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November 17, 1983 - Image 6

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The Michigan Daily, 1983-11-17

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The Michigan Daily

Thursday, November 17, 1983

Page 6

Collins steals the spotlight

Ij 7 ) p - - V"- i 2? n - z (I =0111-11

By Matt Tucker
G ENESIS WAS supposed to play Joe Louis arena
in Detroit Monday night. The band that turned
up, though, was called Phil Collins and Genesis. As
integral a part of the band as Mike Rutherford and
Tony Banks are, Phil Collins stole the spotlight and
upstaged them.
The group (we are talking about three to five
musicians that produce one synchronized sound)
played a two hour and forty minute, non-stop, elec-
trified, close-to-shocking, set that was filled with a
mixture of old and new songs.
From the opening number, "Dodo," to the closing
extravaganza, "Turn it on Again," the group perfor-
med flawlessly. Chester Thompson was amazing on
the drums, and perhaps the highlight of the show was
the drum duet between Thompson and Collins in "Los
Andos." Those who were not (at least a little) im-
pressed by the rest of the show, must have been
somewhat awestruck at the drum battle. Daryl
Struemer was certainly overcompetent as the back-
up guitarist. Now there comes a question of the
group, which does not include Thompson, Struemer

and all the roadies who sang back-up on "Illegal
Alien." Who are all these people surrounding Phil
Collins? Well, contrary to popular belief, this was
not, thank God, a solo performance. Collins, although
he certainly does not realize it, is a member of the
group. He is not a higher being who can escape his
membership by conning the audience with totally
separate personality.
Certainly stories have always been a major part in
the history of Genesis, and there were some good
ones Monday night. There is difference, however,
between acting as part of the group, and acting in a
Bowiesque type of "me first" fashion.
Collins certainly has developed a new personality
that is totally opposite his persona of the early '70s,
but it seems as though he also has developed a new
attitude about the group itself. The message I
received Monday night was, "I'm Phil Collins and
these are my back up musicians." An attitude that
seems to take away from the fact that both Ruther-
ford and Banks are simply amazing at what they do.
Rutherford played the six-string, twelve-string and
bass and did a fantastic job at all of them. Rutherford

also took a shot at the drums, and you could tell that
years of experience had perfected his guitar playing,
by certainly not his drumming ability. Bansk played
his stacks of keyboards effortlessly, although this
does not mean that he was not into the music-he
definitely was. He is such a skilled musician that he
played perfectly on songs like "Second Home By the
Sea" and "Man on the Corner."
Collins himself is a wonderful performer and a
skilled drummer. His voice, not always known to
have the greatest range, was at its best Monday night
and his drumming ability is rivaled only by Thom-
pson's ability.
Genesis proved Monday night that they are cer-
tainly one of the best bands to playing in front of live
audiences today. The music was fantastic, the
lighting spectacular and the musicians seemed to feel
at home with the audience. In the middle of "Turn it
on Again." Collins started to sing "Satisfaction," and
one felt that like Mick Jagger, Phil Collins was now
starting to become more than the band with which he

chilling revelations

Junior high desperados


You're Needed All
Over the Wodd.
Ask Peace Corps Moth volunteers why
their degrees are needed in the class-
rooms of the world's developing norions.
Ask them why ingenuity and flexibility
ore as vital as adopting to a different cul-
ture. They'll tell you their students know
Moth is the key to a solid future. And
they'll tell you thor Peace Corps odds up
to a career experience full of rewards
and accomplishments. Ask them why
Peace Corps is the roughest job you'll
ever love.

By Jim Boyd
in any junior high band or or-
chestra is always the french horn
player. During any exposed section he
or she invariably cracks on one of the
higher notes and proceeds to play
numerous tones below those that are
correct. At the age of 13 this can prove
to be truly traumatic as affec-
tionate peers heckle and guffaw. None

of them understands that the horn is an
incredibly difficult instrument to play.
The maintenance of a certain pitch, in
the upper registers especially, proves
to be a very precarious proposition. The
horn player is a tightrope walker of
As these musicians blossom into or-
chestral maturity, however, they take
on a certain robust recklessness.
Horn masters Barry Tuckwell and
Dale Clevenger, while perhaps not ap-
pearing so outwardly, are the stunt men
of the classical music world. In keeping
with the admittedly questionable
analogy, it must follow that Hermann
Baumann would take the place of Evel
Baumann, who will be appearing this
Friday night in Rackham Auditorium,
is a bona-fide horn virtuoso. He will
play without a safety net (unless a
piano player counts as such), pieces by
Schumann, Richard Strauss,
Beethoven, and Glazunov. The

Beethoven is a piece for the valveless or
"natural" horn that should be excellen-
tly rendered by Baumann.
The pianist with whom he will appear
is Samuel Sanders, an accomplished
musician in his own right. He has ap-
peared at the White House in recital
with such notables as Itzhak Perlman
and Mstislav Rostropovich. He will
present solo works including Brahms'
Intermezzo and Schubert's Hungarian
Baumann devotes his energies en-
tirely to solo playing and has amassed a
vast repertoire of 50 horn concerti that
he performs around the world.
Hermann Baumann will appear with
the confidence of one who does the dif-
ficult, nay the dangerous, but who
knows he does it well. Today men like
this are few and far between but they
give us confidence for the future - a
future spawned in the miseries of
pubescent French Horn players who
can look to Hermann as their leader.

