4 ARTS 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 played. chilling revelations Junior high desperados make MATH (MAJORSIMINORSI APTITUDE)._. 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. PEACE CORPS By Jim Boyd THE MOST DESPERATE character 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 oautiful 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 tone. 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 Kneivel. 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 Melody. 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- 7 HAIRCUTTERS r NO WAITING DASCOLA STYLISTS Liberty off State...., Maple Village....... ..668-9329 .761-2733 This Desk Can Reach Mach 2. /i /7___------- 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 dogs? 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 dip. 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 Wilde. " 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. 4 I 41 4 Some desk jobs are more exciting than others. A:). 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: Leadership. 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 INFORMATION CEN unique challenge of | P.O. Box 5000, Clifton, Navy aviation. The l Pleasesendmemore program is tough but ing a member of the N Name rewarding.N First (Plea One important ^ddre reward for Navy City st Age tCollege/Un officers is decision- +V; _1 ell 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 J 07015 |wttotan.smout formation about becom- what it takes to be 4 _y Y TI N in t e0 iG +v w iGPN aval Avi se Print) ation Team. (QA) Last Apt. # ate Zip iversity part of the Naval Aviation Team. You could have a desk that flies at twice the Sspeed of sound. $Year in College +GPA _ Major/Minor hoeNme(Area Codel Best Time to Ca]l IThis is for general recruitment information. You do not have to fursh n of the information requested. Of course, the more w~e . ''- (} Me Roos vN3ERunOn eeep M hg SonaW p p s.C\ 0 :0 ,- - . p NAtS 2 . .., i I