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The look of
our leaders

TO catch
a thief
Steve Goodman & 0. ). Anderson
Office of Major Events
Lydia Mendelssohn Theater
8 p.m., Saturday, March 31
By Joseph Kraus
G L OOK SHARP, Watson, the
criminal always returns to the
scene of the crime.
"We are looking for a thief; a master
thief. After all, a folk festival is not an
easy thing to walk away with."
A folk festival is certainly not an easy
thing to walk away with, but Steve Good-
man managed to do it.
There were no A.P.B.s posted for his
arrest, and no trial dates set, but he's as
guilty as they come. At the seventh an-
nual folk festival (this year's)
Goodman's performance was so
energized that when he left the stage af-
ter an encore demanded by close to two
thousand folk music enthusiasts, many
of those same two thousand left with
him, even though featured headliner
David Bromberg was yet to come.
Despite his being one of the country's
finest musicians in any genre, Brom-
berg was hard pressed to keep the
audience happy after the Goodman per-
formance. (Don't feel too sorry for him,
he came on like the superstar he is in
the evening show).
Goodman is better known as a
songwriter than as a performer,
although he is a master at both. His
"City of New Orleans" was made into a
Have a
Wiston
George Winston
Detroit Institute of Arts Auditorium
8 p.m., Thursday, April 6
By Byron L. Bull
GEORGE WINSTON'S solo perform-
ance this Thursday will mark
something of a homecoming for this
Michigan-born pianist/comiposer, who
has in the last four years garnered both
wide critical acclaim and a substantial
following.
Since 1986, Winston has been recor-
ding for the Winham Hill label, a West
coast sanctuary for contemporary
composers and performers whose
roster also includes guitarist William
Ackerman, synthesizer composer Mark

major hit by Arlo Guthrie in 1972. The
song's refrain, Good Morning,
America has since been adopted as
the name of a weekly television
program.
In 1975, David Allan Coe had a major
country hit with, "You Never Even
Called Me By My Name," a song that
Goodman and his close friend John
Prine co-authored.
In addition to the hits, Goodman
songs have been recorled by a full
lineup of genuine superstars. Johnny
Cash, Judy Collins, Gene Chandler,
Joan Baez, Jimmy Buffet and John
Denver, along with many others, have
made use of Goodman's writing.
But one of Goodman's greatest
strengths is his ability to absolutely
captivate an audience. The folk festival
was just one example. His shows are
characterized by high energy, frequent
humor and heavy doses of applause.
Originally signed by the small Bud-
dah Records label, Goodman went on to
record five albums for Asylum, before
being dropped in 1981 as one of the vic-
tims of folk music's un-commerciality.
Goodman certainly hasn't let it get
him down. Many of his newer songs
seem lighthearted and witty and his
albums have been selling well on in-
dependent labels.
Some of his more recent tunes include
"Watching Joey .Glow," the tale of a
"post-nuclear holocaust family, and
his tribute to those ever-loving Chicago
Cubs, "The Dying Cub Fan's Last
Request" the refrain of which asks the
question, Do they still play the
blues in Chicago?
One of Goodman's accomplices at the
folk festival is also accompanying him
on his return. O.J. Anderson, the "good
time mime" and this year's emcee for
the folk festival, is the opening act.
Anderson is an Ann Arbor resident,
but he tours nationally. It's difficult to
say exactly what it is that Anderson
does. He is certainly a mime, but he's
not above occasionally cheating and
speaking a line or two.
His skits usually involve audience
Isham, and the Shadowflax ensemble.
Characteristic of their- artists, Win-
ston's recordings for them are warm
evocative pieces that are both beautiful
and lulling while still contemplative.
His work is very modern in design,
while thankfully avoiding the coldness
of avant gardism.
Though frequently mislabled a jazz
artist, Winston's musical dialect is a
thoroughly eclectic one, encompassing
not only jazz but classical, folk, blues,
even hints of pop. He writes in an open,
free-form style that is highly in-
dividualistic, using sporadic shades of
one or another style only to add color to
a passage. He shifts suddenly from a
slow blues saunter to an elegant roman-
tic flourish, often with startling effec-
tiveness.
Because style does superficially
sound improvisational, he has often
been compared to Keith Jarrett, though
the two have little in common. While
Jarret is firmly rooted in an esoteric
style full of recondite trappings, Win-
ston's writing is sensual, emotive in
style. He forsakes self-congratulatory
virtuostic frills to concentrate on subtle
arrangements. Much of his work has a
stirring pastorale charm to it, similar
to the mood of Copland's gentler work.
Working in an expressionistic vein,
see WINSTON, Page 27

