The Michigan Daily Tuesday, March 8, 1988 Page 5
Fetchin' Bones romp 'n' roll
Brian Bonet it's not just just a fancy wrapper to another Southern band. Their influ- pressures record executives can exert
By Bappeal to an audience. Nicholls' en- ences are limitless, ranging from on a young band. "They don't say
ergy is more honest than a market- Bach to the Blues, Elvis to Eno, we want you to do a hit record. It's
If Patti Smith adopted a Southern ing ploy. "That's myself. It's my Chuck Berry to Chuck Barris, with understood," says Nicholls before
accent, wore a wig of blonde locks, own thing. It has to do with joy of more Buck Rogers than Peter Buck. voicing assurance that Fetchin'
and donned a colorful wardrobe from life and freedom of expression." Bones will not become the next
the racks of Salvation Army you Their wide range attracted Capitol Heart - even if they do make it big r
might mistake her for Fetchin' The band is based in Charlotte, Records to sign Fetchin' Bones' to with their new release, Galaxy 500.
Bones lead singer Hope Nicholls. North Carolina. Not as far South as an attractive record deal. However, However, Nicholls admits that
But anyone would have a hard Athens but close enough to be stig- lucrative record contracts bring the there are special subtleties that may
time imitating Nicholls' wild, tribal- matized by the ambiguous "Southern danger of "selling out" and often vanish with success. "I think you
Rock" label. Although she tries to leave die-hard fans mumbling, miss sleepin' on the floors - hav-
"It's a long process to work into ignore it, Nicholls is bothered by "their old stuff is better" as they ing tea with breakfast with
your stage persona," says Nicholls. this kind of categorizing. "People watch their ex-favorite band on strangers."
"I used to just stand there. I was like lump things together. Southern MTV. FETCHIN' BONES will be at the
a statue with a voice. Southern thing about our music is But Nicholls believes Fetchin' Blind Pig tonight at 10 p.m. The
Not anymore. Onstage Nicholls is my accent "Bones can achieve success with band will make an appearance at
a mirror to the quintet's colorful y Capitol on their own terms. How- Schoolkid's Records at 4 p.m. Tick- Fetchin' Bones, a non-Southern rock band out of North Carolina, hope
Fourth of July firework sets. And And Fetchin' Bones truly aren't ever, she isn't blind to the subtle ets are $7.50. that their newly signed contract with Capitol Records doesn't mean an end
to their romp 'n' roll style.
Continued from Page 1
ceedings), along with a five-mem-
ber screening committee, will view
them all before deciding which 80
or so films will be shown for the
There are approximately 25 to
30 hours of films, running from
today through Sunday (the last
night is "Winner's Night," where
the best films of the week will be
shown again). Part of the appeal of
the Ann Arbor film festival is that
whatever it is you're looking for -
whether it be animation or narra-
tive, documentary or abstract -
you're sure to find it.
Among the films you might see
Anna Spilt the Oil, a 12 minute
narrative by John Allen of Holly-
wood, California. Not among the
prettier films you'll see at the
festival - shot in black and white,
it has a distinctly gritty tone - but
for those who get a big kick out of
lewd sexual connotations (as Allen
clearly does), it's a lot of fun. Syn-
thesizers pound in the background
as the camera zeroes in on people
sucking on popsicles. The story of
9il , which follows a woman
carrying a bottle of whisky thrust-
ing in and out of her plastic carry-
bag and a man enjoying a popsicle
on a hot summer's day, climaxes in
a dark manhole. Lip-smacking
The Ant Who Loved the Girl
may not be mentioned in future
generations in the same breath as
other great love sagas, such as
Antony and Cleopatra, but this
sweet, seven minute animation
piece is most engaging. Made by
Steve Gentile of Providence, Rhode
Island, the film follows the antics
of one little ant who'll do anything
to capture the attention and favors
of a young girl. Simple story,
simply shot: black lines on a white
background. Girl is nice for the
kids, and adults will especially like
the deliciously dark twist at the end.
Times Square, a four minute,
computer-generated animation piece
shot in color by Jules Engel of Los
Angeles, is similar to taking an
extended look into a kaleidoscope.
A square, anchored in the center of a
black screen, has internal geometric
figures which change to the
rhythms and beats of various noises
(such as traffic and trains and con-
struction work). It runs a little long
- even at only four minutes -
but the experiment is at times in-
triguing, if not original.
Ironically, the one film shown at
the press screening that generated
the most enthusiasm and was the
least original was Tony Mor-
tillaro's Legends of Doo-Wop.
Mortillaro, who hails from Wood-
land Hills, California, has put to-
gether a "mockumentary," detailing
the careers of two back-up singers
who claim responsibility for bring-
ing artists like Elvis Presley and
Buddy Holly to the limelight.
"We used to come up with just
the right sound," explains Rich of
"Wayne and Rich." On one of their
hit records, Holly's "Everyday,"
Wayne and Rich make the back-
ground sounds by having Wayne
pull down his pants and Rich tap-
ping a spoon on Wayne's tush.
"Tap tap here, tap tap there, gold
record," Wayne nonchalantly ex-
plains many years later. Similar
pieces have been done before, most
memorably on Saturday Night Live
(remember the one about the two
aging baseball legends, with Billy
Crystal?), but that doesn't take
away from how funny Doo-Wop
Not all of the films are good.
But, as programming director Rock
says, "This festival is for personal
expression." Experimentation is
king here, even if that means
watching a two minute film and
spending more that half that time
staring at a black screen (as one of
the films shown to the press was).
The good thing about the festival
is, if you don't like a particular
film, it will be gone before you
know it, and, odds are, the wait
won't be long before you see
something you like.
About $5000 will be awarded in
prize money, including the presti-
gious Berman Award ($1000) to the
"most promising filmmaker in the
festival." Most of the money has
been donated by Ann Arbor busi-
nesses and private contributions.
The beauty of the festival lies in
that while it is a prestigious event,
it still remains a local one. The
festival gets no corporate funding,
and that's just fine with Vicki
Honeyman, one of the board of di-
rectors. "We don't want 'Budweiser
presenting the Ann Arbor Film
Festival,"' she says.
And they aren't. Probably never
will. A shade too avant-garde for
Spuds MacKenzie. But for those
local cynics beating each other up,
and trying to be first in line to toll
the death knell of campus cinema,
it is the perfect prescription for a
sick patient. If it's "new cinema"
you want - for this week anyway
- theres no reason to look any-
where else but your own backyard.
The Festival opens tonight at
8:30 p.m. at the Michigan Theatre,
preceded by a gala reception at 7:30
p.m. The remainder of the festival's
schedule (with all shows at the
Michigan Theatre) is as follows:
Wednesday, Thursday and Friday at
3, 7, and 9:30 p~m.; Saturday at 1,
7, and 9:30 p.m.; Sunday
("Winner's Night") at 5, 7, and 9
p.m. Admission is $4 for a single
show, $7 for a nightly pass (not
available on Sunday night) , and
$25 for a series pass. All matinees'
(1 & 3 p.m.) are free. All programs
are different and of substantially
from North Carolina
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