ARTS Thursday, December 8, 1988 The Michigan Daily Dance majors present BY PAMELA WARSHAY .THE University Dance Department places a strong emphasis on a wide range of styles and creativity on the part of its students, and this training is shown by this weekend's performance, Live. Live will demonstrate the chor- eographic, performance and technical abilities of some of this years BFA and MFA dance candidates. This thesis concert includes both group and solo works by four dance stu- dents; BFA candidates, Joy McEwen, Katherine Smith, Victoria Tobia, and MFA candidate Susan Bosch. All four dancers will exhibit a group and a solo work. Live will show how choreographers can have a vast stylistic variety while maintaining technical levels. Some of the pieces are classical while others are out of the ordinary. These dancers/ chor- eographers show that their abilities, Page 7 Stevens:.'Just a voice and songs BY BRIAN JARVINEN 1 had a aream last night. Incredible new American rock bands that could write intelligent, catchy pop songs and play loud electric guitars real well were at the top of the charts, all over MTV, and filling concert halls. Everyone was happy and everything was alright. But as you probably guessed, I woke up. I tried to go back to sleep but a Miller commercial kept waking me. The bands of my dream were in it, hawking beer. The silly part was that it was easier to hear the bands in commercials than to hear their actual songs. No one was happy and things weren't right. People are worrying. So gather around my friends and a story I will tell, about a non-pretty boy musical outlaw named Tom Stevens. Stevens grew up in Elkhart, Indiana, and like countless aspiring musicians since the dawn of time (or 1955), Stevens, along with other members of his band,.moved to California in 1978, hoping to see themselves in the downtown lights. After the demise of this band and a 1983 solo EP on Pulse Records, Points of View, Stevens joined up to play bass with "some friends of friends (who) were the Long Ryders." The Long Ryders, a band of Midwestern refugees in love with wonderful instruments such as harmonicas, banjos, and National Steel guitars, had already released their 10-5-60 EP. Things quickly accelerated for the band. 1984 saw the release of Native Sons on Frontier Records, which impressed Island Record's London division enough to award them the grail of indie rock bands - a major-label recording deal. The result was 1985's State of Our Union, followed by Two Fisted Tales in 1987. Yet despite the radio/retail support of Island, the Long Ryders never caught on the way they did in my dream. Stevens explains: "We always had real great success overseas, but unfortunately that wasn't that rewarding... we could sell out a thousand seats on either coast but the heartland was where w were really suffering. There were videos for 'Looking for Lewis and Clark' and 'I Want You Bad.' They came out on MTV on 120 Minutes and they would report it as light airplay, but nobody I knew ever saw them during prime time." In short, the Long Ryders were "too country for the rock and roll charts and too rock and roll for the country charts." This American obscurity was not what the Long Ryders had in mind "after Two Fisted Tales came out, Island pulled their support in mid-tour. I was the first one to leave, I think I read the writing on the wall first. We had a five record deal but we have since been dropped like hot potatoes. The Long Ryders are definitely a dead issue." See Stevens, Page 8 Katherine Smith, Joy McEwen, Victoria Tobia, and Susan Bosch join forces to go Live this weekend. if so desired, will carry them on to professional careers. Boschs' group work, Inter- personalities , will be performed by five dancers to a score composed by Sean Thibadeaux. Her solo work, Yesteryear, accompanied by a spoken narrative, describes her emotions felt during gymnastic competition. Mc- Ewens' group piece, inspired by artist Jackson Pollack, is a Chance Dance (a dance that includes variables which change from per- formance to performance) set to electronic music, composed by Leslie A. Hogan. Her solo work,Transitory States, is set music by Marcaccio. Smiths' group work, Slices of Life, a four-scene dance which takes a look at gender roles of the past and present, will be performed to Bachs' Goldberg Variations. Her solo work entitled Facets: a Tribute to the Spirit of Margaret McGavin Smith , will be performed to a collage of news blurbs and Irish folk music, which she compiled. Victoria Tobia's group work, Time Bomb, a trio, will be danced to Christopher Rouse'sOgoun Badagris. This piece will include a film produced by Tobia and Erika Frederick. Her solo work, Chances Are, will be per- formed to the live accompaniment of Karin Swanson as well as the Johnny Mathis song of the same name. This solo will also include slides by Chris Mclean. Live is most noteworthy for its diversity - after seeing the concert, it's easy to recall each piece individually, rather than as a cluster. Each piece conveys its own distinct emotions and ideas; each differs in atmosphere, movement style, and the use of dancers, showing that these young choreographers all have developed their own individual styles. Performances of LIVE will take place at the McIntosh Theater, located in the School of Music on North Campus. Performance times are tonight through Saturday night, Dec. 10 at 8 p.m. Tickets are $4. For more information, call 763- 5460. 'CLASSIFIED ADS 764-0557 1 r- I STUDENT SERVICES 1 WHAT IF YOU DQN'T GET INTO THE GRAD SCHOOL OF YOUR CHOICE? Sure, there are other schools. But why settle? 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