ARTS
The Michigan Daily Thursday, March 15, 1984 Page 5

PSN picks favorite
colors, vegetables

T -Bone a cut

above

T STARTED when my housemate
Itold me that I use too much shaving
cream when I shave. And I thought, Is
this all there is, is there nothing
more? And what of the "important
things in life"?
Well, what about them? Do we need
a code to keep us straight? Perhaps,
but do we need to stay straight to keep
from becoming crooked? What makes
jello shiver, and need we follow?
Not the men/women of spine. The
Progressive Student Network (PSN)
has gone back to the backbone,
whatever your opinion of recent ac-
tions. Members may go limp as
they're dragged away, but they are
stone solid when necessary.
Yet these are people, not machismo
machines. How does the spine connect
with the more distal features, the

everyday decisions of Froot Loops or
wheat germ, the rounded parts?
Enter Lee Winkelman, a generous
soul with a broad view and kinky hair,
and Kati Tawle, an amiable
sophomore from Tennessee and the
AC. There is always more than meets
the iris (thankfully), and headlines
don't tell the whole story. Lee and
Kati are not necessarily typical of
-PSN (or anything else), but they
exist, and this is a piece of a story
(theirs, presumably).
What is your favorite color?
Winkelman: Red.
Towle: Purple, but I tend towards
blue tones.
Which do you prefer, Hart or Hart-
.ipence?
Lee: Hartpence; it seems more
authentic, less manufactured. I don't
trust him, he reminds me a lot of Car-
ter. He has this image of new ideas,
but he avoids all the difficult
questions. The media image is that
the youth are all behind him; I just
don't see him as all that idealistic. It's
a manufactured situation, just like his
name is manufactured.
Do you worry about the (your)
future? What's the value of futile
struggle?
Kati: We create the future - we
work with the present and see what
comes.
Lee: There is a value in futile
struggle. One of the problems in the
60s was that they were so future-
oriented, and when changes didn't
come about, they got really
frustrated. The process is an impor-
tant as the goals. The important
thing is to be fighting the good fight.
K: Right now we can fight military
research, but that's working toward
the goal of creating a non-military
society.
W:, Even if we knew we were going
to fail, we'd still be doing it. (InbPSN
itself), we fail, like all people, but we
try to be non-sexist, non-violent, non-

hierarchical, and directly par-
ticipatory.
K: We're trying to create a
microcosm of how we'd like the world
to be.
Do you like Wagner?
L: If Nietzsche didn't like Wagner,
that's good enough for me.
What about opera, in general?
W: I like Italian opera.
K: I like singing opera with my
father...
What are your professional goals?
Are they threatened by your PSN ac-
tivities?
K: My goal is not to be professional
anything.
L: Anything professional that being
in PSN would prevent me from being
in, I wouldn't want to be in anyway.
(Whew). The difference for me is the
difference between The Big Chill and
Return of the Secaucus Seven. In ...
Seven, they've changed (since the
60s), but they've kept their values,
and they're working for social change
in different, maybe more adult, ways.
Pet Peeves?
T: Huge crumbs in the toaster.
W: Oh, did I do that? . . . When
people accuse us of being 60s
throwbacks, and use that as an excuse
not to see what we're doing.
T: People telling me that my in-
volvement in PSN is just a phase.
Things you hate most about the
Press?
L: The pretense of objectivity; it
excuses the press from taking a stand.
It pretends that "the stand of no
stand" is a factually true position.
K: Taking a definite stand either
way is better than being wishy-washy.
Favorite Woody Allen film?
W: My favorite is probably Stardust
Memories
T: Mine is Take the Money & Run,
only because that's the first one I saw.
Favorite vegetable?
K: Carrots.
L: Kati likes or dislikes foods ac-
cording to texture. I appreciate all
veggies for their intrinsic and in-
dividual values.
T Bone Burnett?
L: I like him, but he's never as good
as I expect him to be. I liked when he
sang the Dolly Parton song.
Regular exercise?
W: Running from the police? Run-
ning around campus, postering; run-
ning to meetings.
Do you like donuts?
K: Washtenaw Dairy Donuts, sold
in the fishbowl at PSN bakesales.
W: I like plain and peanut, and I
only like them with milk.
Country music?
K: I lived with country music too
much, but every once in awhile I can
appreciate it.
L: Kati met Hank Williams Jr. at
Waylon Jennings and Jesse Coulter's
house. I like country music - the sap-
pier the better. Except for the bland
pop sell out kind, like Ron
Milquetoast.
Eat meat?
K: No.
L: I'm a vegetarian who considers
corned beef a vegetable.
Any James Taylor albums?
W: Yes, one, but I don't listen to it.