By Barb Schiele
THE ACADEMICS of executive
fashion . . . President Harold
Shapiro gets the big A+. I mean, why
not? The tailored sport jackets are
always well-coordinated with a conser-
vative oxford button-down and mat-
ching tie. According to associates, "He
(Shapiro) always looks good;" "Con-
servative, but elegant;" "Spiffy" .
These phrases describe the height of
fashion displayed by the University's
head honcho.
On the less fashionable side, Vice
President for Academic Affairs and
Provost Billy Frye, whose occupational
talents exceed his clothes-coordination
skills, was claimed by co-workers to be
the type of dresser who "wears clothes
only because it's socially conventional
to cover his body."
Dressed as mild-mannered executive
officers, those big wigs at the top of the
University's hierarchical ladder are,
all, in their own way, GQ material. The
president and various vice presidents
reveal only a bit of this potential with

seasonal and business calenders as well
as to personal moods.
Richard "Leprechaun" Kennedy,
Vice President of State Relations and
Secretary of the University, is the
cream of the crop when it comes to
dress. According to one colleague, this
"passive preppy" dresses in a
traditional sense. His average attire in-
cludes a solid-colored oxford shirt, a
solid blazer (brown or blue, please)
along with a tastefully striped Pierre
Cardin tie. Kennedy gives subtle dress
cues to indicate the mood for the day.
Keith Molin, Kennedy's assistant,
commented on the three Dick Ken-
nedys: (1) The white shirt with a suit
and shined shoes means that debate has
ended and decisions have been made;
(2) the unbuttoned jacket means that
the question should be reconsidered
and; (3) the tan slacks with the jacket
off means that everything's o.k. Ob-
viously, Kennedy's "conduct and attire
reflect his approach."
For President Shapiro, attire reflects
his upbringing and habit. Shapiro's
renowned personal dress code stems
from his prep school background. He
always "looks good" because he was
brought up to look well put together. As
one secretary put it, "he looks like a
president. "
Dr. Alfred Sussman, Interim Vice
President of Graduate Studies and
Research, wears outfits that reflect his
mood. His sometimes corporate look
and sometimes "professor-like ap-
pearance" show that this executive of-
ficer knows fashion. In fact, according
to secretaries, he prides himself "on set-
ting the sartorial standards for his staff
at the graduate school."
Vice President for Development and
University Relations, Jon Cosovich
falls into the "appropriately dressed"
category. The blues and greys of sports
jackets and suits strictly reflect the
business calender.
In the "not-so-flamboyantly-dressed"
position comes Vice President and
Chief Financial Officer, James
Brinkerhoff. One colleague described him
as detached from his clothes-they
reflect his mood, or much else, for that
matter. Brinkerhoff thrives primarily
on the old maize 'n blue striped tie.
Aside from those who use fashion to
heighten their professional image, Dr.
Billy Frye never strays far from the
business-like appearance. Frye's
recent obsession with bow ties has
claimed him fame, or rather attention,
from his colleagues and the student

Steve Goodman: Fabulous Folkie comes back for more

participation, with "ordinary" spec-
tators often finding themselves under
the spotlight, and his wit is directed at
such diverse subjects as speed skating,
pay toilets and weddings.
Goodman and Anderson are ap-

pearing Saturday, March 31, at Lydia
Mendelsson Theater in a show
produced by the Office of Major Even-
ts. But remember, these men have rob-
bed before, and they just might stoop to
it again. W

Shapiro -
... A in executive fashion
that mundane, corporate flair. In fact,
if you've ever seen them on campus,
you probably wouldn't look twice. Who
would give a second glance at a typical,
middle-aged businessman? Yet,
despite their rigid-conservative-
grey/brown-three-piece-suit- ap-
pearance, these executive officers are
prime examples of fashion-conscious
men of the '80s. The men combine their
University intelligence with their
worldly knowledge of fashion to match
an average suit and tie, to the various

C
0
ci
N
Billy Frye: Dresses to cover the body
body. With this Orville Redenbacher
image, Frye is a modern man who
proves that clothes and fashion don't
have to reflect a person's self and
abilities, although as many people
know, it can't hurt!
So at the top there is this great realm
of personal styles. Although these men
are just a few of those in higher places,

their pers4
standards
fashionable
sonal touch
the fast-
decision-m
world of ti
ficer.

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George Winston: Poetic, pastoral piano for pure people

26 Weekend/Friday, March 30, 1984