ARTS
Monday, March 31, 1986

,

The Michigan Daily__________

Page 9

Hitchcock thrills with bizarre

By Julie Jurrjens
Completely justifying their status
as local cult faves, England's Robyn
Hitchcock and the Egyptians played
a downright scintillating set Thur-
sday night at the Blind Pig. The
band's set of both new and unreleased
material and old favorites (spanning
Robyn's career with said Egyptians,
the Soft Boys, and solo) sated the
rather rabid sold-out crowd, and left
everybody with that distressingly
rare after glow which follows good
shows.
The set started up with "Sometimes
I Wish I Was a Pretty Girl" - which
also opened the last time the band
played here, and opens the band's live
LP Gotta Let this Hen Out - and
therefore lost a few points with me for
lack of spontaneity, but was
nonetheless executed well. From
there, the set simply took off for
realms beyond. Inclusions like "The

Cars She Used to Drive" and "Acid
Bird" were gratefully received, and
featured excellent keyboards by
animated Egyptian Roger Jackson.
In introducing a couple of new
tunes from the unrecorded-but-
projected LP The Hooded One, Hitch-
cock dove into one of his notorious
bizarre monologues. It started out
having something to do with the
placement of English phone boxes in
relation to livestock, and ended up
with a woman giving a party at which
everyone is dead, which somehow
related to the tune itself, "The
Hooded One". This number and most
of the other new material seemed to
fit in very well with the
traditional/folky direction Hitchcock
hopes to pursue, as discussed in an in-
terview with the Daily. However, he
retains distinct purely pop overtones.
"Man With the Lightbulb Head"
displayed the Egyptians' skill, par-
ticularly that of former Soft Boys
Morris Windsor and Andy Metcalfe,

on drums and bass respectively.
Somehow, Hitchcock then picked up
the threads of the monologue and
worked it into a band-less version of
"Raymond Chandler Evening",
another new tune, which was nicely
introspective. The line "There's blood
all over everything" stood out like a
sore thumb. Morris returned for
"Sounds Great When You're Dead,"
which sounded like a complete band
instead of just two people.
Someone mentioned that the band
was doing Monty Python skits during
their sound check; believable con-
sidering the monologue which prec-
eeded some more new material, in
which Hitchcock affected the roles of
various policemen and bishops
arguing in a Pythonesque manner.
The band then went on to make
shadow animals on the screen above
the stage, to the delight of fans,
who've come to expect a certain
measure of goofiness with every
Egyptian performance. The new tune

"Ted, Woody and Junior" followed af-
ter more discourse, taking more
heavily psychedelic overtones than
the other new material.
Renditions of the classics, "Egyp-
tian Cream," "Brenda's Iron;
Sledge", and "Kingdom of Love
essentially brought down the house.
"Goodbye I Say" appropriately
closed out the set, but the band was
called back quickly for the a cappella
"Uncorrected Personality Traits" -
much improved from the last time,
when the band couldn't stop giggling
- and "Tell Me About Your Drugs",,
on which the band switched in-
struments.
After 5-odd minutes of stomping
and hooting from the audience, the
band returned again for an uncharac-
teristic cover of "Train, Train" and a
promise to stop by again in October.
Look forward to it. You shouldn't
miss a band with the skill and sense of
humor of the Egyptians if you can
help it.

Daily Photo by SCOTT LITUCHY
English bizarro rocker Robyn Hitchcock played to a packed Blind Pig
Thursday night.
Sego via warms Hill

By Rebecca Chung

F OR MANY, Thursday night
at Hill Auditorium was an op-
portunity to pay homage to one of
this century's musical giants -
Andres Segovia. Born in Spain on
February 21, 1893, he created a
permanent place for guitar in the
classical realm by pushing the limits
of the instrument -and expanding
the repetoire.
Although Segovia, at 93, did not
dazzle the audience with any vir-
tuostic acrobatics, he charmed the
crowd with eight short melodic
pieces featuring Handel, Men-
delssohn, Tansman, Tchaikovsky,
Espla, Torroba, Granados, and
Ponce. Especially enjoyable was
the opening piece, Sarabande with
Variations by George Frederic
Handel, for he was able to suc-
cessfully weave several melodic
lines into a whole without losing
any of the threads.
Hearing him deliver such
musicality at his advanced age
only increased one's admiration
for him.
However, even if he had only
played "Twinkle Twinkle" during
the first half of the program, the
audience would not have been less
delighted. There was a magical
atmosphere in Hill Thursday
night, born from the audience's
desire to pay tribute to Segovia. As

he slowly trod onto the stage,
leaning heavily on his cane, ap-
plause immediately began, with a
warmth rarely felt in such a large
concert hall. For a large part of
the performance, Hill retained the
intimate atmosphere of a cof-
feehouse. Every cough was an in-
trusion for it seemed enough to
cover up the delicate music
that, when all was silent, someh-
ow managed to fill the hall.
Unfortunately, maintaining the
connection between audience and
performer was very difficult
during the second half. After in-
termission, Segovia seemed tired;
his playing was not as entrancing,
and the fact that the pieces in the
second half were of the same style
and complexity as those earlier in
the concert did not help. In par-
ticular, Manuel Ponce's "Sonatina
Meridional" lacked spark and
direction, seeming to be a mean-
dering chain of notes without
purpose.
At theiend of the performance,
he received an instantaneous
standing ovation, even as he
headed slowly off the stage. He
acknowledged the applause, and
returned to play an encore so full
of life and musicality that it more
than made up for the plodding
second half. After it was over, one
could not help but feel pleased to
have been part of the experience.