By Joe Kraus
INGREDIENTS: one acoustic guitar (with
or without pickup), and one folksinger.
Directions: cook until well done.
Note: If you are expecting a crowd, you
may want to double the recipe.
Comments: Tuesday night's offering of T-
Bone Burnett with Dick Seigel opening was
certainly well done.
T-Bone is something of a rare bird. He is a
"rock 'n roll star," if you stretch the
definition so as not to hurt his marketability
which is based on folk and folk-rock
traditions. His lyrics are articulate in an era
that asks only for sylables to cover its guitar
licks.
On stage Burnett is relaxed, but at the same
time very sharp. He kept up a stage patter
that would have left many a prepared
comedian in the dust, and the rapport
established with the audience was amazing.
Whenever he asked them to, they sang along.
Whenever he checked his set list, they called
out suggestions and twice he left the stage to.
shake hands and sign casts on the Second
Chance upper balcony.
T-Bone seemed to enjoy himself immen-
sely, as he performed a set of mostly
originals, but including a surprising number
of covers. He demanded so much of his guitar
on the Rolling Stone's "Not Fade Away" that
he broke two strings at once.

The audience didn't ask but demanded
more. It took fully five minutes to get T-Bone
The concert was a rare event. T-Bone has
spent almost his entire career as a band
musician, and this current solo tour is
something of an experiment.
"You know there's a reason that shows are
sponsored by Miller beer and stuff these
days," T-Bone said. "It just takes a million
bucks to get a (band) show on the road. It's
hard to come up with that kind of money. One
of the reasons I started playing rock and roll
in the first place was that I didn't want to go to
work for the corporations."
Opening act Dick Seigel made a triumphant
return to the stage for the first time since Oc-
tober of '82 when he disbanded the highly
popular band, Dick Seigel and the Ministers
of Melody.
Reportedly Seigel broke up the band so that
he could spend more time working on his
songwriting. While he performed a full half
dozen of his new songs, it was the older
material that shone brightest. "When the
Sumac is on Fire" and "What Would Brando
Do?" show just how talented a writer Seigel
is.
While the whole of his show was enter-
taining, Seigel was at his best when he stuck
with his straight acoustic guitar work.
Toward the end of his set, he sang a few songs
a capella and another to a prepared recor-
ding: all these were good songs, but certainly
not as strong as the simpler "folkier" ones.

T-Bone gets the meat out at Second Chance Tuesday night.
back on stage and then almost another ten for
him to restring his guitar. But the wait was
worth it, as he played a medley of audience
requests for over twenty minutes.


-6

Berry: That old time Rock and Roll?

