigms, Hiatt just
blurts it out: Your love, he says, is like
blood to me.
Co-produced by the Jesus of cool
Nick Lowe, Riding with the King
features the best of everything Hiatt
does well. There's fists-in-the-pocket
rock ("Death by Misadventure," about
Harry the secret service man who bur-
ns his leather shoulder holster and
blows his brains out in a laundromat
dryer), mid-tempo sketches ("Book
Lovrs"- "Chapter Three, I. was
Down on One Knee"), and slow, lovely
ballads ("Your Love is Like Blood,"
"She Loves the Jerk"), as sad as they
are true.
The musical accompaniment, half by
session musicians and half by Lowe's
own Noise To Go, fits the songs like a
tailored silk suit. Hiatt's distinctive
voice wraps around the lyrics and
squeezes them for every nuance of
feeling, be it anger or heartbreak.
It's a sad state of affairs when people
buy records because of the singer's
sunglasses. John Hiatt writes better
songs than almost anyone in the-music
business - songs to hum, songs to dan-
ce to, songs to remember, songs' to
make you feel. Isn't it about time you
took a ride with the King?
- Bradford Parks
Critics wary of 'U' lawyers' winning record
(Continued from Page 1)
sity Roderick Daane said such claims
are ridiculous. The reason the Univer-
sity is the victor in most of its suits is
because the plaintiffs have weak cases.
DAANE SAID he doesn't keep an ac-
tual record of wins and losses.
"We win almost all of (our cases) so I
don't see any use in keeping a tally. We
don't need a scoreboard to look back
on," said Daane.
Charges that the University has more
money to litigate a case are simply not
true, Daane said. The University does
not want to spend the money to try a
case, Daane said, "we want to dispose
of a case as quickly as possible."
"It's the plaintiffs decision to keep it
in court," he said.
BUT OTHER University attorneys
are more upfront about their track
record.
"You don't take a loser to trial, you
tend to settle it," said Ed Goldman, the
University Hospital attorney. "In most
cases we elect to take to litigation we've
done very well. We don't try losers," he
said.
The University evaluates a case and
if there doesn't seem to be a chance of
winning it, they settle out of court, said
Goldman. And if the University thinks
it has done something wrong, it won't
try the case, he added.
ALTHOUGH Daane wouldn't claim to
such practices directly, he did say that
"any lawyer when evaluating a case
has to make judgement on whether its
worth pursuing or not pursuing," he
said.
There have been mistakes. In 1972 a
group of 623 University students sued
successfully over a residency dispute
which eventually reached the Michigan
Supreme Court. The judges ruled for
the students and ordered the University
to review each of their claims and the
University paid $239,000 in tuition
refunds.
In a similar case, the University was
required to change its residency rules
significantly. Future students wound up
paying directly for that loss, as the
regents raised tuition a whopping 25
percent in 1973 to make up for the
revenue to be lost from the change in
residency requirements.
In 1981, the University lost a suit that
it filed with the Michigan Employment
Relations Commissions against teaching
assistants' right to unionize. And in an
unusual case in~1978 the University set-
tled out of court for $3,550 for charges of
printing a student's term paper in a
University publication without per-
mission.
BUT ON THE more common claims,
such as the Reiner case, the University
wins. Often .times the court rules that
the plaintiff's charges against the
University aren't substantial.
In the Reiner case and another suit
involving' a former dental student
whose degree was denied, the Univer-
sity is seeking $70,000 in reimbur-
sement for attorney fees, said Peter
Davis, a local attorney who defended
the University in both cases.
A more recent case in which Davis is
also representing the University in-
volves a former LSA student, Chris
Jaksa, who claims he was unfairly ex-
pelled for allegedly cheating on a
Statistics exam.
Jaksa's attorney Kurt Berggren said
he acknowledges the University's
World Series. It's not as easy as good
guys and bad guys," he said.
Most attorneys say the University's
reputation is not a deterrent, but they
view the institution like any other large
business evaluating each case on its
own merits.
"I'm not deterred by the University's
lawyers in the least," said Jerome
Quinn who is representing a former
Michigan Student Assembly is
accepting applications for
THE MICHIGAN UNION
BOARD OF
REPRESENTATIVES
POSITIONS AVAILABLE: 3 UNDERGRADUATE
Fill our Applications and sign up for interviews in the
MSA Office, 3909 Michigan Union
INTERVIEWS: OCTOBER 27,28
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'You don't take a loser to trial, you tend to
settle it.'
- Ed Goldman
'U' Hospital attorney
reputation, but its winning record'is not
because they're "good guys." b
"State institutions are supported-
courts and that's why the University
tends to win most of its cases," said
Berggren.
"They have a good track record -
kind of like if you have all the .350 hit-
ters and all -the 20-game winners, you
can win the divisions and even the
high school basketball star who
charged that the University conspired
with his high school coaches to recruit
him to the University.
But Quinn said the University's
lawyers are top-quality. "They're as
good as lawyer's I've beaten from
General Motors and Ford and the City
of Detroit. They are in that class,"
Quinn said.
The Alice Lloyd/ Pilot Program Presents
A PANEL DISCUSSION
WAMM IN
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Help New Students or Their Parents
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