Lucas; corny film of young love




CILAJJJiiI1I1ItI
A Iir-Ni

James

By Sarah Pike
WHO WOULDN'T want to go to a
movie about falling in love for
the first time, even if the
protagonist is a fourteen year old and
the object of hisdesire a sixteen year
old? Age doesn't matter in
love-think of Romeo and Juliet, they
weren't much older. However,
Shakespeare did not write the screen
play for Lucas and it is not the love
story it so fervently advertises itself
to be.
It's a story of the well-known high
school chain of unrequited love. Rina
likes Lucas who likes Maggie who
likes Cappie who has a steady
girlfriend, Alice, but he likes Maggie
anyway and finally ends up with her
much to Lucas' and Alice's dismay.
Lucas (Corey Haim of Silver
Bullet) is a fourteen year old "ac-
celerated" high school student who
can't compete with the big
boys-either in football or in attrac-
ting the girl he wants. But he's a good
kid and the story is nice enough,
especially for young teen-agers.
Lucas hasn't quite yet made that
conscious choice between insects and
short-skirted cheerleaders. They're
both equally interesting and one leads
to the other. While out bug hunting in
the grass one fine summer afternoon,
Lucas comes across a rather lovely
specimen of the opposite sex, Maggie,
(played by Kerni Green from
Goonies) who is playing tennis. She's
new in town so they become "pals."
They do things like go bug hunting
and sneak through sewers to listen to
an outdoor classical music concert
without paying. The scene is not as
bad as it sounds and, at least, it
avoids the dreaded cliche.
Actually, I only cringed a couple of
times during the entire movie which
isn't bad for a film whose targeted
audience centers around the newly
initiated adolescent. If I were thirteen
I might have even gone to see it twice.
The plot is easy to figure out after
we've seen all the characters once.
We all know what to expect. The
boys play football and are interested
in cars; the girls are cheerleaders
and don't know what position wide
receiver is. I found myself laughing
with and at Lucas a few times but
overall there were too many sobbing,
sentimental scenes. Were we really
like that just a few years ago? They
are constantly asking each other if
they are alright or what's wrong.

What's wrong is that painful aspect of
growing up when you realize you
can't have absolutely everything you
want.
Lucas is supposed to be different.
As far as he's concerned the football
players and. cheerleaders are all
superficial. To him being superficial
means havingsfun. Maggie likes him
because he has "deep thoughts." Her
overall performance is right for the
movie although she has a tendency to
fall into the stereotyped Valley Girl
behavior.
Lucas is a likeable kid. He doesn't
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give up. He even has some Charlie
Brown characteristics but is destined
not to lose. He transforms scenes in
which he's being made fun of into
scenes in which he's the comedian
commanding the audience. With his
over-sized glasses, he is not far from
what one imagines Woody Allen was

like as a kid.
All in all the first half of the movie
holds together nicely but promises
more than it can give in the second
half. It's a far cry from Romeo and,
Juliet but I bet if I had a thirteen year
old daughter she'd ask me to take her
to see it a second time.

........... ... .: :: :":: ... ... :.. ..
ART STUDENTS
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5) Take no longer than 20-25 minutes to complete your sketch,
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sketch paper. Your sketch must reach me before 4/11/86.
a M~saisimmmanesualisisinsissilameianen sS~so :;


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Ai"d- Continued
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(AP) -
James Cagney, the Oscar-winning
actor, died Easter morning at his
seculded upstate New York farm,
where he had returned after a stay
earlier this month at Lenox Hill
Hospital in New York City, said his
manager-confidant Marge Zimmer-
mann.
"He died earlier today and that's all
I'm going to say," she said in a quiet,
strained voice.
When he was released from the
hospital, Zimmermann had urged
fans and friends to offer their holiday
prayers to the ailing film legend.
"He asked that his friends and his
fans offer up lots of prayers for him,
especially during this Easter
season," Zimmermann said. "We
brought him home to be among the
surroundings he loves."
Cagney made his Hollywood movie
debut in 1930 in Sinner's Holiday. He
retired after the 1961 comedy One,
Two, Three, then returned to the
screens 20 years later for the 1981 film
Ragtime.

52YEARS
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