By Joe Hoppe
W ATCHING Chuck Berry on
television, you know he hasn't
weathered the rock and roll life all that
well. Still, at least he isn't dead, or gone
country, or even gospel. Watching the
Godfather of Rock and Roll on a Satur-
day afternoon rock show, or on one of
the late night programs, you see that he
at least plays the same music. And at
times, there is that old energy that he
used to have, just like in the old film
clips.
Chuck was rockin'a few weeks ago,
on the Monday of spring break, when
they aired that rock and roll tribute. He
came live out of the old film, matching
the energy note for note, burning up the
L.A. audience with those first great
licks of "Roll Over, Beethoven." It was
exciting. Then about midway through,
our man got tired, slowed down, forgot
the words and almost but not quite
threw his hands up in the air, stopped,
and left. But there was that beginning
riff, sparkle, brief and shining moment.
Just enough to get one really won-
dering. What would Chuck Berry be like
reallylive?
I was lucky enough to accompany a
friend having a birthday and some of
his housemates, and his parents, who
wer graciously funding this whole ex-
pedition, out to actually see old Chuck
Berry, Rock and Roll legend.
The Premier Club in Sterling
Heights is a big mall-looking thing set
in an asphalt pasture alongside one of
those suburban Detroit miracle miles
that runs for miles and miles and town-
ships and towsi. From the outside,
the place has the grace of a converted
K-Mart. There is valet parking (that
should tell you something). There is
also a big Marquee at this Premier
Center horrible suburbia place. After
Chuck, great acts like Mitzi Gaynor,
Frank Sinatra, and even Mr. Las Vegas
himself,Wayne Newton, are going to be
at the Premier. Yow.
Inside the Castle Premier, we
couldn't help but whistle a little of
"Viva Las Vegas," because that's what
the whole place is exactly like.
"Beautiful roses, only a dollar, get one
for the ladies," valet bathrooms, leggy
humoristic nature of the composer.
Variaciones Concertantes for Cham-
ber Orchestra by Alberto ' Ginastera,
will make use of thirty-two players in a
highly virtuosic display of solo and or-
chestral textures. The program will;
also feature a wind quartet, Cuartetol
Galante, by the virtually unknown.
Tudor Saveanu. "We were interested in,
getting some music from Argentina:
new ,music," says Bernal. "I think,
(Saveanu) is very talented from what I
see in this work."
The, Rackham Assembly Hall per-
formance begins at 8 p.m. Admission is
free.

cocktail waitresses in black short shor-
ts and uniform blonde hair, snack
trays, fiber optic fountain lamps
hanging from the ceiling, all done up in
maroon and purple, lights, draperies,
carpet, looking, I suppose, "luxurious."
Viva Las Vegas, up in Sterling Heights.
The Premier is just a huge tiered
restaurant. It doesn't even have a dan-
ce floor, just a stage at one end and
many, many tables. One is expected to
stay at these tables, like ladies and gen-
tlemen. No dancing. Later, one poor
guy, rockin type of individual, fat and
drunk, couldn't help but get on his feet.
Chuck launches lazily into "Round and
Round" and our man can't keep from
getting up and dancin' Three ushers
immediately swooped down and set him
back in his seat. Rock and roll and its
disruptive influences. "Chuck should
not be playing in a place like this," we
all said. The room didn't rock.
Now Chuck Berry has this bad habit
of traveling solo, and picking up bands
along the way. Seems reasonable on the
surface. Hey, everybody knows how to
play those Chuck Berry songs, even the
guys in South Quad. But old Chuck sure
could have been more selective about
his back-ups. Boogie Bob and his band
were the ones at the Premier. Real
lackluster, real boring.
And finally, Mr. Berry himself. ,The,
thing about Chuck Berry songs' are
their great intros. That big, jangling
adrenalin, rushing rock and roll smack
that prepares the listener for something
heavy duty. Well, old Chuck Berry, he
plays the notes, and they fall where
they are supposed to, but it's slow, and,
the energy is just not there. Well,
"that's sad," we all said, but at least it
is Chuck Berry and he is playing his
wonderful old Chuck Berry songs.
But Chuck Berry wouldn't even play
full songs. Play a couple of bored chor-
ds (and not even too-cool bored, we're
talking ennui here), maybe a verse,
maybe a chorus and then like "Roll
Over, Beethoven," on prime time TV,
the words get forgot. Or our man
doesn't care enough to go any further.
After two verses of "Maybellene" he'll
do a chorus of "Brown Eyed Handsome
Man," get bogged down when he tried
to remember the verse-words, and go
off into an uninspired solo or even turn
things over to Boogie Bob's guitarist.
Even the Chuck-walk duck-walk
couldn't save it.