C OOLNESS. A fresh blast of
virgin snow in the face prompts
the instinctive and appropriate
shout of "Shiver me timbers!" And
indeed a definite tremble accom-
panies the awareness of cool; a stare
and a wonder, and a slight shake of
the head which sends flakes of
lightness and brightness floating ef-
fortlessly away.
Some people warm up to the cool
season; others are left cold. But no
one can escape it (even in Tampa).
There is a strange peril reflected in
the bright sheen of the first layer of
frost; a smooth slide into
Thanksgiving necessitates a certain
amount of slickness.
And then there are worshippers of
cool. A whole society of war-
mblooded creatures sniffing around,
hoping to come across a deposit of
cool. cultural cool. Coolness is unlif-


Liberty off State....,
Maple Village.......


This Desk Can Reach Mach 2.

t v

ting, elevating the lukewarm species
to higher orders.
But what is cool, or more poin-
tedly, who are the cool, and why
should anyone bother to admire or
even imitate them? What separates
the cool cats from the mere hot
First off, there is timing. The chill
is not limited to snowtime. The fads
change every season; no one is
satisfied with old cool. One moment,
cool is sliced up sweatshirts that
don't fit; in the next everyone wants
to look like Boy George. Change is
imperative, but coolness should not
be trendy.
Flexibility is important. Cool is
cool if it's drizzling or pouring; you
can get snowed in or barely moist.
Further (and closer), coolness can
stand for something, or it can sit in
with a bag of fritos and a can of bean
There is theelement of grace;
coolness should look easy, even
academic. There are many schools
of cool:
* Dead cool: Charlie Parker, Len-
ny Bruce, Lao-Tzu, Johnny Ace,
Billie Holliday, Clarence Darrow,
Jesus, Admiral Byrd, Eric Satie,
Lotte Lenya.
* Dead celluloid cool: Rod Serlin ,
Bogart, Carole Lombard, Mae
West, Werner Fassbinder, Clark
Gable, Alfred Hitchcock, Ingrid
Bergman, John Wayne.
BeSchool cool (virtually all dead):
James Joyce, Machiavelli,
Mephistopheles, Albert Camus,

Edgar Allen Poe, Macbeth, Oscar
" Living cool: Garbo, George
Carlin, Keith Richards, Marlon
Brando, Bob Dylan in profile, Peter
O'Toole, Jean Peal Belmondo, Miles
Davis, Poison Ivy, Hunter S. Thom-
pson, Clint Eastwood.
* Fictional cool: Zonker Harris,
Goofy, Gil Thorp, Woodstock, Frosty
the Snowman.
How to become cool? Not easy.
Coolness is not something a person
can actively court and acquire like a
set of fashionable clothing. Coolness,
it has been said, is something in-
tangible, inherent, unspoken. I can-
not be cool precisely because I am
not cool. Coolness descends at night
unaware like a pack of cool demons
dancing around sleeping heads, into
the soles of the feet, into the cir-
culation, the inner body, the core.
Morning comes and the quality is
laid there like a sheet of overnight
snow; just there.
For those of us who aren't cool but
appreciate the shiver, it is possible
to try to do and be around cool things
without pretending an absent hip-
ness or attempting the personally
unnatural. There are plenty of op-
portunities and ways; one man's
cool is another's blah. Eat snow. Be
happy, be cheery; don't worry about
it, dummy.
Cool Biz
One order -of current coolness
hangs from the walls of The Univer-
sity Museum of Art in the form of an
excellent exhibit of French wood-
cuts. The exhibition, entitled The
Artistic Revival of the Woodcut in
France: 1850-1900, shows samples of
work by such cool people as Paul
Gauguin, Edvard Munch, August
Lepere, and Felix Vallotton.
The set of over 80 prints spans a
variety of styles, subjects, and
methods, all demonstrating the
power, flexibility, and texture of cut
wood. A companion exhibit, The
Woodcut: History and Technique,
shows the artistic development of
the medium even more .
dramatically. Originally used
almost exclusively to illustrate,
bocks, the woodcut flourished during
the 15th century in the hands of
Albrecht Durer (1471-1528) and other
masters. Samples of Durer's collec-,
tion The Apocalypse, showing events.
that will occur during the coming of
the messiah, reveal a remarkable ,
degree of creativity, imagination,
and general coolness.
Not a wooden show, but surely one r-
to be seen. Not for cool people only.





Some desk jobs are
more exciting than


As a Navy pilot ' e
or flight officer, your
desk can be a sophis-
ticated combination
of supersonic jet air-
craft and advanced electronic equipment.
But you can handle it. Because Navy
flight training gives you the navigation,
aerodynamics and other technical
know-how you need.
In return, Navy aviation demands
something of you as an officer:
Your path to leadership starts with
officer training that's among the most
demanding in the military. It's intensive
leadership and professional schooling
combined with rigorous Navy flight
training. And it's all geared to prepare
you and other college r _ _._
graduates for the 1 NAVY OPPORTUNITY
unique challenge of | P.O. Box 5000, Clifton,
Navy aviation. The l Pleasesendmemore
program is tough but ing a member of the N
rewarding.N First (Plea
One important ^ddre
reward for Navy City st
Age tCollege/Un
officers is decision- +V; _1


making authority.
In the air, and on the
e4 ground, you have
management responsi-
bility from the begin-
ning. And your
responsibility grows
as you gain experience.
No company can give you this kind of
leadership responsibility this fast. And
nothing beats the sheer excitement of
Navy flying.
The salary is exciting, too. Right
away, you'll earn about $18,300 a year.
That's better than the average corpora-
tion will pay you just out of college.
And with regular Navy promotions and
other pay increases, your annual
salary will soar to $31,100 after four
years. That's on top of a full package
of benefits and privileges.
Before you settle down to an earth-
- - _ _ _ bound desk job, reach
Rw 343 for the sky. Reach for
ER the coupon. Find out
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formation about becom- what it takes to be



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