Chuck Berry did know exactly what
he was doing, though. How he could live
with just walking through performan-
ces is another thing. But he knew. Fir-
stly, the audience didn't expect a whole
lot. They let him get away with his
apathy. Chuck Berry got by with this
audience by giving them a ten-minute,
slightly suggestive, call and response
version of his all time worst hit, "Ding-
a-ling."
Secondly, there would be a remark
here and there that would let you know
he knew the score. Like when Berry
made a big deal out of the fairly
adequate guitar playing of the guy in
Boogie Bob's band. It was sarcasm.
"Play the blues, white boy," said
Chuck. The white boy tried. "He don't
know where all that stuff comes from."
Thirdly, on the last song, Mr. Berry
started yelling for couples to come up

and dance on the stage. Some did, then
more did, then the fascist security
guards got antsy and tried to secure the
stage. But more people came. The Bir-
thday Boy and I got up there. Anybody
who really wanted to could have. So
there they were, the people who were
really into what was happening; up on
the stage. And Chuck rocked, just for
us. The curtain went down for a while,
and it was just Chuck and fifty people.
And it was finally loud, and finally ex-
citing, and Chuck Berry was even en-
thusiastic. For about five minutes.
The whole show lasted a little over an.
hour. Berry is probably capable of a lot
better. He just might not see the need.
The main reason he was there, we
figured out on the ride home, was that
it's getting pretty close to tax-time, and
Chuck would like to be able to pay his.
Money.

ANN ARBOR CIVIC THEATRE
AUDITIONS
FOR
"HELLO DOLLY"
" March 16 - 7 p.m. Movement and Song
(Bring prepared song)
* March 18 - 2 p.m. Callbacks
At AACT Building, 338 S. Main
For Info coll662-7282
Judith Dow will be appearing in the role of Dolly

 Latin American classics

STUDENT DISCOUNTS
ot
BICYCLE JIM'S PUB
10% off
All
Food and Beverage
1/2 price
Beer by the glass
Every night after 8:00 p.m.
OPEN: SUN. - MON. TILL 10:00 p.m.
TUES. - SAT. 11:00 p.m.

By Andrea Ratuski

H ISPANIC composers appear
sporadically on classical
programs, but rarely is Ann Arbor
treated, with an evening of music
devoted exclusively to composers of
Latin America. Tonight, the School of
Music and the International Center will
sponsor "Latin American Camerata"
in a concert presenting music by Villa-
Lobos (Brazil), Ginastera (Argentina),
Revueltas (Mexico) and Saveanu
(Argentina).
The orchestra, formed especially for
this concert, is comprised of School of
Music students, under the direction of
Sergio Bernal, a graduate student in
conducting. Bernal describes the mem-
bers as "people with an interest in lear-
ning and performing and sharing a lit-
tle bit of Latin American music."
A native of Columbia, Bernal has
more than a dilettante interest in Latin
American folk music. He has perfor-
med Columbian folk songs in various
Ann Arbor locales and is a member of
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5~th A~t oftab"y 761.9700
DlAILY 1 .0P.M. SHOWS MON. TH.RUIFRI.

Conjunto Hispanico, an ensemble that
performs Latin American folk music as
well as Spanish music from the Middle
Ages and Renaissance. Bernal is also a
violinist with the University's Philhar-
monic Orchestra.
A great deal of Latin American music
is "written very much in the folk
idiom," according to Bernal. The
Choros No. 7 by Heitor Villa-Lobos is
modelled on a form of street playing
popular in Brazil during Carnival time,
in which amateur musicians improvise
independent melodies simultaneously.
In this case a septet of woodwinds and
strings with added tam-tan indicate this
form of activity with folk-like effects
and Brazilian rhythms.
Silvestre Revueltas captures the
popular music style of Mexico with a
hoc instrumental group including pic-
colo, three clarinets, muted horn and
trumpet, timpani and violin. The title,
Toccata (without a Fugue), reflects the

S. University at Forest

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